paquetes-sprpcb/business_data/hide/Patrimonio_inmaterial_2025-11-21_13-44-01.json

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Se realiza durante el mes de marzo, despu&eacute;s del carnaval, en agradecimiento a la Madre Tierra por los frutos obtenidos.&nbsp;El Ayarichi, que puede traducirse como &ldquo;rostro del difunto&rdquo; o &ldquo;esp&iacute;ritu del muerto&rdquo;, es una expresi&oacute;n ritual m&aacute;s sobria y silenciosa, que representa el v&iacute;nculo con los ancestros y el respeto hacia los que han partido. Se realiza durante el tiempo seco o cercano al Todos Santos."}}, "ef13f396-0909-11f0-8147-0242ac120006": "c6990a24-c9a8-4b74-beb0-b21722561093"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "5baa3647-183c-447b-adc8-19913eebd556", "provisionaledits": null, "resourceinstance_id": "eba2489f-8184-4fb4-9313-26247c4b91f9", "sortorder": 0, "tileid": "5c70c9bc-d682-469a-b5cf-85e871dfa9ab"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["f6149104-3d2f-4c31-8b0f-f58f7e19e8e1", "44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el Pujllay, adem&aacute;s de la ritualidad y el compartimiento de comida y bebida, destaca&nbsp;la danza del Pujllay, una coreograf&iacute;a colectiva en la que los danzantes giran y se desplazan en espiral al ritmo de la m&uacute;sica, representando el movimiento de los ciclos naturales. Los bailarines visten trajes bordados y coloridos, con sombreros de ala ancha adornados con flores y cintas, cargan peque&ntilde;as banderas o s&iacute;mbolos que evocan la fertilidad y la resistencia cultural. En el Ayarichi, no hay elementos festivos como al,&nbsp;danza&nbsp;es introspectiva, con movimientos lentos y pasos pesados que simbolizan el andar de los muertos. Los danzantes llevan ropas oscuras, m&aacute;scaras talladas en madera que representan rostros de ancestros y algunos portan objetos rituales como b&aacute;culos o bastones.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "5baa3647-183c-447b-adc8-19913eebd556", "provisionaledits": null, "resourceinstance_id": "eba2489f-8184-4fb4-9313-26247c4b91f9", "sortorder": 0, "tileid": "b7698921-ac91-45d9-b787-a071f04f5084"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El Pujllay&nbsp;es en tiempo de cosecha y agradecimiento a la Pachamama por la fertilidad y los alimentos. La festividad inicia con la construcci&oacute;n del &quot;Pukara&quot;, un altar o estructura en forma de torre decorada con productos agr&iacute;colas, animales, panes, frutas, bebidas, flores y objetos de valor simb&oacute;lico, que representa la abundancia otorgada por la tierra. Durante el ritual, se realizan ceremonias comunitarias y&nbsp;ofrendas como la ch&#39;alla.&nbsp;El Ayarichi se celebra en un tiempo distinto, generalmente en la &eacute;poca seca, y tiene una carga espiritual m&aacute;s solemne. Su prop&oacute;sito es honrar a los ancestros y difuntos, evocando su presencia y reforzando el lazo intergeneracional.&nbsp;Esta expresi&oacute;n ritual no es una celebraci&oacute;n, sino una forma de reflexi&oacute;n y respeto hacia la muerte.</p>\n"}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c533891f-d44c-4616-8130-81b87a070d65", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "5baa3647-183c-447b-adc8-19913eebd556", "provisionaledits": null, "resourceinstance_id": "eba2489f-8184-4fb4-9313-26247c4b91f9", "sortorder": 0, "tileid": "89c280d7-d74f-46fa-b970-27e7e5617d43"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Las interpretaciones son profundamente ancestrales, ligadas a la cosmovisi&oacute;n andina, los tiempos agr&iacute;colas y la espiritualidad de los pueblos originarios, por lo que se interpretan con instrumentos 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Y la entrada folcl&oacute;rica, en la que agrupaciones de diferentes regiones del pa&iacute;s interpretan danzas como la Diablada, Morenada, Caporales, Tobas, Tinku urbano, Llamerada, Waca Waca, entre muchas otras. Adem&aacute;s de las ceremonias y rituales que se llevan a cabo."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "8338abc8-0763-41e9-b5cf-4faab055e22d", "provisionaledits": null, "resourceinstance_id": "2c566bf0-9b22-497c-a60a-d0547a2e13bf", "sortorder": 0, "tileid": "05ce7ad5-06ea-4e8a-a15a-c37c2f1124f0"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Entre las principales ceremonias religiosas se encuentra la misa central en honor a San Bartolom&eacute;, que incluye la procesi&oacute;n del santo, acompa&ntilde;ado por feligreses, m&uacute;sicos y autoridades. 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En la entrada folcl&oacute;rica, las bandas de bronce y conjuntos musicales interpretan los ritmos que acompa&ntilde;an a las danzas."}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["5acfe410-a1bb-4bf0-b4c5-65cb97c9c3d2", "2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "b8161b21-fa7c-40b0-b7a7-e3b1a39a7e7f"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["b2b1587f-8eac-4bcd-81c0-16e0747fa991", "b34bf7f9-897a-4a02-9214-457ba3ed2bf4", "ca527379-d007-4fca-b2a9-eb49513e8dc6"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["c174350c-c06f-4baa-b786-a42a7075be64"], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": true}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "8338abc8-0763-41e9-b5cf-4faab055e22d", "provisionaledits": null, "resourceinstance_id": "2c566bf0-9b22-497c-a60a-d0547a2e13bf", "sortorder": 0, "tileid": "a07014cb-e59f-4e39-8665-a7596a72b93d"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"en": 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"descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-000000-00-00-000029, "}, "es": {"description": "Ritual del \u201cJula Jula\u201d como pr\u00e1ctica ancestral de su m\u00fasica, danza, coreograf\u00eda y vestuario.", "map_popup": "Nacional", "name": "PI-000000-00-00-000029, Ritual del \u201cJula Jula\u201d como pr\u00e1ctica ancestral de su m\u00fasica, danza, coreograf\u00eda y vestuario."}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-000000-00-00-000029, Ritual del \u201cJula Jula\u201d como pr\u00e1ctica ancestral de su m\u00fasica, danza, coreograf\u00eda y vestuario.", "principaluser_id": 16, "resourceinstanceid": "323b6682-f75a-4988-b026-92947b8c70bc", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": 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Su nombre proviene del sonido onomatop&eacute;yico del instrumento hom&oacute;nimo, la jula jula, una flauta vertical de madera que produce tonos repetitivos y envolventes."}}, "ef13f396-0909-11f0-8147-0242ac120006": "bef3a563-0242-43c0-83c9-17aaf11cd614"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "4445d70d-17d7-4333-8a41-df37127b3eb0", "provisionaledits": null, "resourceinstance_id": "323b6682-f75a-4988-b026-92947b8c70bc", "sortorder": 0, "tileid": "a5dd4bd4-2264-4546-ab94-fb87c732b46d"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La ceremonia inicia con una mesa ritual que incluye hojas de coca, alcohol, incienso, dulces, lanas de colores y otros elementos sagrados, que se sah&uacute;man y se colocan sobre la tierra como se&ntilde;al de respeto y gratitud. A continuaci&oacute;n, los participantes&nbsp;interpretan la danza y m&uacute;sica del jula jula, tocando simult&aacute;neamente estas flautas. Se organizan en filas o c&iacute;rculos, avanzando al ritmo de bombos y tambores, con movimientos marcados y firmes, que imitan el andar ritual por los campos.</p>\n"}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c533891f-d44c-4616-8130-81b87a070d65"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "4445d70d-17d7-4333-8a41-df37127b3eb0", "provisionaledits": null, "resourceinstance_id": "323b6682-f75a-4988-b026-92947b8c70bc", "sortorder": 0, "tileid": "ee84e13d-a152-4085-8af1-cfc2a3548482"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Cuenta con movimientos ritmados, firmes y colectivos, ejecutados en formaci&oacute;n de filas o c&iacute;rculos. 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Algunos pueden llevar elementos rituales adicionales, como pa&ntilde;uelos o banderas con los colores de la wiphala, adem&aacute;s de collares o cintas.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "4445d70d-17d7-4333-8a41-df37127b3eb0", "provisionaledits": null, "resourceinstance_id": "323b6682-f75a-4988-b026-92947b8c70bc", "sortorder": 0, "tileid": "1a37f674-7230-4e11-8e7b-302ca67cfb33"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se caracteriza por la ejecuci&oacute;n colectiva de flautas de ca&ntilde;a o jula julas, que producen un sonido penetrante, vibrante y continuo, acompa&ntilde;ado por bombos y tambores que marcan el ritmo del desplazamiento ritual. 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Estas son acompa&ntilde;adas por instrumentos t&iacute;picos como bombos, flautas y tambores, representan historias de la vida diaria, la naturaleza y la espiritualidad. 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Se realizan rituales ind&iacute;genas como ofrendas a los esp&iacute;ritus de la naturaleza, invocaciones de la lluvia y ceremonias de agradecimiento por las cosechas. Las danzas de los Mojos y otras danzas tradicionales son parte integral de los rituales. Adem&aacute;s, los bailes y cantos se realizan para pedir protecci&oacute;n y prosperidad, y en muchos casos, para fortalecer la identidad cultural de la comunidad. Estos rituales permiten que la festividad mantenga su car&aacute;cter tanto religioso como ancestral, consolidando el v&iacute;nculo de la poblaci&oacute;n con su historia y sus creencias.</font></font>"}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c533891f-d44c-4616-8130-81b87a070d65", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "2a16e949-9587-442d-90f8-9101e999364f", "provisionaledits": null, "resourceinstance_id": "ddb0ea9a-c41b-4e94-94ae-9bef3fee00e4", "sortorder": 0, "tileid": "01d685c4-d497-471d-bfac-fac7210c4b63"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La m&uacute;sica incluye ritmos ind&iacute;genas acompa&ntilde;ados de tambores, flautas y otros instrumentos tradicionales, que se integran con cantos religiosos y melod&iacute;as eclesi&aacute;sticas.&nbsp;Esta m&uacute;sica no solo sirve para acompa&ntilde;ar las procesiones y rituales religiosos, sino tambi&eacute;n para reforzar la identidad cultural, la unidad comunitaria y la memoria hist&oacute;rica de los pueblos Moxos."}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["e6323cbf-1077-4730-847e-7aa0919f202d", "b8161b21-fa7c-40b0-b7a7-e3b1a39a7e7f"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["6734af3e-4791-4d75-82c4-3fb2b73aed20", "b34bf7f9-897a-4a02-9214-457ba3ed2bf4", "18364ef9-7878-439b-9ae6-5d7845e185a1"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["3f0b98e0-3e0f-43a7-84a8-0d1f6473ae1d", "c174350c-c06f-4baa-b786-a42a7075be64"], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": true}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "2a16e949-9587-442d-90f8-9101e999364f", "provisionaledits": null, "resourceinstance_id": "ddb0ea9a-c41b-4e94-94ae-9bef3fee00e4", "sortorder": 0, "tileid": "c39e0ed0-f051-427d-996d-d80c8771c599"}]}, {"resourceinstance": {"createdtime": "2025-06-27T15:20:50.394", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000056, "}, "es": {"description": "Fiesta Patronal de la ciudad de la Sant\u00edsima Trinidad \u201cChope Piesta\u201d", "map_popup": "Beni", "name": "PI-080101-00-00-000056, Fiesta Patronal de la ciudad de la Sant\u00edsima Trinidad \u201cChope Piesta\u201d"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000056, Fiesta Patronal de la ciudad de la Sant\u00edsima Trinidad \u201cChope Piesta\u201d", "principaluser_id": 16, "resourceinstanceid": "2d915fdf-5df1-4587-93c2-87eaea36e2f8", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["322b3277-4cda-4519-a47e-74db25067384", "44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Incluye una entrada folkl&oacute;rica estudiantil con danzas t&iacute;picas como la chovena, el taquirari y la emblem&aacute;tica danza de los macheteros, que simboliza la resurrecci&oacute;n de Cristo desde la cosmovisi&oacute;n moje&ntilde;a. 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La festividad inicia con una misa solemne, seguida por la entrada folkl&oacute;rica donde se presentan m&aacute;s de 60 fraternidades que bailan durante horas con trajes fastuosos y coreograf&iacute;as cuidadosamente ensayadas. Las danzas m&aacute;s representativas incluyen la morenada, diablada, caporales, kullawada, tinku, saya y llamerada, entre otras, cada una con su propio simbolismo y ritmo."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "4f66953d-5ebb-456b-a2d2-7ee5ce1af4a4", "provisionaledits": null, "resourceinstance_id": "4ce228ab-f710-4d56-899d-3d7ca491f785", "sortorder": 0, "tileid": "4784f38f-8eb5-4dde-836a-b51f318a0474"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se realizan misas solemnes, novenas y procesiones religiosas en honor al Se&ntilde;or del Gran Poder, cuya imagen es venerada como s&iacute;mbolo de protecci&oacute;n, milagros y poder divino. Los devotos hacen promesas, dan ofrendas y participan como bailarines durante a&ntilde;os como muestra de agradecimiento o petici&oacute;n. La ch&rsquo;alla (ritual andino de ofrenda con alcohol, flores y mixtura) tambi&eacute;n se realiza para pedir bendiciones y buena fortuna."}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c533891f-d44c-4616-8130-81b87a070d65", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "4f66953d-5ebb-456b-a2d2-7ee5ce1af4a4", "provisionaledits": null, "resourceinstance_id": "4ce228ab-f710-4d56-899d-3d7ca491f785", "sortorder": 0, "tileid": "30a4f7df-23a9-4b99-892e-452e67c38862"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '05', 'codsA': '00', 'grp_eta': 10100, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "b726fbaf-d01b-4841-b02c-4bcbe3856718", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Actos festivos"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-020101-00-00-000004", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": null, "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fastuosa Entrada del Se\u00f1or Jes\u00fas del Gran Poder"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["fd6bf053-a982-4b7f-a4ad-36c804bb510b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4ce228ab-f710-4d56-899d-3d7ca491f785", "sortorder": 0, "tileid": "eeefaea6-1c99-4c39-a732-0905738c8f30"}]}, {"resourceinstance": {"createdtime": "2025-07-02T10:04:39.719", "descriptors": {"en": {"description": "Indefinido", "map_popup": "La Paz", "name": "PI-020903-00-00-000002, "}, "es": {"description": "Festividad \u201cVirgen de las Nieves\u201d", "map_popup": "La Paz", "name": "PI-020903-00-00-000002, Festividad \u201cVirgen de las Nieves\u201d"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-020903-00-00-000002, Festividad \u201cVirgen de las Nieves\u201d", "principaluser_id": 16, "resourceinstanceid": "84b85a2c-c89f-4da7-a20f-2c7ba47dc188", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400", "f6149104-3d2f-4c31-8b0f-f58f7e19e8e1"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La celebraci&oacute;n incluye celebraciones religiosas. 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Uno de los momentos centrales es la procesi&oacute;n, donde los fieles acompa&ntilde;an la imagen de la Virgen por las calles del pueblo o comunidad, entre rezos y m&uacute;sica. Tambi&eacute;n se realizan&nbsp;rituales ancestrales como la ch&rsquo;alla a la Pachamama, en la que se realizan ofrendas con alimentos, hojas de coca, incienso y bebidas para agradecer por la tierra, pedir lluvias y buenas cosechas. Estos actos son guiados por sabios andinos o yatiris.</p>\n"}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c533891f-d44c-4616-8130-81b87a070d65", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "386f0921-f256-4d50-9c42-23fda9bfa5e3", "provisionaledits": null, "resourceinstance_id": "84b85a2c-c89f-4da7-a20f-2c7ba47dc188", "sortorder": 0, "tileid": "a5db3f3d-ad10-4d78-9ae7-720733b7bbd8"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "En las misas y procesiones se escuchan cantos lit&uacute;rgicos y alabanzas a la Virgen. En los espacios comunitarios, bandas interpretan huay&ntilde;os, cuecas y bailecitos, generando un ambiente de fiesta y unidad. 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la fertilidad de la madre tierra y el fruto del trabajo; las pr&aacute;cticas culturales tradicionales de comunidades y productores; las expresiones art&iacute;sticas de la creatividad comunitaria y la herencia hist&oacute;rica de la producci&oacute;n artesanal."}}, "ef13f396-0909-11f0-8147-0242ac120006": "0b6425ff-7bbf-4303-8c51-9fd5bb5a457a"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "a32999b8-314c-467e-8843-c45cbb56f940", "provisionaledits": null, "resourceinstance_id": "0447d65a-75d5-493a-9a48-b9becc65b17e", "sortorder": 0, "tileid": "b546f23c-9525-4f3e-8a65-fe65f80e6e3b"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Es una celebraci&oacute;n local de la cosecha de uvas y la producci&oacute;n de productos emblem&aacute;ticos de la regi&oacute;n. 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{"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Danza de los Yampara es un ritual tradicional boliviano arraigado en la cultura Yampara de Tarabuco, en Chuquisaca. Adem&aacute;s de honrar sus tradiciones ancestrales, la festividad conmemora la victoria de los Yampar&aacute;ez sobre los espa&ntilde;oles el 12 de marzo de 1816 en la batalla de Jumbate. Cada a&ntilde;o, el segundo domingo de marzo, las comunidades de Yampar&aacute;ez celebran este evento guerrero, recordando valientemente el enfrentamiento que contribuy&oacute; a la independencia de Bolivia y honrando a los ca&iacute;dos en combate."}}, "ef13f396-0909-11f0-8147-0242ac120006": "23e56662-5c3c-4ca1-915b-4c013efc9404"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "302d0b07-6d00-4902-a424-2cdd64b86fa5", "provisionaledits": null, "resourceinstance_id": "11b4fc52-c5b8-4948-87a7-3718df512c9c", "sortorder": 0, "tileid": "e6696856-097a-4bf3-bcbd-07b721bfcc65"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Estos rituales no solo refuerzan la conexi&oacute;n espiritual con la naturaleza, sino que tambi&eacute;n sirven para fortalecer la identidad comunitaria, transmitiendo conocimientos agr&iacute;colas y espirituales de generaci&oacute;n en generaci&oacute;n."}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "302d0b07-6d00-4902-a424-2cdd64b86fa5", "provisionaledits": null, "resourceinstance_id": "11b4fc52-c5b8-4948-87a7-3718df512c9c", "sortorder": 0, "tileid": "04d27000-056e-469f-b1c4-ac5f28b7a0bd"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["f6149104-3d2f-4c31-8b0f-f58f7e19e8e1", "44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La festividad honra a la Pachamama&nbsp;y tiene un fuerte componente agr&iacute;cola, celebrando el ciclo de la cosecha. La danza, cargada de simbolismo, representa la lucha entre comunidades, con participantes vestidos con trajes tradicionales elaborados en lana de alpaca y adornos t&iacute;picos. Las coreograf&iacute;as son din&aacute;micas y en&eacute;rgicas, reflejando la fuerza y resistencia de la comunidad frente a los desaf&iacute;os. La festividad tambi&eacute;n es un momento para reforzar la identidad cultural, la uni&oacute;n comunitaria y la conexi&oacute;n con los antepasados, integrando elementos religiosos cat&oacute;licos debido al sincretismo con la colonizaci&oacute;n. En conjunto, la danza y la festividad del Pujllay son una rica muestra de la herencia cultural ind&iacute;gena, donde se celebran tanto las costumbres ancestrales como la agricultura y la espiritualidad de la regi&oacute;n andina."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "302d0b07-6d00-4902-a424-2cdd64b86fa5", "provisionaledits": null, "resourceinstance_id": "11b4fc52-c5b8-4948-87a7-3718df512c9c", "sortorder": 0, "tileid": "78ac00bd-26e6-4c60-933b-a8d09187983d"}, {"data": {"38fdf22a-d2ad-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Est&aacute; profundamente vinculado a los conocimientos tradicionales de producci&oacute;n agr&iacute;cola de las comunidades andinas, y celebra la conexi&oacute;n entre el ser humano y la naturaleza. No solo se celebra la cosecha, sino tambi&eacute;n de transmite conocimientos sobre las estaciones agr&iacute;colas, el cuidado de la tierra y las t&eacute;cnicas de cultivo, que han sido transmitidos de generaci&oacute;n en generaci&oacute;n. As&iacute;, es una celebraci&oacute;n integral de la sabidur&iacute;a agr&iacute;cola, la identidad cultural y el respeto por la tierra."}}, "ba96b762-840c-11ee-8c86-0f5288d73f98": ["32e15ed7-1c69-4e79-9423-97c07bf1f9d3"]}, "nodegroup_id": "ba96b762-840c-11ee-8c86-0f5288d73f98", "parenttile_id": "302d0b07-6d00-4902-a424-2cdd64b86fa5", "provisionaledits": null, "resourceinstance_id": "11b4fc52-c5b8-4948-87a7-3718df512c9c", "sortorder": 0, "tileid": "cf863854-fa2a-42a7-930a-2e3dd22b2571"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Durante la fiesta, las comunidades realizan rituales de ofrenda a la Pachamama para pedir por la fertilidad de la tierra y la abundancia en los cultivos. Las ceremonias incluyen el &quot;wayra&quot;, una ofrenda de hojas de coca y otros productos agr&iacute;colas que se depositan en la tierra como se&ntilde;al de respeto y gratitud. Los danzantes, participan en rituales que representan la lucha y el ciclo agr&iacute;cola. Se llevan a cabo procesiones por la comunidad, con la participaci&oacute;n activa de todos los miembros.</p>\n"}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b", "c533891f-d44c-4616-8130-81b87a070d65"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "302d0b07-6d00-4902-a424-2cdd64b86fa5", "provisionaledits": null, "resourceinstance_id": "11b4fc52-c5b8-4948-87a7-3718df512c9c", "sortorder": 0, "tileid": "f6d4ebb5-41fc-433b-b8c0-762d70e82a1b"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Utilizando instrumentos como bombos, flautas y zampo&ntilde;as, la m&uacute;sica refleja la conexi&oacute;n espiritual con la Pachamama y la naturaleza, mientras evoca las batallas simb&oacute;licas y ciclos agr&iacute;colas representados en las danzas. 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Adem&aacute;s, se integran melod&iacute;as festivas que fortalecen la identidad cultural y la uni&oacute;n social durante la Navidad, reflejando el sincretismo entre la herencia colonial y las tradiciones locales.</p>\n"}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["fad7d37d-ac03-4fe3-b1b7-c29910eb6388", "f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "e6323cbf-1077-4730-847e-7aa0919f202d"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["b34bf7f9-897a-4a02-9214-457ba3ed2bf4", "b2b1587f-8eac-4bcd-81c0-16e0747fa991"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["3f0b98e0-3e0f-43a7-84a8-0d1f6473ae1d", "c174350c-c06f-4baa-b786-a42a7075be64"], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": true}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "abba630c-566b-4674-ba65-3aeeda4e8ea6", "provisionaledits": null, "resourceinstance_id": "a7e9ce98-5524-49f7-a1f4-b8948897161e", "sortorder": 0, "tileid": "df8d39cf-160e-44f1-b654-31c779ede951"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los mecanismos de transmisi&oacute;n de la m&uacute;sica y tradiciones en la Festividad de la Navidad Serranense son principalmente orales y comunitarios. Las canciones, villancicos y melod&iacute;as se ense&ntilde;an de generaci&oacute;n en generaci&oacute;n mediante la participaci&oacute;n directa en celebraciones, ensayos y eventos festivos. La transmisi&oacute;n tambi&eacute;n ocurre a trav&eacute;s de la pr&aacute;ctica colectiva en grupos musicales locales, familias y escuelas, donde se refuerza el aprendizaje de los ritmos y letras. 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Durante varios d&iacute;as, comparsas recorren las calles con alegr&iacute;a, acompa&ntilde;adas por instrumentos tradicionales como charangos, quenas, bombos, guitarras, acordeones y mandolinas. Las danzas son espont&aacute;neas y festivas, mientras que las coplas, muchas veces picarescas e improvisadas, reflejan el ingenio y humor del pueblo padillense. 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Predominan los ritmos propios del valle chuquisaque&ntilde;o, como cuecas, huay&ntilde;os y carnavalitos, interpretados con instrumentos t&iacute;picos como charangos, guitarras, bombos, quenas y acordeones. Un elemento central son las coplas carnavaleras, cantadas en forma improvisada y con tono humor&iacute;stico o sat&iacute;rico, que expresan vivencias, cr&iacute;ticas sociales y picard&iacute;a popular. 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{"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta que resalta por la danza tradicional Chuntunki y la gastronom&iacute;a."}}, "ef13f396-0909-11f0-8147-0242ac120006": "f2c2e843-03b0-4a2d-942a-ded7a13d5675"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "9d3a60f8-b491-4f2f-a84b-2fd6147ef96e", "provisionaledits": null, "resourceinstance_id": "ed22ae4f-c7ce-40ae-97f5-49d62f3fca65", "sortorder": 0, "tileid": "3098411c-d2f0-4bfe-807c-1ec2a35fedee"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["9f206aef-8f00-49b6-9968-058109e08485"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": null, "e2247e94-1fde-11f0-a8a9-b3355d3a2630": "Ley 994 / 13 de noviembre de 2017"}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ed22ae4f-c7ce-40ae-97f5-49d62f3fca65", "sortorder": 0, 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La celebraci&oacute;n incluye expresiones culturales como la entrada folkl&oacute;rica, donde se presentan danzas t&iacute;picas como la morenada, el tinku, la saya y los caporales, que reflejan gratitud, petici&oacute;n de lluvia y fertilidad."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "b68122a9-06d3-4d0b-b638-116f30bb39dd", "provisionaledits": null, "resourceinstance_id": "6b1c4928-d37a-495f-996b-ebde0d08b91b", "sortorder": 0, "tileid": "017e5adc-8f82-438d-a4e3-13718ad11ae3"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se realizan misas solemnes, procesiones con la imagen de la Santa Cruz,&nbsp;considerada protectora de las cosechas y s&iacute;mbolo de bendici&oacute;n para las comunidades rurales, y actos de veneraci&oacute;n en los cerros o lugares sagrados. 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A trav&eacute;s de rituales como la ch&rsquo;alla, los pobladores agradecen por las cosechas y piden bendiciones para la pr&oacute;xima siembra. As&iacute;, la festividad preserva y transmite saberes ancestrales relacionados con los ciclos agr&iacute;colas, el clima, la protecci&oacute;n de cultivos y la relaci&oacute;n espiritual con la tierra."}}, "ba96b762-840c-11ee-8c86-0f5288d73f98": ["32e15ed7-1c69-4e79-9423-97c07bf1f9d3"]}, "nodegroup_id": "ba96b762-840c-11ee-8c86-0f5288d73f98", "parenttile_id": "b68122a9-06d3-4d0b-b638-116f30bb39dd", "provisionaledits": null, "resourceinstance_id": "6b1c4928-d37a-495f-996b-ebde0d08b91b", "sortorder": 0, "tileid": "666edcaf-7f36-4d36-9223-4fe2e2f10ab1"}]}, {"resourceinstance": {"createdtime": "2025-07-07T15:03:55.623", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Potos\u00ed", "name": "PI-050601-00-00-000005, "}, "es": {"description": "Carnaval de Cotagaita", "map_popup": "Potos\u00ed", "name": "PI-050601-00-00-000005, Carnaval de Cotagaita"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-050601-00-00-000005, Carnaval de Cotagaita", "principaluser_id": 16, "resourceinstanceid": "438b3919-8c40-43b2-9e99-0e1d6ecae3bf", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": []}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "438b3919-8c40-43b2-9e99-0e1d6ecae3bf", "sortorder": 0, "tileid": "b08b0319-ff00-4416-97f0-ca226e93fdf5"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "6df8d3ba-0b8b-11f0-9213-4fc44a95ad71", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '050601', 'num': '000000'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["6dcf73bc-0b8b-11f0-9213-a7264f4ad1aa"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "438b3919-8c40-43b2-9e99-0e1d6ecae3bf", "sortorder": 0, "tileid": "c36295f5-cee0-4b72-8a7b-542077153c53"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["9f206aef-8f00-49b6-9968-058109e08485"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": null, "e2247e94-1fde-11f0-a8a9-b3355d3a2630": "Ley 847 / 26 de octubre de 2016"}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "438b3919-8c40-43b2-9e99-0e1d6ecae3bf", "sortorder": 0, "tileid": "0033f892-4755-443c-847c-ad512457d1f4"}, {"data": {"833a0f0a-1fe0-11f0-a8a9-b3355d3a2630": "Festividades"}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "438b3919-8c40-43b2-9e99-0e1d6ecae3bf", "sortorder": 0, "tileid": "85649957-dfd6-491c-810e-863600a12c9e"}, {"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Celebrado durante nueve d&iacute;as en febrero, este carnaval, tambi&eacute;n llamado &ldquo;anata&rdquo;, marca el solsticio de verano y el inicio del ciclo agr&iacute;cola."}}, "ef13f396-0909-11f0-8147-0242ac120006": "c9e1c9ff-3070-4dd3-8936-c022c921ddf5"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "85649957-dfd6-491c-810e-863600a12c9e", "provisionaledits": null, "resourceinstance_id": "438b3919-8c40-43b2-9e99-0e1d6ecae3bf", "sortorder": 0, "tileid": "54a5c09a-6bec-4adb-ab8d-111add53a979"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["f6149104-3d2f-4c31-8b0f-f58f7e19e8e1", "44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se realizan actividades que combinan ritualidad ancestral y celebraci&oacute;n popular, como la ch&rsquo;alla de terrenos y viviendas en honor a la Pachamama, el canto de coplas tradicionales, bailes con trajes t&iacute;picos, recorridos de comparsas y grupos musicales con tarkas, erkes y bombos. 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Uno de los momentos m&aacute;s esperados es la entrada folkl&oacute;rica, donde participan decenas de fraternidades que interpretan danzas tradicionales como la Morenada, el Tinku, los Caporales, la Diablada, entre otras, acompa&ntilde;adas por bandas y trajes coloridos."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "152095bd-cb43-45bf-82b1-68c1b9ce4958", "provisionaledits": null, "resourceinstance_id": "3f5a5bbf-0cb3-43d4-af84-0e6b38feb13d", "sortorder": 0, "tileid": "6d8f981e-9c67-46e6-9f8e-51782bec29bf"}, {"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Festividad de la Virgen de Urkupi&ntilde;a es una de las celebraciones religiosas m&aacute;s importantes de Bolivia, que se realiza cada a&ntilde;o en Quillacollo, Cochabamba, en honor a la Virgen Mar&iacute;a.&nbsp;"}}, "ef13f396-0909-11f0-8147-0242ac120006": "46d7954b-3dd3-4c5b-b067-a092c8acae73"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "152095bd-cb43-45bf-82b1-68c1b9ce4958", "provisionaledits": null, "resourceinstance_id": "3f5a5bbf-0cb3-43d4-af84-0e6b38feb13d", "sortorder": 0, "tileid": "572d9dca-ab6a-4026-af99-dfb6af70bf5f"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Est&aacute; compuesta por cantos lit&uacute;rgicos durante las misas y procesiones, y principalmente por la m&uacute;sica folkl&oacute;rica interpretada por grandes bandas y conjuntos tradicionales que acompa&ntilde;an a las fraternidades de danza. 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null, "provisionaledits": null, "resourceinstance_id": "2c4ea8c2-2d60-4c7e-9d26-fb991c6a3574", "sortorder": 0, "tileid": "03534c05-b839-40e9-a265-d26ec3128fe3"}, {"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El D&iacute;a de la Virgen de Cotoca celebra a esta santa patrona del oriente boliviano durante las festividades del D&iacute;a de la Inmaculada Concepci&oacute;n en la religi&oacute;n Cat&oacute;lica. 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Su culto se expandi&oacute; en Europa y luego a Am&eacute;rica durante la &eacute;poca colonial, convirti&eacute;ndose en la patrona de los m&uacute;sicos por su asociaci&oacute;n con el canto y la m&uacute;sica sacra."}}, "ef13f396-0909-11f0-8147-0242ac120006": "b3b72fa5-2b50-475b-bb36-c07e176a33e3"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "d1681ae2-185e-4dc8-8cfa-205567085645", "provisionaledits": null, "resourceinstance_id": "a652fca7-02c8-42c4-b7d9-a7b9520b9481", "sortorder": 0, "tileid": "e3768057-edf6-4f84-a258-c61f70ef0460"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["322b3277-4cda-4519-a47e-74db25067384"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La fiesta inicia con ceremonias religiosas en homenaje a la santa. Se hacen ofrendas florales, musicales, y muchas bandas, coros y orquestas participan en conciertos o serenatas dedicadas a Santa Cecilia, interpretando piezas religiosas, folkl&oacute;ricas o cl&aacute;sicas. Es tambi&eacute;n una ocasi&oacute;n para la reuni&oacute;n y confraternizaci&oacute;n de m&uacute;sicos, quienes celebran su vocaci&oacute;n art&iacute;stica como un don divino."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "d1681ae2-185e-4dc8-8cfa-205567085645", "provisionaledits": null, "resourceinstance_id": "a652fca7-02c8-42c4-b7d9-a7b9520b9481", "sortorder": 0, "tileid": "b23f6164-9670-42d1-84a4-0770cd31afd0"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se realizan misas solemnes dedicadas a la patrona de los m&uacute;sicos, donde se agradece y se bendice el talento musical como un don espiritual. 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Se libr&oacute; en las cercan&iacute;as del pueblo de Tumusla, en la regi&oacute;n de Cotagaita, entre las fuerzas patriotas comandadas por el coronel Carlos Medinaceli y las tropas realistas dirigidas por el general Pedro Antonio Ola&ntilde;eta, uno de los &uacute;ltimos jefes leales a la corona espa&ntilde;ola."}}, "ef13f396-0909-11f0-8147-0242ac120006": "873a525b-7754-4c85-b0a1-3bb66238c286"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "163b8fc7-ed47-4d85-9331-d4c3b3447192", "provisionaledits": null, "resourceinstance_id": "fd96a923-18ab-405a-9b27-f48b5e5d63ac", "sortorder": 0, "tileid": "620281bd-b1fc-473d-9cdf-debadd0bde3e"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["ac9bf7d5-5ebe-428c-b88f-bb7b2f644a87", "9c539c14-ff65-4565-85a2-2268e4fe36ed", "bf356c16-8705-42f9-8947-6abf28e51a73", "d0287987-aee9-4beb-b917-a8f28fbe721f"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A trav&eacute;s de los sistemas de cargos, las comunidades designaban autoridades como jilaqatas o curacas, responsables de organizar labores comunales, decisiones colectivas y en tiempos de conflicto de apoyar o resistir militarmente seg&uacute;n sus intereses colectivos. 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personas compran y regalan miniaturas que representan sus deseos para el nuevo ciclo: casas, autos, t&iacute;tulos profesionales, dinero, alimentos, entre otros. 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como una combinaci&oacute;n de las culturas hispanas y los elementos culturales locales."}}, "ef13f396-0909-11f0-8147-0242ac120006": "a488c7f5-f0c4-4ec2-8a6b-8d0087c7dddf"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "02a5ec49-bd5f-4a31-8462-701c40e94728", "provisionaledits": null, "resourceinstance_id": "bb50a429-df95-405e-a620-fc5a15b32035", "sortorder": 0, "tileid": "644f6744-5d7f-44e1-9e9b-74d06d40bd1b"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Las canciones son generalmente festivas y vivaces, con letras que pueden ser amorosas, sat&iacute;ricas o costumbristas. 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Ciudad Trinidad Beni", "principaluser_id": 26, "resourceinstanceid": "fad6e40b-58e5-43f1-8500-484dc4a10dee", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2dc47da8-3afe-47b0-a1f5-1cc7c7689499", "resourceXresourceId": "1851012d-fbe5-42db-b8d5-dc7f8404c832"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "fad6e40b-58e5-43f1-8500-484dc4a10dee", "sortorder": 0, "tileid": "a5aa7498-a12f-4f33-b6c0-5e7cb6127cee"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '00', 'codsA': '00', 'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "FIESTA DE NAVIDAD"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000031", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Los Graciosos- Gran Cabildo Indigenal de la Sant\u00edsima Trinidad. Ciudad Trinidad Beni"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": null}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "fad6e40b-58e5-43f1-8500-484dc4a10dee", "sortorder": 0, "tileid": "f16642b2-9b88-4ca1-bc5a-fba1277f064a"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Es una agrupaci&oacute;n que volvi&oacute; a ser representada en el a&ntilde;o 2023, anteriormente ya no se practicaba. Recordaron la vestimenta, la forma de hablar y las frases que debe decir el Rey de los Graciosos.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d094b609-d064-45b7-9fb3-074c516c559f", "provisionaledits": null, "resourceinstance_id": "fad6e40b-58e5-43f1-8500-484dc4a10dee", "sortorder": 0, "tileid": "08620ba4-ab89-4e39-b9b5-ae7509f72e4e"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>LOS GRACIOSOS</strong></p>\n\n<p>&nbsp;</p>\n\n<p>El &quot;gracioso&quot; o &quot;falso rey&quot; es un personaje c&oacute;mico que act&uacute;a de manera alegre y din&aacute;mica durante la representaci&oacute;n de Herodes el 28 de diciembre. Esta representaci&oacute;n sale antes de la danza del Herodes, se encuentran en la Plaza Central frente a la Catedral.</p>\n\n<p>&nbsp;</p>\n\n<p>Los graciosos intentan derrocar al cabez&oacute;n, el Herodes, enviando cartas y haciendo bromas. Las personas le dicen cabez&oacute;n porque su corona es redonda y grande. Los graciosos llevan mu&ntilde;ecos y sombrillas especiales para inocentes. Los cabezones, liderados por el Herodes, tienen un ni&ntilde;o propio que simb&oacute;licamente ser&aacute; enviado a la muerte.</p>\n\n<p>&nbsp;</p>\n\n<p>Cuando los graciosos intentan subir al trono, los sargentos les lanzan petos para picarlos, y los graciosos deben escapar. Al final, piden la bendici&oacute;n de los inocentes y la festividad concluye m&uacute;sica y celebraciones en el Cabildo.</p>\n\n<p>&nbsp;</p>\n\n<p>Se destaca por burlarse de Herodes y afirmar ser el verdadero rey cuando este &uacute;ltimo pasa frente a &eacute;l para dar una vuelta a la plaza. El gracioso utiliza papelitos en escritos para interactuar con Herodes, le hace saber que &eacute;l es el rey, as&iacute; divierte al p&uacute;blico. Su estilo es m&aacute;s din&aacute;mico y divertido, similar al de un buf&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LOS PERSONAJES</strong></p>\n\n<p><strong>El &quot;falso rey&quot; o el &quot;gracioso&quot;.</strong> Es el personaje principal,&nbsp; hace re&iacute;r mediante chistes y actuaciones c&oacute;micas. Este vestido como si fuera un pirata, con un saco grande, su cara est&aacute; cubierta por una tela, tienen pantalones y botas, un sobrero grande y lleva lentes oscuros.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Las reinas.</strong> El &quot;gracioso&quot; tiene reinas que act&uacute;an como sus acompa&ntilde;antes durante el desfile. Estas reinas tienen beb&eacute;s que son mu&ntilde;ecos, representando a los hijos del falso rey. A diferencia de Herodes, el gracioso realiza acciones c&oacute;micas generar risas con sus payasadas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LOS GRACIOSOS TENIAN OTROS ACOMPA&Ntilde;ANTES</strong></p>\n\n<p>Entre los personajes que acompa&ntilde;aban al rey gracioso estaba el &quot;pescador&quot;, quien simula pescar en un charco de manera humor&iacute;stica, utiliza una chinela como si fuera un pescado, provocando risas en la audiencia y creando un ambiente festivo. Durante la representaci&oacute;n, al enfrentarse al Herodes, todos hu&iacute;an para evitar al pescador porque el agua salpicaba a todos. Ahora el pescador ya no es representado. A&ntilde;os anteriores las calles ten&iacute;an charcos de agua, en el trayecto el pescador hac&iacute;a uso de esa agua para salpicar a todos.</p>\n\n<p>&nbsp;</p>\n\n<p>En el pasado, varios personajes acompa&ntilde;aban al gracioso, son las &quot;graciosas&quot; y las &quot;mamitas&quot;. Las graciosas se caracterizaban por pintarse la cara con harina blanca, llevar pantalones puestos al rev&eacute;s y camisas de manga larga con tirantes de lazos o salen disfrazados con sombreros, bejuco y chirapas. Ten&iacute;an sus propios m&uacute;sicos, hab&iacute;a otros personajes, como el pescador y la lavandera con su gaveta para lavar ropa, y una mujer que acarrea agua, formaban parte del grupo.</p>\n\n<p>&nbsp;</p>\n\n<p>Los participantes hombres se vest&iacute;an de mujer con vestidos floreados anchos y simulaban tener busto.&nbsp; En tanto las mujeres como se describi&oacute; antes, vestidos de hombres. Los bailadores eran gente mayor, pero hab&iacute;a j&oacute;venes.</p>\n\n<p>&nbsp;</p>\n\n<p>La representaci&oacute;n del gracioso en el d&iacute;a de los Santos Inocentes el 28 de diciembre ha ido perdi&eacute;ndose con el tiempo, ya que los abuelos que sol&iacute;an organizar en esta tradici&oacute;n han fallecido. Aunque algunos j&oacute;venes muestran inter&eacute;s en continuar la danza, la pr&aacute;ctica se ha debilitado con el tiempo.</p>\n\n<p>&nbsp;</p>\n\n<p>Entra las mujeres denominadas mamitas estaban do&ntilde;a Agustina, do&ntilde;a Jovita Pe&ntilde;a, y la se&ntilde;ora Felicia, los m&uacute;sicos Francisco y don Matareco. Otros personajes, como Francisco Guaji (tata Pancho), su esposa, y Tom&aacute;s con su hijo, tambi&eacute;n formaban parte de la festividad. A lo largo del tiempo, algunos de ellos han fallecido, la tradici&oacute;n es recordada con nostalgia.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "d094b609-d064-45b7-9fb3-074c516c559f", "provisionaledits": null, "resourceinstance_id": "fad6e40b-58e5-43f1-8500-484dc4a10dee", "sortorder": 0, "tileid": "fa21b5bf-5ee0-45e8-8360-b80faf93dcc2"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "fad6e40b-58e5-43f1-8500-484dc4a10dee", "sortorder": 0, "tileid": "d094b609-d064-45b7-9fb3-074c516c559f"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000000'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "fad6e40b-58e5-43f1-8500-484dc4a10dee", "sortorder": 0, "tileid": "67aa0c9e-8fdc-45bf-abee-d54327e67450"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La organizaci\u00f3n y el compromiso de los miembros del Cabildo, lograron que esta danza pueda retornar a ser representada. Hay voluntad, sobre todo el compromiso. Este concepto se desarroll\u00f3 en el contenido de la Ceremonia de investidura de las autoridades del 1ro de enero. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "d094b609-d064-45b7-9fb3-074c516c559f", "provisionaledits": null, "resourceinstance_id": "fad6e40b-58e5-43f1-8500-484dc4a10dee", "sortorder": 0, "tileid": "fcd899ce-1322-48f9-9c67-0920af6d47a3"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Descoordinaci&oacute;n interna del Cabildo, para prevenir se recomienda realizar talleres en temas de ense&ntilde;anza de la representaci&oacute;n en torno al significado y su relaci&oacute;n con la danza Herodes.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d094b609-d064-45b7-9fb3-074c516c559f", "provisionaledits": null, "resourceinstance_id": "fad6e40b-58e5-43f1-8500-484dc4a10dee", "sortorder": 0, "tileid": "134cb0d6-be30-46f1-bf87-cfbdfecd3121"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Pr\u00e1ctica cultural generacional colectivo"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza es una agrupaci&oacute;n de personas que asumen la responsabilidad de participar continuamente. 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"86f1f16f-70ac-4e27-a7f9-efe3df803c5d"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Pr\u00e1ctica cultural generacional colectiva"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El establecimiento de un Cabildo Ind&iacute;gena es producto del consenso con autoridades ind&iacute;genas de una comunidad. La consultase extiende a representantes ind&iacute;genas de cabildos aleda&ntilde;os. El reconocimiento de otros cabildos implica la aprobaci&oacute;n de la nueva representaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Un nuevo cabildo asumir&aacute; todo el cuerpo de tradiciones hist&oacute;ricas, los valores, normativas de vida, la representaci&oacute;n de autoridades y elecci&oacute;n de acuerdo a las costumbres.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "86f1f16f-70ac-4e27-a7f9-efe3df803c5d", "provisionaledits": null, "resourceinstance_id": "1f959136-8bb8-4e57-80b5-aeb5a0352557", "sortorder": 0, "tileid": "d0793bdf-92b3-4c1f-ad57-a25dbb479073"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Se prev&eacute; que las actividades que realice como Cabildo deban enmarcarse en la tradici&oacute;n y conservar las costumbres en funci&oacute;n de la estructura tradicional. El Cabildo es el directo responsable de conservar las tradiciones.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "86f1f16f-70ac-4e27-a7f9-efe3df803c5d", "provisionaledits": null, "resourceinstance_id": "1f959136-8bb8-4e57-80b5-aeb5a0352557", "sortorder": 0, "tileid": "d02dec66-3c64-408d-9db3-601ddaaeb01b"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Falta de recursos para la compra de elementos necesarios para realizar una actividad cultural. Existen aportes de la comunidad pero siempre es escaso.&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Debilitamiento del Compromiso, este valor a las acciones de los miembros de la comunidad del Cabildo deviene en la presencia de ni&ntilde;os, ni&ntilde;as, adolescentes, j&oacute;venes, adultos en las pr&aacute;cticas culturales. La participaci&oacute;n de la comunidad es primordial en el reconocimiento y apropiaci&oacute;n de la expresi&oacute;n. En el Cabildo la participaci&oacute;n es masiva en unas pr&aacute;cticas y en otras no tanto.</li>\n\t<li>Hay necesidad de integrar a los j&oacute;venes a las expresiones.</li>\n\t<li>Hay una falta de ense&ntilde;anza de los contenidos hist&oacute;ricos religiosos en el marco de la cosmovisi&oacute;n ind&iacute;gena y la religi&oacute;n.</li>\n\t<li>Existencia de migraci&oacute;n estacional o permanente.</li>\n\t<li>Ausencia de ambiente e instrumentos para ense&ntilde;anza de la m&uacute;sica, danza y falta de elaboraci&oacute;n de objetos.</li>\n\t<li>Necesidad de conservaci&oacute;n de los objetos y otros materiales inherentes a las pr&aacute;cticas, al igual que la transmisi&oacute;n de elaboraci&oacute;n ya que no se est&aacute;n reproduciendo intergeneracionalmente. Ello causa un quiebre en la cadena cultural de producci&oacute;n de los objetos y otros materiales.</li>\n\t<li>Necesidad de fortalecimiento del Cabildo Indigenal.</li>\n\t<li>Es necesario establecer el dialogo entre todos los actores gubernamentales, institucionales y el Cabildo para la organizaci&oacute;n de una expresi&oacute;n.</li>\n</ul>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "86f1f16f-70ac-4e27-a7f9-efe3df803c5d", "provisionaledits": null, "resourceinstance_id": "1f959136-8bb8-4e57-80b5-aeb5a0352557", "sortorder": 0, "tileid": "197dd30d-25e0-4fac-acd7-a4f720eee501"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se expresa en cuatro aspectos:  Historia. Los Cabildos ind\u00edgenas tienen historia colonial de educaci\u00f3n religiosa que se expresa en todos los aspectos de la vida. Los Cabildos fueron organizados con la tarea de organizar el trabajo en las misiones, en los centros agr\u00edcolas, ganaderos, artesanales y talleres. Asumieron el rol de organizar las fiestas religiosas y de hacer cumplir las normas de convivencia. Fue el padre Diego Francisco Altamirano quien ordena Cabildos en las misiones donde realizaba visitas en el a\u00f1o 1700.   Religi\u00f3n. Dado que la creaci\u00f3n de los Cabildo se ejerce en el \u00e1mbito religioso de las misiones, esta forma de vida ha trascendido los siglos y las generaciones. Tienen en ejercicio representantes que educan en la doctrina cat\u00f3lica, son los doctrineros y las abadesas. La expresi\u00f3n de su religi\u00f3n se manifiesta en las fiestas religiosas del calendario lit\u00fargico. La vida del Cabildo, sus danzas, cantos, rezos se desenvuelven en torno a la religi\u00f3n.   Organizaci\u00f3n. Las autoridades del Cabildo tienen la responsabilidad de organizar las fiestas religiosas con ayuda de representantes que cumplen roles espec\u00edficos en cada fiesta religiosa. Las tareas principales del Cabildo se concentran en ellas.  Compromiso. Es un valor y normativa del Cabildo que demanda el cumplimiento de roles y actividades de los habitantes del Cabildo. Es irrompible porque el compromiso se eleva a los santos y las santas y al Cabildo.   Los cabildos ind\u00edgenas desempe\u00f1an un papel fundamental en la preservaci\u00f3n y promoci\u00f3n de la cultura, tradiciones, costumbres y lenguas ind\u00edgenas. Son instituciones que permiten que las pr\u00e1cticas se mantengan vivas a lo largo del tiempo.  Los representantes de un Cabildo son reconocidos leg\u00edtimamente por la comunidad y ante el gobierno y otras instituciones. Son el v\u00ednculo de participaci\u00f3n de los miembros de la comunidad en la toma de decisiones.  Por las tradiciones ejercidas gozan de cierto grado de autonom\u00eda y autogobierno en asuntos que les conciernen directamente. 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Artesano Alfredo Ove construcci\u00f3n de hornos"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7babb496-9fe2-443c-92c1-431d2870a771", "sortorder": 0, "tileid": "488e3cb9-d8f1-4eb0-961f-10829f6fd555"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "4685e984-1b44-46c8-8174-f31837b9aef1"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2025-02-21"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "96e0b727-adf0-49cf-a82c-de9d105e737d", "provisionaledits": null, "resourceinstance_id": "7babb496-9fe2-443c-92c1-431d2870a771", "sortorder": 0, "tileid": "1f8d8c61-ac1d-40d8-93f1-e30607f804db"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7babb496-9fe2-443c-92c1-431d2870a771", "sortorder": 0, "tileid": "69f5ec39-e17e-4229-8183-27a586d15199"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Artesano Alfredo Ove construcci&oacute;n de hornos</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Hornos </strong></p>\n\n<p>En la comunidad de Loreto, la construcci&oacute;n de hornos de barro es una pr&aacute;ctica artesanal que ha perdurado. Esta t&eacute;cnica tradicional, transmitida de manera oral, es parte del conocimiento ancestral vinculado a la preparaci&oacute;n de alimentos y al aprovechamiento de los recursos naturales.</p>\n\n<p>&nbsp;</p>\n\n<p>Uno de los artesanos reconocidos en este oficio es Alfredo Ove. Estos hornos que construye son elaborados con barro y otros materiales naturales, permiten la cocci&oacute;n de panes, carnes y otros alimentos de manera eficiente y sostenible.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>T&eacute;cnica de elaboraci&oacute;n</strong></p>\n\n<p>La elaboraci&oacute;n de hornos de barro en Loreto es una tradici&oacute;n artesanal. Este proceso sigue una t&eacute;cnica precisa que garantiza su resistencia y funcionalidad, asegurando su uso por muchos a&ntilde;os.</p>\n\n<p>&nbsp;</p>\n\n<p>Para construir un horno, primero se mide la base con el espacio equivalente a tres latas, trazando un c&iacute;rculo como gu&iacute;a. La altura se determina colocando tres ladrillos apisonados, alcanzando aproximadamente cuatro cuartas, una medida tradicional basada en la distancia entre el me&ntilde;ique y el pulgar de la mano extendida.</p>\n\n<p>&nbsp;</p>\n\n<p>La estructura principal se elabora con ladrillos, cubiertos con un revoque de barro. Este barro se mezcla con agua y se pisa hasta obtener una consistencia blanda, aplic&aacute;ndose capa por capa. La construcci&oacute;n se realiza de forma circular, elev&aacute;ndose progresivamente hasta formar un cono, que se cierra en la parte superior.</p>\n\n<p>&nbsp;</p>\n\n<p>En la c&uacute;spide del horno se encuentra la arenilla, una secci&oacute;n con doble revoque que refuerza la estructura y evita que se agriete con el calor. La altura del horno influye en su funcionamiento: si es m&aacute;s bajo, retiene m&aacute;s calor, pero corre el riesgo de desplomarse.</p>\n\n<p>&nbsp;</p>\n\n<p>El horno puede durar hasta diez a&ntilde;os, dependiendo del cuidado y mantenimiento. En Loreto, varias personas a&uacute;n conservan esta pr&aacute;ctica artesanal, siguiendo la misma t&eacute;cnica.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Uso y funci&oacute;n del horno</strong></p>\n\n<p>Estos hornos son utilizados principalmente para la elaboraci&oacute;n de pan y otros productos horneados, convirti&eacute;ndose en un elemento esencial en los hogares de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la vida del artesano</strong></p>\n\n<p>El artesano naci&oacute; en el pueblo de Loreto, pero debido a las circunstancias, tuvo que abandonar su hogar en busca de trabajo. Su primer empleo fue en las haciendas ganaderas, donde se desempe&ntilde;&oacute; como alba&ntilde;il. En su juventud, tambi&eacute;n hilaba algod&oacute;n, que era utilizado para tejer hamacas y alforjas, una actividad com&uacute;n en su comunidad. Anteriormente, cada familia cultivaba su propio algod&oacute;n para tejer, cosech&aacute;ndose en la &eacute;poca seca, proceso en el cual se apaleaba el mech&oacute;n de algod&oacute;n para separar la semilla y utilizarla para tejer.</p>\n\n<p>&nbsp;</p>\n\n<p>Creci&oacute; al lado de sus abuelos, quienes lo cuidaron hasta los catorce a&ntilde;os, momento en el cual parti&oacute; a trabajar. Su vida laboral lo llev&oacute; a Camiaco, donde residi&oacute; durante doce a&ntilde;os, desempe&ntilde;&aacute;ndose en diversos trabajos. Con el tiempo, y al ver que sus hijos hab&iacute;an formado sus propias familias, decidi&oacute; regresar a Loreto para residir permanentemente. Actualmente, el artesano est&aacute; en su tercera edad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Perspectivas para el futuro</strong></p>\n\n<p>A pesar de que sus hijos no han aprendido a hacer hornos, en Loreto existen otras personas que contin&uacute;an con esta tradici&oacute;n. Esto ofrece una perspectiva de continuidad para el oficio en la regi&oacute;n, ya que hay quienes siguen preservando las habilidades que el artesano ha desarrollado a lo largo de su vida.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["da719d9d-e927-4281-aeef-d551a1da07ff", "6d533e05-2321-4ba5-875f-b8e7db74e2b0"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69f5ec39-e17e-4229-8183-27a586d15199", "provisionaledits": null, "resourceinstance_id": "7babb496-9fe2-443c-92c1-431d2870a771", "sortorder": 0, "tileid": "6dabeda8-0315-4e24-8f89-7f0922926a2e"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335", "6695f139-2c35-4e00-b604-8faf86c77f91"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos sobre la construcci&oacute;n de hornos de barro en Loreto han sido transmitidos principalmente a trav&eacute;s de la tradici&oacute;n oral. Esta forma de transmisi&oacute;n, centrada en la ense&ntilde;anza directa y la observaci&oacute;n, permite que los conocimientos espec&iacute;ficos sobre la t&eacute;cnica, como la medici&oacute;n de la base y la estructura del horno, se mantengan vivos en la comunidad. El artesano Alfredo Ove, como parte de esta tradici&oacute;n, ha aprendido y perfeccionado la t&eacute;cnica que se le fue ense&ntilde;ada, primero observando a otros artesanos y luego practicando de manera autodidacta. Este tipo de ense&ntilde;anza es com&uacute;n en las comunidades rurales, donde el aprendizaje se basa m&aacute;s en la experiencia y en la imitaci&oacute;n de las pr&aacute;cticas de los mayores.</p>\n\n<p>Aunque Alfredo Ove no ha podido transmitir sus conocimientos de manera formal a sus hijos, la continuidad de esta tradici&oacute;n est&aacute; garantizada por otros miembros de la comunidad que tambi&eacute;n preservan la t&eacute;cnica. En Loreto, la construcci&oacute;n de hornos sigue siendo una pr&aacute;ctica viva gracias a la transmisi&oacute;n de saberes y a la participaci&oacute;n activa de nuevos aprendices que, aunque no pertenecen a la familia directa del artesano, aprenden y mantienen el oficio en la regi&oacute;n.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "69f5ec39-e17e-4229-8183-27a586d15199", "provisionaledits": null, "resourceinstance_id": "7babb496-9fe2-443c-92c1-431d2870a771", "sortorder": 0, "tileid": "368fb005-90a0-441a-be5a-e611d8f23e25"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica artesanal de la construcci\u00f3n de hornos de barro en Loreto es la profunda conexi\u00f3n con los recursos naturales locales, lo que asegura la sostenibilidad y la eficiencia en la fabricaci\u00f3n. Al utilizar materiales naturales como el barro, la arenilla y los ladrillos, el proceso de construcci\u00f3n de los hornos no solo respeta el entorno, sino que tambi\u00e9n promueve el uso responsable de los recursos de la comunidad. Adem\u00e1s, la t\u00e9cnica de elaboraci\u00f3n, que ha sido transmitida de generaci\u00f3n en generaci\u00f3n, garantiza la durabilidad y funcionalidad de los hornos, que pueden durar hasta diez a\u00f1os si se cuidan adecuadamente, lo que refleja una gran resiliencia en la pr\u00e1ctica artesanal frente al paso del tiempo.  Otra fortaleza significativa es la transmisi\u00f3n de conocimientos de manera oral y pr\u00e1ctica dentro de la comunidad, lo que asegura que esta tradici\u00f3n se mantenga viva a pesar de los cambios sociales y econ\u00f3micos. En este sentido, la pr\u00e1ctica artesanal contribuye al fortalecimiento de la identidad local y a la preservaci\u00f3n del patrimonio cultural, brindando a las nuevas generaciones la oportunidad de conectar desde el aprendizaje de oficios tradicionales. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "69f5ec39-e17e-4229-8183-27a586d15199", "provisionaledits": null, "resourceinstance_id": "7babb496-9fe2-443c-92c1-431d2870a771", "sortorder": 0, "tileid": "bdee52bb-c135-49d7-baa2-cc5f9caae91d"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos para la pr&aacute;ctica artesanal de la construcci&oacute;n de hornos de barro en Loreto es la p&eacute;rdida de transmisi&oacute;n de conocimientos hacia las nuevas generaciones. A pesar de la fortaleza de la ense&ntilde;anza oral y pr&aacute;ctica, el hecho de que los hijos del artesano Alfredo Ove no hayan aprendido este oficio representa una amenaza a largo plazo. Si la juventud local no se involucra activamente en la pr&aacute;ctica, el conocimiento sobre la fabricaci&oacute;n de los hornos podr&iacute;a desaparecer con el tiempo, afectando la continuidad de esta tradici&oacute;n artesanal. La falta de inter&eacute;s o de incentivos para aprender estas t&eacute;cnicas tradicionales podr&iacute;a llevar a la extinci&oacute;n de este saber ancestral.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la competencia de tecnolog&iacute;as m&aacute;s modernas, como hornos el&eacute;ctricos o de gas, que pueden ser m&aacute;s r&aacute;pidos y f&aacute;ciles de usar para la preparaci&oacute;n de alimentos. La creciente disponibilidad de electrodom&eacute;sticos y materiales de construcci&oacute;n m&aacute;s accesibles podr&iacute;a desplazar el uso de hornos de barro en la regi&oacute;n, disminuyendo la demanda por estos productos artesanales. Esto podr&iacute;a generar una disminuci&oacute;n en la pr&aacute;ctica artesanal y afectar la econom&iacute;a de aquellos que dependen de esta actividad, ya que los hornos de barro, aunque sostenibles, requieren tiempo, habilidad y una inversi&oacute;n en el proceso de fabricaci&oacute;n que no siempre es compatible con los cambios r&aacute;pidos de la sociedad actual.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "69f5ec39-e17e-4229-8183-27a586d15199", "provisionaledits": null, "resourceinstance_id": "7babb496-9fe2-443c-92c1-431d2870a771", "sortorder": 0, "tileid": "8255bfd5-2791-412c-89d1-c7b53ab53b58"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Una posible transformaci&oacute;n de la pr&aacute;ctica artesanal de la construcci&oacute;n de hornos de barro en Loreto podr&iacute;a estar relacionada con la influencia de la modernidad y el acceso a nuevos materiales de construcci&oacute;n. Si bien la tradici&oacute;n sigue utilizando barro y materiales naturales, la incorporaci&oacute;n de nuevos insumos como el ladrillo, cemento o metal podr&iacute;a modificar la estructura y la durabilidad de los hornos, as&iacute; como la t&eacute;cnica empleada. Esto podr&iacute;a hacer que la fabricaci&oacute;n de los hornos sea m&aacute;s r&aacute;pida y accesible para las nuevas generaciones, pero a su vez, se corre el riesgo de perder la autenticidad y los m&eacute;todos tradicionales que han caracterizado esta pr&aacute;ctica a lo largo de los a&ntilde;os.</p>\n\n<p>Otra transformaci&oacute;n relevante podr&iacute;a surgir del cambio en las necesidades y usos de los hornos. En la actualidad, la funci&oacute;n principal de estos hornos sigue siendo la cocci&oacute;n de pan y otros productos horneados, pero con el tiempo, el aumento de la disponibilidad de electrodom&eacute;sticos modernos podr&iacute;a reducir la dependencia de estos hornos tradicionales. Sin embargo, es posible que los hornos de barro sean reinterpretados como una pr&aacute;ctica cultural y tur&iacute;stica, lo que podr&iacute;a llevar a su transformaci&oacute;n en un producto que no solo cumpla con una funci&oacute;n utilitaria, sino tambi&eacute;n con una funci&oacute;n simb&oacute;lica, preservando el valor de la tradici&oacute;n.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "69f5ec39-e17e-4229-8183-27a586d15199", "provisionaledits": null, "resourceinstance_id": "7babb496-9fe2-443c-92c1-431d2870a771", "sortorder": 0, "tileid": "75596fcf-c831-420d-8b52-8683e64f591e"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:24.898", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-080000-00-00-000014, "}, "es": {"description": "Viernes de Dolores - Semana Santa, San Ignacio de Mojos", "map_popup": "Nacional", "name": "PI-080000-00-00-000014, Viernes de Dolores - Semana Santa, San Ignacio 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"resourceXresourceId": "9e35b828-63ce-4caf-9b93-217388d19748"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "655e61c0-ae83-464c-b994-f18bd76b740f", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 11, "tileid": "5851e000-ae38-4cbf-8379-f1350e885ea4"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p><strong>PERSONAJES QUE PARTICIPAN</strong></p>\n\n<p><strong>CABILDO</strong></p>\n\n<p>La comunidad moje&ntilde;a est&aacute; guiada por el Cabildo Indigenal, sistema que fue introducido por los jesuitas, en el siglo XVIII. Actualmente, no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, y proteger el patrimonio cultural material e inmaterial, preservando las tradiciones culturales y religiosas.</p>\n\n<p>En San Ignacio el Cabildo, est&aacute; compuesto por: el Corregidor, Caciques, Capitanes, Alcaldes, Intendente, Alguacil, Fiscal, Comisarios y los Mayordomos que est&aacute;n subdivididos en parcialidades.</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>PERPETUOS</strong></p>\n\n<p>Son los se&ntilde;ores mayores que ayudan y apoyan al templo y al cabildo, deben su nombre al hecho de que solo son suplidos por vejez o muerte.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.<a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><em><strong>[4]</strong></em></a></p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERU</strong></p>\n\n<p>Su nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>Su danza es de forma marcial en dos filas, bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores.</p>\n\n<p>Sujeta del armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichach&iacute;es, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisito exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<hr />\n<div>\n<p><u><strong>GLOSARIO</strong></u></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p>El tenebrario simboliza el d&iacute;a de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap&oacute;stoles, las tres Mar&iacute;as (Mar&iacute;a Salom&eacute;, Mar&iacute;a de Cleof&aacute;s y Mar&iacute;a Magdalena) y la Virgen Mar&iacute;a, es decir, aquellos que acompa&ntilde;aron a Jes&uacute;s ese d&iacute;a. La vela m&aacute;s alta representa a la Sant&iacute;sima Virgen, la &uacute;nica que crey&oacute; en la Resurrecci&oacute;n. El tri&aacute;ngulo mismo simboliza la Sant&iacute;sima Trinidad.&nbsp;</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p><strong>Camareta. </strong>Recipiente de fierro de 10 cm de altura y 10 cm de ancho, que contiene p&oacute;lvora, que&nbsp; ser&aacute; encendida y explota generando un atronador ruido.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><u><strong>BIBLIOGRAF&Iacute;A </strong></u></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. Pg. 8-9.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 21</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid,.pg. 11.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> Ibid,.pg. 14</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "402f3974-857b-11ee-a653-53ebd0470963": "12ffef8f-4ab4-445d-83c7-6119c3703f3f"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "a57b4767-a019-40b9-a2b8-2d38be3ee0f4"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": null, "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "e2247e94-1fde-11f0-a8a9-b3355d3a2630": null}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "a1986d54-f546-4245-b124-02ecbec5612b"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "6811a4e3-2033-4251-9548-5b9afc90f397"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las&nbsp;tradiciones y expresiones orales, transmitidas de generaci&oacute;n en generaci&oacute;n como parte de la memoria colectiva de la comunidad, forman parte fundamental del&nbsp;patrimonio cultural inmaterial.</p>\n\n<p>Los pueblos aut&oacute;ctonos de la regi&oacute;n moje&ntilde;a, antes de pertenecer a las reducciones jesu&iacute;ticas, hac&iacute;an uso del canto y usaban sus propios instrumentos, en rituales de car&aacute;cter m&iacute;tico. Los misioneros adoptaron los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena, ense&ntilde;ando en su lugar m&uacute;sica y poemas sagrados estrictamente religiosos.</p>\n\n<p>Las tradiciones del antiguo pueblo misional de San Ignacio de Mojos se conservan hasta hoy, gracias a su gente, que mantiene con mucho orgullo y esfuerzo sus costumbres y ceremonias. Dentro de estas arraigadas tradiciones, est&aacute; la celebraci&oacute;n de Semana Santa, que como en otras latitudes, se festeja durante diez d&iacute;as, comenzando con el Viernes de Dolores, y concluyendo en el Domingo de Resurrecci&oacute;n. Las ceremonias de esta festividad, siguen pr&aacute;cticamente los mismos ritos establecidos por la religi&oacute;n cristiana, pero en sincretismo con la cultura del lugar, por medio de la inclusi&oacute;n del idioma moje&ntilde;o, que est&aacute; presente en ciertos momentos de las celebraciones, as&iacute; como la inserci&oacute;n de m&uacute;sica y bailes propios.</p>\n\n<p>La lengua que se habla en San Ignacio de Mojos, es el castellano, pero se conserva todav&iacute;a la lengua Moje&ntilde;a Ignaciana, que corresponde a la familia ling&uuml;&iacute;stica Arawak, y se hace presente especialmente en la celebraci&oacute;n de la misa cuando se hace la segunda lectura del evangelio.</p>\n\n<p>El canto del Coro Musical, es parte infaltable de la misa y las procesiones, interpretando canciones religiosas acompa&ntilde;ado por sus instrumentos, si bien las canciones son interpretadas en castellano ya forman parte de su tradici&oacute;n. El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor).</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momento se incluye dentro los ritos religiosos, la lengua moje&ntilde;a, y las canciones religiosas en castellano:</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, y cuando se hacen las lecturas en lengua moje&ntilde;a:</u></strong></p>\n\n<p><strong>VIERNES DE DOLORES</strong></p>\n\n<p>Este d&iacute;a, se coloca la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, como se&ntilde;al de inicio de la Semana Santa, y se celebra la misa.</p>\n\n<p>Posteriormente a la celebraci&oacute;n de la misa se realiza la procesi&oacute;n de la Virgen Dolorosa.</p>\n\n<p><strong>Misa y Procesi&oacute;n de la Virgen Dolorosa - 20:00&nbsp; </strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo y luego en la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar.</p>\n\n<p>A los pies de Cristo esta San Juan ap&oacute;stol.</p>\n\n<p>La imagen de la Dolorosa, sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos esta en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La imagen del Cristo de la Misericordia, con faldilla negra con decoraciones plateadas, protegido por un baldaquino, profusamente ornamentado con cintas de color azul, morado, negro y plateado.</p>\n\n<p>La Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino ornamentado con telas de todos los colores.</p>\n\n<p>San Juan, con t&uacute;nica roja y manto color ciruela, con nimbo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Mamitas abadesas, Coro Musical Sargentos jud&iacute;os, Hermanos de la Pasi&oacute;n de Cristo Coro del templo, alzadoras, Penitentes, pueblo en general.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vestimenta de los participantes</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana morada y sobrepelliz blanco; monaguillos, de blanco, rojo y azul; el Cabildo indigenal, con camijetas, sombreros y bastones; las Mamitas abadesas de blanco y morado; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; el Coro Musical, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo, con pantal&oacute;n negro y camisa blanca.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera morada, la porta un representante del Cabildo Indigenal.</p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; morado, la porta un Sacrist&aacute;n.</p>\n\n<p>Cruz negra con flores blanca y pa&ntilde;o blanco, portada por un Sargento Jud&iacute;o.</p>\n\n<p>Cruz de madera con flores blancas, portada por un Hermano de la Pasi&oacute;n de Cristo.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a una grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetados a un palo de madera, llevado por el encargado, cerca de la imagen de la Virgen Dolorosa.</p>\n\n<p>La banda toca durante la procesi&oacute;n.</p>\n\n<p>El Coro Musical interpreta canciones religiosas</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa y luego la imagen de la Virgen Dolorosa sale en procesi&oacute;n por la plaza, alzada por mujeres.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Se celebra la misa, con la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, y la Virgen Dolorosa en la nave del lado de la ep&iacute;stola.</li>\n\t<li>El Cabildo se sienta en los primeros bancos, a la izquierda del altar</li>\n\t<li>Concluye la misa y se preparan las alzadoras para llevar a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco inciensa la imagen de la Virgen antes que sea alzada.</li>\n\t<li>Salen del templo por el medio de la nave principal, comienza a tocar la tamborita.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: Por delante salen los Sacristanes, uno con la Cruz de plata y dos con velas; el Cabildo ind&iacute;gena con la bandera morada; las Memes al centro y tambi&eacute;n flanqueando la procesi&oacute;n portando velas; el P&aacute;rroco con los Sacristanes; la imagen de la Virgen Dolorosa; publico en general y por &uacute;ltimo los Penitentes.</li>\n\t<li>Al salir del templo, los Sargentos Jud&iacute;os flanquean la imagen de la Virgen Dolorosa.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen de la Virgen Dolorosa.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:disc\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la banda y de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n</ul>\n\n<ul>\n\t<li>Cuando la procesi&oacute;n se acerca al templo, los Penitentes y sus acompa&ntilde;antes se adelantan e ingresan al templo primero. La banda se queda afuera del templo.</li>\n</ul>\n\n<ul>\n\t<li>Luego entra la comitiva en el orden mencionado, con m&uacute;sica de la tamborita (pregrabada).</li>\n\t<li>Se coloca la imagen en su lugar y el p&aacute;rroco la inciensa, tocan campanillas.</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n, para despedirse.</li>\n\t<li>Los fieles se acercan a tocar el vestido de la Virgen y presentar sus respetos.</li>\n</ul>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["d2a24278-85f8-422d-85c6-24e4009f191f", "b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "0a44a020-d588-4ff7-bbd0-31a16c5ff64b"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Arcos hechos de tacuara, decorados con telas blancas y de colores."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "En cada esquina, donde se debe detener la procesi\u00f3n, se encuentran dos arcos m\u00f3viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit\u00faa la imagen principal de la procesi\u00f3n. Se fabrican dos \u201cjuegos\u201d de estos arcos, porque se van moviendo a medida que la procesi\u00f3n avanza."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Arcos m\u00f3viles "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 23, "tileid": "a3675790-10d0-4c63-9745-317db099e231"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El conocimiento de los riesgos que puede afrontar el patrimonio inmaterial es una herramienta fundamental para su prevenci&oacute;n.</p>\n\n<p>Con la creaci&oacute;n de la nueva escuela de m&uacute;sica, se est&aacute; salvaguardando la tradici&oacute;n musical, pero tambi&eacute;n existe una falta de integraci&oacute;n con los miembros del Coro Musical, que interpretan sus instrumentos de la forma &ldquo;t&iacute;pica&rdquo;, mientras que en la escuela se tocan los instrumentos de manera formal. Esta situaci&oacute;n genera una brecha entre las pr&aacute;cticas tradicionales y las ense&ntilde;anzas acad&eacute;micas, lo que podr&iacute;a afectar la cohesi&oacute;n y la transmisi&oacute;n aut&eacute;ntica de la herencia musical. Es fundamental encontrar un equilibrio que permita la coexistencia y el enriquecimiento mutuo de ambas formas de interpretaci&oacute;n, asegurando as&iacute; la preservaci&oacute;n y evoluci&oacute;n de la tradici&oacute;n musical en su totalidad.</p>\n\n<p>Son pocas ya las personas que saben fabricar instrumentos, m&aacute;scaras, sombreros, entre otros objetos tradicionales, por lo que se est&aacute;n perdiendo estos saberes. La disminuci&oacute;n de artesanos y la falta de transmisi&oacute;n de estos conocimientos a las nuevas generaciones ponen en riesgo la continuidad de estas pr&aacute;cticas culturales. Es crucial implementar iniciativas que fomenten el aprendizaje y la preservaci&oacute;n de estas habilidades, asegurando as&iacute; que estas valiosas tradiciones no se pierdan y puedan ser apreciadas por futuras generaciones.</p>\n\n<p>El uso de instrumentos industrializados, o la construcci&oacute;n de instrumentos con materiales no tradicionales, por la facilidad de su manufactura, supone un riesgo de perder las &ldquo;formas de hacer&rdquo; tradicionales que son transmitidas usualmente de maestro a aprendiz.</p>\n\n<p>La utilizaci&oacute;n de nuevas tecnolog&iacute;as, como es el caso de las procesiones en Semana Santa, que ahora son acompa&ntilde;adas por una grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os, ha reemplazado la interpretaci&oacute;n en vivo que antiguamente realizaban los m&uacute;sicos. Este cambio implica una p&eacute;rdida de una parte de la tradici&oacute;n moje&ntilde;a, ya que la m&uacute;sica en vivo era un elemento esencial de estas celebraciones.</p>\n\n<p>La declaraci&oacute;n como Patrimonio Cultural Inmaterial de la Humanidad a la Ichapekene Piesta, la fiesta mayor de San Ignacio de Moxos, es una forma de dar valor y gran visibilidad a la cultura moje&ntilde;a. Esta mayor atenci&oacute;n a todas sus expresiones culturales, como es la festividad de Semana Santa, puede conllevar una p&eacute;rdida de la esencia propia de las celebraciones, que est&aacute;n profundamente arraigadas en la poblaci&oacute;n, modificando las formas art&iacute;sticas tradicionales para convertirlas en &ldquo;productos tur&iacute;sticos&quot;.</p>\n\n<p>Otro riesgo probable, se presenta cuando instituciones dedicadas a la promoci&oacute;n del turismo difunden sin reservas una manifestaci&oacute;n que no cuenta con los recursos materiales ni humanos necesarios para satisfacer las demandas de los asistentes. La comunidad local carece de aforos adecuados y de procedimientos de organizaci&oacute;n interna necesarios para manejar una afluencia excesiva y no sostenible de visitantes. Adem&aacute;s, la comunidad no se beneficia de la presencia de estos p&uacute;blicos, ya que no se establece un contacto duradero, sino que se produce un impacto puntual y aislado que poco o nada contribuye a la perpetuaci&oacute;n del Patrimonio Cultural.</p>\n\n<p>Las amenazas para la transmisi&oacute;n del patrimonio cultural inmaterial provienen de diversos factores, entre ellos los cambios sociales y demogr&aacute;ficos que reducen el contacto intergeneracional, como ocurre con las migraciones y la urbanizaci&oacute;n. Adem&aacute;s, la imposici&oacute;n de sistemas educativos formales que subestiman los conocimientos y t&eacute;cnicas tradicionales, as&iacute; como la influencia de los medios de comunicaci&oacute;n masivos, tambi&eacute;n contribuyen a estos riesgos.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "3fc8dbe7-dec5-434c-9e2c-30a1dad909d8"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["b6e4eb16-e3e1-4187-833b-327068bbbeaa", "f6149104-3d2f-4c31-8b0f-f58f7e19e8e1", "44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El&nbsp;patrimonio cultural inmaterial&nbsp;incluye pr&aacute;cticas y expresiones vivas heredadas de nuestros antepasados, transmitidas de generaci&oacute;n en generaci&oacute;n.&nbsp;Estas pr&aacute;cticas incluyen las tradiciones orales, artes esc&eacute;nicas, usos sociales, rituales, actos festivos, entre otros.</p>\n\n<p>A principios del siglo XVIII en las misiones de mojos, los bailes y danzas se efectuaban con atuendos de plumajes, hechos con materiales locales, estas pr&aacute;cticas eran conservadas por el Cabildo, como encargado de transmitir su significado y simbolog&iacute;a.</p>\n\n<p>Ver ((Semana Santa - Dibujo D&#39;Orbigny)) M&uacute;sica y danza religiosa en Moxos, (Bolivia.) <a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<p>Un grabado hecho por Alcide D&rsquo;Orbigny en 1832, muestra como se realizaban las celebraciones religiosas, con la participaci&oacute;n de danzantes (Macheteros), y m&uacute;sicos (tocando los bajones), as&iacute; los describe: &ldquo;<em>Despu&eacute;s de la misa los indios tocados con una especie de aureola de plumas y llevando cascabeles en las pantorrillas y un grandes sables de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mas agudas hasta las m&aacute;s graves y acompa&ntilde;ados de flautas y tambores , salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica muy singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a mas que un numero limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas.</em> &ldquo;<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></p>\n\n<p>Al observar esta imagen se evidencia que las danzas, los rituales, la vestimenta, y los instrumentos, han sufrido escasas modificaciones hasta nuestro d&iacute;as.</p>\n\n<p>D&rsquo;Orbigny, presenci&oacute; en San Pedro de Mojos la noche del Domingo de Ramos que es el comienzo de las celebraciones tradicionales de la Semana Santa. En el templo, le llam&oacute; la atenci&oacute;n el tama&ntilde;o y la cantidad de im&aacute;genes ubicadas al medio de la iglesia, que representaban la Pasi&oacute;n de Cristo: la flagelaci&oacute;n, la coronacion de espinas, el v&iacute;a crucis y, finalmente, la crucifixi&oacute;n. Describe tambi&eacute;n que en las v&iacute;speras, indios disfrazados de rojo u otros colores vivos desempe&ntilde;an el papel de jud&iacute;os, que recorren la misi&oacute;n muy despacio buscando a Jes&uacute;s, luego por la noche, la banda se re&uacute;ne y marcha acompa&ntilde;ada de m&uacute;sica triste, que proviene de los tambores, flautas y bajones.</p>\n\n<p>En el caso particular de la festividad de Semana Santa en San Ignacio de Mojos, los rituales relacionados a la misa, las procesiones, las representaciones de escenas religiosas, y las danzas como la de los Macheteros o Chiripier&uacute;ana, y Angelitos, se han mantenido casi inmutables a trav&eacute;s del tiempo.</p>\n\n<p>La representaci&oacute;n de escenas religiosas es parte vital de la festividad, destac&aacute;ndose particularmente: la procesi&oacute;n de los Penitentes, el Lavatorio de pies, la &Uacute;ltima Cena, La Desclavaci&oacute;n de Cristo y el encuentro del Se&ntilde;or Resucitado con su Madre.</p>\n\n<p>La danza est&aacute; presente tambi&eacute;n, en el Domingo de Resurrecci&oacute;n donde los Macheteros o Chiripier&uacute;ana, bailan en el atrio del templo, como demostraci&oacute;n de regocijo.</p>\n\n<p>El Viernes de Dolores los Penitentes acompa&ntilde;an la procesion.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#\" name=\"_ftnref4\">[3]</a></em></p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><strong>VIERNES DE DOLORES</strong></p>\n\n<p>Este d&iacute;a, se coloca la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, como se&ntilde;al de inicio de la Semana Santa, y se celebra la misa.</p>\n\n<p>Posteriormente a la celebraci&oacute;n de la misa se realiza la procesi&oacute;n de la Virgen Dolorosa.</p>\n\n<p><strong>Misa y Procesi&oacute;n de la Virgen Dolorosa - 20:00&nbsp; </strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo y luego en la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar.</p>\n\n<p>A los pies de Cristo esta San Juan ap&oacute;stol.</p>\n\n<p>La imagen de la Dolorosa, sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos esta en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La imagen del Cristo de la Misericordia, con faldilla negra con decoraciones plateadas, protegido por un baldaquino, profusamente ornamentado con cintas de color azul, morado, negro y plateado.</p>\n\n<p>La Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino ornamentado con telas de todos los colores.</p>\n\n<p>San Juan, con t&uacute;nica roja y manto color ciruela, con nimbo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Mamitas abadesas, Coro Musical Sargentos jud&iacute;os, Hermanos de la Pasi&oacute;n de Cristo Coro del templo, alzadoras, Penitentes, pueblo en general.</p>\n\n<p><strong>Vestimenta de los participantes</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana morada y sobrepelliz blanco; monaguillos, de blanco, rojo y azul; el Cabildo indigenal, con camijetas, sombreros y bastones; las Mamitas abadesas de blanco y morado; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; el Coro Musical, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo, con pantal&oacute;n negro y camisa blanca; <u>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas; Cirineos, faldilla rojo y camisa blanca.</u></p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera morada, la porta un representante del Cabildo Indigenal.</p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; morado, la porta un Sacrist&aacute;n.</p>\n\n<p>Cruz negra con flores blanca y pa&ntilde;o blanco, portada por un Sargento Jud&iacute;o.</p>\n\n<p>Cruz de madera con flores blancas, portada por un Hermano de la Pasi&oacute;n de Cristo.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a una grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetados a un palo de madera, llevado por el encargado, cerca de la imagen de la Virgen Dolorosa.</p>\n\n<p>La banda toca durante la procesi&oacute;n.</p>\n\n<p>El Coro Musical interpreta canciones religiosas</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa y luego la imagen de la Virgen Dolorosa sale en procesi&oacute;n por la plaza, alzada por mujeres.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Se celebra la misa, con la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, y la Virgen Dolorosa en la nave del lado de la ep&iacute;stola.</li>\n\t<li>El Cabildo se sienta en los primeros bancos, a la izquierda del altar</li>\n\t<li>Concluye la misa y se preparan las alzadoras para llevar a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco inciensa la imagen de la Virgen antes que sea alzada.</li>\n\t<li>Salen del templo por el medio de la nave principal, comienza a tocar la tamborita.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: Por delante salen los Sacristanes, uno con la Cruz de plata y dos con velas; el Cabildo ind&iacute;gena con la bandera morada; las Memes al centro y tambi&eacute;n flanqueando la procesi&oacute;n portando velas; el P&aacute;rroco con los Sacristanes; la imagen de la Virgen Dolorosa; publico en general <u>y por &uacute;ltimo los Penitentes</u>.</li>\n\t<li>Al salir del templo, los Sargentos Jud&iacute;os flanquean la imagen de la Virgen Dolorosa.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen de la Virgen Dolorosa.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:disc\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la banda y de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n</ul>\n\n<ul>\n\t<li><u>Cuando la procesi&oacute;n se acerca al templo, los Penitentes y sus acompa&ntilde;antes se adelantan e ingresan al templo primero</u>. La banda se queda afuera del templo.</li>\n</ul>\n\n<ul>\n\t<li>Luego entra la comitiva en el orden mencionado, con m&uacute;sica de la tamborita (pregrabada).</li>\n\t<li>Se coloca la imagen en su lugar y el p&aacute;rroco la inciensa, tocan campanillas.</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n, para despedirse.</li>\n\t<li>Los fieles se acercan a tocar el vestido de la Virgen y presentar sus respetos.</li>\n</ul>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> D&rsquo;Orbigny Alcides, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV, fig. N.&ordm; 34.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid. pg. 1310.</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\">[3]</a> DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos</em>.pg.21.</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "5c4f347a-85dd-434d-95fe-e63473007880"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Escultura de bulto redondo hecho de madera de maguey, con brazos articulados."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La imagen est\u00e1 sujeta a la cruz por tres clavos de metal, dos para las manos y uno para los pies, en la cabeza lleva la corona de espinas. Viste faldilla negra con decoraciones doradas. La cruz de madera tallada que lo soporta, lleva en el crucero el escudo de la compa\u00f1\u00eda de Jes\u00fas, y en la parte superior el acr\u00f3nimo INRI, tallado en madera con ornamentaci\u00f3n de rocallas."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen del Cristo crucificado"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 18, "tileid": "96b85078-5d34-4ca6-8416-d7aa79385eda"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del patrimonio cultural inmaterial, es esencial para su salvaguarda, los medios utilizados son: la tradici&oacute;n oral, historias, conocimientos transmitidos verbalmente de generaci&oacute;n en generaci&oacute;n; usos sociales, rituales y festivos; t&eacute;cnicas artesanales tradicionales, entre otros.&nbsp;</p>\n\n<p>En San Ignacio, la transmisi&oacute;n de la lengua moje&ntilde;a se ha efectuado de padres a hijos de forma oral. La cultura moje&ntilde;a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense&ntilde;an formalmente el idioma moje&ntilde;o, como medio de salvaguardar la cultura.</p>\n\n<p>Los conocimientos de m&uacute;sica y confecci&oacute;n de instrumentos, son inculcados de maestro a aprendiz, as&iacute; es como se forman los integrantes del Coro Musical del Cabildo Indigenal, quienes deben adem&aacute;s, realizar el &ldquo;juramento&rdquo; que los marca de por vida, es el compromiso solemne de interpretar un instrumento musical y pertenecer a un grupo de danza, &nbsp;esta responsabilidad se adquiere luego que los &ldquo;taytas&rdquo; m&uacute;sicos consideran que el aprendiz est&aacute; capacitado y cumple las expectativas de interpretaci&oacute;n. La ceremonia del &ldquo;juramento&rdquo;, se realiza en el templo en ocasi&oacute;n de la festividad de la Virgen de la Candelaria, recibiendo la bendici&oacute;n del Padre. &nbsp;</p>\n\n<p><em>Los m&uacute;sicos en San Ignacio de Mojos son muy respetados y reconocidos en la comunidad al grado incluso de los Caciques. Por un lado, este prestigio se eleva cuando el int&eacute;rprete adem&aacute;s de conocer detalladamente la construcci&oacute;n de su propio instrumento tambi&eacute;n realiza otros (como es el caso de Robin Cuellar pr&aacute;cticamente uno de los pocos m&uacute;sicos que adem&aacute;s de ser violinista fabrica e interpreta los bajones) y m&aacute;s a&uacute;n si compone sus m&uacute;sicas.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>La creaci&oacute;n de la nueva escuela de m&uacute;sica, se ha convertido en factor importante de reproducci&oacute;n de la tradici&oacute;n musical moje&ntilde;a, adem&aacute;s de proveer oportunidades de conseguir un t&iacute;tulo profesional. El objetivo no es solamente recuperar la m&uacute;sica legado de la &eacute;poca misional y prehisp&aacute;nica, sino de proponer nueva m&uacute;sica popular.</p>\n\n<p>La m&uacute;sica que los ancianos ense&ntilde;an es m&aacute;s que todo religiosa, en cambio en la escuela se abarca un amplio espectro de estilos. Actualmente la escuela acoge a m&aacute;s de 300 alumnos en diferentes especialidades instrumentales.</p>\n\n<p>La participaci&oacute;n activa de la poblaci&oacute;n en las festividades religiosas es un reflejo del valor que se les atribuye. Desde los ancianos hasta los ni&ntilde;os, la poblaci&oacute;n moje&ntilde;a se involucra, esto es crucial para la transmisi&oacute;n de valores y la preservaci&oacute;n de las tradiciones.</p>\n\n<p>La transmisi&oacute;n de saberes y costumbres tiene tambi&eacute;n una base material, la que es indispensable para el mantenimiento de la manifestaci&oacute;n, sin duda, el&nbsp;objeto material&nbsp;es un testigo valioso y un documento que refleja el sentimiento colectivo de una sociedad. Como receptor y transmisor de m&uacute;ltiples significados culturales, est&aacute; arraigado en un tiempo y un espacio espec&iacute;ficos, su existencia nos conecta con la historia, las tradiciones y las creencias de quienes lo crearon y utilizaron. La tradici&oacute;n del uso de estos objetos se pasa entre generaciones y es promovido especialmente por el Cabildo Indigenal.&nbsp; Entre estos objetos destacan: el tocado de plumas de los Macheteros, sus machetes de madera; las im&aacute;genes religiosas; los instrumentos musicales; la vestimenta del Cabildo, Memes, Angelitos y Sargentos Jud&iacute;os, entre otros.</p>\n\n<p>Las danzas en San Ignacio poseen elementos simb&oacute;licos y rituales que se relacionan con un pasado hist&oacute;rico m&aacute;s extenso, incluso anterior a la llegada de los jesuitas. Estas danzas son expresi&oacute;n de la identidad cultural, que se transfirie de modo informal mediante la pr&aacute;ctica, la observaci&oacute;n y la imitaci&oacute;n, dentro la comunidad, y se conserva casi sin modificaciones.</p>\n\n<p>En las ceremonias de la festividad, especialmente en las procesiones, los mayores hacen referencia a la importancia de la participaci&oacute;n de los j&oacute;venes y ni&ntilde;os, el objetivo es que puedan aprender y dar continuidad a sus tradiciones, para que pervivan en el tiempo. Existe un sentimiento muy importante de aprecio de los mayores por la participaci&oacute;n de los ni&ntilde;os.</p>\n\n<p>Los Santos Varones y los miembros del Cabildo son los encargados de transmitir la memoria viva, los conocimientos y procedimientos que son parte de la celebraci&oacute;n de Semana Santa.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento&rdquo; para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "514bddd0-a0e9-4532-9e8c-7526f908a1ba"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El patrimonio inmaterial transmitido de generaci\u00f3n en generaci\u00f3n, por la memoria viva de la comunidad, esta expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici\u00f3n y son confirmadas y revitalizadas en el presente. En San Ignacio de Mojos, la transmisi\u00f3n de tradiciones y costumbres ha conseguido salvaguardar el Patrimonio Cultural Inmaterial. Los portadores de la tradici\u00f3n desempe\u00f1an un papel crucial al confirmar y revitalizar estas pr\u00e1cticas en el presente. El \u00e9xito de la preservaci\u00f3n se basa en: Participaci\u00f3n de Ni\u00f1os y J\u00f3venes. Al involucrar a ni\u00f1os y j\u00f3venes en las festividades, se asegura que adquieran habilidades y saberes ancestrales. Esto garantiza la continuidad de las costumbres al transferir conocimientos de una generaci\u00f3n a otra. Transmisi\u00f3n desde la Infancia. La transmisi\u00f3n comienza desde temprana edad, lo que permite que los ni\u00f1os internalicen las tradiciones y se conviertan en futuros portadores. La participaci\u00f3n activa en rituales y pr\u00e1cticas culturales refuerza su identidad cultural. Sostenibilidad y Adaptaci\u00f3n. La transmisi\u00f3n de tradiciones, no implica una mera repetici\u00f3n, sino tambi\u00e9n adaptaci\u00f3n. Los portadores de la tradici\u00f3n han mantenido la autenticidad, pero tambi\u00e9n han permitido que evolucione para seguir siendo relevante. Existe un esfuerzo organizado de la comunidad y el Plan Misiones para preservar el patrimonio cultural, con este objetivo se est\u00e1 efectuando la elaboraci\u00f3n de registros del patrimonio cultural, material e inmaterial, como instrumento de salvaguardia de estos acervos.  La comunidad se apoya en el Cabildo Indigenal como responsable del mantenimiento y perpetuaci\u00f3n del conjunto de c\u00f3digos relacionados con la celebraci\u00f3n de las festividades. Estas manifestaciones siguen uniendo a sus miembros y reforzando sus lazos identitarios, los cuales pueden verse debilitados por los procesos de transculturaci\u00f3n a los que todas las comunidades est\u00e1n expuestas en la actualidad. En San Ignacio, la transmisi\u00f3n de la lengua moje\u00f1a se ha efectuado de padres a hijos de forma oral. La cultura moje\u00f1a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense\u00f1an formalmente el idioma moje\u00f1o, como medio de salvaguardar la cultura.  La creaci\u00f3n de la nueva escuela de m\u00fasica, se ha convertido en factor importante de reproducci\u00f3n de la tradici\u00f3n musical moje\u00f1a, adem\u00e1s de proveer oportunidades de conseguir un t\u00edtulo profesional. El objetivo no es solamente recuperar la m\u00fasica legado de la \u00e9poca misional y prehisp\u00e1nica, sino de proponer nueva m\u00fasica popular.  La confecci\u00f3n de instrumentos, es tambi\u00e9n parte de los conocimientos que se han transmitido por generaciones, y se han ido mejorando con el tiempo. Aunque actualmente la mayor\u00eda de los instrumentos son importados.   La Semana Santa es proclive a preservarse y transmitirse, por su car\u00e1cter festivo e interactivo, con la realizaci\u00f3n de bailes, danzas, ceremonias religiosas, representaciones esc\u00e9nicas, m\u00fasica, etc. Es gracias a la relaci\u00f3n del Cabildo con la comunidad que estas manifestaciones se han adaptado con facilidad a los modos de vida actual, y se mantienen como escenarios de encuentro y convivencia, del pueblo moje\u00f1o."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "16cddbff-fd38-4bfd-98ed-f5cc88458db2"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El patrimonio inmaterial est&aacute; expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici&oacute;n, por lo que est&aacute; sujeto a cambios y evoluciones.</p>\n\n<p>V&iacute;ctor Hugo limpias en su art&iacute;culo: Lo Infernal, lo Terrenal y lo Celestial en la Misi&oacute;n de Moxos<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a>, menciona las descripciones de Francisco J. Eder en 1772, sobre las ceremonias celebradas en Semana Santa:</p>\n\n<p><em>&ldquo;&hellip;Los d&iacute;as de la Semana Santa comienzan el Domingo de Ramos, con la procesi&oacute;n acostumbrada. Los d&iacute;as restantes todo se celebra con una exactitud tan grande, que no falta nada&hellip;Los tres d&iacute;as se entona el Oficio de Tinieblas; luego, la pasi&oacute;n en su lengua. Todos los indios visten de estricto negro desde el Mi&eacute;rcoles de Ceniza hasta el d&iacute;a de Pascua. Durante este periodo ni siquiera las mujeres utilizan el menor adorno. El Jueves Santo tiene lugar el tradicional lavatorio de los pies y la cena con doce indios. Pero nada dice tanto a favor de los indios como el silencio y la aplicaci&oacute;n en la procesi&oacute;n (del)&hellip; Viernes Santo, a los que contribuyen mucho la m&uacute;sica triste, la viveza de la escenograf&iacute;a con las estatuas&hellip; que representan los misterios del Se&ntilde;or&hellip; as&iacute; como los cantos que se repiten en cada parada...&rdquo; </em></p>\n\n<p>Francisco J. Eder, hace referencia tambi&eacute;n a las sangrientas flagelaciones que se infring&iacute;an los ind&iacute;genas tanto hombres como mujeres el d&iacute;a de Viernes Santo, si bien eran expresiones teatrales, estas eran exageradas e incluso implicaban a ni&ntilde;os, quienes llevaban sogas al cuello y coronas de espinas en la cabeza. &nbsp;As&iacute; mismo relata que la fiesta de Corpus Christi, era la de mayor alarde ornamental, donde los altares son adornados con hermosas palmas y flores, y que se hac&iacute;a explotar un peque&ntilde;o ca&ntilde;oncito delante de cada altar, los adornos del templo y la m&uacute;sica selecta, banderas de seda y los arcos triunfales le recordaban a Europa.</p>\n\n<p>Tomando como referencia estas descripciones se observa que, en la actualidad, la vestimenta de color negro se mantiene en los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo, las Mamitas Abadesas cambian los colores de su tipoi, utilizan el blanco o morado y el negro &uacute;nicamente el Viernes Santo, mientras que los miembros del Cabildo visten siempre de blanco.</p>\n\n<p>El Oficio de Tinieblas, se sigue celebrando durante tres d&iacute;as, en la misa se lee la segunda lectura en lengua moje&ntilde;a, la ceremonia del lavatorio de los pies y la Ultima Cena se realiza con la participaci&oacute;n del Cabildo Indigenal, tal como se hac&iacute;a &nbsp;en el siglo XVIII.</p>\n\n<p>Las costumbres de Corpus Christi descritas por el jesuita, son muy similares a las que observamos hoy en Semana Santa, la profusa ornamentaci&oacute;n de altares, con flores (en su mayor&iacute;a con flores artificiales), y la explosi&oacute;n de un peque&ntilde;o ca&ntilde;&oacute;n, seria hoy la explosi&oacute;n de la &ldquo;camareta&rdquo;, la m&uacute;sica solemne es interpretada por la&nbsp; banda y por la tamborita de los Sargentos Jud&iacute;os, aunque tambi&eacute;n se interpreta m&uacute;sica alegre en el alba del Domingo de Resurrecci&oacute;n cuando se celebra el encuentro del Se&ntilde;or Resucitado con su Madre, ese momento de alegr&iacute;a cuando la banda toca y la im&aacute;genes se saludan y bailan, es una de las escenas m&aacute;s conmovedoras de la festividad.</p>\n\n<p>Algunos cambios se han observado en relaci&oacute;n a lo registrado el a&ntilde;o 2010, por la Direcci&oacute;n General de Patrimonio Cultural del Ministerio de Culturas, estos se describen a continuaci&oacute;n:</p>\n\n<ul>\n\t<li>En el centro del Cabildo se colocan dos mesas largas, en una mesa se instalan las autoridades ediles y del consejo, (esto desde el 2023), y en la otra los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</li>\n\t<li>Se ha modificado tambi&eacute;n el d&iacute;a en que se instala el tel&oacute;n negro que cubre el altar y lleva una cruz roja al centro, que corresponde a &ldquo;Las Tinieblas&rdquo;, en 2010 se lo hac&iacute;a el Mi&eacute;rcoles Santo, en 2024 se coloca este tel&oacute;n el Lunes Santo.</li>\n\t<li>En el alba del Domingo de Resurrecci&oacute;n, cuando los Macheteros bailan en el atrio, en 2010 se registra que lo hacen acompa&ntilde;ados por los Toritos, mientras que, en 2024, los acompa&ntilde;an danzando los Angelitos.</li>\n</ul>\n\n<p>Se puede afirmar entonces, que las ceremonias celebradas en Semana Santa no han cambiado notoriamente desde el siglo XVIII hasta ahora, y se ha mantenido lo m&aacute;s significativo, que es la participaci&oacute;n de todos los miembros de la sociedad moje&ntilde;a, y el resguardo de su tradiciones, de la mano del Cabildo Indigenal.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Memoria del V encuentro internacional del barroco. Visi&oacute;n Cultural. 2010.</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "4644a69a-d224-45c0-86d9-f7ed5694ac95"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["9c539c14-ff65-4565-85a2-2268e4fe36ed", "ac9bf7d5-5ebe-428c-b88f-bb7b2f644a87", "bf356c16-8705-42f9-8947-6abf28e51a73"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<div>\n<p>Las formas tradicionales de organizaci&oacute;n socio cultural se sustentan en valores comunes establecidos y creencias compartidas, apoyadas por estructuras jer&aacute;rquicas, donde la transmisi&oacute;n oral de conocimientos se realiza de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>El Cabildo Indigenal es la organizaci&oacute;n m&aacute;s representativa y reconocida de la sociedad moje&ntilde;a, desde sus inicios hasta la actualidad.</p>\n\n<p>El origen del Cabildo se remonta a los reinos hisp&aacute;nicos del siglo XV, que luego de establecerse en Am&eacute;rica cumplieron un rol importante en las reducciones jesu&iacute;ticas de Mojos desde principios del siglo XVIII, con el fin de reforzar los puntos d&eacute;biles en las misiones jesu&iacute;ticas, que albergaban a miles de ind&iacute;genas de diferentes etnias, agrupados en una sola doctrina.</p>\n\n<p>&nbsp;</p>\n\n<p>Los cabildos fueron una parte esencial en los antiguos pueblos misionales, cumpliendo roles de gobierno local y manteniendo una estrecha relaci&oacute;n con la iglesia. Aquellos que formaban parte de esta instituci&oacute;n no solo administraban justicia y gestionaban los recursos de la comunidad, sino que tambi&eacute;n se encargaban de transmitir a las generaciones futuras sus conocimientos y responsabilidades. Esta transmisi&oacute;n de saberes y pr&aacute;cticas era fundamental para preservar la cohesi&oacute;n social y cultural, y se compart&iacute;a ampliamente con la comunidad, asegurando as&iacute; la continuidad de las tradiciones y valores que sustentaban la vida en los pueblos misionales. Los oficios y cargos que eran parte de su estructura estaban ocupados por m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes y otros, que se constituyeron en las diversas parcialidades que conformaban el Cabildo.</p>\n\n<p><em>La religi&oacute;n era la esencia en las poblaciones, la iglesia o templo era el edificio central de instrucci&oacute;n cristiana, junto con la casa del cabildo, donde se reun&iacute;an las autoridades elegidas, cargo que desempe&ntilde;aban por el periodo de un a&ntilde;o, &ldquo;quien el a&ntilde;o anterior hab&iacute;a cumplido con diligencia su cargo, era ascendido, quien no, deb&iacute;a hacer m&eacute;ritos para permanecer o llegar ejercer otro cargo (Eder, 1985: 362).<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n</div>\n\n<p>En el siglo XVIII, exist&iacute;an 21 reducciones, cada una estaba representada por un Cabildo con oficios como m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes, entre otros, los que constituyeron las parcialidades del pueblo. Estos representantes gracias a su trabajo y dedicaci&oacute;n llegaron a gozar de gran prestigio, conformando una especie de &eacute;lite ind&iacute;gena, lo que deriv&oacute; en que la sociedad reduccional se dividiera en dos: la Familia, (miembros del Cabildo, los asistentes religiosos y los que ejerc&iacute;an alg&uacute;n oficio en las parcialidades y el templo, la escuela o los talleres), y el Pueblo, (los dem&aacute;s habitantes de la reducci&oacute;n).</p>\n\n<p>Los cargos del Cabildo estaban especificados en las <em>Leyes de las Reducciones y Pueblo de Indios</em>, que ordenaban la existencia de un indio Sacrist&aacute;n y dos o tres cantores, para la atenci&oacute;n del templo, y las ceremonias religiosas: &ldquo;<em>En todos los pueblos que pasaren de cien indios, haya dos o tres cantores, y en cada reducci&oacute;n un Sacrist&aacute;n, que tenga cuidado de guardar los ornamentos, y barrer la iglesia (Ley VI, Libro VI, Ti. III).&rdquo;</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><em><strong>[2]</strong></em></a></p>\n\n<p>Tambi&eacute;n estas Leyes mencionan la necesidad que los ind&iacute;genas cumplan funciones de gobierno pol&iacute;tico, como alcaldes y regidores, que son las autoridades m&aacute;s importantes&nbsp; del pueblo:<em> &ldquo;Ordenamos que, en cada pueblo y reducci&oacute;n, haya un alcalde indio de la misma reducci&oacute;n, y si pasare de ochenta casas, dos alcaldes, y dos regidores, tambi&eacute;n indios, y aunque el pueblo sea muy grande, no haya m&aacute;s que dos alcaldes y cuatro regidores, los cuales han de elegir por a&ntilde;o nuevo otros, como se practica en los pueblos de espa&ntilde;oles en indios, en presencia de los curas (Libro VI, T&iacute;tulo III, Ley XV).&rdquo;</em><em> <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El cabildo ya no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas de los siglos XVII y XVIII, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, preservar las tradiciones culturales y religiosas, y proteger el patrimonio cultural. Adem&aacute;s, han tomado medidas para defender el territorio frente a la explotaci&oacute;n de empresas madereras y ganaderas.</p>\n\n<p><em>&nbsp;&ldquo;&hellip;Actualmente, siguiendo los criterios jesu&iacute;ticos el Cabildo Indigenal est&aacute; compuesto por &ldquo;un Capital Grande, dos caciques, dos intendentes, cuatro alf&eacute;reces, dos fiscales, dos polic&iacute;as, once comisarios, un camaretero y un secretario (Eyzaguirre 2012:55) cada uno lleva sus propias funciones en sus distintas &aacute;reas. Al Corregidor tradicionalmente se le denomina Tayta&oacute;Tata(persona sabia), quien integra a los sectores, organizaciones, instituciones y familias, el que encierra el respeto y educaci&oacute;n heredada por la cultura de los abuelos. El Cabildo no percibe ning&uacute;n ingreso, el Corregidor no tiene sueldo, por lo que muchas no todas las personas asumen la responsabilidad de este cargo, y por otro lado, el Corregidor debe ser una persona mayor de entre 40 a 50 a&ntilde;os, como garant&iacute;a de su responsabilidad (Parroquias de Mojos 1988:32). La autoridad del Corregidor es elegida en una gran reuni&oacute;n del Cabildo Indigenal incluyendo la participaci&oacute;n de las agrupaciones de las Danzas e incluso personas de las comunidades; esta es una pr&aacute;ctica que la realiza el cabildo sin ninguna intromisi&oacute;n de la junta la prefectura, subprefectura, Comit&eacute;s C&iacute;vicos u otros.&rdquo;<a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><strong>[4]</strong></a></em></p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo de San Ignacio de Mojos, actualmente cuenta con un espacio o centro de reuniones para la poblaci&oacute;n, &eacute;sta edificaci&oacute;n se ubica detr&aacute;s del templo misional: <em>La distribuci&oacute;n espacial del cabildo expresa el rol importante que tienen sus representantes en las sillas principales se sientan las Autoridades principales del Cabildo: Corregidor, Representante, Capit&aacute;n Grande, Cacique e Intendente, detr&aacute;s es las autoridades se ubica el Coro Musical de la Iglesia, al lado izquierdo de las sillas de las autoridades, se encuentran los Pasados que son los ex-caciques y Ex-Corregidores, al lado derecho se ubican el Polic&iacute;a, Comisario, Alf&eacute;rez y el Camaretero; m&aacute;s all&aacute;, sobre el mismo lado derecho, se sientan los Perpetuos y, en el mismo lado, las Mamitas Abadesas. </em></p>\n\n<p>[[Ver foto: Distribuci&oacute;n espacial - Cabildo indigenal]]</p>\n\n<p>&nbsp;</p>\n\n<p><em>De frente a las Autoridades del Cabildo se encuentra el altar donde se encuentran las im&aacute;genes de los Santos; al lado derecho del altar se colocan los bastones de mando que llevan las autoridades, luego se ubican otro grupo de Mamitas Abadesas y al continuaci&oacute;n los Chiripier&uacute;ana(macheteros).<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"><strong>[5]</strong></a></em></p>\n\n<p>El Cabildo de San Ignacio de Mojos posee personer&iacute;a jur&iacute;dica como organizaci&oacute;n, su rol principal es mantener sus tradiciones y dar continuidad a la cultura moje&ntilde;a, organizar todas las actividades festivas, y tienen competencia sobre diversos asuntos del pueblo.</p>\n\n<p>La composici&oacute;n del Cabildo es la siguiente:</p>\n\n<p>[[ Ver foto: Composicion del Cabildo]].</p>\n&nbsp;\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo est&aacute; presente y es parte de la organizaci&oacute;n de las festividades, gracias a su pervivencia se ha logrado conservar el patrimonio cultural material e inmaterial, ya que son celosos guardianes de su acervo, evitando adem&aacute;s las influencias for&aacute;neas o renovaciones culturales.</p>\n\n<p>Las agrupaciones que participan en la festividad de Semana Santa, que son parte inherente al Cabildo son:</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"><strong>[6]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p>Las Mamitas Abadesas o Memes, forman parte de la parcialidad de los valores espirituales del pueblo.</p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.<a href=\"#_ftn7\" name=\"_ftnref7\" title=\"\"><strong>[7]</strong></a></em></p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;, este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisitos exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERUANA </strong></p>\n\n<p>El nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>La danza se ejecuta de forma marcial, en dos filas. Bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores, sujeta al armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichachies, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> <em>&nbsp;</em>Plan Mojos, Historia Cabildos. 2024. pg. 45.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid, pg. 50.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid., pg. 51</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em> </em><em>&ldquo;para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>&nbsp;</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Fuente: Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg..20.</p>\n\n<p>&nbsp;</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" title=\"\">[6]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pp. 8-9.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" title=\"\">[7]</a> Ibid. p. 14</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "a48e3513-b649-454b-a293-d30393598d15"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La cosmovisi&oacute;n del pueblo moje&ntilde;o, sintetiza los dogmas de la religi&oacute;n cat&oacute;lica, con la noci&oacute;n de la presencia de los esp&iacute;ritus tutelares de la naturaleza, estas arraigadas creencias y su conexi&oacute;n con lo sagrado, proporcionan un sentido de comunidad e identidad, que se demuestra en la importancia que le confieren a la pr&aacute;ctica solemne de las ceremonias, en este caso en la Semana Santa.</p>\n\n<p>Las parcialidades de los valores espirituales del pueblo, que forman parte del Cabildo Indigenal, son actores fundamentales en las celebraciones de la festividad.</p>\n\n<p>El templo de San Ignacio es el lugar sagrado, centro de todas las manifestaciones rituales, y desde el cual salen las procesiones que tambi&eacute;n son parte vital de la conmemoraci&oacute;n cristiana.</p>\n\n<p>Los ritos cat&oacute;licos como la misa, la procesi&oacute;n, el lavado de pies, la Ultima Cena, el Desclavamiento de Cristo, el Encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a, entre otros, son acompa&ntilde;ados constantemente por el Cabildo Indigenal, y sus parcialidades como el Coro Musical, las Mamitas Abadesas, los Sargentos Jud&iacute;os, los Sacristanes y los Macheteros.&nbsp;</p>\n\n<p>La pr&aacute;ctica solemne de las ceremonias religiosas, se ve enriquecida por la inclusi&oacute;n de los ritos y danzas ancestrales, como la danza de los Macheteros que portan un vistoso tocado de plumas, la intervenci&oacute;n del Coro Musical con sus instrumentos aut&oacute;ctonos, o la alegr&iacute;a de la tamborita y la banda.</p>\n\n<p>A continuaci&oacute;n, se describen episodios que son parte de los ritos religiosos o est&aacute;n relacionados con ellos, y tienen lugar el Viernes de Dolores en Semana Santa:</p>\n\n<p>La devoci&oacute;n se ve reflejada en mucho aspectos, es el caso de los j&oacute;venes que cargan las im&aacute;genes, ellos se sit&uacute;an al lado del santo, d&iacute;as antes de comenzar las festividades, para cuidarlo. Otra particularidad, es que su gran fe cat&oacute;lica les compromete a participar alzando las pesadas im&aacute;genes y sus andas, como una forma de limpiar sus pecados, colaborar con la iglesia, o por el bienestar de sus familias y del pueblo en general. Este trabajo lo hacen por el lapso de cinco d&iacute;as hasta el Domingo de Resurrecci&oacute;n.</p>\n\n<p>En las procesiones, las mujeres cargan las im&aacute;genes femeninas y los varones las masculinas, excepto en el alba de la Resurrecci&oacute;n, momento en el que los varones alzan la imagen de La Virgen, por el peso significativo de la misma, y la hacen bailar, cuando se encuentra con Cristo Resucitado</p>\n\n<p><strong>Los Penitentes, en las procesiones</strong> son los que representan la expiaci&oacute;n de los pecados, estas personas hacen la promesa de cargar la Cruz, y se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<hr />\n<p><strong>VIERNES DE DOLORES</strong></p>\n\n<p>Este d&iacute;a, se coloca la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, como se&ntilde;al de inicio de la Semana Santa, y se celebra la misa.</p>\n\n<p>Posteriormente a la celebraci&oacute;n de la misa se realiza la procesi&oacute;n de la Virgen Dolorosa.</p>\n\n<p><strong>Misa y Procesi&oacute;n de la Virgen Dolorosa - 20:00&nbsp; </strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo y luego en la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar.</p>\n\n<p>A los pies de Cristo esta San Juan ap&oacute;stol.</p>\n\n<p>La imagen de la Dolorosa, sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos esta en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La imagen del Cristo de la Misericordia, con faldilla negra con decoraciones plateadas, protegido por un baldaquino, profusamente ornamentado con cintas de color azul, morado, negro y plateado.</p>\n\n<p>La Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino ornamentado con telas de todos los colores.</p>\n\n<p>San Juan, con t&uacute;nica roja y manto color ciruela, con nimbo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Mamitas abadesas, Coro Musical Sargentos jud&iacute;os, Hermanos de la Pasi&oacute;n de Cristo Coro del templo, Penitentes, alzadoras, pueblo en general.</p>\n\n<p><strong>Vestimenta de los participantes</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana morada y sobrepelliz blanco; monaguillos, de blanco, rojo y azul; el Cabildo indigenal, con camijetas, sombreros y bastones; las Mamitas abadesas de blanco y morado; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; el Coro Musical, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo, con pantal&oacute;n negro y camisa blanca;&nbsp;<u>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas; Cirineos, faldilla rojo y camisa blanca.</u></p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera morada, la porta un representante del Cabildo Indigenal.</p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; morado, la porta un Sacrist&aacute;n.</p>\n\n<p>Cruz negra con flores blanca y pa&ntilde;o blanco, portada por un Sargento Jud&iacute;o.</p>\n\n<p>Cruz de madera con flores blancas, portada por un Hermano de la Pasi&oacute;n de Cristo.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a una grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetados a un palo de madera, llevado por el encargado, cerca de la imagen de la Virgen Dolorosa.</p>\n\n<p>La banda toca durante la procesi&oacute;n.</p>\n\n<p>El Coro Musical interpreta canciones religiosas</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa y luego la imagen de la Virgen Dolorosa sale en procesi&oacute;n por la plaza, alzada por mujeres.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Se celebra la misa, con la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, y la Virgen Dolorosa en la nave del lado de la ep&iacute;stola.</li>\n\t<li>El Cabildo se sienta en los primeros bancos, a la izquierda del altar</li>\n\t<li>Concluye la misa y se preparan las alzadoras para llevar a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco inciensa la imagen de la Virgen antes que sea alzada.</li>\n\t<li>Salen del templo por el medio de la nave principal, comienza a tocar la tamborita.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: Por delante salen los Sacristanes, uno con la Cruz de plata y dos con velas; el Cabildo ind&iacute;gena con la bandera morada; las Memes al centro y tambi&eacute;n flanqueando la procesi&oacute;n portando velas; el P&aacute;rroco con los Sacristanes; la imagen de la Virgen Dolorosa; publico en general y por &uacute;ltimo los Penitentes.</li>\n\t<li>Al salir del templo, los Sargentos Jud&iacute;os flanquean la imagen de la Virgen Dolorosa.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen de la Virgen Dolorosa.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:disc\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la banda y de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n</ul>\n\n<ul>\n\t<li>Cuando la procesi&oacute;n se acerca al templo, los Penitentes y sus acompa&ntilde;antes se adelantan e ingresan al templo primero. La banda se queda afuera del templo.</li>\n</ul>\n\n<ul>\n\t<li>Luego entra la comitiva en el orden mencionado, con m&uacute;sica de la tamborita (pregrabada).</li>\n\t<li>Se coloca la imagen en su lugar y el p&aacute;rroco la inciensa, tocan campanillas.</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n, para despedirse.</li>\n\t<li>Los fieles se acercan a tocar el vestido de la Virgen y presentar sus respetos.</li>\n</ul>\n\n<div>\n<p><em><strong>Video: Procesi&oacute;n Virgen de Dolores</strong></em></p>\n\n<p><em><strong>https://www.facebook.com/100075644031143/videos/799734322023535</strong></em></p>\n\n<p><a href=\"https://www.facebook.com/100075644031143/videos/799734322023535\">Procesi&oacute;n virgen de Dolores</a></p>\n\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Direcci&oacute;n General De Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em> pg. 21</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c28a1ac9-d6d0-4f45-8e54-38109c55bc2e", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "e42675c6-0700-4a20-9273-0f6d0189f746"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La m&uacute;sica es un medio que permite expresar emociones y transmitir conocimientos o experiencias. Las comunidades ind&iacute;genas la han utilizado como instrumento de preservaci&oacute;n de su cultura, trasmitiendo sus saberes de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>En la &eacute;poca prehisp&aacute;nica Mojos era una regi&oacute;n poblada por diversos grupos &eacute;tnicos de habla Arawak, con la llegada de los jesuitas a finales del siglo XVII, estos grupos son reducidos y se establecen la misiones, una de ellas es San Ignacio.</p>\n\n<p>Los sacerdotes jesuitas, recurrieron a la afici&oacute;n de los ind&iacute;genas por la m&uacute;sica y la danza, para inculcarles la religi&oacute;n cristiana y sus valores. Los moje&ntilde;os, demostraron tener gran aptitud para el aprendizaje musical, tocaban con destreza todos los instrumentos que eran tra&iacute;dos de Europa, ya fuesen de cuerda o viento, y con el tiempo tambi&eacute;n fueron capaces de construirlos.</p>\n\n<p style=\"margin-left:47px\"><em>Los jesuitas ense&ntilde;aron m&uacute;sica a, los indios y pronto &eacute;stos ocuparon sus lugares en el coro, como solistas, instrumentistas, copistas, constructores de instrumentos y hasta de maestros de capilla.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Los documentos que registran la presencia de las pr&aacute;cticas musicales y las danzas en el periodo jesuita, muestran la coexistencia de la m&uacute;sica sacra con la m&uacute;sica y danzas aut&oacute;ctonas.</p>\n\n<p>En sus escritos Alcide D&rsquo;Orbigny relata:</p>\n\n<p style=\"margin-left:47px\"><em>...me sorprendi&oacute; la m&uacute;sica instrumental, plena de armon&iacute;a, en la que admir&eacute; sobre todo los bajos formados por un instrumento propio de los ind&iacute;genas, especie de flauta de Pan de uno a dos metros de largo, construida con hojas de palmeras unidas unas con otras, &hellip;</em></p>\n\n<p style=\"margin-left:47px\"><em>Despu&eacute;s de la misa, los indios, tocados con una especie de aureola de plumas, y llevando cascabeles en las pantorrillas y un gran sable de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mis agudas hasta las mis graves, y acompa&ntilde;ados de flautas y tambores, salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a m&aacute;s que un n&uacute;mero muy limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas. <a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<p>[[Ver foto: Misa cantada Mojos]]</p>\n\n<p>Keller, Franz. &ldquo;Misa Cantada en la Antigua misi&oacute;n de Trinidad (Mamor&eacute;)&rdquo;The Amazon and Madeira Rivers. Sketches <em>and descriptions from the Note-Book of an Explorer. </em><em>London, 1874.</em></p>\n\n<p>&nbsp;</p>\n\n<p><em>Las danzas aut&oacute;ctonas fueron aceptadas por los misioneros como expresi&oacute;n genuina de los pueblos a su cargo, e incorporadas oficialmente al culto religioso, especialmente en las procesiones de Corpus, fiesta de la Sant&iacute;sima Trinidad o la conmemoraci&oacute;n del d&iacute;a del Santo bajo cuya advocaci&oacute;n se hallaban las diferentes misiones. El P. Eder informa que &quot;en ciertas horas se re&uacute;nen en casa del misionero, y bailan all&iacute; y dentro del Templo&quot;, y describe los atav&iacute;os de los bailarines: &quot;Para dar m&aacute;s gracia a sus bailes, hay algunos que se ponen pieles de monos y de aves; otros llevan escudos de plumas ingeridas (cosidas) en una tela; y en ellos hay dibujadas varias figuras de animales&quot;.</em></p>\n\n<p><em>&hellip;</em></p>\n\n<p><em>Las procesiones que se originaron en festividades religiosas tales como Corpus, Epifan&iacute;a, Trinidad, Navidad, etc., ocasionaban el despliegue de intensa actividad musical, donde se daban cita cantantes, bailarines e instrumentistas y donde interven&iacute;an todos los integrantes del pueblo. <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El pueblo moje&ntilde;o mantiene viva su cultura, salvaguardando: la m&uacute;sica prehisp&aacute;nica, que hace eco y uso de la naturaleza; y la m&uacute;sica eclesial, como forma de preservar la religiosidad heredada del periodo misional.</p>\n\n<p>Las partituras que dejaron los jesuitas luego de la expulsi&oacute;n fueron celosa y cuidadosamente conservadas por el Cabildo y el pueblo mismo, la importancia de estos documentos reside en su devoci&oacute;n ya que no se concibe la adoraci&oacute;n a Dios separada de la m&uacute;sica.</p>\n\n<p>El Cabildo Indigenal, como representante de la comunidad, cuyo rol principal es difundir el patrimonio cultural moje&ntilde;o, organiza y participa con las parcialidades de los Valores Espirituales del Pueblo, en las actividades festivas donde la m&uacute;sica y la danza son el elemento fundamental.</p>\n\n<p>Los integrantes de los conjuntos musicales, tiene la responsabilidad de mostrar y transmitir estos saberes, para preservarlos a trav&eacute;s del tiempo.</p>\n\n<p>Coro Musical. Conjunto de personas que cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio, tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el cajane o caja (tambor).</p>\n\n<p>Tamborita. Grupo musical que toca el sivivire, el sankuti, y la tampura, interpretando ritmos alegres t&iacute;picos de la zona.</p>\n\n<p>Banda. &nbsp;&nbsp;Grupo que toca la caja y la trompeta.</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momentos se incluye dentro los ritos religiosos de Semana Santa, las canciones, la m&uacute;sica interpretadas por el Coro Musical, la tamborita y la banda; y las danzas ejecutadas por los Macheteros y los Angelitos.</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, la tamborita y la banda, y cuando se ejecutan las danzas:</u></strong></p>\n\n<hr />\n<div>\n<p><strong>VIERNES DE DOLORES</strong></p>\n\n<p>Este d&iacute;a se conmemora el sufrimiento de la&nbsp;Virgen Mar&iacute;a, en los momentos de la Pasi&oacute;n y Muerte de Cristo.</p>\n\n<p>Lugar: Se realiza en el templo y luego en la plaza.</p>\n\n<p>M&uacute;sica</p>\n\n<p>Durante la procesi&oacute;n el Coro Musical interpreta canciones religiosas, acompa&ntilde;adas con sus instrumentos.</p>\n\n<p>Coro Musical:&nbsp; 2 &ldquo;cantantes&rdquo;, 2 bajones, 2 sivivire, y 3 violines.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza la celebraci&oacute;n de la misa y luego la imagen de la Virgen Dolorosa sale en procesi&oacute;n por la plaza, alzada por mujeres.</p>\n\n<p>Se coloca la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, como se&ntilde;al de inicio de la Semana Santa.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>Se celebra la misa, con la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, y la Virgen Dolorosa en la nave del lado de la ep&iacute;stola.</li>\n\t<li>El Cabildo se sienta en los primeros bancos, a la izquierda del altar</li>\n\t<li>Concluye la misa y se preparan las alzadoras para llevar a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco inciensa la imagen de la Virgen antes que sea alzada.</li>\n\t<li>Salen del templo por el medio de la nave principal, comienza a tocar la tamborita.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: Por delante salen los Sacristanes, uno con la Cruz de plata y dos con velas; el Cabildo ind&iacute;gena con la bandera morada; las Memes al centro y tambi&eacute;n flanqueando la procesi&oacute;n portando velas; el P&aacute;rroco con los Sacristanes; la imagen de la Virgen Dolorosa; p&uacute;blico en general y por &uacute;ltimo los Penitentes.</li>\n\t<li>Al salir del templo, los Sargentos Jud&iacute;os flanquean la imagen de la Virgen Dolorosa.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen de la Virgen Dolorosa.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul>\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Cantos lit&uacute;rgicos interpretados por el coro de se&ntilde;oras, en castellano y con libreto, en la siguiente parada, ser&aacute; el turno del <strong><u>Coro Musical que canta en castellano y con libreto</u></strong>, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos</u></strong>.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos</u></strong>.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la banda y de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n</ul>\n\n<ul>\n\t<li>Cuando la procesi&oacute;n se acerca al templo, los Penitentes y sus acompa&ntilde;antes se adelantan e ingresan al templo primero. La banda se queda afuera del templo.</li>\n</ul>\n\n<ul>\n\t<li>Luego entra la comitiva en el orden mencionado, con m&uacute;sica de la tamborita (pregrabada).</li>\n\t<li>Se coloca la imagen de la Virgen Dolorosa en su lugar y el p&aacute;rroco la inciensa, tocan campanillas.</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n, para despedirse.</li>\n\t<li>Los fieles se acercan a tocar el vestido de la Virgen y presentar sus respetos.</li>\n</ul>\n\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Claro Samuel, La M&uacute;sica en las Misiones Jesuitas de Moxos.&nbsp; Revista Musical Chilena. Santiago, 1969. pg. 11. Ss.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV. pg. 1309 ss.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Claro Samuel, op. cit., pp. 13-16</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["e6323cbf-1077-4730-847e-7aa0919f202d", "2b507e22-b2e4-4781-b7be-3b9b2ef3f631"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["6734af3e-4791-4d75-82c4-3fb2b73aed20"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": null, "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": null}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "ab4e0d39-e87a-46af-a2b6-6c3537d2277e"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las t&eacute;cnicas tradicionales de fabricaci&oacute;n, en este caso de instrumentos musicales, constituyen la manifestaci&oacute;n m&aacute;s tangible del patrimonio cultural inmaterial, el conocimiento de estas pr&aacute;cticas manuales ha pasado de generaci&oacute;n en generaci&oacute;n, dentro la comunidad moje&ntilde;a conect&aacute;ndola con su pasado.</p>\n\n<p>La construcci&oacute;n y empleo de instrumentos en Mojos data de la &eacute;poca prehisp&aacute;nica, y adquiere un gran desarrollo con la llegada de los jesuitas. Este tema ha sido investigado ampliamente por el antrop&oacute;logo Richard Mujica Angulo, a continuaci&oacute;n, adjunto una breve introducci&oacute;n y la descripci&oacute;n de los instrumentos musicales utilizados en San Ignacio, temas desarrollados en su art&iacute;culo:&nbsp; <em>El &ldquo;Juramento</em><em>&rdquo; </em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos</em> que forma parte de la Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es), 2013:</p>\n\n<p><em>Una de las principales referencia a los instrumentos musicales de Mojos son las de Alcides D&rsquo;orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de &ldquo;acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a 13 tubos, actualmente se registraron bajones de 10 tubos. Gran parte de los instrumentos de Mojos son precolombinos. Estos pueblos, adem&aacute;s de contar con estos instrumentos, hac&iacute;an uso del canto. Los misioneros decidieron adoptar los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena apoyando en su lugar m&uacute;sica concertada y poemas sagrados estrictamente religiosos.</em></p>\n\n<p><strong>Descripci&oacute;n de los instrumentos</strong></p>\n\n<p><strong><em>Sivivire.</em></strong><em> El Sivivire es un instrumento aer&oacute;fono&hellip; Es una flauta de tubo con embocadura lateral 0 (clasificado como 411.2 seg&uacute;n Hornbostel-Sachs) caracter&iacute;stico en la interpretaci&oacute;n de la m&uacute;sica, emple&aacute;ndose en diferentes g&eacute;neros musicales y danzas de San Ignacio de Mojos. El instrumento tiene siete orificios: seis digitables y uno que hace de embocadura&hellip;, el extremo base presenta el orificio de salida completo, y en el otro extremo se rellena la parte frontal con cera de abeja (lado embocadura). </em></p>\n\n<p><em>Esta flauta (se toma como base de descripci&oacute;n el Sivivire de los Macheteros) es interpretada pr&aacute;cticamente en todo el calendario anual festivo del lugar. En un conjunto de m&uacute;sicos se interpreta s&oacute;lo un Sivivire y generalmente est&aacute; acompa&ntilde;ado de membran&oacute;fonos: tampura, sankuti y caja... El ejecutante por lo general es var&oacute;n, lo denominan (flautero) y es &eacute;l mismo quien construye su flauta&hellip; </em></p>\n\n<p><em>Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;. Por ello cada danza tiene diferentes &ldquo;toques&rdquo; de acuerdo a la situaci&oacute;n ritual o festiva en la cual se ejecuta. </em><em>De forma general el repertorio musical de cada danza est&aacute; conformado por la marcha (de uso ritual especialmente en procesiones), el tayr&rsquo;imarapi (taquirari &ldquo;especial&rdquo;) primera pieza interpretada luego de la marcha; y finalmente, el v&rsquo;irimarapi (taquirari &ldquo;festivo&rdquo;) que se interpreta como parte de la fiesta misma. Existe una melod&iacute;a espec&iacute;fica para cada santo o virgen, el cual se marca espec&iacute;ficamente en la marcha. Respecto de esto Cirilo Yaca afirma: &ldquo;tiene que acompa&ntilde;ar a las im&aacute;genes, a los santos. Para acompa&ntilde;ar y visitar a estos ocupan la Marcha&rdquo;; por ello nos habla de un principal elemento del repertorio musical &ldquo;la marcha&rdquo; m&uacute;sica de car&aacute;cter sagrado y ritual. Otro elemento que conforma este repertorio es el &ldquo;taquirari&rdquo; (v&rsquo;irimarapi): &ldquo;el que vale m&aacute;s es el taquirari (...) se cambia el toque y se toca el taquirari en la fiesta, es m&aacute;s bonito, m&aacute;s entrador (...) la Marcha tiene un s&oacute;lo paso (...) Cada conjunto tiene su entrada [la marcha] y tiene su taquirari&rdquo;. Este el papel del instrumento, la danza y el repertorio musical de las m&uacute;sicas y danzas de Mojos.</em></p>\n\n<p><em>Los materiales empleados en la realizaci&oacute;n de instrumentos de basa en la tsakana (takuara fina o &ldquo;castilla&rdquo;), ca&ntilde;a-bamb&uacute; empleada para construirlo. Este material antiguamente se encontraba en las regiones extensas del monte; posteriormente, por causa de la expansi&oacute;n de las tierras de pastoreo que los ganaderos deciden ampliar, se reducen los lugares donde se encontraba este material. La inexistencia del material obliga a utilizar tubos pl&aacute;sticos de ca&ntilde;er&iacute;a y otros materiales como el aluminio. Por otro lado, el M&aacute;paji (Cera de Abeja), empleado para tapar el extremo de la flauta. Luego, tambi&eacute;n se presentan flautas de pl&aacute;stico de </em><em>&ldquo;</em><em>ca&ntilde;er&iacute;a&rdquo;, empleadas por la falta de la takuara tradicional. </em></p>\n\n<p><em>La elaboraci&oacute;n de este instrumento es de dominio de todo flautero y est&aacute; muy vinculado al individuo. Las t&eacute;cnicas empleadas para su elaboraci&oacute;n iniciar&iacute;an con la recolecci&oacute;n de la ca&ntilde;a: se limpia el orificio central. Se inicia la medida desde la base (cola) marcando el primer orificio digitable (dista el ancho de tres dedos). Luego, desde esta marca, se toma la medida de </em><em>&ldquo;</em><em>mi cuarta&rdquo; (distancia entre los dedos me&ntilde;ique y pulgar de la palma abierta); y se marca el orificio central digitable. Se emplea la misma medida (&ldquo;mi cuarta&rdquo;) para marcar el orificio de la embocadura o boquilla. Realizadas estas tres primeras marcas se se&ntilde;ala equidistantemente los lugares donde se realizar&aacute;n las cuatro perforaciones necesarias para la digitaci&oacute;n de la flauta&hellip; Los orificios se hacen con el tumare, un cuchillo en punta; y la emisi&oacute;n del sonido se ajusta moviendo (hacia adentro o afuera) la cera de abeja que tapa el extremo de la embocadura, s&oacute;lo la correcta posici&oacute;n permitir&aacute; la emisi&oacute;n de octavas. Por tanto, las dimensiones del Sivivire depende de dos factores: (1) la danza o </em><em>&ldquo;</em><em>toque&rdquo; que se interpretar&aacute;; y (2) las caracter&iacute;sticas corporales (la mano) del instrumentista, ya que cada qui&eacute;n busca el tama&ntilde;o m&aacute;s c&oacute;modo para su interpretaci&oacute;n.</em></p>\n\n<p><strong><em>Sankuti. </em></strong><em>Instrumento musical membran&oacute;fono elaborado en base al </em><em>&ldquo;</em><em>coraz&oacute;n</em><em> </em><em>&ldquo;del tronco de &aacute;rboles como la mara y el juchi, considerados como </em><em>&ldquo;</em><em>finos</em><em>&rdquo;</em><em> &hellip; Las membranas del sankuti (Cavour, 2010:246-247) son hechas de </em><em>&ldquo;</em><em>cuero de res&rdquo; el cual tiene mucho grosor y es cambiado eventualmente. Las correas que sujetan las membranas as&iacute; como las empleadas para colgar el instrumento en el hombro tambi&eacute;n est&aacute;n hechas del mismo cuero&hellip;</em></p>\n\n<p><em>Para ta&ntilde;er este instrumento se emplea una baqueta denominada </em><em>&ldquo;</em><em>palitoke&rdquo; que los lugare&ntilde;os traducen como </em><em>&ldquo;</em><em>Palito que se toca</em><em>&rdquo;</em><em>. Este material le otorga gran durabilidad lo que hace que sea&rdquo; heredado</em><em> </em><em>&ldquo;de un m&uacute;sico a otro, y por otro lado, se le otorga el sentido de </em><em>&ldquo;</em><em>antiguo&rdquo; ya que se afirma que </em><em>&ldquo;</em><em>el antiguo lo hicieron</em><em>&rdquo;.</em><em> </em></p>\n\n<p><em>(foto)</em></p>\n\n<p><strong><em>Kajane o Caja (Tambor). </em></strong><em>Otro instrumento membran&oacute;fono muy empleado en las danzas es la caja o tambor. Sus dimensiones promedio son de 38 cm. de di&aacute;metro por 23 cm. de altura&hellip; La caja de resonancia est&aacute; hecha en base a corteza de &aacute;rbol de toco; para su obtenci&oacute;n es perforada y luego &ldquo;cavada&rdquo; con ayuda de cinceles artesanales. El cuero utilizado en las membranas es de sullu de vaca, vale decir de la cr&iacute;a del ganado bovino10 el cual es envuelto en un aro de bejuco que le da la forma circular. Y cuenta con un sobrearo o y&rsquo;ana de casi 5 cm. de ancho hecho de madera v&rsquo;i (jianaki). En la membrana posterior se sujeta una cuerda de algod&oacute;n a manera de </em><em>&ldquo;</em><em>charlera&rdquo; para que el instrumento aumente su vibraci&oacute;n. </em></p>\n\n<p><em>Para su interpretaci&oacute;n la caja es colgada del cuerpo con ayuda de una correa hecha de cuero de res; y se hace uso del palitoki tambi&eacute;n denominado cajaneraki,11 un par de baquetas de unos 34 cm. de largo hechos de madera de gabetillo, chonta y de cuchi. En algunas ocasiones a la buena interpretaci&oacute;n de los instrumentos musicales, en especial a los membran&oacute;fonos se hace menci&oacute;n a que &quot;Se tesa con una cuerda&hellip; ya lo hace rezar</em><em>&rdquo;</em></p>\n\n<p><strong><em>Tampura (bombo).</em></strong><em> La Tampura, es el membran&oacute;fono asemejado al bombo, el cual tiene mayores dimensiones que los otros, con un di&aacute;metro de 46 cm. y 22 cm. de alto (Fotograf&iacute;a N&ordm; 7). La caja de resonancia est&aacute; hecha en base a madera blanca de toco o jocho&rsquo;o. Las membranas generalmente son de cuero de res y en algunos casos presenta inscripciones pintadas; por otro lado, indican que este cuero es del cuello de la res, el cual es curtido lav&aacute;ndolo con ceniza para </em><em>&ldquo;</em><em>que no lo cambie el sereno</em><em>&rdquo;</em><em> o sea para que no cambie el sonido. El instrumento que ayuda a su interpretaci&oacute;n es una baqueta de madera de v&rsquo;idenominadata&rsquo;earaki o tampuraraki (&ldquo;toca bombo&rdquo;), el cual mide 26,5 cm. de largo, el mango tiene 3 cm. de grosor y tiene una especie de mazo de 6 cm. de di&aacute;metro.</em></p>\n\n<p><strong><em>Chonono o cascabelana.</em></strong><em> En un idi&oacute;fono empleado por los danzantes, especialmente hombres, de cada danza&hellip; Consiste en una trozo rectangular de cuero (de 10 por 64 cm.) al cual van sujetas semillas o cascabeles; la base rectangular tiene dos tiras laterales utilizadas para amarrarlas a las piernas justo en la articulaci&oacute;n de la rodilla. En el caso de las danzas del machetero las semillas utilizadas en el chonono son de chakai y para otras danzas se emplea el naviri. Y para danzas como los toritos y ciervos se emplean cascabeles de bronce. </em></p>\n\n<p><em>Estos instrumentos acompa&ntilde;an a la m&uacute;sica d&aacute;ndole un comp&aacute;s r&iacute;tmico a partir de la danza de sus int&eacute;rpretes, esto hace referencia a que los danzantes tambi&eacute;n tienen un papel importante como interpretes del chonono.</em></p>\n\n<p><strong><em>El Baj&oacute;n.</em></strong><em> Es uno de los instrumentos musicales m&aacute;s difundidos de la regi&oacute;n, por lo cual ampliar&eacute; su descripci&oacute;n&hellip; Este instrumento aer&oacute;fono, conformado por pares (machohembra) a primera vista se parece a una especie de flauta de pan pero con boquillas de madera en cada uno de los tubos; sin embargo, se trata de unas &ldquo;trompetas m&uacute;ltiples</em><em>&rdquo;</em><em>construidas a base de varios tubos de hojas enrolladas atadas en </em><em>&ldquo;</em><em>forma de balsa o ala&rdquo;, donde cada tubo es acomodado en una sola hilera (Waisman 2002:533). </em></p>\n\n<p><em>El Baj&oacute;n est&aacute; elaborado con los siguientes materiales: Hoja de Cusi, varas de cogollo que estructuran la parte interna de cada tubo; hilo de algod&oacute;n o hilo </em><em>&ldquo;</em><em>camba</em><em>&rdquo; (</em><em>itsepite cajare) mezclada con cera (M&aacute;paji) de abeja &ldquo;se&ntilde;orita&rdquo;. Las boquillas torneadas de madera de cedro para cada tubo; donde una </em><em>&lsquo;</em><em>peineta&rdquo; </em><em>(</em><em>de 56.5 x4 cm) hecha de madera sujeta a todos los tubos (de 56.5 x 4 cm). Cada uno de los tubos tiene asignado una sigla del alfabeto grabada en la </em><em>&ldquo;</em><em>peineta&rdquo; que hace referencia a la afinaci&oacute;n de cada uno de ellos. El tubo de mayor tama&ntilde;o tiene una base de goma sujetado en la parte inferior para facilitar su apoyo en el suelo. </em></p>\n\n<p><em>Los pasos empleados para la elaboraci&oacute;n del baj&oacute;n son el armado del soporte o estructura de cogollo; enrollado o superposici&oacute;n de hojas de Cusi, atado (liado) con cordel (pita) de algod&oacute;n hilado, embadurnado con cera de abeja para fortificar el hilo y apoyar el agarre. Y se emplean herramientas como el Tumare (cuchillo) y la Capotera (aguja). </em></p>\n\n<p><em>Este instrumento musical se interpreta de mediante la </em><em>&ldquo;</em><em>t&eacute;cnica dialogada&rdquo; entre el Baj&oacute;n macho y Baj&oacute;n hembra. Vale decir que la melod&iacute;a se entreteje de forma dialogada entre los dos int&eacute;rpretes del instrumento. El sonido que emite este instrumento es grave. La forma de interpretaci&oacute;n de los bajones se basa en el soplido. Cada int&eacute;rprete sujeta el baj&oacute;n horizontalmente con ambas manos apretando los labios en la boquilla para tocarlos de forma similar a una trompeta. Sin embargo, por el tama&ntilde;o del instrumento el ejecutante no puede sujetar solo el baj&oacute;n, por ello, requiere de la ayuda de otra persona que sostenga el instrumento desde el extremo inferior.</em></p>\n\n<p><em>El baj&oacute;n tiene un rol muy reconocido como parte de la orquesta t&iacute;pica de San Ignacio, orient&aacute;ndose su interpretaci&oacute;n para acompa&ntilde;ar los c&aacute;nticos sagrados de misas, procesiones religiosas y </em><em>&ldquo;</em><em>velorios</em><em>&rdquo;</em><em> de santos y v&iacute;rgenes. Los instrumentistas o ejecutantes del baj&oacute;n son especialistas y gozan de alto prestigio en la comunidad. Los bajones actualmente son acompa&ntilde;ados por un viol&iacute;n, dos flautas, caja y tampura.</em></p>\n\n<p><em>Una de las principales referencia son las de Alcides D</em><em>&rsquo;</em><em>orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de </em><em>&ldquo;</em><em>acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a </em><em>13</em><em> tubos, actualmente se registraron bajones de 10 tubos. 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La elecci\u00f3n de las telas depende de la capacidad adquisitiva que se tuvo en al a\u00f1o.  En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est\u00e1 envuelto en cintas de colores y cintas con los colores de la bandera nacional. Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m\u00e1s elevado se ubica la imagen de un \u00e1ngel vestido de blanco. 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Esta imagen est\u00e1 bajo un baldaquino ornamentado con telas de todos los colores. 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Lo cubre una estructura vidriada en forma de prisma y descansa sobre anda de madera con doble fila de porta velas tallados con motivos fitoformes y con roleos.  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Utilizado para guardar el agua bendita que luego los fieles podr\u00e1n llevar en recipientes propios."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "C\u00e1ntaro para agua bendita"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "6811a4e3-2033-4251-9548-5b9afc90f397", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 22, "tileid": "734fa7e2-667b-4244-9330-f66050cd2af0"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2881376c-5ddf-42d1-89ca-a207b006c108", "resourceXresourceId": "c0354ad2-1409-4ec3-8033-76c7371eef42"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2024-07-01"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "887bff5c-2ac7-435d-ba81-5f8cf1b5cd7f", "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "5fa6423c-3286-46cc-8b52-cfc18116f8d0"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio de Mojos"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-60.96022428683311, -16.373364171536664], "type": "Point"}, "id": "cb05ff5c6cf9af6db1f45cf62baf8c72", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "480a957c-a8ae-4b38-8ac4-bcca5526ed3b", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080000', 'num': '000002'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["a9c65048-6928-4580-bd7b-b499e41a163d"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "de31f8ff-9931-4e12-ad89-d818589d041f", "sortorder": 0, "tileid": "a2277051-d931-4c26-b008-6975cbcd18fe"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:17.580", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000020, "}, "es": {"description": "Loreto. 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"}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "d52555d6-c83a-4c42-8f0b-be9cfc02e3f7", "provisionaledits": null, "resourceinstance_id": "a0cde7f4-a43c-4cb4-96d6-b87453a2a3f0", "sortorder": 0, "tileid": "40c8938b-0a8a-4fca-b782-ed4bb2f2c970"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.76032613830043, -15.1934098880146], "type": "Point"}, "id": "6fa63f35604860b8d13851ac966e4a5a", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "230359b9-1b01-4cea-881d-e54daf949019", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080601', 'num': '000004'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "a0cde7f4-a43c-4cb4-96d6-b87453a2a3f0", "sortorder": 0, "tileid": "a10c3108-da2d-40f6-8d4c-d14873b0cd88"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "a0cde7f4-a43c-4cb4-96d6-b87453a2a3f0", "sortorder": 0, "tileid": "d52555d6-c83a-4c42-8f0b-be9cfc02e3f7"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Loreto. Cuento &ldquo;La Viudita&rdquo;</strong></p>\n\n<p>&nbsp;</p>\n\n<p>&quot;La Viudita&quot; es una historia oral transmitida por generaciones en la comunidad, formando parte del imaginario popular y las leyendas de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Portador de la historia</strong></p>\n\n<p>El relato ha sido compartido por Orlando Vargas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la historia</strong></p>\n\n<p>En el pueblo de Loreto, circulaba el relato de una mujer vestida de negro que aparec&iacute;a en la calle durante la medianoche y la una de la madrugada. Seg&uacute;n los testigos, cuando alguien la ve&iacute;a, ella ingresaba a una casa r&uacute;stica, ubicada en el terreno donde hoy se encuentra la Alcald&iacute;a. Sin embargo, cuando intentaban seguirla, la mujer desaparec&iacute;a sin dejar rastro.</p>\n\n<p>Los lugare&ntilde;os, especialmente los hombres ebrios, aseguraban haberla visto en repetidas ocasiones, lo que gener&oacute; un gran temor en la comunidad. Se dec&iacute;a que podr&iacute;a ser un alma en pena o alg&uacute;n esp&iacute;ritu errante.</p>\n\n<p>Un d&iacute;a, el padre de Orlando Vargas y un amigo, despu&eacute;s de compartir bebidas, se toparon con la misteriosa figura. Decidieron seguirla cuando la vieron entrar nuevamente en la casa abandonada. Revisaron cada habitaci&oacute;n, pero no encontraron a nadie. Finalmente, al inspeccionar el interior de un turril, destaparon el recipiente y descubrieron a la mujer acurrucada en su interior.</p>\n\n<p>Vest&iacute;a completamente de negro: manto, vestido, capa y velo amarrado en la cabeza. Para su sorpresa, no se trataba de un esp&iacute;ritu, sino de una persona real. La mujer, asustada, les rog&oacute; que no dijeran nada y confes&oacute; que se disfrazaba de esa manera para vigilar a su esposo borracho, pues le hab&iacute;an dicho que la estaba traicionando con otra mujer.</p>\n\n<p>Sin embargo, su secreto no pudo mantenerse por mucho tiempo. Orlando Vargas y su amigo contaron la historia a los dem&aacute;s habitantes, lo que acab&oacute; con el miedo en la comunidad. Pronto se supo que la misteriosa Viudita era, en realidad, una profesora de Religi&oacute;n del colegio local.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["29a2ed34-bbc1-4132-b95f-96d7b7013e10"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "d52555d6-c83a-4c42-8f0b-be9cfc02e3f7", "provisionaledits": null, "resourceinstance_id": "a0cde7f4-a43c-4cb4-96d6-b87453a2a3f0", "sortorder": 0, "tileid": "0f4bc2c6-fc3d-49ce-a976-817c35ba4d04"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Oralidad colectiva"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El conocimiento de la historia de &quot;La Viudita&quot; se transmite a trav&eacute;s de la tradici&oacute;n oral, el relato ha circulado durante generaciones. La historia, aunque basada en eventos reales, se ha enriquecido con elementos sobrenaturales que mantienen su car&aacute;cter de cuento. El portador de esta historia, Orlando Vargas, juega un papel crucial al compartir su experiencia personal, a&ntilde;adiendo una capa de autenticidad y v&iacute;nculo emocional que fortalece la transmisi&oacute;n de la narrativa.</p>\n\n<p>&nbsp;</p>\n\n<p>La oralidad es un mecanismo fundamental para el mantenimiento de la memoria colectiva en comunidades como la de Loreto, donde las historias no solo entretienen, sino que tambi&eacute;n educan sobre valores, creencias y advertencias sociales. La aparici&oacute;n de la mujer vestida de negro, aunque inicialmente temida, refleja la forma en que el miedo y el misterio pueden ser utilizados para abordar temas m&aacute;s profundos, como la fidelidad y el comportamiento social.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "d52555d6-c83a-4c42-8f0b-be9cfc02e3f7", "provisionaledits": null, "resourceinstance_id": "a0cde7f4-a43c-4cb4-96d6-b87453a2a3f0", "sortorder": 0, "tileid": "64a1bfed-bc73-4eee-a96a-03ae9e9ae4b8"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos de la transmisi&oacute;n oral de &quot;La Viudita&quot; es la posibilidad de distorsi&oacute;n del relato con el tiempo. A medida que la historia se comparte a lo largo de generaciones, es probable que se a&ntilde;adan detalles, se modifiquen elementos clave o incluso se omitan partes importantes del cuento original. Esto puede dar lugar a versiones diferentes de la misma historia, perdiendo la esencia o el mensaje original que se deseaba transmitir. La subjetividad de los portadores de la historia y las interpretaciones personales de los oyentes tambi&eacute;n pueden influir en c&oacute;mo se narra, lo que podr&iacute;a diluir la autenticidad del cuento y su relevancia cultural.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo de la oralidad radica en la dependencia de la memoria de los narradores. Cuando los portadores de historias claves, como Orlando Vargas en este caso, no est&aacute;n disponibles o no recuerdan todos los detalles de la leyenda, se corre el peligro de que la historia se pierda o se desvirt&uacute;e. La falta de un registro escrito puede llevar a la desaparici&oacute;n definitiva de la historia, especialmente si los nuevos miembros de la comunidad no tienen inter&eacute;s en continuar la tradici&oacute;n oral. Esto es a&uacute;n m&aacute;s problem&aacute;tico en tiempos de modernizaci&oacute;n, donde la preferencia por los medios digitales y las formas escritas de comunicaci&oacute;n podr&iacute;a marginar las leyendas orales, poni&eacute;ndolas en riesgo de ser olvidadas por las generaciones venideras.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d52555d6-c83a-4c42-8f0b-be9cfc02e3f7", "provisionaledits": null, "resourceinstance_id": "a0cde7f4-a43c-4cb4-96d6-b87453a2a3f0", "sortorder": 0, "tileid": "d0a22e4b-adbf-4280-9248-5173ea06dd4f"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:16.219", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000018, "}, "es": {"description": "Loreto. Cuento \u201cLos Marimonos\u201d", "map_popup": "Beni", "name": "PI-080601-00-00-000018, Loreto. 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Cuento \u201cLos Marimonos\u201d", "principaluser_id": 26, "resourceinstanceid": "e9ce2d71-1f17-409d-9f2b-003b00a5feea", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2dc47da8-3afe-47b0-a1f5-1cc7c7689499", "resourceXresourceId": "532c0b53-ff28-4ae0-a9dd-e511cbed156c"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e9ce2d71-1f17-409d-9f2b-003b00a5feea", "sortorder": 0, "tileid": "dbbd5890-5cd7-4a3c-8a05-7123072828ac"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Historia oral"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080601-00-00-000018", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto. Cuento \u201cLos Marimonos\u201d"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e9ce2d71-1f17-409d-9f2b-003b00a5feea", "sortorder": 0, "tileid": "1fe8e7af-ba17-4397-8ef1-0e42bedff98f"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e9ce2d71-1f17-409d-9f2b-003b00a5feea", "sortorder": 0, "tileid": "06b7d284-ba18-488d-903c-6676267bffa3"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Cuento &ldquo;Los Marimonos&rdquo;</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La historia de los Marimonos est&aacute; ligada a una expresi&oacute;n festiva, representada a trav&eacute;s de una danza que rinde homenaje a los primeros habitantes de Loreto.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Portadores de la historia</strong></p>\n\n<p>Este relato ha sido transmitido por Elva Conorio y Rom&aacute;n Ojara, quienes han conservado y compartido la memoria de esta tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la historia</strong></p>\n\n<p>Los Marimonos fueron un grupo humano n&oacute;mada, dedicado a la caza y la pesca, que se desplazaba constantemente en busca de alimento. Para cazar, utilizaban flechas, y fueron ellos quienes construyeron las lomas y terraplenes que forman parte del paisaje cultural de la regi&oacute;n.</p>\n\n<p>Seg&uacute;n la tradici&oacute;n, el Padre Marb&aacute;n, un misionero jesuita, logr&oacute; aprender su idioma, lo que facilit&oacute; su evangelizaci&oacute;n. Al ser bautizados, estos pobladores acompa&ntilde;aban a la Virgen de Loreto, fortaleciendo la identidad religiosa del pueblo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>La danza del Marimono</strong></p>\n\n<p>La danza del Marimono es una representaci&oacute;n festiva que recuerda a esta poblaci&oacute;n fundadora de Loreto. Quienes la interpretan visten cueros de mono y m&aacute;scaras de marimono, evocando a los primeros habitantes del territorio.</p>\n\n<p>El marimono tambi&eacute;n es el nombre de un simio de pelaje negro que habita en los montes. En tiempos pasados, era com&uacute;n ver a estos animales en la zona, pero en la actualidad su n&uacute;mero ha disminuido y viven en regiones m&aacute;s alejadas. Se considera que pueden ser peligrosos.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["29a2ed34-bbc1-4132-b95f-96d7b7013e10"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "06b7d284-ba18-488d-903c-6676267bffa3", "provisionaledits": null, "resourceinstance_id": "e9ce2d71-1f17-409d-9f2b-003b00a5feea", "sortorder": 0, "tileid": "6d21c2a7-e865-4161-a145-f1e1cb75d8a8"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Oralidad colectiva"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos sobre la historia de los Marimonos han sido transmitidos por Elva Conorio y Rom&aacute;n Ojara, quienes, a trav&eacute;s de su sabidur&iacute;a y experiencia, han mantenido viva la memoria de esta tradici&oacute;n. Estos portadores de la historia han compartido su legado oralmente, asegurando que las generaciones actuales sigan conectadas con sus ra&iacute;ces culturales. La transmisi&oacute;n de esta memoria se realiza principalmente en espacios comunitarios, donde se narran relatos y se representan las costumbres, como la danza del Marimono.</p>\n\n<p>El proceso de transmisi&oacute;n tambi&eacute;n se realizaba mediante la representaci&oacute;n festiva de la danza del Marimono, en la que se evoca a los primeros habitantes de Loreto. A trav&eacute;s de la interpretaci&oacute;n que se realizaba, los danzantes vist&iacute;an con cueros de mono y m&aacute;scaras. Esta danza no solo rememora el pasado, sino que act&uacute;a como un medio vivo de ense&ntilde;anza, permitiendo que el conocimiento se mantenga vigente al ser transmitido de una generaci&oacute;n a otra. La tradici&oacute;n oral y performativa, junto como se realizaba con la danza del Marimono hacia que se preserve las representaciones simb&oacute;licas de la historia de Loreto.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "06b7d284-ba18-488d-903c-6676267bffa3", "provisionaledits": null, "resourceinstance_id": "e9ce2d71-1f17-409d-9f2b-003b00a5feea", "sortorder": 0, "tileid": "41be6335-a99e-46ad-9075-401dfc9bb3d4"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La oralidad del cuento \"Los Marimonos\" posee varias fortalezas que facilitan la transmisi\u00f3n de la historia y la preservaci\u00f3n de la cultura local. Una de las principales fortalezas es ser narrado por personas reconocidas por la comunidad, ya que el relato, narrado por portadores de la tradici\u00f3n como Elva Conorio y Rom\u00e1n Ojara, permite que los oyentes se identifiquen con la historia de manera directa.   Otra fortaleza de la oralidad en este cuento es su capacidad de integrarse en la vida cotidiana de la comunidad. La narraci\u00f3n oral no solo se limita a un acto de contar una historia, sino que tambi\u00e9n se enmarca en las pr\u00e1cticas rituales y festivas, como la danza del Marimono. De esta forma, la tradici\u00f3n oral se convierte en una herramienta pedag\u00f3gica que va m\u00e1s all\u00e1 de la narraci\u00f3n de un hecho hist\u00f3rico, permitiendo a la comunidad entender y participar activamente en la construcci\u00f3n de su identidad. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "06b7d284-ba18-488d-903c-6676267bffa3", "provisionaledits": null, "resourceinstance_id": "e9ce2d71-1f17-409d-9f2b-003b00a5feea", "sortorder": 0, "tileid": "ccee7e90-74c5-461d-a2e0-807723b31e83"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos de la oralidad del cuento &quot;Los Marimonos&quot; es la posible p&eacute;rdida de detalles y matices a medida que se transmite de generaci&oacute;n en generaci&oacute;n. La transmisi&oacute;n oral depende de la memoria de los narradores, y cada vez que la historia es contada, pueden modificarse elementos clave, ya sea por olvido o por reinterpretaci&oacute;n. Esto puede resultar en la desaparici&oacute;n de aspectos fundamentales de la tradici&oacute;n, como el contexto hist&oacute;rico o las caracter&iacute;sticas espec&iacute;ficas de los personajes, lo que podr&iacute;a llevar a una distorsi&oacute;n de la narrativa original. Si no se preservan los relatos de manera m&aacute;s formal, existe el peligro de que la historia se diluya y se desvanezca con el tiempo.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo asociado a la oralidad del cuento es la falta de acceso o la desconexi&oacute;n de las nuevas generaciones con esta tradici&oacute;n. En el contexto actual, marcado por la globalizaci&oacute;n y la influencia de medios masivos de comunicaci&oacute;n, las pr&aacute;cticas orales pueden verse desplazadas por tecnolog&iacute;as m&aacute;s modernas que priorizan formatos escritos o digitales. Este cambio cultural puede hacer que los j&oacute;venes pierdan el inter&eacute;s en las formas tradicionales de transmisi&oacute;n, lo que pondr&iacute;a en peligro la continuidad de la historia de los Marimonos.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "06b7d284-ba18-488d-903c-6676267bffa3", "provisionaledits": null, "resourceinstance_id": "e9ce2d71-1f17-409d-9f2b-003b00a5feea", "sortorder": 0, "tileid": "6e3a93ea-8879-4729-b1d9-4c7546a0a634"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "0e8527d6-02de-414e-9b47-971ed1d45161"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2025-02-21"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "dbbd5890-5cd7-4a3c-8a05-7123072828ac", "provisionaledits": null, "resourceinstance_id": "e9ce2d71-1f17-409d-9f2b-003b00a5feea", "sortorder": 0, "tileid": "8e6a77ea-db42-41d2-8e39-64803dbb9642"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.75946032536655, -15.193087357909974], "type": "Point"}, "id": "72b9463e8017431e89661541e3e06699", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "230359b9-1b01-4cea-881d-e54daf949019", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080601', 'num': '000002'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e9ce2d71-1f17-409d-9f2b-003b00a5feea", "sortorder": 0, "tileid": "d3bb1cb8-db80-4d4d-a45b-f659deb761cd"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:17.921", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000030, "}, "es": {"description": "Celebraci\u00f3n del primero de enero presentaci\u00f3n de las autoridades y el banquete - Gran Cabildo Indigenal de la Sant\u00edsima Trinidad. 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Ciudad Trinidad Beni"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": null}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "e65b0afb-16e7-4279-90ee-685dd71482fa"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000000'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "e25cfc04-ffd0-4a71-ac8a-1349099b83a7"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "4fdee2ad-a77d-4951-a884-239cc96edb1c"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>SIGNIFICADO DEL 1RO DE ENERO COMO PRESENTACI&Oacute;N DE LAS NUEVAS AUTORIDADES</strong></p>\n\n<p>El primero de enero marca reafirmar el compromiso entre la comunidad y las autoridades. Tras la elecci&oacute;n de un corregidor, este tiene la responsabilidad de ofrecer un banquete como s&iacute;mbolo de uni&oacute;n con la cultura y religiosidad de sus antecesores. Existen banquetes en el a&ntilde;o que tienen este mismo contenido, son los banquetes de Semana Santa, espec&iacute;ficamente el banquete de los Ap&oacute;stoles y el banquete de las Abadesas en Carnavales. Representan un agradecimiento en forma de comida para las autoridades pasadas, presentes. Este evento no solo presenta a las nuevas autoridades, sino que tambi&eacute;n promueve la convivencia comunitaria y el compromiso familiar en asumir la responsabilidad de servir a la comunidad.</p>\n\n<p>La preparaci&oacute;n de la comida es responsabilidad de la esposa del Corregidor, ella ya no se limita a cuidar su familia, sino que asume la responsabilidad de garantizar de cuidar de todas las familias de la comunidad. Cuando hay un encuentro debe vigilar que todos se alimenten adecuadamente. La mujer coordina con sus comisarias o delegadas para asegurar que todos, incluyendo invitados y visitantes, disfruten de una comida proporcionada por el Cabildo durante festividades y otras ocasiones.</p>\n\n<p>La comunidad espera el a&ntilde;o nuevo como un momento importante para la posesi&oacute;n de nuevas autoridades, siguiendo una costumbre ancestral. Se destaca la importancia de tener autoridades con experiencia, desde el corregidor hasta los otros roles, para garantizar una gesti&oacute;n eficiente. La presentaci&oacute;n de autoridades se realiza con el objetivo de recibir bendiciones de la comunidad y de las ex autoridades, para mejorar en la gesti&oacute;n y en las familias. Adem&aacute;s, se enfatiza la importancia que se debe vivir en paz, en hermandad con las autoridades trabajando en conjunto para el beneficio de la comunidad.</p>\n\n<p>El banquete debe ser bendecido por el doctrinero. La figura de los doctrineros es importante, ya que el centro de desarrollo de las actividades es la religi&oacute;n. Existen dos tipos de doctrineros seg&uacute;n su experiencia, el mayor que lidera las ceremonias religiosas de las fiestas grandes a lo largo del a&ntilde;o, y el segundo doctrinero que asume la misma responsabilidad de dirigir las ceremonias religiosas como las misas de domingo. Se subraya la necesidad de que ambos doctrineros comprendan las oraciones, los misterios y los momentos adecuados para rezar. Entonces ser&aacute; el Doctrinero Mayor quien de las oraciones y bendici&oacute;n del banquete.</p>\n\n<p>En la celebraci&oacute;n de la presentaci&oacute;n de las nuevas autoridades y el banquete con la comunidad, participan de los bailarines de la danza los Macheteros antes tambi&eacute;n participaban los Toritos, todos acompa&ntilde;an y celebran a las autoridades del Cabildo.</p>\n\n<p>La celebraci&oacute;n comienza con una misa en la iglesia del Cabildo, all&iacute; en medio de los ritos de celebraci&oacute;n se presenta a la autoridades nuevas al ni&ntilde;o Jes&uacute;s. Despu&eacute;s del rezo se hace la adoraci&oacute;n al ni&ntilde;o, cada autoridad en pareja se acercan al pesebre para dar su reverencia y su limosna. Los Macheteros est&aacute;n esperando afuera de la iglesia, cuando la misa termina, ingresan los Macheteros para dar reverencia al ni&ntilde;o en el pesebre.</p>\n\n<p>Luego todos salen con direcci&oacute;n al sal&oacute;n del Cabildo, dando vuelta la calle. Al llegar las autoridades ingresan para dar reverencia al ni&ntilde;o en el pesebre del sal&oacute;n. Las autoridades principales, el Corregidor y el Capit&aacute;n Grande dan un discurso y agradecimiento a la concurrencia, despu&eacute;s la concurrencia felicita con un abrazo a cada una de las autoridades.</p>\n\n<p>Posteriormente se realiza un banquete con pollo criollo como plato principal, donde las autoridades, tanto nuevas como anteriores, comparten y se sientan a la mesa. Este banquete tiene un significado especial, ya que simboliza el compromiso de las autoridades con el Se&ntilde;or, se nombra a las autoridades fallecidas para que est&eacute;n presentes espiritualmente en la celebraci&oacute;n y compartan el banquete. El banquete simboliza la uni&oacute;n de las autoridades nuevas y autoridades que ya fallecieron.</p>\n\n<p>Este a&ntilde;o 2024 las autoridades del Cabildo, decidieron no realizar la ruta hacia la catedral, se quedaron en el Cabildo, all&iacute; realizaron la misa y la adoraci&oacute;n al ni&ntilde;o Jes&uacute;s. La raz&oacute;n es el distanciamiento con los sacerdotes de la catedral.</p>\n\n<p><strong>IMPORTANCIA DEL CORREGIDOR Y DEL CAPIT&Aacute;N GRANDE</strong></p>\n\n<p>Se destaca la importancia del corregidor como una autoridad fundamental en el Cabildo, en su ausencia, asume temporalmente el Capit&aacute;n Grande. Se resalta la necesidad de tener dos l&iacute;deres fuertes en el Cabildo para evitar tomar decisiones fundamentales.</p>\n\n<p>Los corregidores sol&iacute;an ser personas de mayor edad, en cambio esta tendencia cambio cuando Bernardo Noza, el actual Corregidor, a&ntilde;os anteriores se convirti&oacute; en el primer corregidor joven. Luis Tamo, el actual Doctrinero,&nbsp; tambi&eacute;n asumi&oacute; el papel de Corregidor siendo joven, pero desde entonces no ha habido m&aacute;s corregidores j&oacute;venes, Bernardo Noza ahora tiene 60 a&ntilde;os.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>POBLACI&Oacute;N DEL CABILDO</strong></p>\n\n<p>El Cabildo Indigenal actualmente se compone de poblaci&oacute;n proveniente de distintas &aacute;reas geogr&aacute;ficas, antes se compon&iacute;a enteramente de poblaci&oacute;n moxe&ntilde;a trinitaria. Entre los a&ntilde;os 1992 y&nbsp; 1995, despu&eacute;s de la marcha del 90, empieza a llegar al Cabildo gente de distintos lugares, como del Tipnis, Ignacianos, Joaquinianos, e Itonamas. La condici&oacute;n para unirse al Cabildo es practicar la cultura moxe&ntilde;a trinitaria. Aunque algunos no son moxe&ntilde;os trinitarios, como fue Andr&eacute;s Guayocho o Juan de la Cruz, personajes importantes de la historia moxe&ntilde;a, se unen y adoptan la cultura. La premisa es que quienes vienen de afuera practiquen la cultura local sin tergiversarla. A pesar de algunos cambios sociales, como la participaci&oacute;n de mujeres en danzas, se mantiene la esencia cultural. La preservaci&oacute;n de la cultura moxe&ntilde;a trinitaria es fundamental, incluso si hay ciertas mezclas con otras etnias.</p>\n\n<p><strong>RESPONSABILIDADES DEL CABILDO</strong></p>\n\n<p>El Cabildo lidera la organizaci&oacute;n de las pr&aacute;cticas culturales, en algunas en coordinaci&oacute;n con los presidentes de danzas. Las pr&aacute;cticas culturales se llevan a cabo seg&uacute;n las actividades religiosas del calendario anual. No es la &uacute;nica responsabilidad del Cabildo tambi&eacute;n tiene responsabilidad de atender todos los asuntos de bienestar de la comunidad, pero sus&nbsp; principales actividades se encuentran en las pr&aacute;cticas culturales.</p>\n\n<p>Las responsabilidades del Cabildo se extienden a asumir las responsabilidades de organizadores que han fallecido o se han trasladado a otro lugar y han dejado sin l&iacute;der alguna pr&aacute;ctica cultural. Al respecto. Se menciona un incidente, donde la ausencia de varios responsables de una danza causo preocupaci&oacute;n, lo cual gener&oacute; una reuni&oacute;n de emergencia para abordar la situaci&oacute;n.</p>\n\n<p>Se aborda especialmente los temas de la estructura de la danza, los roles y el compromiso que es tanto personal como religioso. Cada comunario y comunaria que asume una responsabilidad y compromiso con el cabildo, sobre todo con el santo o la santa o festividad religiosa en la cual est&aacute; participando.</p>\n\n<p>En la actualidad, hay una necesidad de redistribuir las responsabilidades entre las familias para organizar las pr&aacute;cticas culturales. Las danzas como los Macheteros, los Angelitos, los Reyes Magos y el Santo Barco est&aacute;n bien establecidos porque tienen responsables de cada uno de ellos. Es necesario para las otras danzas establecer la participaci&oacute;n. La distribuci&oacute;n de responsabilidades no es equitativa, algunas familias participan en unas y otras tienen poca participaci&oacute;n.</p>\n\n<p>En esa direcci&oacute;n est&aacute;n los desaf&iacute;os que enfrenta el Cabildo. Se necesita m&aacute;s participaci&oacute;n y distribuci&oacute;n equitativa de responsabilidades entre las familias, as&iacute; como la formaci&oacute;n de nuevos m&uacute;sicos que conozcan los toques espec&iacute;ficos de las danzas. Existe una carencia de m&uacute;sicos, y los ancianos que conocen la m&uacute;sica ya no tienen la fuerza para tocar. Adem&aacute;s, la falta de grabaciones de las m&uacute;sicas tradicionales dificulta la ense&ntilde;anza a las nuevas generaciones. La idea es crear una escuela de m&uacute;sica, conseguir m&aacute;s instrumentos y rescatar las m&uacute;sicas y detalles espec&iacute;ficos de cada danza para fortalecer la tradici&oacute;n del Cabildo.</p>\n\n<p>Al respecto, la salida anual del Herodes presenta desaf&iacute;os para su organizaci&oacute;n, especialmente despu&eacute;s del fallecimiento del encargado original. Tiempo atr&aacute;s hacia los a&ntilde;os 2012&nbsp; y 2013, la danza Herodes ten&iacute;a organizadores. Al retirarse el presidente dejo encargado al vicepresidente.</p>\n\n<p>El presidente fue a establecerse en el nuevo Cabildo en el barrio Pedro Ignacio Muiba. En realidad no hizo la entrega forma del cargo, tiempo despu&eacute;s el vicepresidente se enferm&oacute;. No pod&iacute;a caminar, y el m&uacute;sico principal, Sim&oacute;n Mosua, tambi&eacute;n experiment&oacute; m&aacute;s problemas de salud despu&eacute;s de sufrir un derrame cerebral. Lo que gener&oacute; dificultades, y la falta de una transici&oacute;n adecuada afect&oacute; la estabilidad del grupo y la danza.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>ESTRUCTURA DEL CABILDO</strong></p>\n\n<p>El Cabildo se compone de las autoridades y la comunidad. Las autoridades componen el Directorio. La comunidad se compone de parcialidades, las parcialidades son grupos de personas con una funci&oacute;n espec&iacute;fica. Cada parcialidad ten&iacute;a un nombre propio. El artesano o tejedor era <em>itsmechocono</em>, el Cabildo tiene dos artesanos. Despu&eacute;s est&aacute;n los herreros los que hac&iacute;an antes las campanas eran los <em>jeleronos</em>. Despu&eacute;s los navegantes que viven en las riberas del r&iacute;o en la comunidad se denominan <em>u&ntilde;omo</em>. Los comunarios con estancias eran los <em>waqueronos</em> o vaqueros. Estaban los meleros que traen miel se les dec&iacute;a los <em>meleadores</em>. Los carpinteros qu&eacute; hacen puertas, sillas ellos les dec&iacute;an <em>capiteronos</em>. Los mayordomos son los <em>my&oacute;romo</em>. Cada parcialidad deb&iacute;a tener por lo menos 50 personas. Ahora ya no est&aacute;n todos, se han ido perdiendo.</p>\n\n<p>Ahora el cabildo tiene las parcialidades de los Doctrineros, los Artesanos,&nbsp; los Macheteros, los Toritos, los Mayordomos, las Abadesas, los Ap&oacute;stoles, los M&uacute;sicos y los Vaqueros (aunque est&aacute;n retirados).</p>\n\n<p>Una persona puede&nbsp; pertenecer a dos o m&aacute;s parcialidades. Se enfatiza la necesidad de preguntar a los padres sobre la ocupaci&oacute;n de sus antepasados para determinar a qu&eacute; parcialidad corresponden. La diversidad de habilidades dentro de una familia se considera valiosa para enriquecer la estructura del cabildo.</p>\n\n<p>Esta organizaci&oacute;n permitir&iacute;a la complementaci&oacute;n entre familias y parcialidades en el cabildo, abordando diferentes roles como tejedores, artesanos, bailadores, mayordomos y m&uacute;sicos. Se destaca la idea de estructurar, reconociendo que una familia puede participar en varias parcialidades.</p>\n\n<p>Antiguamente los l&iacute;deres de las comunidades ind&iacute;genas del cabildo, durante las festividades, coordinaban la contribuci&oacute;n de alimentos y recursos. El cabildo ten&iacute;a comunidades aglutinadas que ten&iacute;an su chaco o tierras de cultivo; no ten&iacute;an sede, todas las actividades se realizaban en la casa del corregidor.</p>\n\n<p>El corregidor convocaba a las autoridades para planificar una semana antes de una celebraci&oacute;n religiosa, cada comunidad ten&iacute;a una fecha designada para hacer sus aportes, que inclu&iacute;an chicha, arroz, carne y le&ntilde;a, obtenidos a trav&eacute;s de su trabajo en el campo.</p>\n\n<p>Este sistema de planificaci&oacute;n no contin&uacute;a en la actualidad, se trata de llevar a cabo las fiestas con el aporte de los residentes en el barrio. Se deja de tener conexi&oacute;n con las comunidades desde el cierre de la compuerta del Arroyo San Juan. Desde entonces las comunidades que eran parte del Cabildo comienzan a agruparse y dejan de aportar al Cabildo, porque no pueden ingresar a Trinidad con sus canoas por el r&iacute;o.</p>\n\n<p>Sin embargo, algunas parcialidades se mantienen, las que se residen en el &aacute;rea del Cabildo, como los ap&oacute;stoles, los mayordomos, artesanos y otros. Aquellos por los cuales se prove&iacute;an de alimentos para realizar sus festividades ya no se encuentran, por lo cual deben aportar entre todos para hacer posible sus actividades.</p>\n\n<p>Actualmente, se est&aacute; recuperando y preservando la tradici&oacute;n, pero lamentablemente, algunos conocimientos y funciones est&aacute;n desapareciendo con la muerte de los abuelos. Se destaca la importancia de documentar y plasmar en un libro los roles y conocimientos para que las generaciones futuras puedan aprender. Se est&aacute; finalizando la elaboraci&oacute;n de estatutos y reglamentos para el cabildo, lo que permitir&aacute; transmitir las funciones y responsabilidades de estos conocimientos a las nuevas generaciones.</p>\n\n<p>Se destaca la importancia de ocupar cargos en el cabildo con conocimiento de la historia y respeto por las tradiciones. Se menciona la preocupaci&oacute;n por la falta de respeto hacia las leyes y valores de los antepasados. Se reflexiona sobre el respeto, la defensa de la autonom&iacute;a y la identidad cultural.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>EL COMPROMISO</strong></p>\n\n<p>Es una actitud, una decisi&oacute;n y una responsabilidad con el Cabildo, el Santo o Santa, la religi&oacute;n y la fe, es estar presente f&iacute;sicamente en las actividades que les implica y se responsabilizaron de participar.</p>\n\n<p>En el caso de las danzas, todos al decidir participar asumen el compromiso, por lo cual deber&aacute;n estar presentes siempre que se los convoque para bailar, tocar m&uacute;sica, dirigir. En el caso de las parcialidades deben estar presentes en todas las actividades que les implica, que pueden ser actividades estacionales, el tiempo que dura la festividad. Hay casos que su compromiso est&aacute; presente durante todo el a&ntilde;o, es el caso de los veleros, aunque en el Cabildo hay una sola familia que elabora velas, ellos dan al cabildo una cantidad cada mes para utilizarlo en las misas para los santos cada domingo o los velorios y las fiestas.</p>\n\n<p>La reuni&oacute;n de organizaci&oacute;n se realiza para todas las danzas, para establecer el cumplimiento de los compromisos y confirmar la participaci&oacute;n de quienes hab&iacute;an participado el a&ntilde;o pasado. Estas personas reafirman su compromiso de bailar. Ellos dicen &ldquo;estoy comprometida&rdquo; o &ldquo;estoy comprometido a bailar&rdquo; y es as&iacute; como confirman su participaci&oacute;n.</p>\n\n<p>El aporte en dinero o alimentos que se da al Cabildo para la realizaci&oacute;n de las fiestas, se consideran ayudas, no es el compromiso. Es el aporte por residir en el barrio y asumir las normativas del Cabildo.</p>\n\n<p>En todas las actividades el compromiso es primordial para contar con la participaci&oacute;n de las personas cada a&ntilde;o, puede ser durante tres a&ntilde;os como los bailarines y personajes principales de las danzas. Son de forma permanente los que representan a las parcialidades, como son los m&uacute;sicos, tambi&eacute;n en este grupo est&aacute;n los que dirigen, que son los presidentes de cada danza, est&aacute;n los Mayordomos, los Ap&oacute;stoles, los Doctrineros, las Abadesas, estos roles son de por vida.</p>\n\n<p>Ir a las visitas en todas las danzas es c&oacute;mo cumplir una penitencia ya que los bailarines se cansan, son muchas las invitaciones a las que hay asistir y los recorridos son largos y ese cansancio es la penitencia y la motivaci&oacute;n para seguir. El compromiso implica cumplir con la palabra dada y hacerlo de cualquier manera, sea donde la persona se encuentre, debe volver al Cabildo para cumplir con el compromiso. El compromiso se extiende a las autoridades del Directorio del Cabildo, ellos en representaci&oacute;n de la comunidad, deben su compromiso a la comunidad, a sus antepasados y la creencia en Dios.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LAS AUTORIDADES DEL DIRECTORIO DEL CABILDO</strong></p>\n\n<p>Las autoridades del Cabildo est&aacute;n completas este a&ntilde;o, con la incorporaci&oacute;n de nuevos roles. Aunque falta uno, no es un problema importante, la mayor&iacute;a apoya al Corregidor, por lo cual fue reelegido. La estructura de autoridades del Cabildo se compone del Corregidor, Capit&aacute;n Grande, Cacique, Alcalde, Juez de Paz, Juez de Justicia, Intendente, Albacea y 12 Comisarios. Los comisarios, en particular, son 12 y act&uacute;an como las manos del corregidor.</p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo es percibido por la comunidad como una instituci&oacute;n seria y respetada, por los cual deben seguir las normas y costumbres de los abuelos.</p>\n\n<p>El Alcalde del Cabildo tiene un papel importante en la gesti&oacute;n de recursos y coordinaci&oacute;n durante las festividades. Su responsabilidad incluye distribuir adecuadamente los v&iacute;veres y alimentos solicitados por el corregidor, coordinar con los presidentes de las danzas para cubrir sus necesidades, y asegurarse de que todo se realice sin contratiempos. Act&uacute;a como el brazo derecho del corregidor, movi&eacute;ndose activamente para garantizar que no falte nada y, en caso necesario, gestionando recursos adicionales, &eacute;l es acompa&ntilde;ado de los comisarios.</p>\n\n<p>Antes el corregidor era bendecido por un corregidor viejo y antiguo no era por un cura o un sacerdote, era la costumbre antiguamente. Ellos siguen las costumbres de sus abuelos, ellos entienden que Jes&uacute;s no ten&iacute;a iglesia, no predicaba en una iglesia. &nbsp;En uno de los pasajes de la vida de Jes&uacute;s, &eacute;l saca a los comerciantes de un templo. La ley can&oacute;nica es de la iglesia pero Jes&uacute;s no tiene iglesia &eacute;l mand&oacute; a predicar, en las escrituras se conoce que Pedro fund&oacute; la iglesia pero lo que se entiende es que fund&oacute; la iglesia en el coraz&oacute;n. La iglesia est&aacute; en uno mismo.</p>\n\n<p>El Cabildo desde el a&ntilde;o 2012 se ha desconcentrado porque en el sitio donde est&aacute; actualmente ya no hab&iacute;a lugar para albergar a m&aacute;s personas. Los residentes salen a vivir en el barrio 27 de Mayo y en el barrio Pedro Ignacio Muiba, aunque residen en estos sitios, no dejaron de coordinar con el Cabildo. Las invitaciones se concentran en estos lugares.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>EL BANQUETE</strong></p>\n\n<p>La comida que se prepara tiene un sentido ritual, se denomina <em>Charuji Paraakano</em> comida de las autoridades. La preparaci&oacute;n es similar a la comida de los Ap&oacute;stoles en Semana Santa. Los ingredientes son arroz y pollos machos criollos.</p>\n\n<p>Los pollos reciben un tratamiento ritual y la persona que lo realiza tiene experiencia en ello. Antes de matarlos se hace un rezo y se bendice los alimentos que ser&aacute;n preparados. Posteriormente se habla a los pollos para que lleven volando al cielo las encomendaciones. Se les habla de la misma manera y se les lleva encargos antes de su sacrificio, ya que se considera que son mensajeros que llegan ante Dios y transmiten sus palabras. Se destaca que el gallo, en particular, es considerado un &aacute;ngel,&nbsp; porque estuvo presente cuando Pedro niega a Jes&uacute;s.</p>\n\n<p>Se matan asfixi&aacute;ndolos, no pueden ser cortados y las v&iacute;sceras se sacan haciendo un peque&ntilde;o corte. Se hacen hervir enteros en agua, debe cocer durante un tiempo ya que son pollos criollos y su carne es dura. La preparaci&oacute;n no lleva aceite, condimentos. En los platos de las autoridades, al igual que la comida de los Ap&oacute;stoles, se puede poner cu&ntilde;ape, pan de arroz, queso.</p>\n\n<p>En la preparaci&oacute;n de platos, predominan los pollos machos, siendo raras las ocasiones en que se incluyen gallinas. Si hay gallinas en el plato se sirve una gallina y un pollo. Se eligen pollos machos porque el Directorio de las autoridades, a&ntilde;os anteriores solo eran varones en todos los cargos, para seguir con la tradici&oacute;n la comida se prepara de esa manera, aunque ahora hay mujeres en el Directorio.</p>\n\n<p>Esta comida es ritual porque no solo comen las autoridades nombradas, en la bendici&oacute;n se nombra a las autoridades pasadas para que coman tambi&eacute;n. Ellos est&aacute;n presentes, Eduardo Yuco Capit&aacute;n Grande y Doctrinero, asegura que las almas de las autoridades que han fallecido est&aacute;n presentes en esp&iacute;ritu. Elida Noza afirma que en esta comida los esp&iacute;ritus de los difuntos dejan su esencia y al comerla es muy sabrosa, uno no se cansa de comerla.</p>\n\n<p>Recordar que el banquete es un s&iacute;mbolo de uni&oacute;n con la comunidad, las autoridades elegidas, las autoridades pasadas y con la cultura y religiosidad.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c533891f-d44c-4616-8130-81b87a070d65", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "4fdee2ad-a77d-4951-a884-239cc96edb1c", "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "bc3f806a-6e5c-40a4-ace7-fe0bbc262111"}, {"data": {"d691d91e-d3e5-11ee-a8c9-b13f60624ac2": [{"inverseOntologyProperty": "", "ontologyProperty": "", "resourceId": "e78ca9b7-a961-4fe8-a101-b7586e69a275", "resourceXresourceId": "d3092531-267d-474c-b36c-c1802d1e7df3"}]}, "nodegroup_id": "2eef1f82-d3e5-11ee-a8c9-b13f60624ac2", "parenttile_id": "4fdee2ad-a77d-4951-a884-239cc96edb1c", "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "4315a098-611a-4feb-8e4e-50bbd20af191"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "b99f595b-2cda-4937-9803-f6ee0aaaee8a"}], "2984c167-857c-11ee-a653-53ebd0470963": "bc9095da-c024-42d5-a9f5-41606dd36ef8", "2984c168-857c-11ee-a653-53ebd0470963": "2024-03-05"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "60ca5deb-21c6-4d87-aa5b-55bf7fc190f4", "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "6850ddce-cbc9-4bb3-bb84-d0ccac1c7c22"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de la presentaci&oacute;n de la autoridades el primero de enero, proviene de la epoca colonial, cuando se establecen los Cabildos ind&iacute;genas bajo la forma de vida que instauraron los jesuitas. El cambio de autoriades se realiza anualmente bajo la forma del consenso comunitario. Desde entonces la presentaci&oacute;n se realiza en la iglesia, en el caso del Cabildo de la Sant&iacute;sima Trinidad se realiza en la iglesia de la Catedral. este espacio permite que la ciudadania de la ciudad de Trinidad conozca la tradici&oacute;n de los indigenas del Cabildo y haga un reconocimiento de la sociedad.&nbsp;&nbsp;</p>\n\n<p>Por motivos totalmente ajenos a la pr&aacute;ctica cultural y la tradici&oacute;n del ejercicio de autoridades del Cabildo, esta presentaci&oacute;n ha sido limitada en la Catedral. Raz&oacute;n que hace, que esta celebraci&oacute;n se realice exclusivamente en la iglesia del Cabildo con la presencia de la comunidad residente del lugar.&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "4fdee2ad-a77d-4951-a884-239cc96edb1c", "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "7f8c3ef0-57c5-4b69-a792-5987ba7f9189"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Existen tres aspectos que se consideran elementos negativos para la pr&aacute;ctica cultural.</p>\n\n<p>Primero, es la influencia politica que limita el acceso del Cabildo para realizar sus pr&aacute;cticas culturales en la Catedral. Se deberecordar que historicamente los Cabildos tienen base religiosa, por tanto sus celebraciones tienen referente iglesias. El Gran Cabildo Indigena de la Sant&iacute;sima Trinidad por la historia de su asentamiento en la ciudad de Trinidad desde el siglo XVII cuando la Catedral era una iglesia de construcci&oacute;n de adobe y chuchio. Esta historia atribuye que sus tradiciones religiosas se dirigan siempre a la Catedral. El limitado acceso a este espacio ha restringido sus pr&agrave;cticas culturales. Actualmente se experimenta transformaciones al realizar sus expresiones en la iglesia propia. Lo que hace que la Catedral tambien se vea debilitada por la ausencia de estas tradiciones de contenido hist&oacute;rico cultural religioso.&nbsp;</p>\n\n<p>Segundo, es la falta de recursos para la compra de elementos necesarios para realizar una actividad cultural. Es el caso de la preparaci&oacute;n de banquetes, es un tipo de comida de contenido ritual que debe ser elaborado con ciertos tipos de alimentos. Aunque la existencia de estos alimentos se puede encontrar en el mercado, la falta de recursos hace dificil su adquisici&oacute;n por la erogacion de dinero que significa. Existen aportes de la comunidad pero siempre es escaso.&nbsp;</p>\n\n<p>Tercero, mantener el Compromiso. Este valor a las acciones de los miembros de la comunidad del Cabildo diviene en la presencia de ni&ntilde;os, ni&ntilde;as, adolescentes, jovenes, adultos en las pr&aacute;cticas culturales. La participaci&oacute;n de la comunidad es primordial en el reconocimiento y apropiaci&oacute;n de la expresi&oacute;n. En el Cabildo la participaci&oacute;n es masiva en una pr&aacute;cticas y en otras no tanto.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "4fdee2ad-a77d-4951-a884-239cc96edb1c", "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "08a676b9-2d73-46bf-bb17-287701b0863c"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Por intermedio de la realizaci&oacute;n de una pr&aacute;ctica cultural se puede transmitir conocimientos y saberes respectos de una actividad. Se denomina tambi&eacute;n transmisi&oacute;n intergeneracional de conocimientos. La celebraci&oacute;n&nbsp; de la presentaci&oacute;n de nuevas autoridades del Cabildo reune a la comunidad. Previamente las autoridades fueron elegidas yratificadas a principios del mes de diciembre. Dado que esta celebraci&oacute;n es parte del calendariode actividades tradicionales del Cabildo, toda la poblaci&oacute;n lo conoce y asiste. Al asistir es posible transmitir esta pr&aacute;ctica e identificar a las autoridades que los representar&aacute;n durante un a&ntilde;o y el significado que implica para toda la comunidad.&nbsp;"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "4fdee2ad-a77d-4951-a884-239cc96edb1c", "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "fa2ccc4e-caef-4bc8-8ed5-878867f921a6"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se expresa en cuatro aspectos:  Historia. Los Cabildos ind\u00edgenas tienen historia colonial de educaci\u00f3n religiosa que se expresa en todos los aspectos de la vida. Los Cabildos fueron organizados con la tarea de organizar el trabajo en las misiones, en los centros agr\u00edcolas, ganaderos, artesanales y talleres. Asumieron el rol de organizar las fiestas religiosas y de hacer cumplir las normas de convivencia. Fue el padre Diego Francisco Altamirano quien ordena Cabildos en las misiones donde realizaba visitas en el a\u00f1o 1700.  Religi\u00f3n. Dado que la creaci\u00f3n de los Cabildo se ejerce en el \u00e1mbito religioso de las misiones, esta forma de vida ha trascendido los siglos y las generaciones. Tienen en ejercicio representantes que educan en la doctrina cat\u00f3lica, son los doctrineros y las abadesas. La expresi\u00f3n de su religi\u00f3n se manifiesta en las fiestas religiosas del calendario lit\u00fargico. La vida del Cabildo, sus danzas, cantos, rezos se desenvuelven en torno a la religi\u00f3n.  Organizaci\u00f3n. Las autoridades del Cabildo tienen la responsabilidad de organizar las fiestas religiosas con ayuda de representantes que cumplen roles espec\u00edficos en cada fiesta religiosa. Las tareas principales del Cabildo se concentran en ellas.  Compromiso. Es un valor y normativa del Cabildo que demanda el cumplimiento de roles y actividades de los habitantes del Cabildo. Es irrompible porque el compromiso se eleva a los santos y las santas y al Cabildo.  Son elementos fuertes de las fortalezas del Cabildo."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "4fdee2ad-a77d-4951-a884-239cc96edb1c", "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "2f7f77d9-2bad-4731-b99b-7f8e520a0d57"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "8bde582e-81f6-4842-b59b-5d720e96069d"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "db2b74ed-13b1-449f-946c-2e65e78b7164", "resourceXresourceId": "ebeee378-2a98-457a-b882-f78ed23a9117"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "8bde582e-81f6-4842-b59b-5d720e96069d", "provisionaledits": null, "resourceinstance_id": "803f640b-abde-45c0-9c78-acb38cefcff7", "sortorder": 0, "tileid": "8e0350c0-941d-4723-aca5-155c308886eb"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:19.562", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000032, "}, "es": {"description": "Bebida de jengibre de la Danza del Santo Barco- Gran Cabildo Indigenal de la Sant\u00edsima Trinidad. 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Ciudad Trinidad Beni"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": null}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "9bb7cddc-fa34-48d1-ba4d-1dd00de48211"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La preparaci&oacute;n no ha cambiado puesto que los ingredientes se pueden adquirir en el mercado. Claro, anteriormente era intercambiado o proporcionado por las parcialidades que cultivaban jengibre. Elemento que era traido por el rio en canoas para la fiesta del Santo Barco.&nbsp;</p>\n\n<p>El recipiente en el cual era distribuido a los bailarines, musicos y personas que acompa&ntilde;an, todos adultos, se invitaba en un recipiente de ceramica con el uso de tutumas. Hoy se usa botellas pet como recipientes y vasos desechables.&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "be1ab3da-64c6-4cf0-9027-0072d4e18618", "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "a9c90a55-dc15-4d87-a0c9-679eccd12182"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "be1ab3da-64c6-4cf0-9027-0072d4e18618"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La bebida es preparada no solamente para la Danza del Santo Barco, por sus propiedades curativas se prepara cuando es necesario. Durante el periodo de la cuarentena durante la Pandemia del Covid-19, fue muy ampliamente consumida en el Cabildo Ind\u00edgena. Tienen propiedades curativas para la tos, fiebre, resfr\u00edo. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "be1ab3da-64c6-4cf0-9027-0072d4e18618", "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "02d780aa-c847-439c-bf86-8970f69c4044"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La preparaci&oacute;n de esta bebida necesita ingredientes el jengibre primordialmente, este elemento se encuentra a disposici&oacute;n en el mercado. Los precios pueden ser un aspecto que lleve a no prepararlo y reducir su consumo, situaci&oacute;n que lleva la atenci&oacute;n limitada de la salud de las enfermedades como tos, fiebre, resfr&iacute;o. Aunque hay un centro de salud pr&oacute;ximo, no tienen a disposici&oacute;n las medicinas, las que deben ser compradas, considerando los escasos recursos de los comunarios del Cabildo, se hace inaccesible. El tratamiento con medicina tradicional es la m&aacute;s recurrente.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "be1ab3da-64c6-4cf0-9027-0072d4e18618", "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "4d13c951-4318-4216-ac3c-05029c0fec03"}, {"data": {}, "nodegroup_id": "2eef1f82-d3e5-11ee-a8c9-b13f60624ac2", "parenttile_id": "be1ab3da-64c6-4cf0-9027-0072d4e18618", "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "3c2c0aaa-29ee-4952-95d2-e778752698f1"}, {"data": {"d691d91e-d3e5-11ee-a8c9-b13f60624ac2": null}, "nodegroup_id": "d691d91e-d3e5-11ee-a8c9-b13f60624ac2", "parenttile_id": "3c2c0aaa-29ee-4952-95d2-e778752698f1", "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "f4d9836a-82f1-4220-ae07-13363ddc7e52"}, {"data": {"38fdf22a-d2ad-11ee-9bd3-55ef88b37b94": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>BEBIDA DE JENGIBRE DEL SANTO BARCO</strong></p>\n\n<p>Es una costumbre tomar la bebida de jengibre, durante todos los d&iacute;as que se lleva a cabo la fiesta del Santo Barco.</p>\n\n<p>En los lugares de invitaci&oacute;n se acostumbra a preparar una bebida compuesta de jengibre y alcohol. Esta bebida es tradicional, solo se prepara para esta celebraci&oacute;n. Siendo una bebida alcoh&oacute;lica, solo lo consumen las personas mayores y los j&oacute;venes con m&aacute;s de 30 a&ntilde;os, para ello se prev&eacute;n refrescos.</p>\n\n<p>Se prepara con un cuarta libra de jengibre, lavar y cortar en trozos, se hace licuar con agua en una licuadora. Pasar el licuado por una tela tres veces. Cuando ya se tiene un l&iacute;quido puro se agrega alcohol una copita. Esta lista para ser tomada e invitar.</p>\n\n<p>Durante la pandemia esta bebida era tomada para no enfermar con el Covid-19, toda la familia tomaba cada d&iacute;a al dormir y cuando regresaban de la calle.</p>\n\n<p>La familia Noza del actual Corregidor, su esposa y su hijo atend&iacute;an a las familias del Cabildo, cuando enfermaban, proporcionaban esta bebida y al regresar a su casa la tomaban tambi&eacute;n. Por esta raz&oacute;n todos los comunarios reconocen esta bebida como cura para enfermedades.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "ba96b762-840c-11ee-8c86-0f5288d73f98": ["bedc56ba-24f7-4000-b9ca-36e2b5e6ae18"]}, "nodegroup_id": "ba96b762-840c-11ee-8c86-0f5288d73f98", "parenttile_id": "be1ab3da-64c6-4cf0-9027-0072d4e18618", "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "138a903b-da8b-4c68-a25f-8d6964888cfc"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Durante la representaci&oacute;n de la danza del Santo Barco que son 3 dias, la bebida se prepara en la residencia familiar. La preparaci&oacute;n es conocida por los adultos y se transmite dentro de la familia y entre amigos.&nbsp;"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "be1ab3da-64c6-4cf0-9027-0072d4e18618", "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "8aee7a94-214d-4643-9311-932e3fe54744"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "91840fe8-d047-40e8-901a-53f441447542"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "fec2d55e-bf26-4b18-b12c-989b772b3c6f", "resourceXresourceId": "717399f2-1927-4153-95ba-77d8ce779d92"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "91840fe8-d047-40e8-901a-53f441447542", "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "46bb3bf2-2a4d-4b09-8bb1-2f40e82670ce"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "de0589ab-3344-4852-80b3-676e6a4256a9"}], "2984c167-857c-11ee-a653-53ebd0470963": "bc9095da-c024-42d5-a9f5-41606dd36ef8", "2984c168-857c-11ee-a653-53ebd0470963": "2024-03-05"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "289759bf-fe0f-462f-8b79-c32d1996ad4f", "provisionaledits": null, "resourceinstance_id": "9dcc82ba-bd6c-4d38-9584-7b8642e554a1", "sortorder": 0, "tileid": "7473295e-ca10-4d61-bea1-57698445b1bb"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:19.176", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000021, "}, "es": {"description": "Loreto. 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Idioma Loretano"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4c3e9235-31ca-48a8-80fa-64789c69e064", "sortorder": 0, "tileid": "e65bbd44-7eba-4807-ae9f-3dbe8d442f6d"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4c3e9235-31ca-48a8-80fa-64789c69e064", "sortorder": 0, "tileid": "52624fb2-29ba-4820-8b0f-ef8a5669005d"}, {"data": {}, "nodegroup_id": "2eef1f82-d3e5-11ee-a8c9-b13f60624ac2", "parenttile_id": "52624fb2-29ba-4820-8b0f-ef8a5669005d", "provisionaledits": null, "resourceinstance_id": "4c3e9235-31ca-48a8-80fa-64789c69e064", "sortorder": 0, "tileid": "c2618671-9f00-48fa-99eb-156c7dccc193"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>El Idioma Loretano</strong></p>\n\n<p><strong>Valor para la poblaci&oacute;n</strong></p>\n\n<p>El idioma loretano es una manifestaci&oacute;n precolonial que constituye un elemento clave de identidad para la poblaci&oacute;n de Loreto. Su valor radica en que es el medio a trav&eacute;s del cual se rememoran cuentos, canciones, actos religiosos y festivos, as&iacute; como conocimientos tradicionales sobre medicina y alimentaci&oacute;n. Su uso diario permiti&oacute; que las generaciones se reconocieran como parte de un pueblo con cultura e historia antigua, fortaleciendo el sentido de pertenencia comunitaria.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Situaci&oacute;n de los hablantes</strong></p>\n\n<p>En la actualidad, en la poblaci&oacute;n de Loreto solo una persona habla el idioma loretano, Rom&aacute;n Ojara. Su hija, la profesora Piedad Ojara, entiende el idioma y sabe escribirlo. En un esfuerzo por preservarlo, en el pasado logr&oacute; reunir cien palabras en loretano y las plasm&oacute; en dos textos, sin embargo, estos documentos se perdieron y desde entonces la profesora no ha vuelto a escribir sobre el tema.</p>\n\n<p>Adem&aacute;s, Elva Conorio, otra pobladora de Loreto, conserva en su memoria canciones en loretano utilizadas en la celebraci&oacute;n de la Virgen Peregrina, pero desconoce el significado de las letras, lo que evidencia la p&eacute;rdida progresiva de la lengua en su contexto original.</p>\n\n<p>El Instituto de Idioma Moxe&ntilde;o Trinitario ha desarrollado investigaciones en Loreto determinando que no existen hablantes activos del idioma loretano. Si bien se han identificado palabras con variantes del moje&ntilde;o trinitario, el idioma loretano no se ha conservado en su totalidad.</p>\n\n<p>Ante esta realidad, el Instituto ha promovido acciones para la ense&ntilde;anza del idioma moje&ntilde;o trinitario, con el objetivo de fortalecer el uso de lenguas ind&iacute;genas en la regi&oacute;n y evitar que desaparezcan.</p>\n\n<p>La p&eacute;rdida del idioma loretano representa la desaparici&oacute;n de una parte esencial del patrimonio cultural de Loreto, sigue vivo en la memoria oral de la comunidad.</p>\n\n<p>En la base de datos se puede encontrar archivos con palabras en loretano y sus significados.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["d2a24278-85f8-422d-85c6-24e4009f191f"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "52624fb2-29ba-4820-8b0f-ef8a5669005d", "provisionaledits": null, "resourceinstance_id": "4c3e9235-31ca-48a8-80fa-64789c69e064", "sortorder": 0, "tileid": "583e94e1-90b3-4771-a135-ecb40ed98549"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El idioma loretano, como muchos otros idiomas ind&iacute;genas, ha sido transmitido principalmente a trav&eacute;s de la tradici&oacute;n oral. Este mecanismo de transmisi&oacute;n ha permitido que las generaciones pasadas compartieran su conocimiento cultural, incluyendo cuentos, canciones y saberes sobre medicina y alimentaci&oacute;n. Las personas mayores, como Rom&aacute;n Ojara y Elva Conorio, han sido guardianes de este saber, conservando en su memoria las canciones y las palabras del idioma, a pesar de que la p&eacute;rdida de hablantes activos ha limitado su preservaci&oacute;n. Este modo de transmisi&oacute;n, aunque eficaz en tiempos pasados, enfrenta grandes desaf&iacute;os hoy en d&iacute;a, ya que la fragmentaci&oacute;n del conocimiento y la ausencia de registros escritos dificultan la continuidad de este patrimonio.</p>\n\n<p>&nbsp;</p>\n\n<p>Con la disminuci&oacute;n de hablantes y la desaparici&oacute;n de documentos clave, como los textos escritos, se evidencian las brechas en los mecanismos de transmisi&oacute;n del idioma loretano. A pesar de los esfuerzos del Instituto de Idioma Moxe&ntilde;o Trinitario, la situaci&oacute;n actual muestra la fragilidad de las lenguas ind&iacute;genas en un contexto de globalizaci&oacute;n y homogeneizaci&oacute;n cultural. La transmisi&oacute;n del loretano est&aacute; ahora limitada a la memoria oral, lo que subraya la urgencia de generar nuevos espacios de aprendizaje y documentaci&oacute;n para evitar su desaparici&oacute;n. As&iacute;, la preservaci&oacute;n del idioma requiere de iniciativas activas que combinen la revitalizaci&oacute;n de la memoria oral con el uso de tecnolog&iacute;as y m&eacute;todos educativos para garantizar que las futuras generaciones puedan acceder y apropiarse de este invaluable conocimiento cultural.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "52624fb2-29ba-4820-8b0f-ef8a5669005d", "provisionaledits": null, "resourceinstance_id": "4c3e9235-31ca-48a8-80fa-64789c69e064", "sortorder": 0, "tileid": "4fb86fd9-fb9c-440a-a56e-9bb94215f2cf"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las posibles transformaciones de la oralidad del idioma loretano se manifiestan en la transici&oacute;n de una pr&aacute;ctica vivida a una memoria fragmentada. La oralidad, tradicionalmente, ha sido el pilar para la transmisi&oacute;n del idioma, pero con la p&eacute;rdida de hablantes activos y la falta de registros escritos, se corre el riesgo de que las canciones y las historias se conviertan en fragmentos de una lengua en desuso. Las canciones, como las que recuerda Elva Conorio, pueden perder su significado original debido a la desconexi&oacute;n generacional y el deterioro de la comprensi&oacute;n ling&uuml;&iacute;stica, lo que lleva a una desvirtuaci&oacute;n del contexto cultural y simb&oacute;lico en el que el idioma loretano florec&iacute;a. Este fen&oacute;meno refleja una transformaci&oacute;n de la oralidad: de una pr&aacute;ctica comunitaria rica en significados a una transmisi&oacute;n incompleta y descontextualizada.</p>\n\n<p>&nbsp;</p>\n\n<p>Si bien se conserva en la memoria de personas como Rom&aacute;n Ojara y su hija Piedad, este conocimiento se encuentra limitado a un c&iacute;rculo peque&ntilde;o y vulnerable. Sin la intervenci&oacute;n activa de m&eacute;todos educativos o el uso de herramientas tecnol&oacute;gicas que preserven la lengua en formatos accesibles y did&aacute;cticos, la oralidad del idioma loretano corre el riesgo de extinguirse. La falta de j&oacute;venes que se identifiquen como hablantes o guardianes de este idioma dificulta su transmisi&oacute;n continua. As&iacute;, la lengua pasa de ser una vivencia cotidiana a convertirse en un vestigio de la historia, que solo sobrevive en los recuerdos de unos pocos, a menos que se adopten estrategias que integren la oralidad en el presente, con el uso de tecnolog&iacute;a y la inclusi&oacute;n del idioma en los &aacute;mbitos educativos y culturales locales.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "52624fb2-29ba-4820-8b0f-ef8a5669005d", "provisionaledits": null, "resourceinstance_id": "4c3e9235-31ca-48a8-80fa-64789c69e064", "sortorder": 0, "tileid": "87961bb9-4087-419e-a570-684f034340b6"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El idioma loretano enfrenta riesgos significativos que amenazan su continuidad, siendo el principal la p&eacute;rdida de hablantes activos. Con la desaparici&oacute;n progresiva de quienes a&uacute;n conservan fragmentos de la lengua, como Rom&aacute;n Ojara y Elva Conorio, el conocimiento oral se encuentra en peligro inminente de extinci&oacute;n. La falta de transmisi&oacute;n intergeneracional agrava esta situaci&oacute;n, ya que las nuevas generaciones no han aprendido ni utilizan el idioma en su vida cotidiana. Sin un uso activo en la comunidad, el loretano deja de ser una herramienta de comunicaci&oacute;n funcional y se reduce a un vestigio cultural sin contexto vivo, lo que lo coloca en una situaci&oacute;n de vulnerabilidad extrema.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza crucial es la ausencia de registros sistem&aacute;ticos y estrategias de revitalizaci&oacute;n espec&iacute;ficas para el idioma loretano. Aunque en alg&uacute;n momento existieron documentos escritos por Piedad Ojara, su p&eacute;rdida ha significado una brecha en la preservaci&oacute;n del idioma. La falta de una iniciativa institucional enfocada en la documentaci&oacute;n y ense&ntilde;anza del loretano impide que la comunidad y los investigadores trabajen en su rescate. Adem&aacute;s, el avance de lenguas predominantes como el espa&ntilde;ol y el moje&ntilde;o trinitario en la regi&oacute;n ha desplazado al loretano, limitando a&uacute;n m&aacute;s su uso y reconocimiento. Sin acciones concretas para su recuperaci&oacute;n, el idioma corre el riesgo de desaparecer definitivamente, llev&aacute;ndose consigo una parte esencial del patrimonio cultural de Loreto.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "52624fb2-29ba-4820-8b0f-ef8a5669005d", "provisionaledits": null, "resourceinstance_id": "4c3e9235-31ca-48a8-80fa-64789c69e064", "sortorder": 0, "tileid": "d550ba99-d9ca-46bc-a33c-d6bbee1f1308"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "A pesar de la cr\u00edtica situaci\u00f3n del idioma loretano, a\u00fan existen fortalezas que permiten su posible revitalizaci\u00f3n. Una de ellas es la memoria oral conservada por personas como Rom\u00e1n Ojara, su hija Piedad y Elva Conorio, quienes a\u00fan recuerdan palabras, canciones y estructuras ling\u00fc\u00edsticas de la lengua. Esta memoria, aunque fragmentada, representa una fuente valiosa para la reconstrucci\u00f3n y documentaci\u00f3n del idioma. Adem\u00e1s, el hecho de que Piedad Ojara haya logrado escribir palabras en loretano en el pasado demuestra que existe una base para la recuperaci\u00f3n del idioma, siempre que se implementen estrategias adecuadas de preservaci\u00f3n y ense\u00f1anza. Su conocimiento escrito podr\u00eda servir de referencia para futuras investigaciones y proyectos de revitalizaci\u00f3n ling\u00fc\u00edstica.  Otra fortaleza del idioma loretano es el inter\u00e9s de instituciones como el Instituto de Idioma Moxe\u00f1o Trinitario en la preservaci\u00f3n de lenguas ind\u00edgenas en la regi\u00f3n. Si bien su trabajo se ha centrado en el moje\u00f1o trinitario, la existencia de palabras con variantes en este idioma sugiere posibles puntos de conexi\u00f3n con el loretano, lo que podr\u00eda facilitar su estudio y revitalizaci\u00f3n. Adem\u00e1s, la generaci\u00f3n de archivos con palabras en loretano y sus significados constituye un recurso clave para la recuperaci\u00f3n ling\u00fc\u00edstica, ya que permite que investigadores, educadores y miembros de la comunidad accedan a registros que podr\u00edan servir como base para la ense\u00f1anza y difusi\u00f3n del idioma. Estas fortalezas, si se combinan con estrategias de documentaci\u00f3n y educaci\u00f3n, pueden contribuir a evitar la desaparici\u00f3n total del idioma loretano y fomentar su reintroducci\u00f3n en la vida comunitaria."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "52624fb2-29ba-4820-8b0f-ef8a5669005d", "provisionaledits": null, "resourceinstance_id": "4c3e9235-31ca-48a8-80fa-64789c69e064", "sortorder": 0, "tileid": "b03b0b40-1959-4d5d-89a6-c57d3aae13e1"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "fbb7a0c3-75d5-46ee-a5c3-9e8d0a39491d"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2025-02-26"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "4e58feee-70cd-41df-9612-eee7dd852d58", "provisionaledits": null, "resourceinstance_id": "4c3e9235-31ca-48a8-80fa-64789c69e064", "sortorder": 0, "tileid": "d14f3b9d-9ea1-4d4c-9aaa-3a17b6cf3f3f"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.75967878440275, -15.1939155062135], "type": "Point"}, "id": "2f49b72311c83dfdc0d1b4eb7474aaea", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "230359b9-1b01-4cea-881d-e54daf949019", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080601', 'num': '000005'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4c3e9235-31ca-48a8-80fa-64789c69e064", "sortorder": 0, "tileid": "456857e0-701c-4b26-b7ec-7a4f47a59db6"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:32.334", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000033, "}, "es": {"description": "Santo Barco - Gran Cabildo Indigenal de la Sant\u00edsima Trinidad. 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Ciudad Trinidad Beni"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": null}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5008f0cb-0192-4c93-ab54-24c416d726f8", "sortorder": 0, "tileid": "cab80fcd-35ac-43de-9d4f-7fd688e85289"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5008f0cb-0192-4c93-ab54-24c416d726f8", "sortorder": 0, "tileid": "db5636d2-fa27-4762-b689-f4940cd68a7e"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>HISTORIA </strong></p>\n\n<p>La danza del barco en Trinidad tiene su origen en la visita de un grupo de brasile&ntilde;os que llegaron a adorar al ni&ntilde;o. No llegaron al 24 de diciembre porque su traves&iacute;a por el r&iacute;o Mamor&eacute; era una ruta distante. Al igual que a los Reyes Magos tuvieron la noticia del nacimiento de un rey, por ello tambi&eacute;n ellos quer&iacute;an conocerlo. Ellos llegan aproximadamente en la fecha del bautismo de Jes&uacute;s, son tiempos distintos pero en fechas casi eran coincidentes. Ya que navegan por el r&iacute;o al llegar al desierto, toman el barco para construir un carret&oacute;n y como no hab&iacute;a animales que puedan jalarlo, recurren a la tripulaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Existen varias versiones sobre qui&eacute;nes eran este grupo de brasile&ntilde;os. Esta el dato de Lizandro Pe&ntilde;arrieta, quien relata que en 1913 lleg&oacute; a Trinidad en una embarcaci&oacute;n, adoraron al ni&ntilde;o Jes&uacute;s y luego regresaron por el r&iacute;o Itenez. Lizandro Pe&ntilde;arrieta reflexiona al respecto y recuerda que en su traves&iacute;a por el rio Itenez, en calidad de militar hace varios a&ntilde;os, &eacute;l es ex militar de la Naval. En la localidad Sorpresa por la regi&oacute;n Costa M&aacute;rquez, sitio brasile&ntilde;o frontera con Bolivia, vio en esta localidad un grupo de personas que se embarcaban en un bote eran personas con atuendos muy parecidas a los personajes de la danza El Barco de Trinidad. Ellos navegaban en tiempo de navidad con santo, un ni&ntilde;o en un bote a remo y motor. Los esperaban en las comunidades ribere&ntilde;as. Les daban de comer y beber, segu&iacute;an su traves&iacute;a a otra comunidad. Viajaban por varias comunidades distantes entre s&iacute;, utilizaban el motor de la embarcaci&oacute;n pero cuando ya estaban a una distancia menor a una comunidad utilizaban los remos, como era la tradici&oacute;n. Por otro lado, fue su hermano, ya fallecido, quien aproximadamente por los a&ntilde;os 1980, converso sobre el tema con una persona, Don Jes&uacute;s, &eacute;l viv&iacute;a en la cabecera del arroyo San Juan, actualmente el sector donde se encuentra el Banco UNION. Esta persona le conto que llegaron del Brasil una comitiva en canoa a bailar. Era la &eacute;poca despu&eacute;s del 6 de enero, le dijeron que tardaron en llegar aproximadamente dos meses. Ellos eran morenos, muy morenos, negritos, bailaron y se fueron en la misma canoa. Nunca m&aacute;s se los vio, porque el rio Itenez es muy caudaloso y es una distancia muy larga.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra versi&oacute;n es la de por Rudolf Argando&ntilde;a Rodr&iacute;guez, Director Patrimonio Arte y Cultura del Municipio. &Eacute;l cuenta &nbsp;que esta danza representa la traves&iacute;a de un grupo de que personas que segu&iacute;an la estrella, descubrieron que el ni&ntilde;o ya no estaba en el lugar indicado. Este grupo de personas ten&iacute;an cantos interpretados por las mujeres de doctores. En la declaraci&oacute;n del Director de Patrimonio, la danza del Barco tiene sus ra&iacute;ces en la &eacute;poca de los bandeirantes brasile&ntilde;os. Espec&iacute;ficamente vienen del sitio Pr&iacute;ncipe Forte de Albieria. Estos brasile&ntilde;os ingresaban a la regi&oacute;n, realizaban sus viajes y luego se retiraban, formando parte de la tradici&oacute;n Itonama del Barco en el Beni. Aunque el Beni tiene un calendario cultural diverso de origen jesu&iacute;tico, muchas danzas, como la del Barco, tienen un trasfondo hist&oacute;rico que va m&aacute;s all&aacute; de la influencia jesu&iacute;tica. La danza del Barco hace referencia a la historia de los bandeirantes, que eran brasile&ntilde;os de origen portugu&eacute;s, ten&iacute;an la pr&aacute;ctica de apropiarse de lo ajeno. &Eacute;l dice que a pesar de su origen, estas danzas en la actualidad han adquirido significado cat&oacute;lico. En comparaci&oacute;n con los villancicos europeos, la m&uacute;sica ind&iacute;gena fue domesticada por los jesuitas y se crearon otras as&iacute; como la danza de los Reyes Magos, propia de los jesuitas, son elementos distintivos del calendario cristiano en la regi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Julio Mar&iacute;a El&iacute;as Montoya, Monse&ntilde;or de la Catedral, indica que la danza del Barco marca el cierre de las festividades navide&ntilde;as y coincide con el bautismo de Jes&uacute;s, cerrando as&iacute; el ciclo festivo navide&ntilde;o. El Barco representa a aquellos que, en su b&uacute;squeda por encontrar al ni&ntilde;o Jes&uacute;s, se distraen en el camino, ocupados con asuntos comerciales, y al final no logran hallarlo. Esta situaci&oacute;n simboliza el final de la Navidad. Julio Mar&iacute;a indica que el Barco es portugu&eacute;s, marca el momento en el que los portugueses, representados en la danza, intentaban conquistar la regi&oacute;n de los Mojos. La tradici&oacute;n refleja la situaci&oacute;n hist&oacute;rica de los intentos de conquista y las interacciones con los negros brasile&ntilde;os. La representaci&oacute;n del comercio y la b&uacute;squeda sin &eacute;xito del ni&ntilde;o Jes&uacute;s indica el fin de la Navidad, todo ello despu&eacute;s de haber celebrado la Gloria del pueblo de Israel en la Nochebuena y la epifan&iacute;a como luz de las Naciones.</p>\n\n<p>&nbsp;</p>\n\n<p>En el Cabildo Indigenal arguyen que efectivamente esta danza tiene origen portugu&eacute;s, relacionan los nombres de los personajes con su explicaci&oacute;n. La historia de la danza del Barco tiene sus ra&iacute;ces en Portugal y se remonta a la &eacute;poca de la esclavitud francesa. Seg&uacute;n su relato, durante ese tiempo, los &quot;patricios&quot;, eran los esclavos, t&eacute;rmino proveniente de Francia; en cambio las &quot;mariqui&ntilde;as&quot;, tienen origen portugu&eacute;s. Los reyes portugueses introdujeron la tradici&oacute;n, tras el descubrimiento de Am&eacute;rica, fue instalada en Brasil debido a la colonizaci&oacute;n portuguesa.</p>\n\n<p>&nbsp;</p>\n\n<p>De igual manera las declaraciones del Sr. Daniel Yumo y su esposa Julia Solano respecto de la danza El Barco que ellos organizan en el barrio de Pompeya, respaldan el origen portugu&eacute;s. Por lo cual &eacute;l pone la bandera brasile&ntilde;a en el carret&oacute;n. Algunos participantes eligen colocar la bandera boliviana, pero otros, a pesar de ser de Brasil, optan por la bandera verde y una cinta de Bolivia.</p>\n\n<p>La danza del Barco tiene m&aacute;s de 100 a&ntilde;os antiguamente sol&iacute;a ser dirigido por una mujer de 80 a&ntilde;os cuyo esposo era el piloto. En ese entonces, no exist&iacute;an los barrios de Trinidad como Pompeya, F&aacute;tima, El Carmen ni Pedro Ignacio, las calles de la ciudad eran de tierra.</p>\n\n<p>&nbsp;</p>\n\n<p>Originalmente El Barco lleva el nombre de &quot;Dulce Nombre&quot; en honor a una tradici&oacute;n donde los doctores y las reinas cantaron al ni&ntilde;o con ese nombre. Tambi&eacute;n le dicen &ldquo;El dulce amor&rdquo; por el amor expresado al ni&ntilde;o Jes&uacute;s. &nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>El Santo Barco se baila en distintos lugares del departamento de Beni, corresponde a los lugares de herencia de la cultura moxe&ntilde;a trinitaria. Se baila en las comunidades &nbsp;de Santa Rosa, en el Mamor&eacute; en Villa Selva y todas las comunidades asentadas en el r&iacute;o Mamor&eacute;, se baila en el Tipnis otras localidades como San Ignacio de Moxos y en San Pedro de cultura Canichana.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>ORGANIZACI&Oacute;N</strong></p>\n\n<p>La costumbre trinitaria del Barco incluye bailes y oraciones. Los ensayos suelen comenzar despu&eacute;s del 6 de enero, vinculado a la fecha del bautismo de Jes&uacute;s, ya sea un domingo o lunes, para no alejarse mucho de la celebraci&oacute;n de los Reyes Magos, porque es la &uacute;ltima adoraci&oacute;n antes de despedirse, marcando el final de la festividad antes de la llegada del carnaval. La organizaci&oacute;n de la fecha del baile del barco implica la participaci&oacute;n de las autoridades y los organizadores de la danza.</p>\n\n<p>&nbsp;</p>\n\n<p>El encargado del Santo Barco tiene diversas responsabilidades, como coordinar y adornar el carret&oacute;n, organizar a los comisarios para acompa&ntilde;ar al Santo Barco. Los Comisarios son parte del Directorio del Cabildo. Ellos se aseguran de que todo est&eacute; en buenas condiciones, adem&aacute;s deben velar por que los participantes est&eacute;n en orden durante todas las festividades, coordinar la repartici&oacute;n de regalos en la iglesia, si las hay y, en caso de la danza el Barco, garantizar que el carret&oacute;n est&eacute; cuidado y bien estacionado cuando llegan a las invitaciones.</p>\n\n<p>&nbsp;</p>\n\n<p>Cuando llegan a una visita, un grupo de bailadores jalan el carret&oacute;n y al llegar ingresan a la casa, dejando el carret&oacute;n en media calle.&nbsp; Por ello es importante que los comisarios estacionen el carret&oacute;n y lo cuiden hasta que los bailadores terminen su visita. Tambi&eacute;n hay comisarios para acompa&ntilde;ar a los doctores para cuidar que no les falte alimentos y garantizar que los bailadores tengan los trajes necesarios.</p>\n\n<p>&nbsp;</p>\n\n<p>El Barco del barrio Pompeya, durante el primer ensayo nocturno, se elige las reinas, qui&eacute;n estar&aacute; arriba en el carret&oacute;n como reina, qui&eacute;n abajo como una doncella. En el caso del Barco de Pompeya, una de las reinas que tiene un beb&eacute; peque&ntilde;o ser&aacute; reemplazada para evitar entradas y salidas constantes para atenderlo. Se busca hablar con ella y elegir a otra chica soltera para participar en su lugar, ya que las reinas no deben moverse de encima de carret&oacute;n mientras se trasladan a las invitaciones.</p>\n\n<p>&nbsp;</p>\n\n<p>La elecci&oacute;n de los doctores o su permanencia se discute en una reuni&oacute;n de autoridades del Cabildo,&nbsp; con m&uacute;sicos y personas que asumen el personaje. En esa reuni&oacute;n se establecen o se confirman los compromisos tanto de los m&uacute;sicos, y los personajes doctores y reinas. Siempre se les recuerda que detr&aacute;s de la representaci&oacute;n del barco hay una bendici&oacute;n, pues se baila para el ni&ntilde;o Jes&uacute;s nacido. Establecer el compromiso es primordial no solo para el barco, tambi&eacute;n para todas las danzas y los m&uacute;sicos.</p>\n\n<p>&nbsp;</p>\n\n<p>Todos los a&ntilde;os se cuenta con un considerable n&uacute;mero de personas que participan, arriba de 70 personas. Mayormente bailan personas mayores, esposos. No se descarta la presencia de j&oacute;venes y ni&ntilde;os. Ellos pertenecen al grupo de los Patricios y Mariqui&ntilde;as. Toda la comitiva que se traslada de una invitaci&oacute;n a otra suma m&aacute;s de 250 personas, porque est&aacute;n los padres de los ni&ntilde;os y ni&ntilde;as que bailan, se suma a los comisarios, las autoridades de la Directiva del Cabildo, los organizadores, los m&uacute;sicos.</p>\n\n<p>&nbsp;</p>\n\n<p>El Santo Barco se baila el domingo cercano al bautismo de Jes&uacute;s, ocho d&iacute;as despu&eacute;s del 6 de enero. La fecha que cae en domingo ser&aacute; el d&iacute;a del Santo Barco, ser&aacute; en &uacute;nico d&iacute;a de las invitaciones. No sale el lunes a visitas porque las personas que representan a los Patricios deben asistir a sus fuentes laborales o bien algunos j&oacute;venes se comprometen a bailar en el Santo Barco del barrio 27 de Mayo. Esto significa que no podr&aacute;n ir a m&aacute;s invitaciones porque no hay suficientes hombres para jalar el carret&oacute;n. El baile continua en la sede del Cabildo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>PERSONAJES Y VESTIMENTA</strong></p>\n\n<p><strong>Las reinas y los doctores</strong>. Son los personajes principales, son parejas solteras o casadas, est&aacute;n en el carret&oacute;n. Anteriormente se eleg&iacute;a solamente&nbsp; a parejas casadas, &nbsp;a lo largo de los a&ntilde;os ha habido cambios en la participaci&oacute;n, permitiendo que mujeres y hombres solteros &nbsp;participen como reinas y doctores. &nbsp;</p>\n\n<p>Las reinas y doctores bailan durante tres a&ntilde;os, representando los tres clavos que crucificaron al Se&ntilde;or en las manos y los pies. Pasados los tres a&ntilde;os, cuando alguien ya no desea continuar, avisa, y se buscan reemplazos, pero se prefiere mantener el grupo existente, ya que al igual que los cargos de las parcialidades del Cabildo, el cargo de las reinas y los doctores eran de por vida. Hay tres reinas y tres doctores, numero relacionado a las tres representaciones de la Trinidad, Padre, Hijo y Esp&iacute;ritu Santo.</p>\n\n<p>&nbsp;</p>\n\n<p>Los doctores visten de terno y corbata y tienen gafas oscuras, llevan en la cabeza un sombrero vaquero negro. Su funci&oacute;n es vigilar a los bailadores y acompa&ntilde;ar con cantos a las reinas. Se denominan doctores porque sanaban, sab&iacute;an curar las enfermedades. En otra versi&oacute;n, se les llamaba doctores o magos porque ten&iacute;an conocimientos en astrolog&iacute;a, es as&iacute; que llegan a encontrar al ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p>Las reinas visten con vestidos de tipoy, con coronas de flores y cintas de colores sujetas en el cabello, tienen peinados recogidos.</p>\n\n<p>&nbsp;</p>\n\n<p>Dentro del carret&oacute;n est&aacute;n las reinas y sus hijas. Al igual que &nbsp;los reyes portugueses, los doctores &nbsp;llevaban consigo a sus reinas y a sus hijas, son tres ni&ntilde;as de 5 a&ntilde;os, cada una hija de una reina. Las ni&ntilde;as visten igual que las reinas, ellas ten&iacute;an a sus alzadoras o ni&ntilde;eras, una por cada ni&ntilde;a. Las alzadoras visten blusa y falda larga con adornos de flores en la cabeza.</p>\n\n<p>&nbsp;Este a&ntilde;o no hubo participaci&oacute;n de ni&ntilde;as y ni&ntilde;eras.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Las mariqui&ntilde;as</strong>. Son las parejas de los patricios. Se acostumbra a pintar la cara de las Mariqui&ntilde;as de negro haciendo diferencia de las reinas que no se queman del sol porque van dentro del carret&oacute;n, mientras que las Mariqui&ntilde;as van remando y se exponen al sol.</p>\n\n<p>&nbsp;</p>\n\n<p>Se pintan con el carb&oacute;n de las ollas que se usan en el fog&oacute;n. Se mezcla con crema y se pintan la cara. Deben parecer tener un color m&aacute;s oscuro porque las mariqui&ntilde;as ten&iacute;an la piel oscura.</p>\n\n<p>Las mariqui&ntilde;as tienen faldas largas o vestidos largos, con blusas, tienen una pa&ntilde;oleta en los hombros. Adornan su cabeza con flores.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Los Patricios</strong>. Componen la tripulaci&oacute;n del barco, ellos jalan el carret&oacute;n. Tienen un comportamiento jocoso, burl&oacute;n. Representan a los esclavos de los reyes. Los reyes bailaban con elegancia, mientras que los esclavos realizaban un baile m&aacute;s jocoso debido a su falta de educaci&oacute;n. Tienen una forma de hablar muy particular, todos los patricios hablan de la misma manera. Asumir el personaje es cambiar la personalidad por una muy alegre.</p>\n\n<p>&nbsp;</p>\n\n<p>Todos los que quieran participar en la danza pueden hacerlo de patricios o mariqui&ntilde;as. No hay restricci&oacute;n de numero de bailarines de estos personajes, inclusive tambi&eacute;n hay ni&ntilde;os y ni&ntilde;as, personas adulto mayor, aunque no tengan pareja, son mayormente mujeres.</p>\n\n<p>&nbsp;</p>\n\n<p>Los patricios visten de sacos largos, debajo tienen vestidos o faldas a manera de t&uacute;nicas con pantalones. En la cabeza tienen una estructura en forma de cono totalmente cubierta con diferentes materiales, pueden ser de tiras de nylon de colores, con cortadera o poll&oacute;n de plum&oacute;n, de hilachas de bolsas pl&aacute;sticas, de tiras de papel de colores, restos de guirnaldas de navidad, entre otros. En la punta del cono o encima del sombrero tienen un mu&ntilde;eco de diversos tipos, ositos, figuras humanas, p&aacute;jaros, y otros m&aacute;s, siempre tienen la cara cubierta, otros llevan lentes oscuros.</p>\n\n<p>Se piensa que ellos eran esclavos africanos, no se pintan la cara porque ten&iacute;a el cabello crecido y tambi&eacute;n las barbas, por ello los elementos que llevan para cubrir la cabeza y el rostro asemejan el cabello crecido y las barbas. Bailaron de 30 parejas de patricios aproximadamente.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Cocineras</strong>. Hay tres cocineras una para cada reina, est&aacute;n encargadas de preparan chocolate, caf&eacute; con leche, bizcochitos y pancitos. Tienen una caldera para servir y una pailita. Las cocineras eran las madres de las reinas, ellas est&aacute;n encargadas de preparar la comida en peque&ntilde;as raciones. En el pasado, durante el viaje de los reyes, se sol&iacute;an consumir sus provisiones en peque&ntilde;as unidades. Com&iacute;an pan de arroz y t&eacute; en tacitas diminutas para que la comida durara en los trayectos largos.</p>\n\n<p>&nbsp;</p>\n\n<p>Esta tradici&oacute;n de llevar ofrendas peque&ntilde;as a las casas visitadas, como una pailita con elementos peque&ntilde;os, se ha perdido. Actualmente, se destaca la importancia de rescatar esta pr&aacute;ctica que era parte de la cultura del Barco, invitar estos alimentos y bebidas es un gesto simb&oacute;lico y respetuoso a los due&ntilde;os de la casa. Visten como las mariqui&ntilde;as.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El Puntero.</strong> Se ubica en la parte delantera del carret&oacute;n. El carret&oacute;n tienen una tabla larga delante. All&iacute; est&aacute; el puntero y su pareja. Tienen la funci&oacute;n de comunicar al Piloto, personaje que va atr&aacute;s del carret&oacute;n, sobre la proximidad un barranco y lleva la linterna durante la navegaci&oacute;n nocturna. Anteriormente, cuando solo navegaban de d&iacute;a, el puntero tambi&eacute;n desviaba al doblar. El Piloto maneja la direcci&oacute;n con el motor, y en &eacute;pocas sin motor, ambos remaban para cambiar la direcci&oacute;n de la canoa. El puntero viste como un patricio y su pareja como las mariqui&ntilde;as.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El piloto o tronquero. </strong>Es quien maniobra la direcci&oacute;n del barco, o el carret&oacute;n. Se ubica en la parte trasera del carret&oacute;n, tiene su pareja, ellos van parados. El piloto viste como un patricio y su pareja como las mariqui&ntilde;as.</p>\n\n<p>&nbsp;</p>\n\n<p>El tronquero, tambi&eacute;n responsable de levantar el carret&oacute;n para facilitar la retirada de los yugos o maderas que trancan las ruedas del carret&oacute;n. Es esencial que el tronquero tenga la fuerza y equilibrio adecuados para evitar posibles contratiempos, como el vuelco del carret&oacute;n. Se trata de representar el viaje como se navegar&iacute;a en el r&iacute;o.</p>\n\n<p>El puntero y el tronquero son roles importantes en la danza del barco. Mientras el puntero gu&iacute;a y equilibra el barco desde la parte delantera, el tronquero pilotea el carret&oacute;n desde atr&aacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Los &quot;preguntones&quot; o periodistas</strong>. Son individuos que se hacen pasar por periodistas, realizando preguntas capciosas e inc&oacute;modas para intimidar a la gente y hacerlas re&iacute;r. Su papel principal es obtener informaci&oacute;n sobre el lugar y las personas que recibir&aacute;n al Santo barco, en el lugar donde est&aacute;n llegando, actuando como informantes para los Patricios. Acompa&ntilde;an a los estafetas, actualmente se denominan prensa por la similitud de los periodistas al interrogar a las personas. Es un personaje curioso como son los periodistas.</p>\n\n<p>&nbsp;</p>\n\n<p>Visten con vestidos a manera de t&uacute;nicas y pantal&oacute;n debajo. Tienen una c&aacute;mara de video hecha de cart&oacute;n y un micr&oacute;fono, hacen como que filman a la gente y hacen preguntas como lo har&iacute;a un periodista, pueden tener mascas o no.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Estafetas.</strong> Son los encargados de avisar a los due&ntilde;os de la casa de la pr&oacute;xima visita que el Barco est&aacute; llegando. Se adelantan a la comitiva. Est&aacute;n vestidos como los patricios.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El comerciante. </strong>&nbsp;Es alguien que trae diversos objetos, a menudo art&iacute;culos usados o rotos, y ofrece productos naturales como cremas y petos. Por ello se piensa que el barco llego tarde a encontrar al ni&ntilde;o Jes&uacute;s, porque en el camino, estaban comerciando.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>EL CANTO DEL SANTO BARCO</strong></p>\n\n<p>Las reinas son las encargadas de cantar, son 12 estrofas, el tono del canto es m&aacute;s o menos agudo y debe ser fuerte para que pueda ser escuchado. Se canta al ingresar a la catedral y al ingresar a una casa de invitaci&oacute;n. El canto de las reinas son acompa&ntilde;adas por el canto de los doctores, el canto de las mujeres es que debe escucharse m&aacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p>La letra del Santo Barco ha sufrido modificaciones. En cada regi&oacute;n del Beni se canta de diferente manera pero se mantienen similitudes. Yuliana Barba Ayll&oacute;n&nbsp; es una de las reinas del Barco en el barrio Pompeya. Como segunda reina, aprendi&oacute; las dos estrofas al principio con dificultad, pero con pr&aacute;ctica mejor&oacute;. Su voz a veces se cansa de tanto cantar, pero junto con las otras reinas cantan fuerte para que se escuche. El doctor baila y las acompa&ntilde;a en el coro. No tienen m&uacute;sica, cantan y despu&eacute;s la m&uacute;sica comienza como intermedio entre canto y melod&iacute;a. Hay tres melod&iacute;as diferentes que acompa&ntilde;an al canto de las reinas y mientras cantan tambi&eacute;n hay dos momentos de baile.</p>\n\n<p>&nbsp;</p>\n\n<p>El primer momento, cantan en fila de tres, primero los doctores y despu&eacute;s las reinas, el segundo momento cantan al mismo tiempo que bailan en pareja.</p>\n\n<p>&nbsp;</p>\n\n<p>La letra del Santo Barco, inicialmente fue en portugu&eacute;s, ha experimentado cambios a lo largo del tiempo debido a las distintas influencias de corregidores y sus ideolog&iacute;as. Antes, era m&aacute;s extenso con 18 estrofas y predominantemente en portugu&eacute;s. A medida que diferentes corregidores introduc&iacute;an variaciones, el canto se ha adaptado, y ahora consta de 9 estrofas en una mezcla de portugu&eacute;s y castellano.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>EL RECORRIDO</strong></p>\n\n<p>El Santo Barco de Pompeya y el del Cabildo Indigenal, tienen sus propios recorridos. Cada uno tienen invitaciones diferentes a las cuales asisten. El Barco de Pompeya se mueve dentro de distrito del barrio de Pompeya hasta la calle Bol&iacute;var. El Barco del Cabildo Indigenal se mueve en distintas direcciones dentro de toda la ciudad de Trinidad. El recorrido est&aacute; en funci&oacute;n de la cantidad de invitaciones que tiene cada uno.</p>\n\n<p>&nbsp;</p>\n\n<p>El Barco de Pompeya inicia su recorrido dirigi&eacute;ndose primero a la iglesia de Pompeya, en tanto el del Cabildo ind&iacute;gena se dirige a la Catedral. Desde esos puntos cada uno se dirigir&aacute;n a sus invitaciones. Estas visitas pueden terminar hasta entrada la noche para continuar al siguiente d&iacute;a.</p>\n\n<p>&nbsp;</p>\n\n<p>La iniciar la traves&iacute;a se hace reverencia frente al pesebre del sal&oacute;n de reuniones del Cabildo, despu&eacute;s en la iglesia del Cabildo. All&iacute; el Doctrinero hace una oraci&oacute;n y bendice a toda la comitiva. Antes de salir los doctores y las reinas son llevados en brazos hasta el carret&oacute;n, tambi&eacute;n se lleva en brazos al puntero y su pareja, al piloto y su pareja. Una vez todos acomodados en el carret&oacute;n, los patricios mueven el carret&oacute;n de arriba abajo, es la forma de reverencia frente a las iglesias, del Cabildo, del Cementerio y en la Parroquia Resurrecci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Al llegar a la catedral se hace la misma reverencia con el carret&oacute;n y se baja a todos los personajes en brazos. Se ingresa a la iglesia en medio de la misa. Cuando termina se realiza el canto del Santo Barco, y despu&eacute;s bailan.</p>\n\n<p>&nbsp;</p>\n\n<p>El recorrido del Barco del Cabildo de la Sant&iacute;sima Trinidad, no solamente se cierra en el &aacute;rea urbana de la ciudad. Se hace recorridos a otras comunidades. Antiguamente, la danza del Barco se bailaba durante todo el mes de enero como una forma de unir a las comunidades ribere&ntilde;as y promover la integraci&oacute;n familiar. Esta tradici&oacute;n permit&iacute;a mezclar a las familias y crear nuevas relaciones en base al matrimonio, entre las comunidades a lo largo del r&iacute;o. En la actualidad, la danza del Barco se celebra en diferentes comunidades a lo largo del mes, culminando en Villa Selva el &uacute;ltimo d&iacute;a de enero. Antes de practicar Los Reyes, algunas comunidades sol&iacute;an ir en barco a San Pablo y luego a Villa Selva, o viceversa, como parte de esta festividad. El Cabildo de la Sant&iacute;sima Trinidad ir&aacute; a la comunidad de San Pablo para seguir bailando el Santo Barco.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LAS INVITACIONES</strong></p>\n\n<p>Tres d&iacute;as antes de la representaci&oacute;n se confirma todas las invitaciones para as&iacute; poder prever el recorrido y el tiempo que se invertir&aacute; en cada sitio. Para cumplir con todas las invitaciones se acuerda que el canto o el verso no se cantar&aacute;n con todas sus estrofas y no se bailar&aacute; todos los bailes. Realizar toda la representaci&oacute;n abarcar&iacute;a dos horas en cada casa y no se podr&iacute;a cumplir con todas las invitaciones. La ultima invitaci&oacute;n se termina aproximadamente a la una de la ma&ntilde;ana, y se retorna al Cabildo, all&iacute; se hace una &uacute;ltima reverencia para ir a descansar.</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Primera invitaci&oacute;n:</strong> Calle Cochabamba y Av. del Mar. Familia A&ntilde;ez. (misma segunda invitaci&oacute;n de los Angelitos)</li>\n\t<li><strong>Segunda invitaci&oacute;n:</strong> Av. Machetero y calle Quitachiyu cerca al monumento de la Madre India. Familia Guaji (misma tercera invitaci&oacute;n de los Angelitos)</li>\n\t<li><strong>Tercera invitaci&oacute;n:</strong> Casa de Jes&uacute;s Aguilera o Don Pachuri. Calle Quitachiyu cerca cancha de futbol y cerca de la segunda casa de invitaci&oacute;n y del monumento a la Madre India. (misma cuarta invitaci&oacute;n de los Angelitos)</li>\n\t<li><strong>Cuarta invitaci&oacute;n:</strong> Frente al Coliseo cerrado Cancha Vieja, m&aacute;s conocido como &ldquo;platillo volador&rdquo; en la Av. 27 de Mayo. Familia Franco.</li>\n\t<li><strong>Quinta invitaci&oacute;n:</strong> Av. 6 de Agosto. Familia Figueredo.</li>\n\t<li><strong>Sexta invitaci&oacute;n:</strong> Cabildo Ind&iacute;gena Pedro Ignacio Muiba. Barrio Pedro Ignacio Muiba.</li>\n\t<li><strong>S&eacute;ptima invitaci&oacute;n:</strong> Barrio San Ramoncito. Familia Fabricano Semo.</li>\n\t<li><strong>Octava invitaci&oacute;n:</strong> Av. 26 de diciembre zona los Alamos. Familia Guaji.</li>\n\t<li><strong>Novena invitaci&oacute;n:</strong> calle N&eacute;stor Suarez, Melit&oacute;n Villavicencio y Pedro Marb&aacute;n. Familia Sosa.</li>\n\t<li><strong>Decima invitaci&oacute;n:</strong> Casa de Dario Moy. Avenida Santos Noco, esquina calle Jos&eacute; Bopi.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Cuando se termina con las invitaciones, al regresar al Cabildo, se acostumbra que toda la comunidad baile. El baile se realiza en la avenida Santos Noco. Aunque muchos padres, madres y abuelos saben bailar, la atenci&oacute;n se centra en los Patricios, quienes son las figuras m&aacute;s atrayentes en esta danza. Una vez finalizada la festividad, todos los miembros de la comunidad participan en igual medida.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>MUSICA</strong></p>\n\n<p>Se toca 10 tonos o melod&iacute;as con bombo, caja y flauta.</p>\n\n<ul>\n\t<li>Tono lloro de la reina</li>\n\t<li>M&uacute;sica de alabanza</li>\n\t<li>El Rosare&ntilde;o</li>\n\t<li>Tono limpia pa&ntilde;uelo</li>\n\t<li>Tono lava pa&ntilde;uelo</li>\n\t<li>Machichi</li>\n\t<li>Tono dulce nombre</li>\n\t<li>Cupuchi Norberta</li>\n\t<li>Tono borrachera</li>\n\t<li>Tono despedida</li>\n</ul>\n\n<p>Tienen m&uacute;sicos de flauta, bombo y caja que se turnan, unos descansan mientras otros tocan las melod&iacute;as.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>COREOGRAFIA</strong></p>\n\n<p>La danza del Barco implica movimientos espec&iacute;ficos. Es un baile de sal&oacute;n que recuerda a la &eacute;poca victoriana, donde todos deb&iacute;an conocer los pasos y bailar al mismo comp&aacute;s. Entre los pasos est&aacute;n:</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Paso de avance</strong>. Ordenados en tres filas, los doctores adelante y las reinas detr&aacute;s. Siguen todos los dem&aacute;s bailarines. Utilizan un pa&ntilde;uelo agarrado en V por sus extremos por las manos, suben y bajan. Es paso de avance porque con este ritmo para entrar y salir de las invitaciones.</p>\n\n<p><strong>Verso del Santo Barco</strong>. Una vez que termina el paso de avance, cantan el verso del Santo Barco. Solo las reinas y los doctores. El tono de canto de las reinas es agudo.</p>\n\n<p>En la cuarta estrofa se cambia el ritmo para levantar con la mano izquierda el pa&ntilde;uelo y dar una vuelta y otra en sentido contrario en el mismo lugar.</p>\n\n<p>En la quinta estrofa, se procede de la misma manera anterior, pero al dar la vuelta se hace una palmada. As&iacute; sigue hasta la novena estrofa.</p>\n\n<p>En la novena estrofa se cambia el ritmo para bailar en parejas, hasta terminar el verso. Despu&eacute;s vuelven al orden de tres filas y al paso de avance. Al terminar sigue el paso Marchina uno.</p>\n\n<p><strong>Marchina uno</strong>, baile de parejas, paseo por el sal&oacute;n. Todas las parejas tienen que seguir a las reinas y los doctores. Para este baile hay tres tonos de m&uacute;sica, los tonos son: Tono lloro de la reina, M&uacute;sica de alabanza, El Rosare&ntilde;o.</p>\n\n<p><strong>Baile limpia y lava pa&ntilde;uelo</strong>, asemejan lavar la ropa, porque en el Santo Barco se lavaba la ropa. En parejas frente a frente, las mujeres mueven el pa&ntilde;uelo con ambas manos sacudiendo. Los hombres con el pa&ntilde;uelo en ambas manos a la espalda. Todos siguiendo el ritmo dan una vuelta en el mismo lugar dando una palmada y vuelven dando otra vuelta con palmada. El tono del baile tiene los mismos nombres: Tono limpia pa&ntilde;uelo, Tono lava pa&ntilde;uelo.</p>\n\n<p><strong>La llorona</strong>, baile con pa&ntilde;uelo cuando est&aacute; limpiando las l&aacute;grimas del rostro de la pareja. Baile entre parejas, dan un paseo por el sal&oacute;n. Tono la llorona.</p>\n\n<p><strong>Baile dulce nombre</strong>. Se llama as&iacute; porque el tono tambi&eacute;n se llama dulce nombre. Es baile de parejas frente a frente, se mueven de un lado al otro moviendo el pa&ntilde;uelo, y en el momento de la retreta cambian de lugar y volviendo al lugar dando palmadas con el pa&ntilde;uelo en la mano y otra vez.</p>\n\n<p><strong>La Norberta</strong>. Se toma el pa&ntilde;uelo con ambas mano de sus puntas, estir&aacute;ndolo lo levantan y van de un lado al otro, y al ritmo la m&uacute;sica, cambian de lugar sin perder el movimiento. Luego entrelazan el pa&ntilde;uelo cada pareja sin dejar de agarrar su propio pa&ntilde;uelo, y comienza el t&uacute;nel. Tono Norberta</p>\n\n<p><strong>Marchina dos,</strong> es el t&uacute;nel, para ello las parejas tienen que cruzar sus pa&ntilde;uelos para que sea uno solo, estar unidos.&nbsp; Cuando cruzan los pa&ntilde;uelos al hacer la figura del&nbsp; t&uacute;nel representa la uni&oacute;n de la pareja. Cuando bailan con una pareja que no es su esposa y tienen que unir los pa&ntilde;uelos no lo hacen, baila solo con un pa&ntilde;uelo agarrado de sus extremos. Porque no son pareja y cuando son pareja significa que ambas vidas se est&aacute;n uniendo. Pasar por el t&uacute;nel representa la vida, los que bailan han pasado por la vida como amigos, familiares, conocidos, miembros del barrio, eso representa el t&uacute;nel. Todos pasamos por la vida, a veces se est&aacute; abajo, a veces se est&aacute; arriba pero con la pareja que elegimos. Ella s&iacute; o s&iacute; tiene que tener su pa&ntilde;uelo y si es solamente una conocida, entonces la forma de interpretarlo es con un solo pa&ntilde;uelo. El &uacute;ltimo d&iacute;a del Barco todos deben estar bien coordinados. Se baila con el Tono borrachera.</p>\n\n<p><strong>Despedida</strong>. Es el mismo paso de avance y el tono es el mismo, pero como se est&aacute; terminando el baile se denomina tono despedida.</p>\n\n<p>Los doctores y las reinas antes cuando se baila en parejas paseando por el sal&oacute;n, antes que termine la melod&iacute;a, se acercan a los m&uacute;sicos, bailan delante de ellos y al terminar la m&uacute;sica, dan un aplauso. Esto debe suceder cada vez que el baile termina. Los Patricios desempe&ntilde;an un papel especial en la danza, y es importante que comiencen a bailar con su disfraz desde el &uacute;ltimo d&iacute;a de ensayo para alegrar a la comunidad con su comportamiento caracter&iacute;stico.</p>\n\n<p>&nbsp;</p>\n\n<p>Cuando las escuelas y otras instituciones sacan la danza del Barco, a menudo se limitan a realizar el movimiento de remado que es la <strong>Paso de avance</strong>, sin bailar&nbsp; todos los bailes. Representan &nbsp;solo la marcha b&aacute;sica de un lado a otro, como si estuvieran remando. Sin embargo, la verdadera danza del Barco comienza con el canto del verso, y despu&eacute;s se bailan todas las coreograf&iacute;as descritas. Bailar todos los pasos y cantar el verso, lleva de 25 a 35 minutos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>PASO DE CARGO</strong></p>\n\n<p>En la reuni&oacute;n de organizaci&oacute;n del Santo Barco realizada el 7 de enero, Jorge Nazaro quien fue presidente de esta danza durante 43 a&ntilde;os, pidi&oacute; en una reuni&oacute;n anterior con las autoridades del Cabildo entregar el cargo. Jorge Nazaro analiz&oacute; a las personas del Cabildo que podr&iacute;an hacerse responsable. Algunos que &eacute;l pensaba se&nbsp; negaron. En&nbsp; la reuni&oacute;n de organizaci&oacute;n mencionada, pidi&oacute; a Isidro Temo ser el nuevo presidente. Jorge ya hab&iacute;a pensado que Isidro podr&iacute;a hacerse cargo pero no lo expreso a las autoridades del Cabildo. En esta reuni&oacute;n Isidro que estaba junto con su&nbsp; esposa, su suegra que es parte del Cabildo y su hijo mayor que representaba a un doctor, tambi&eacute;n estaban presentes. Entonces el pide el permiso a su esposa, a su suegra y a su hijo. Ellos dan su aprobaci&oacute;n. Pide tambi&eacute;n su aprobaci&oacute;n al corregidor, a los m&uacute;sicos, ellos tambi&eacute;n dar su aprobaci&oacute;n. Pide que se expresen los doctores y reinas presentes, as&iacute; como a otros encargados de danzas que se encontraban en la reuni&oacute;n. Cada uno expresa su aprobaci&oacute;n y manifiestan que lo acompa&ntilde;aran. Todos dieron su conformidad, entonces Isidro pide a Jorge que lo guie hasta que las fuerzas le permitan.</p>\n\n<p>&nbsp;</p>\n\n<p>Jorge Nazaro deja de ser Presidente porque estaba perdiendo la vista y se sent&iacute;a enfermo. Agradece a Isidro y su esposa, le recomendaciones y le dice que estar&aacute; con el acompa&ntilde;&aacute;ndolo y gui&aacute;ndolo, hasta que su salud lo permita.</p>\n\n<p>&nbsp;</p>\n\n<p>La solicitud de Isidro casi a todos los presentes en la reuni&oacute;n, es una manera de confirmar que la comunidad tambi&eacute;n est&aacute; apoyando a la persona que ha sido elegida y esto hace que la persona que ha sido elegida pueda contar con la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LOS SANTOS BARCOS DE LA CIUDAD DE TRINIDAD</strong></p>\n\n<p>Existen cuatro danzas del Santo Barco en la ciudad. Una es la del Cabildo Indigenal que es el primero que sale a bailar en la ciudad, convoca y lo acompa&ntilde;an muchas personas aproximadamente m&aacute;s de 250 personas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El Santo Barco del barrio Pompeya</strong>. Es organizado por Daniel Yumo. Sale el mismo d&iacute;a del Barco del Cabildo pero lo hace m&aacute;s tarde y la gente que convoca no es tan numerosa. Daniel Yumo fue parte de la mesa directiva del Santo Barco del Cabildo de la Sant&iacute;sima Trinidad. Cuando Daniel se traslada al barrio Pompeya decide organizar la danza. Al principio el Corregidor del Cabildo de la Sant&iacute;sima Trinidad niega la existencia de otra danza, cuando se hay un nuevo Corregidor del Cabildo, este da su aprobaci&oacute;n para que pueda organizar la danza.&nbsp; Este Santo Barco tiene 34 a&ntilde;os, comenz&oacute; en 1989.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El Santo Barco del barrio 27 de Mayo</strong>. Sale un d&iacute;a despu&eacute;s del Cabildo, tomando en cuenta la fecha que el Cabildo decide bailar con el Santo Barco. Fue creado por Carlos F&aacute;bricano Ignana y su esposa Claudia Moreno. Carlos F&aacute;bricano fue m&uacute;sico del Cabildo de la Sant&iacute;sima Trinidad, se traslada a este barrio y decide organizar la danza con aprobaci&oacute;n del Cabildo de la Sant&iacute;sima Trinidad. Este Santo Barco tiene aproximadamente 20 a&ntilde;os. Actualmente su esposa organiza danza, lo hace despu&eacute;s de la muerte de Carlos Fabricano.</p>\n\n<p>&nbsp;</p>\n\n<p>El santo barco del barrio 27 de mayo fue iniciado por Carlos fabricano Ignana m&uacute;sico del Cabildo ahora su esposa es la que lo organiza porque &eacute;l ha muerto su esposa es Claudia Moreno es la actual presidenta. En el caso del santo barco del barrio pompeya Daniel Yumo era parte de la mesa directiva del santo barco del Cabildo cuando &eacute;l se traslada a ese barrio inicia con el santo barco en ese lugar.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El</strong> <strong>Santo Barco del Cabildo Indigenal de Pedro Ignacio Muiba</strong>. Este cabildo es un anexo del Cabildo de la Sant&iacute;sima Trinidad, tiene un Cacique como cabeza y coordina con el Cabildo de la Sant&iacute;sima Trinidad en las actividades que necesiten. Esta danza sale una semana despu&eacute;s del Cabildo. El primer Cacique fue Eduardo Yuco el actual Capit&aacute;n Grande de Cabildo de la Sant&iacute;sima Trinidad.</p>\n\n<p>Eduardo Yuco llega al Barrio Pedro Ignacio Muiba el a&ntilde;o 2006. Entonces solo hab&iacute;a un comit&eacute; de vecinos, despu&eacute;s se conforma el Cabildo el a&ntilde;o 2008, para mantener la cultura en ese lugar, no hab&iacute;a intenci&oacute;n de dividir el Cabildo de la Sant&iacute;sima Trinidad. A su vez tambi&eacute;n tuvo la aprobaci&oacute;n del Cabildo central de la Sant&iacute;sima Trinidad. (Grabaci&oacute;n 24010801 del 8 de enero)</p>\n\n<p>&nbsp;</p>\n\n<p>Los Santos Barcos de las zonas Pompeya, 27 de Mayo, Pedro Ignacio Muiba tienen sus propias rutas en sus propios barrios y tienen cada uno una iglesia como punto de llegada religiosa. Solo el Santo Barco del Gran Cabildo de la Sant&iacute;sima Trinidad llega a la catedral.</p>\n\n<p>Todos los Santos pueden visitarse mutuamente en sus respectivas sedes. Ellos a su vez tendr&aacute;n que preparar refrescos y comida para recibirse mutuamente.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>BEBIDA DE JENGIBRE DEL SANTO BARCO</strong></p>\n\n<p>En los lugares de invitaci&oacute;n se acostumbra a preparar una bebida compuesta de jengibre y alcohol. Esta bebida es tradicional, solo se prepara para esta celebraci&oacute;n. Siendo una bebida alcoh&oacute;lica, solo lo consumen las personas mayores y los j&oacute;venes con m&aacute;s de 30 a&ntilde;os, para ello se prev&eacute;n refrescos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>EL SANTO BARCO ES SAGRADO, DETERMINA EL FUTURO DE LAS PERSONAS</strong></p>\n\n<p>El Barco es una danza sagrada que se realiza en diciembre y se considera un compromiso serio entre parejas. Generalmente, los j&oacute;venes se comprometen despu&eacute;s de bailar juntos durante una semana, y en la mayor&iacute;a de los casos, esta uni&oacute;n termina en matrimonio. Sin embargo, tambi&eacute;n se dice que el Barco puede separar a las parejas, ya que algunas personas se niegan a bailarlo nuevamente.</p>\n\n<p>&nbsp;</p>\n\n<p>Se busca que las reinas y los doctores sean parejas casadas, para evitar malentendidos. Sucede cuando son solteros y son pareja en la danza,&nbsp; la danza dura varios d&iacute;as, comienzan a existir malos entendidos.</p>\n\n<p>&nbsp;</p>\n\n<p>Por otro lado, como los Patricios, buscan parejas temporales, y bailan con una y otra joven, sufren las consecuencias de la inestabilidad para conforman un matrimonio, todo eso trae consigo el Barco.</p>\n\n<p>&nbsp;</p>\n\n<p>Incluso ha habido tragedias relacionadas con la negativa de participar en el Barco, lo que refuerza la creencia en su importancia. Hubo una ocasi&oacute;n que un el m&uacute;sico que conoc&iacute;a todos los ritmos del Barco, ya no quer&iacute;a participar. Particip&oacute; pero tuvo un accidente.</p>\n\n<p>&nbsp;</p>\n\n<p>El Barco tiene que salir si o si, eso no se discute, el Barco trae buenas acciones, como tambi&eacute;n puede traer malas. Por ello el compromiso es muy importante, para algunas familias, el Barco representa un compromiso serio.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "db5636d2-fa27-4762-b689-f4940cd68a7e", "provisionaledits": null, "resourceinstance_id": "5008f0cb-0192-4c93-ab54-24c416d726f8", "sortorder": 1, "tileid": "e6e46160-23d7-4fd1-9423-812579b0a7ab"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "69a8a247-e45d-4c1d-a777-f43a0dc85c87"}], "2984c167-857c-11ee-a653-53ebd0470963": "bc9095da-c024-42d5-a9f5-41606dd36ef8", "2984c168-857c-11ee-a653-53ebd0470963": "2024-03-22"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "4f41018a-7efa-4c7d-bd71-513520c04a1a", "provisionaledits": null, "resourceinstance_id": "5008f0cb-0192-4c93-ab54-24c416d726f8", "sortorder": 0, "tileid": "23ae27d1-d8cf-4f2d-b6a7-d53412ecb1dd"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La descoordinaci&oacute;n con los representantes de la iglesia es notoria. Se re&uacute;san que los bailarines puedan ingresar a la catedral. Ciertamente que la representaci&oacute;n de los personajes Patricios es muy jocosa todo el tiempo, actitud que es rechazada por los p&aacute;rrocos. Esto trae para la poblaci&oacute;n en general de&nbsp; la ciudad no disfrutar de esta pr&aacute;ctica&nbsp; y entender su significado. Es el Santo Barco porque llegan de una poblaci&oacute;n lejana a adorar al ni&ntilde;o Jes&uacute;s.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "db5636d2-fa27-4762-b689-f4940cd68a7e", "provisionaledits": null, "resourceinstance_id": "5008f0cb-0192-4c93-ab54-24c416d726f8", "sortorder": 0, "tileid": "9c936e54-8d4a-4d91-9a02-803b2a5c723b"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Pr\u00e1ctica cultural generacional colectivo"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Es una agrupaci&oacute;n de personas que asumen responsabilidad de participar continuamente. Asumir la responsabilidad de participar est&aacute; enmarcado en el Compromiso. El compromiso se conforma de dos principios, la fe del participante respecto del santo o santa y la responsabilidad con el Cabildo como lugar de residencia y vida cultural social.&nbsp;</p>\n\n<p>Las danzas son aprendidas en los ensayos por un organizador que es apoyado por los m&uacute;sicos y otras personas bailarines antiguos. La responsabilidad principal de la ense&ntilde;anza de la danza est&aacute; en el organizador que es un cargo asumido de por vida.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "db5636d2-fa27-4762-b689-f4940cd68a7e", "provisionaledits": null, "resourceinstance_id": "5008f0cb-0192-4c93-ab54-24c416d726f8", "sortorder": 1, "tileid": "a96eb6d2-00be-41a7-81dd-ae112234fa69"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Existe una gran participaci\u00f3n de la poblaci\u00f3n del Cabildo, ni\u00f1os, ni\u00f1as, j\u00f3venes, adultos, ancianos.  Se fortalecen los lazos con otros grupos que vienen de barrios de la ciudad de Trinidad que tambi\u00e9n bailan la danza. Se visitan mutuamente para disfrutar de la fiesta.  Simb\u00f3licamente es el espacio para establecer relaciones de pareja permanentes, en el futuro casarse.  La fe en el Santo Barco es profunda, la prosperidad o la fatalidad producto del sentimiento de participaci\u00f3n de la persona se expresa en esos resultados. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "db5636d2-fa27-4762-b689-f4940cd68a7e", "provisionaledits": null, "resourceinstance_id": "5008f0cb-0192-4c93-ab54-24c416d726f8", "sortorder": 0, "tileid": "ec6a41be-6f43-49d2-8f52-17221edbeb7d"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Algunos elementos se han dejado de usar. La figura de la cocinera de las reinas no se encontr&oacute;, ella tiene la funci&oacute;n de preparar el tapeque o comida para invitar a los due&ntilde;os de casa donde tienen una invitaci&oacute;n. Las reinas invitaron su tapeque en la primera casa, en la segunda ya no ten&iacute;an comida, porque llevaron muy poco. Esto tambi&eacute;n tiene relaci&oacute;n con los recursos econ&oacute;micos que tienen las familiar para preparar la comida.</p>\n\n<p>Tambi&eacute;n se debe invitar chocolate usando vajilla toda&nbsp; miniatura de cer&aacute;mica. No ten&iacute;an estos elementos, por tanto estuvieron ausentes en la pr&aacute;ctica cultural.</p>\n\n<p>Algunas tonadas de la danza se han olvidado, se recuerda que eran varias.</p>\n\n<p>Las estrofas de la canci&oacute;n de las reinas&nbsp; y los reyes tambi&eacute;n se han ido cambiando a lo largo de los a&ntilde;os y las estrofas han disminuido porque paulatinamente se han olvidado.</p>\n\n<p>Otras personas fuera del Cabildo ya no participan, como lo hac&iacute;an hace varios a&ntilde;os atr&aacute;s. Era una forma de que la poblaci&oacute;n, los ciudadanos de Trinidad puedan conocer las costumbres del Cabildo.</p>\n\n<p>En la medida de las posibilidades se ha tratado de contar con todos los personajes y los elementos de la danza.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "db5636d2-fa27-4762-b689-f4940cd68a7e", "provisionaledits": null, "resourceinstance_id": "5008f0cb-0192-4c93-ab54-24c416d726f8", "sortorder": 0, "tileid": "2c7f66d6-d96a-4c1c-98c5-6dfca782150a"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:26.985", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-080000-00-00-000015, "}, "es": {"description": "Domingo de Ramos - Semana Santa, San Ignacio de Mojos", "map_popup": "Nacional", "name": "PI-080000-00-00-000015, Domingo de Ramos - 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Viste faldilla negra con decoraciones doradas. La cruz de madera tallada que lo soporta, lleva en el crucero el escudo de la compa\u00f1\u00eda de Jes\u00fas, y en la parte superior el acr\u00f3nimo INRI, tallado en madera con ornamentaci\u00f3n de rocallas."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen del Cristo crucificado"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 18, "tileid": "cdcab720-e233-45de-b03a-d259c1fc2002"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las t&eacute;cnicas tradicionales de fabricaci&oacute;n, en este caso de instrumentos musicales, constituyen la manifestaci&oacute;n m&aacute;s tangible del patrimonio cultural inmaterial, el conocimiento de estas pr&aacute;cticas manuales ha pasado de generaci&oacute;n en generaci&oacute;n, dentro la comunidad moje&ntilde;a conect&aacute;ndola con su pasado.</p>\n\n<p>La construcci&oacute;n y empleo de instrumentos en Mojos data de la &eacute;poca prehisp&aacute;nica, y adquiere un gran desarrollo con la llegada de los jesuitas. Este tema ha sido investigado ampliamente por el antrop&oacute;logo Richard Mujica Angulo, a continuaci&oacute;n, adjunto una breve introducci&oacute;n y la descripci&oacute;n de los instrumentos musicales utilizados en San Ignacio, temas desarrollados en su art&iacute;culo:&nbsp; <em>El &ldquo;Juramento</em><em>&rdquo; </em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos</em> que forma parte de la Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es), 2013:</p>\n\n<p><em>Una de las principales referencia a los instrumentos musicales de Mojos son las de Alcides D&rsquo;orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de &ldquo;acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a 13 tubos, actualmente se registraron bajones de 10 tubos. Gran parte de los instrumentos de Mojos son precolombinos. Estos pueblos, adem&aacute;s de contar con estos instrumentos, hac&iacute;an uso del canto. Los misioneros decidieron adoptar los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena apoyando en su lugar m&uacute;sica concertada y poemas sagrados estrictamente religiosos.</em></p>\n\n<p><strong>Descripci&oacute;n de los instrumentos</strong></p>\n\n<p><strong><em>Sivivire.</em></strong><em> El Sivivire es un instrumento aer&oacute;fono&hellip; Es una flauta de tubo con embocadura lateral 0 (clasificado como 411.2 seg&uacute;n Hornbostel-Sachs) caracter&iacute;stico en la interpretaci&oacute;n de la m&uacute;sica, emple&aacute;ndose en diferentes g&eacute;neros musicales y danzas de San Ignacio de Mojos. El instrumento tiene siete orificios: seis digitables y uno que hace de embocadura&hellip;, el extremo base presenta el orificio de salida completo, y en el otro extremo se rellena la parte frontal con cera de abeja (lado embocadura). </em></p>\n\n<p><em>Esta flauta (se toma como base de descripci&oacute;n el Sivivire de los Macheteros) es interpretada pr&aacute;cticamente en todo el calendario anual festivo del lugar. En un conjunto de m&uacute;sicos se interpreta s&oacute;lo un Sivivire y generalmente est&aacute; acompa&ntilde;ado de membran&oacute;fonos: tampura, sankuti y caja... El ejecutante por lo general es var&oacute;n, lo denominan (flautero) y es &eacute;l mismo quien construye su flauta&hellip; </em></p>\n\n<p><em>Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;. Por ello cada danza tiene diferentes &ldquo;toques&rdquo; de acuerdo a la situaci&oacute;n ritual o festiva en la cual se ejecuta. </em><em>De forma general el repertorio musical de cada danza est&aacute; conformado por la marcha (de uso ritual especialmente en procesiones), el tayr&rsquo;imarapi (taquirari &ldquo;especial&rdquo;) primera pieza interpretada luego de la marcha; y finalmente, el v&rsquo;irimarapi (taquirari &ldquo;festivo&rdquo;) que se interpreta como parte de la fiesta misma. Existe una melod&iacute;a espec&iacute;fica para cada santo o virgen, el cual se marca espec&iacute;ficamente en la marcha. Respecto de esto Cirilo Yaca afirma: &ldquo;tiene que acompa&ntilde;ar a las im&aacute;genes, a los santos. Para acompa&ntilde;ar y visitar a estos ocupan la Marcha&rdquo;; por ello nos habla de un principal elemento del repertorio musical &ldquo;la marcha&rdquo; m&uacute;sica de car&aacute;cter sagrado y ritual. Otro elemento que conforma este repertorio es el &ldquo;taquirari&rdquo; (v&rsquo;irimarapi): &ldquo;el que vale m&aacute;s es el taquirari (...) se cambia el toque y se toca el taquirari en la fiesta, es m&aacute;s bonito, m&aacute;s entrador (...) la Marcha tiene un s&oacute;lo paso (...) Cada conjunto tiene su entrada [la marcha] y tiene su taquirari&rdquo;. Este el papel del instrumento, la danza y el repertorio musical de las m&uacute;sicas y danzas de Mojos.</em></p>\n\n<p><em>Los materiales empleados en la realizaci&oacute;n de instrumentos de basa en la tsakana (takuara fina o &ldquo;castilla&rdquo;), ca&ntilde;a-bamb&uacute; empleada para construirlo. Este material antiguamente se encontraba en las regiones extensas del monte; posteriormente, por causa de la expansi&oacute;n de las tierras de pastoreo que los ganaderos deciden ampliar, se reducen los lugares donde se encontraba este material. La inexistencia del material obliga a utilizar tubos pl&aacute;sticos de ca&ntilde;er&iacute;a y otros materiales como el aluminio. Por otro lado, el M&aacute;paji (Cera de Abeja), empleado para tapar el extremo de la flauta. Luego, tambi&eacute;n se presentan flautas de pl&aacute;stico de </em><em>&ldquo;</em><em>ca&ntilde;er&iacute;a&rdquo;, empleadas por la falta de la takuara tradicional. </em></p>\n\n<p><em>La elaboraci&oacute;n de este instrumento es de dominio de todo flautero y est&aacute; muy vinculado al individuo. Las t&eacute;cnicas empleadas para su elaboraci&oacute;n iniciar&iacute;an con la recolecci&oacute;n de la ca&ntilde;a: se limpia el orificio central. Se inicia la medida desde la base (cola) marcando el primer orificio digitable (dista el ancho de tres dedos). Luego, desde esta marca, se toma la medida de </em><em>&ldquo;</em><em>mi cuarta&rdquo; (distancia entre los dedos me&ntilde;ique y pulgar de la palma abierta); y se marca el orificio central digitable. Se emplea la misma medida (&ldquo;mi cuarta&rdquo;) para marcar el orificio de la embocadura o boquilla. Realizadas estas tres primeras marcas se se&ntilde;ala equidistantemente los lugares donde se realizar&aacute;n las cuatro perforaciones necesarias para la digitaci&oacute;n de la flauta&hellip; Los orificios se hacen con el tumare, un cuchillo en punta; y la emisi&oacute;n del sonido se ajusta moviendo (hacia adentro o afuera) la cera de abeja que tapa el extremo de la embocadura, s&oacute;lo la correcta posici&oacute;n permitir&aacute; la emisi&oacute;n de octavas. Por tanto, las dimensiones del Sivivire depende de dos factores: (1) la danza o </em><em>&ldquo;</em><em>toque&rdquo; que se interpretar&aacute;; y (2) las caracter&iacute;sticas corporales (la mano) del instrumentista, ya que cada qui&eacute;n busca el tama&ntilde;o m&aacute;s c&oacute;modo para su interpretaci&oacute;n.</em></p>\n\n<p><strong><em>Sankuti. </em></strong><em>Instrumento musical membran&oacute;fono elaborado en base al </em><em>&ldquo;</em><em>coraz&oacute;n</em><em> </em><em>&ldquo;del tronco de &aacute;rboles como la mara y el juchi, considerados como </em><em>&ldquo;</em><em>finos</em><em>&rdquo;</em><em> &hellip; Las membranas del sankuti (Cavour, 2010:246-247) son hechas de </em><em>&ldquo;</em><em>cuero de res&rdquo; el cual tiene mucho grosor y es cambiado eventualmente. Las correas que sujetan las membranas as&iacute; como las empleadas para colgar el instrumento en el hombro tambi&eacute;n est&aacute;n hechas del mismo cuero&hellip;</em></p>\n\n<p><em>Para ta&ntilde;er este instrumento se emplea una baqueta denominada </em><em>&ldquo;</em><em>palitoke&rdquo; que los lugare&ntilde;os traducen como </em><em>&ldquo;</em><em>Palito que se toca</em><em>&rdquo;</em><em>. Este material le otorga gran durabilidad lo que hace que sea&rdquo; heredado</em><em> </em><em>&ldquo;de un m&uacute;sico a otro, y por otro lado, se le otorga el sentido de </em><em>&ldquo;</em><em>antiguo&rdquo; ya que se afirma que </em><em>&ldquo;</em><em>el antiguo lo hicieron</em><em>&rdquo;.</em><em> </em></p>\n\n<p><em>(foto)</em></p>\n\n<p><strong><em>Kajane o Caja (Tambor). </em></strong><em>Otro instrumento membran&oacute;fono muy empleado en las danzas es la caja o tambor. Sus dimensiones promedio son de 38 cm. de di&aacute;metro por 23 cm. de altura&hellip; La caja de resonancia est&aacute; hecha en base a corteza de &aacute;rbol de toco; para su obtenci&oacute;n es perforada y luego &ldquo;cavada&rdquo; con ayuda de cinceles artesanales. El cuero utilizado en las membranas es de sullu de vaca, vale decir de la cr&iacute;a del ganado bovino10 el cual es envuelto en un aro de bejuco que le da la forma circular. Y cuenta con un sobrearo o y&rsquo;ana de casi 5 cm. de ancho hecho de madera v&rsquo;i (jianaki). En la membrana posterior se sujeta una cuerda de algod&oacute;n a manera de </em><em>&ldquo;</em><em>charlera&rdquo; para que el instrumento aumente su vibraci&oacute;n. </em></p>\n\n<p><em>Para su interpretaci&oacute;n la caja es colgada del cuerpo con ayuda de una correa hecha de cuero de res; y se hace uso del palitoki tambi&eacute;n denominado cajaneraki,11 un par de baquetas de unos 34 cm. de largo hechos de madera de gabetillo, chonta y de cuchi. En algunas ocasiones a la buena interpretaci&oacute;n de los instrumentos musicales, en especial a los membran&oacute;fonos se hace menci&oacute;n a que &quot;Se tesa con una cuerda&hellip; ya lo hace rezar</em><em>&rdquo;</em></p>\n\n<p><strong><em>Tampura (bombo).</em></strong><em> La Tampura, es el membran&oacute;fono asemejado al bombo, el cual tiene mayores dimensiones que los otros, con un di&aacute;metro de 46 cm. y 22 cm. de alto (Fotograf&iacute;a N&ordm; 7). La caja de resonancia est&aacute; hecha en base a madera blanca de toco o jocho&rsquo;o. Las membranas generalmente son de cuero de res y en algunos casos presenta inscripciones pintadas; por otro lado, indican que este cuero es del cuello de la res, el cual es curtido lav&aacute;ndolo con ceniza para </em><em>&ldquo;</em><em>que no lo cambie el sereno</em><em>&rdquo;</em><em> o sea para que no cambie el sonido. El instrumento que ayuda a su interpretaci&oacute;n es una baqueta de madera de v&rsquo;idenominadata&rsquo;earaki o tampuraraki (&ldquo;toca bombo&rdquo;), el cual mide 26,5 cm. de largo, el mango tiene 3 cm. de grosor y tiene una especie de mazo de 6 cm. de di&aacute;metro.</em></p>\n\n<p><strong><em>Chonono o cascabelana.</em></strong><em> En un idi&oacute;fono empleado por los danzantes, especialmente hombres, de cada danza&hellip; Consiste en una trozo rectangular de cuero (de 10 por 64 cm.) al cual van sujetas semillas o cascabeles; la base rectangular tiene dos tiras laterales utilizadas para amarrarlas a las piernas justo en la articulaci&oacute;n de la rodilla. En el caso de las danzas del machetero las semillas utilizadas en el chonono son de chakai y para otras danzas se emplea el naviri. Y para danzas como los toritos y ciervos se emplean cascabeles de bronce. </em></p>\n\n<p><em>Estos instrumentos acompa&ntilde;an a la m&uacute;sica d&aacute;ndole un comp&aacute;s r&iacute;tmico a partir de la danza de sus int&eacute;rpretes, esto hace referencia a que los danzantes tambi&eacute;n tienen un papel importante como interpretes del chonono.</em></p>\n\n<p><strong><em>El Baj&oacute;n.</em></strong><em> Es uno de los instrumentos musicales m&aacute;s difundidos de la regi&oacute;n, por lo cual ampliar&eacute; su descripci&oacute;n&hellip; Este instrumento aer&oacute;fono, conformado por pares (machohembra) a primera vista se parece a una especie de flauta de pan pero con boquillas de madera en cada uno de los tubos; sin embargo, se trata de unas &ldquo;trompetas m&uacute;ltiples</em><em>&rdquo;</em><em>construidas a base de varios tubos de hojas enrolladas atadas en </em><em>&ldquo;</em><em>forma de balsa o ala&rdquo;, donde cada tubo es acomodado en una sola hilera (Waisman 2002:533). </em></p>\n\n<p><em>El Baj&oacute;n est&aacute; elaborado con los siguientes materiales: Hoja de Cusi, varas de cogollo que estructuran la parte interna de cada tubo; hilo de algod&oacute;n o hilo </em><em>&ldquo;</em><em>camba</em><em>&rdquo; (</em><em>itsepite cajare) mezclada con cera (M&aacute;paji) de abeja &ldquo;se&ntilde;orita&rdquo;. Las boquillas torneadas de madera de cedro para cada tubo; donde una </em><em>&lsquo;</em><em>peineta&rdquo; </em><em>(</em><em>de 56.5 x4 cm) hecha de madera sujeta a todos los tubos (de 56.5 x 4 cm). Cada uno de los tubos tiene asignado una sigla del alfabeto grabada en la </em><em>&ldquo;</em><em>peineta&rdquo; que hace referencia a la afinaci&oacute;n de cada uno de ellos. El tubo de mayor tama&ntilde;o tiene una base de goma sujetado en la parte inferior para facilitar su apoyo en el suelo. </em></p>\n\n<p><em>Los pasos empleados para la elaboraci&oacute;n del baj&oacute;n son el armado del soporte o estructura de cogollo; enrollado o superposici&oacute;n de hojas de Cusi, atado (liado) con cordel (pita) de algod&oacute;n hilado, embadurnado con cera de abeja para fortificar el hilo y apoyar el agarre. Y se emplean herramientas como el Tumare (cuchillo) y la Capotera (aguja). </em></p>\n\n<p><em>Este instrumento musical se interpreta de mediante la </em><em>&ldquo;</em><em>t&eacute;cnica dialogada&rdquo; entre el Baj&oacute;n macho y Baj&oacute;n hembra. Vale decir que la melod&iacute;a se entreteje de forma dialogada entre los dos int&eacute;rpretes del instrumento. El sonido que emite este instrumento es grave. La forma de interpretaci&oacute;n de los bajones se basa en el soplido. Cada int&eacute;rprete sujeta el baj&oacute;n horizontalmente con ambas manos apretando los labios en la boquilla para tocarlos de forma similar a una trompeta. Sin embargo, por el tama&ntilde;o del instrumento el ejecutante no puede sujetar solo el baj&oacute;n, por ello, requiere de la ayuda de otra persona que sostenga el instrumento desde el extremo inferior.</em></p>\n\n<p><em>El baj&oacute;n tiene un rol muy reconocido como parte de la orquesta t&iacute;pica de San Ignacio, orient&aacute;ndose su interpretaci&oacute;n para acompa&ntilde;ar los c&aacute;nticos sagrados de misas, procesiones religiosas y </em><em>&ldquo;</em><em>velorios</em><em>&rdquo;</em><em> de santos y v&iacute;rgenes. Los instrumentistas o ejecutantes del baj&oacute;n son especialistas y gozan de alto prestigio en la comunidad. Los bajones actualmente son acompa&ntilde;ados por un viol&iacute;n, dos flautas, caja y tampura.</em></p>\n\n<p><em>Una de las principales referencia son las de Alcides D</em><em>&rsquo;</em><em>orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de </em><em>&ldquo;</em><em>acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a </em><em>13</em><em> tubos, actualmente se registraron bajones de 10 tubos. Hip&oacute;tesis no confirmadas plantean que el nombre original de este instrumento podr&iacute;a ser </em><em>&ldquo;</em><em>ippij&iacute;raseco&rdquo; aunque actualmente s&oacute;lo se emplea el nombre de Baj&oacute;n (Waisman 2002:534).</em></p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["a0e4f8bb-9310-4344-b025-2609c8a26ec2"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "6b3aac8f-59bd-480c-9afb-024310d24158"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del patrimonio cultural inmaterial, es esencial para su salvaguarda, los medios utilizados son: la tradici&oacute;n oral, historias, conocimientos transmitidos verbalmente de generaci&oacute;n en generaci&oacute;n; usos sociales, rituales y festivos; t&eacute;cnicas artesanales tradicionales, entre otros.&nbsp;</p>\n\n<p>En San Ignacio, la transmisi&oacute;n de la lengua moje&ntilde;a se ha efectuado de padres a hijos de forma oral. La cultura moje&ntilde;a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense&ntilde;an formalmente el idioma moje&ntilde;o, como medio de salvaguardar la cultura.</p>\n\n<p>Los conocimientos de m&uacute;sica y confecci&oacute;n de instrumentos, son inculcados de maestro a aprendiz, as&iacute; es como se forman los integrantes del Coro Musical del Cabildo Indigenal, quienes deben adem&aacute;s, realizar el &ldquo;juramento&rdquo; que los marca de por vida, es el compromiso solemne de interpretar un instrumento musical y pertenecer a un grupo de danza, &nbsp;esta responsabilidad se adquiere luego que los &ldquo;taytas&rdquo; m&uacute;sicos consideran que el aprendiz est&aacute; capacitado y cumple las expectativas de interpretaci&oacute;n. La ceremonia del &ldquo;juramento&rdquo;, se realiza en el templo en ocasi&oacute;n de la festividad de la Virgen de la Candelaria, recibiendo la bendici&oacute;n del Padre. &nbsp;</p>\n\n<p><em>Los m&uacute;sicos en San Ignacio de Mojos son muy respetados y reconocidos en la comunidad al grado incluso de los Caciques. Por un lado, este prestigio se eleva cuando el int&eacute;rprete adem&aacute;s de conocer detalladamente la construcci&oacute;n de su propio instrumento tambi&eacute;n realiza otros (como es el caso de Robin Cuellar pr&aacute;cticamente uno de los pocos m&uacute;sicos que adem&aacute;s de ser violinista fabrica e interpreta los bajones) y m&aacute;s a&uacute;n si compone sus m&uacute;sicas.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>La creaci&oacute;n de la nueva escuela de m&uacute;sica, se ha convertido en factor importante de reproducci&oacute;n de la tradici&oacute;n musical moje&ntilde;a, adem&aacute;s de proveer oportunidades de conseguir un t&iacute;tulo profesional. El objetivo no es solamente recuperar la m&uacute;sica legado de la &eacute;poca misional y prehisp&aacute;nica, sino de proponer nueva m&uacute;sica popular.</p>\n\n<p>La m&uacute;sica que los ancianos ense&ntilde;an es m&aacute;s que todo religiosa, en cambio en la escuela se abarca un amplio espectro de estilos. Actualmente la escuela acoge a m&aacute;s de 300 alumnos en diferentes especialidades instrumentales.</p>\n\n<p>La participaci&oacute;n activa de la poblaci&oacute;n en las festividades religiosas es un reflejo del valor que se les atribuye. Desde los ancianos hasta los ni&ntilde;os, la poblaci&oacute;n moje&ntilde;a se involucra, esto es crucial para la transmisi&oacute;n de valores y la preservaci&oacute;n de las tradiciones.</p>\n\n<p>La transmisi&oacute;n de saberes y costumbres tiene tambi&eacute;n una base material, la que es indispensable para el mantenimiento de la manifestaci&oacute;n, sin duda, el&nbsp;objeto material&nbsp;es un testigo valioso y un documento que refleja el sentimiento colectivo de una sociedad. Como receptor y transmisor de m&uacute;ltiples significados culturales, est&aacute; arraigado en un tiempo y un espacio espec&iacute;ficos, su existencia nos conecta con la historia, las tradiciones y las creencias de quienes lo crearon y utilizaron. La tradici&oacute;n del uso de estos objetos se pasa entre generaciones y es promovido especialmente por el Cabildo Indigenal.&nbsp; Entre estos objetos destacan: el tocado de plumas de los Macheteros, sus machetes de madera; las im&aacute;genes religiosas; los instrumentos musicales; la vestimenta del Cabildo, Memes, Angelitos y Sargentos Jud&iacute;os, entre otros.</p>\n\n<p>Las danzas en San Ignacio poseen elementos simb&oacute;licos y rituales que se relacionan con un pasado hist&oacute;rico m&aacute;s extenso, incluso anterior a la llegada de los jesuitas. Estas danzas son expresi&oacute;n de la identidad cultural, que se transfirie de modo informal mediante la pr&aacute;ctica, la observaci&oacute;n y la imitaci&oacute;n, dentro la comunidad, y se conserva casi sin modificaciones.</p>\n\n<p>En las ceremonias de la festividad, especialmente en las procesiones, los mayores hacen referencia a la importancia de la participaci&oacute;n de los j&oacute;venes y ni&ntilde;os, el objetivo es que puedan aprender y dar continuidad a sus tradiciones, para que pervivan en el tiempo. Existe un sentimiento muy importante de aprecio de los mayores por la participaci&oacute;n de los ni&ntilde;os.</p>\n\n<p>Los Santos Varones y los miembros del Cabildo son los encargados de transmitir la memoria viva, los conocimientos y procedimientos que son parte de la celebraci&oacute;n de Semana Santa.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento&rdquo; para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "6f7df75a-c6f8-4422-9b88-c49b3e81a385"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El patrimonio inmaterial est&aacute; expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici&oacute;n, por lo que est&aacute; sujeto a cambios y evoluciones.</p>\n\n<p>V&iacute;ctor Hugo limpias en su art&iacute;culo: Lo Infernal, lo Terrenal y lo Celestial en la Misi&oacute;n de Moxos<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a>, menciona las descripciones de Francisco J. Eder en 1772, sobre las ceremonias celebradas en Semana Santa:</p>\n\n<p><em>&ldquo;&hellip;Los d&iacute;as de la Semana Santa comienzan el Domingo de Ramos, con la procesi&oacute;n acostumbrada. Los d&iacute;as restantes todo se celebra con una exactitud tan grande, que no falta nada&hellip;Los tres d&iacute;as se entona el Oficio de Tinieblas; luego, la pasi&oacute;n en su lengua. Todos los indios visten de estricto negro desde el Mi&eacute;rcoles de Ceniza hasta el d&iacute;a de Pascua. Durante este periodo ni siquiera las mujeres utilizan el menor adorno. El Jueves Santo tiene lugar el tradicional lavatorio de los pies y la cena con doce indios. Pero nada dice tanto a favor de los indios como el silencio y la aplicaci&oacute;n en la procesi&oacute;n (del)&hellip; Viernes Santo, a los que contribuyen mucho la m&uacute;sica triste, la viveza de la escenograf&iacute;a con las estatuas&hellip; que representan los misterios del Se&ntilde;or&hellip; as&iacute; como los cantos que se repiten en cada parada...&rdquo; </em></p>\n\n<p>Francisco J. Eder, hace referencia tambi&eacute;n a las sangrientas flagelaciones que se infring&iacute;an los ind&iacute;genas tanto hombres como mujeres el d&iacute;a de Viernes Santo, si bien eran expresiones teatrales, estas eran exageradas e incluso implicaban a ni&ntilde;os, quienes llevaban sogas al cuello y coronas de espinas en la cabeza. &nbsp;As&iacute; mismo relata que la fiesta de Corpus Christi, era la de mayor alarde ornamental, donde los altares son adornados con hermosas palmas y flores, y que se hac&iacute;a explotar un peque&ntilde;o ca&ntilde;oncito delante de cada altar, los adornos del templo y la m&uacute;sica selecta, banderas de seda y los arcos triunfales le recordaban a Europa.</p>\n\n<p>Tomando como referencia estas descripciones se observa que, en la actualidad, la vestimenta de color negro se mantiene en los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo, las Mamitas Abadesas cambian los colores de su tipoi, utilizan el blanco o morado y el negro &uacute;nicamente el Viernes Santo, mientras que los miembros del Cabildo visten siempre de blanco.</p>\n\n<p>El Oficio de Tinieblas, se sigue celebrando durante tres d&iacute;as, en la misa se lee la segunda lectura en lengua moje&ntilde;a, la ceremonia del lavatorio de los pies y la Ultima Cena se realiza con la participaci&oacute;n del Cabildo Indigenal, tal como se hac&iacute;a &nbsp;en el siglo XVIII.</p>\n\n<p>Las costumbres de Corpus Christi descritas por el jesuita, son muy similares a las que observamos hoy en Semana Santa, la profusa ornamentaci&oacute;n de altares, con flores (en su mayor&iacute;a con flores artificiales), y la explosi&oacute;n de un peque&ntilde;o ca&ntilde;&oacute;n, seria hoy la explosi&oacute;n de la &ldquo;camareta&rdquo;, la m&uacute;sica solemne es interpretada por la&nbsp; banda y por la tamborita de los Sargentos Jud&iacute;os, aunque tambi&eacute;n se interpreta m&uacute;sica alegre en el alba del Domingo de Resurrecci&oacute;n cuando se celebra el encuentro del Se&ntilde;or Resucitado con su Madre, ese momento de alegr&iacute;a cuando la banda toca y la im&aacute;genes se saludan y bailan, es una de las escenas m&aacute;s conmovedoras de la festividad.</p>\n\n<p>Algunos cambios se han observado en relaci&oacute;n a lo registrado el a&ntilde;o 2010, por la Direcci&oacute;n General de Patrimonio Cultural del Ministerio de Culturas, estos se describen a continuaci&oacute;n:</p>\n\n<ul>\n\t<li>En el centro del Cabildo se colocan dos mesas largas, en una mesa se instalan las autoridades ediles y del consejo, (esto desde el 2023), y en la otra los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</li>\n\t<li>Se ha modificado tambi&eacute;n el d&iacute;a en que se instala el tel&oacute;n negro que cubre el altar y lleva una cruz roja al centro, que corresponde a &ldquo;Las Tinieblas&rdquo;, en 2010 se lo hac&iacute;a el Mi&eacute;rcoles Santo, en 2024 se coloca este tel&oacute;n el Lunes Santo.</li>\n\t<li>En el alba del Domingo de Resurrecci&oacute;n, cuando los Macheteros bailan en el atrio, en 2010 se registra que lo hacen acompa&ntilde;ados por los Toritos, mientras que, en 2024, los acompa&ntilde;an danzando los Angelitos.</li>\n</ul>\n\n<p>Se puede afirmar entonces, que las ceremonias celebradas en Semana Santa no han cambiado notoriamente desde el siglo XVIII hasta ahora, y se ha mantenido lo m&aacute;s significativo, que es la participaci&oacute;n de todos los miembros de la sociedad moje&ntilde;a, y el resguardo de su tradiciones, de la mano del Cabildo Indigenal.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Memoria del V encuentro internacional del barroco. Visi&oacute;n Cultural. 2010.</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "5c28dc52-e03c-49cb-9f3e-c042bcf709f2"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El patrimonio inmaterial transmitido de generaci\u00f3n en generaci\u00f3n, por la memoria viva de la comunidad, esta expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici\u00f3n y son confirmadas y revitalizadas en el presente. En San Ignacio de Mojos, la transmisi\u00f3n de tradiciones y costumbres ha conseguido salvaguardar el Patrimonio Cultural Inmaterial. Los portadores de la tradici\u00f3n desempe\u00f1an un papel crucial al confirmar y revitalizar estas pr\u00e1cticas en el presente. El \u00e9xito de la preservaci\u00f3n se basa en: Participaci\u00f3n de Ni\u00f1os y J\u00f3venes. Al involucrar a ni\u00f1os y j\u00f3venes en las festividades, se asegura que adquieran habilidades y saberes ancestrales. Esto garantiza la continuidad de las costumbres al transferir conocimientos de una generaci\u00f3n a otra. Transmisi\u00f3n desde la Infancia. La transmisi\u00f3n comienza desde temprana edad, lo que permite que los ni\u00f1os internalicen las tradiciones y se conviertan en futuros portadores. La participaci\u00f3n activa en rituales y pr\u00e1cticas culturales refuerza su identidad cultural. Sostenibilidad y Adaptaci\u00f3n. La transmisi\u00f3n de tradiciones, no implica una mera repetici\u00f3n, sino tambi\u00e9n adaptaci\u00f3n. Los portadores de la tradici\u00f3n han mantenido la autenticidad, pero tambi\u00e9n han permitido que evolucione para seguir siendo relevante. Existe un esfuerzo organizado de la comunidad y el Plan Misiones para preservar el patrimonio cultural, con este objetivo se est\u00e1 efectuando la elaboraci\u00f3n de registros del patrimonio cultural, material e inmaterial, como instrumento de salvaguardia de estos acervos.  La comunidad se apoya en el Cabildo Indigenal como responsable del mantenimiento y perpetuaci\u00f3n del conjunto de c\u00f3digos relacionados con la celebraci\u00f3n de las festividades. Estas manifestaciones siguen uniendo a sus miembros y reforzando sus lazos identitarios, los cuales pueden verse debilitados por los procesos de transculturaci\u00f3n a los que todas las comunidades est\u00e1n expuestas en la actualidad. En San Ignacio, la transmisi\u00f3n de la lengua moje\u00f1a se ha efectuado de padres a hijos de forma oral. La cultura moje\u00f1a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense\u00f1an formalmente el idioma moje\u00f1o, como medio de salvaguardar la cultura.  La creaci\u00f3n de la nueva escuela de m\u00fasica, se ha convertido en factor importante de reproducci\u00f3n de la tradici\u00f3n musical moje\u00f1a, adem\u00e1s de proveer oportunidades de conseguir un t\u00edtulo profesional. El objetivo no es solamente recuperar la m\u00fasica legado de la \u00e9poca misional y prehisp\u00e1nica, sino de proponer nueva m\u00fasica popular.  La confecci\u00f3n de instrumentos, es tambi\u00e9n parte de los conocimientos que se han transmitido por generaciones, y se han ido mejorando con el tiempo. Aunque actualmente la mayor\u00eda de los instrumentos son importados.   La Semana Santa es proclive a preservarse y transmitirse, por su car\u00e1cter festivo e interactivo, con la realizaci\u00f3n de bailes, danzas, ceremonias religiosas, representaciones esc\u00e9nicas, m\u00fasica, etc. Es gracias a la relaci\u00f3n del Cabildo con la comunidad que estas manifestaciones se han adaptado con facilidad a los modos de vida actual, y se mantienen como escenarios de encuentro y convivencia, del pueblo moje\u00f1o."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "0af2ceca-15bd-4ff3-a005-df2abe80b900"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El conocimiento de los riesgos que puede afrontar el patrimonio inmaterial es una herramienta fundamental para su prevenci&oacute;n.</p>\n\n<p>Con la creaci&oacute;n de la nueva escuela de m&uacute;sica, se est&aacute; salvaguardando la tradici&oacute;n musical, pero tambi&eacute;n existe una falta de integraci&oacute;n con los miembros del Coro Musical, que interpretan sus instrumentos de la forma &ldquo;t&iacute;pica&rdquo;, mientras que en la escuela se tocan los instrumentos de manera formal. Esta situaci&oacute;n genera una brecha entre las pr&aacute;cticas tradicionales y las ense&ntilde;anzas acad&eacute;micas, lo que podr&iacute;a afectar la cohesi&oacute;n y la transmisi&oacute;n aut&eacute;ntica de la herencia musical. Es fundamental encontrar un equilibrio que permita la coexistencia y el enriquecimiento mutuo de ambas formas de interpretaci&oacute;n, asegurando as&iacute; la preservaci&oacute;n y evoluci&oacute;n de la tradici&oacute;n musical en su totalidad.</p>\n\n<p>Son pocas ya las personas que saben fabricar instrumentos, m&aacute;scaras, sombreros, entre otros objetos tradicionales, por lo que se est&aacute;n perdiendo estos saberes. La disminuci&oacute;n de artesanos y la falta de transmisi&oacute;n de estos conocimientos a las nuevas generaciones ponen en riesgo la continuidad de estas pr&aacute;cticas culturales. Es crucial implementar iniciativas que fomenten el aprendizaje y la preservaci&oacute;n de estas habilidades, asegurando as&iacute; que estas valiosas tradiciones no se pierdan y puedan ser apreciadas por futuras generaciones.</p>\n\n<p>El uso de instrumentos industrializados, o la construcci&oacute;n de instrumentos con materiales no tradicionales, por la facilidad de su manufactura, supone un riesgo de perder las &ldquo;formas de hacer&rdquo; tradicionales que son transmitidas usualmente de maestro a aprendiz.</p>\n\n<p>La utilizaci&oacute;n de nuevas tecnolog&iacute;as, como es el caso de las procesiones en Semana Santa, que ahora son acompa&ntilde;adas por una grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os, ha reemplazado la interpretaci&oacute;n en vivo que antiguamente realizaban los m&uacute;sicos. Este cambio implica una p&eacute;rdida de una parte de la tradici&oacute;n moje&ntilde;a, ya que la m&uacute;sica en vivo era un elemento esencial de estas celebraciones.</p>\n\n<p>La declaraci&oacute;n como Patrimonio Cultural Inmaterial de la Humanidad a la Ichapekene Piesta, la fiesta mayor de San Ignacio de Moxos, es una forma de dar valor y gran visibilidad a la cultura moje&ntilde;a. Esta mayor atenci&oacute;n a todas sus expresiones culturales, como es la festividad de Semana Santa, puede conllevar una p&eacute;rdida de la esencia propia de las celebraciones, que est&aacute;n profundamente arraigadas en la poblaci&oacute;n, modificando las formas art&iacute;sticas tradicionales para convertirlas en &ldquo;productos tur&iacute;sticos&quot;.</p>\n\n<p>Otro riesgo probable, se presenta cuando instituciones dedicadas a la promoci&oacute;n del turismo difunden sin reservas una manifestaci&oacute;n que no cuenta con los recursos materiales ni humanos necesarios para satisfacer las demandas de los asistentes. La comunidad local carece de aforos adecuados y de procedimientos de organizaci&oacute;n interna necesarios para manejar una afluencia excesiva y no sostenible de visitantes. Adem&aacute;s, la comunidad no se beneficia de la presencia de estos p&uacute;blicos, ya que no se establece un contacto duradero, sino que se produce un impacto puntual y aislado que poco o nada contribuye a la perpetuaci&oacute;n del Patrimonio Cultural.</p>\n\n<p>Las amenazas para la transmisi&oacute;n del patrimonio cultural inmaterial provienen de diversos factores, entre ellos los cambios sociales y demogr&aacute;ficos que reducen el contacto intergeneracional, como ocurre con las migraciones y la urbanizaci&oacute;n. Adem&aacute;s, la imposici&oacute;n de sistemas educativos formales que subestiman los conocimientos y t&eacute;cnicas tradicionales, as&iacute; como la influencia de los medios de comunicaci&oacute;n masivos, tambi&eacute;n contribuyen a estos riesgos.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "560a52fa-938c-4ae9-b94e-e0fe3d3d0204"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["9c539c14-ff65-4565-85a2-2268e4fe36ed", "bf356c16-8705-42f9-8947-6abf28e51a73", "ac9bf7d5-5ebe-428c-b88f-bb7b2f644a87"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las formas tradicionales de organizaci&oacute;n socio cultural se sustentan en valores comunes establecidos y creencias compartidas, apoyadas por estructuras jer&aacute;rquicas, donde la transmisi&oacute;n oral de conocimientos se realiza de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>El Cabildo Indigenal es la organizaci&oacute;n m&aacute;s representativa y reconocida de la sociedad moje&ntilde;a, desde sus inicios hasta la actualidad.</p>\n\n<p>El origen del Cabildo se remonta a los reinos hisp&aacute;nicos del siglo XV, que luego de establecerse en Am&eacute;rica cumplieron un rol importante en las reducciones jesu&iacute;ticas de Mojos desde principios del siglo XVIII, con el fin de reforzar los puntos d&eacute;biles en las misiones jesu&iacute;ticas, que albergaban a miles de ind&iacute;genas de diferentes etnias, agrupados en una sola doctrina.</p>\n\n<p>&nbsp;</p>\n\n<p>Los cabildos fueron una parte esencial en los antiguos pueblos misionales, cumpliendo roles de gobierno local y manteniendo una estrecha relaci&oacute;n con la iglesia. Aquellos que formaban parte de esta instituci&oacute;n no solo administraban justicia y gestionaban los recursos de la comunidad, sino que tambi&eacute;n se encargaban de transmitir a las generaciones futuras sus conocimientos y responsabilidades. Esta transmisi&oacute;n de saberes y pr&aacute;cticas era fundamental para preservar la cohesi&oacute;n social y cultural, y se compart&iacute;a ampliamente con la comunidad, asegurando as&iacute; la continuidad de las tradiciones y valores que sustentaban la vida en los pueblos misionales. Los oficios y cargos que eran parte de su estructura estaban ocupados por m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes y otros, que se constituyeron en las diversas parcialidades que conformaban el Cabildo.</p>\n\n<p><em>La religi&oacute;n era la esencia en las poblaciones, la iglesia o templo era el edificio central de instrucci&oacute;n cristiana, junto con la casa del cabildo, donde se reun&iacute;an las autoridades elegidas, cargo que desempe&ntilde;aban por el periodo de un a&ntilde;o, &ldquo;quien el a&ntilde;o anterior hab&iacute;a cumplido con diligencia su cargo, era ascendido, quien no, deb&iacute;a hacer m&eacute;ritos para permanecer o llegar ejercer otro cargo (Eder, 1985: 362).<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>En el siglo XVIII, exist&iacute;an 21 reducciones, cada una estaba representada por un Cabildo con oficios como m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes, entre otros, los que constituyeron las parcialidades del pueblo. Estos representantes gracias a su trabajo y dedicaci&oacute;n llegaron a gozar de gran prestigio, conformando una especie de &eacute;lite ind&iacute;gena, lo que deriv&oacute; en que la sociedad reduccional se dividiera en dos: la Familia, (miembros del Cabildo, los asistentes religiosos y los que ejerc&iacute;an alg&uacute;n oficio en las parcialidades y el templo, la escuela o los talleres), y el Pueblo, (los dem&aacute;s habitantes de la reducci&oacute;n).</p>\n\n<p>Los cargos del Cabildo estaban especificados en las <em>Leyes de las Reducciones y Pueblo de Indios</em>, que ordenaban la existencia de un indio Sacrist&aacute;n y dos o tres cantores, para la atenci&oacute;n del templo, y las ceremonias religiosas: &ldquo;<em>En todos los pueblos que pasaren de cien indios, haya dos o tres cantores, y en cada reducci&oacute;n un Sacrist&aacute;n, que tenga cuidado de guardar los ornamentos, y barrer la iglesia (Ley VI, Libro VI, Ti. III).&rdquo;</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><em><strong>[2]</strong></em></a></p>\n\n<p>Tambi&eacute;n estas Leyes mencionan la necesidad que los ind&iacute;genas cumplan funciones de gobierno pol&iacute;tico, como alcaldes y regidores, que son las autoridades m&aacute;s importantes&nbsp; del pueblo:<em> &ldquo;Ordenamos que, en cada pueblo y reducci&oacute;n, haya un alcalde indio de la misma reducci&oacute;n, y si pasare de ochenta casas, dos alcaldes, y dos regidores, tambi&eacute;n indios, y aunque el pueblo sea muy grande, no haya m&aacute;s que dos alcaldes y cuatro regidores, los cuales han de elegir por a&ntilde;o nuevo otros, como se practica en los pueblos de espa&ntilde;oles en indios, en presencia de los curas (Libro VI, T&iacute;tulo III, Ley XV).&rdquo;</em><em> <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El cabildo ya no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas de los siglos XVII y XVIII, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, preservar las tradiciones culturales y religiosas, y proteger el patrimonio cultural. Adem&aacute;s, han tomado medidas para defender el territorio frente a la explotaci&oacute;n de empresas madereras y ganaderas.</p>\n\n<p><em>&nbsp;&ldquo;&hellip;Actualmente, siguiendo los criterios jesu&iacute;ticos el Cabildo Indigenal est&aacute; compuesto por &ldquo;un Capital Grande, dos caciques, dos intendentes, cuatro alf&eacute;reces, dos fiscales, dos polic&iacute;as, once comisarios, un camaretero y un secretario (Eyzaguirre 2012:55) cada uno lleva sus propias funciones en sus distintas &aacute;reas. Al Corregidor tradicionalmente se le denomina Tayta&oacute;Tata(persona sabia), quien integra a los sectores, organizaciones, instituciones y familias, el que encierra el respeto y educaci&oacute;n heredada por la cultura de los abuelos. El Cabildo no percibe ning&uacute;n ingreso, el Corregidor no tiene sueldo, por lo que muchas no todas las personas asumen la responsabilidad de este cargo, y por otro lado, el Corregidor debe ser una persona mayor de entre 40 a 50 a&ntilde;os, como garant&iacute;a de su responsabilidad (Parroquias de Mojos 1988:32). La autoridad del Corregidor es elegida en una gran reuni&oacute;n del Cabildo Indigenal incluyendo la participaci&oacute;n de las agrupaciones de las Danzas e incluso personas de las comunidades; esta es una pr&aacute;ctica que la realiza el cabildo sin ninguna intromisi&oacute;n de la junta la prefectura, subprefectura, Comit&eacute;s C&iacute;vicos u otros.&rdquo;<a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><strong>[4]</strong></a></em></p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo de San Ignacio de Mojos, actualmente cuenta con un espacio o centro de reuniones para la poblaci&oacute;n, &eacute;sta edificaci&oacute;n se ubica detr&aacute;s del templo misional: <em>La distribuci&oacute;n espacial del cabildo expresa el rol importante que tienen sus representantes en las sillas principales se sientan las Autoridades principales del Cabildo: Corregidor, Representante, Capit&aacute;n Grande, Cacique e Intendente, detr&aacute;s es las autoridades se ubica el Coro Musical de la Iglesia, al lado izquierdo de las sillas de las autoridades, se encuentran los Pasados que son los ex-caciques y Ex-Corregidores, al lado derecho se ubican el Polic&iacute;a, Comisario, Alf&eacute;rez y el Camaretero; m&aacute;s all&aacute;, sobre el mismo lado derecho, se sientan los Perpetuos y, en el mismo lado, las Mamitas Abadesas. </em></p>\n\n<p>[[Ver foto: Distribuci&oacute;n espacial - Cabildo indigenal]]</p>\n\n<p>&nbsp;</p>\n\n<p><em>De frente a las Autoridades del Cabildo se encuentra el altar donde se encuentran las im&aacute;genes de los Santos; al lado derecho del altar se colocan los bastones de mando que llevan las autoridades, luego se ubican otro grupo de Mamitas Abadesas y al continuaci&oacute;n los Chiripier&uacute;ana(macheteros).<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"><strong>[5]</strong></a></em></p>\n\n<p>El Cabildo de San Ignacio de Mojos posee personer&iacute;a jur&iacute;dica como organizaci&oacute;n, su rol principal es mantener sus tradiciones y dar continuidad a la cultura moje&ntilde;a, organizar todas las actividades festivas, y tienen competencia sobre diversos asuntos del pueblo.</p>\n\n<p>La composici&oacute;n del Cabildo es la siguiente:</p>\n\n<p>[[ Ver foto: Composicion del Cabildo]].</p>\n&nbsp;\n\n<p>&nbsp;</p>\n\n<p>El Cabildo est&aacute; presente y es parte de la organizaci&oacute;n de las festividades, gracias a su pervivencia se ha logrado conservar el patrimonio cultural material e inmaterial, ya que son celosos guardianes de su acervo, evitando adem&aacute;s las influencias for&aacute;neas o renovaciones culturales.</p>\n\n<p>Las agrupaciones que participan en la festividad de Semana Santa, que son parte inherente al Cabildo son:</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"><strong>[6]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p>Las Mamitas Abadesas o Memes, forman parte de la parcialidad de los valores espirituales del pueblo.</p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.<a href=\"#_ftn7\" name=\"_ftnref7\" title=\"\"><strong>[7]</strong></a></em></p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;, este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisitos exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERUANA </strong></p>\n\n<p>El nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>La danza se ejecuta de forma marcial, en dos filas. Bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores, sujeta al armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichachies, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> <em>&nbsp;</em>Plan Mojos, Historia Cabildos. 2024. pg. 45.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid, pg. 50.</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid., pg. 51</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em> </em><em>&ldquo;para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Fuente: Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg..20.</p>\n\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" title=\"\">[6]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pp. 8-9.</p>\n\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" title=\"\">[7]</a> Ibid. p. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "da6c7e4b-e8f9-4579-b1f1-bd195fee1e5c"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La cosmovisi&oacute;n del pueblo moje&ntilde;o, sintetiza los dogmas de la religi&oacute;n cat&oacute;lica, con la noci&oacute;n de la presencia de los esp&iacute;ritus tutelares de la naturaleza, estas arraigadas creencias y su conexi&oacute;n con lo sagrado, proporcionan un sentido de comunidad e identidad, que se demuestra en la importancia que le confieren a la pr&aacute;ctica solemne de las ceremonias, en este caso en la Semana Santa.</p>\n\n<p>Las parcialidades de los valores espirituales del pueblo, que forman parte del Cabildo Indigenal, son actores fundamentales en las celebraciones de la festividad.</p>\n\n<p>El templo de San Ignacio es el lugar sagrado, centro de todas las manifestaciones rituales, y desde el cual salen las procesiones que tambi&eacute;n son parte vital de la conmemoraci&oacute;n cristiana.</p>\n\n<p>Los ritos cat&oacute;licos como la misa, la procesi&oacute;n, el lavado de pies, la Ultima Cena, el Desclavamiento de Cristo, el Encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a, entre otros, son acompa&ntilde;ados constantemente por el Cabildo Indigenal, y sus parcialidades como el Coro Musical, las Mamitas Abadesas, los Sargentos Jud&iacute;os, los Sacristanes y los Macheteros.&nbsp;</p>\n\n<p>La pr&aacute;ctica solemne de las ceremonias religiosas, se ve enriquecida por la inclusi&oacute;n de los ritos y danzas ancestrales, como la danza de los Macheteros que portan un vistoso tocado de plumas, la intervenci&oacute;n del Coro Musical con sus instrumentos aut&oacute;ctonos, o la alegr&iacute;a de la tamborita y la banda.</p>\n\n<p>A continuaci&oacute;n, se describen episodios que son parte de los ritos religiosos o est&aacute;n relacionados con ellos, y tienen lugar el Domingo de Ramos en Semana Santa:</p>\n\n<p>La devoci&oacute;n se ve reflejada en mucho aspectos, es el caso de los j&oacute;venes que cargan las im&aacute;genes, ellos se sit&uacute;an al lado del santo, d&iacute;as antes de comenzar las festividades, para cuidarlo. Otra particularidad, es que su gran fe cat&oacute;lica les compromete a participar alzando las pesadas im&aacute;genes y sus andas, como una forma de limpiar sus pecados, colaborar con la iglesia, o por el bienestar de sus familias y del pueblo en general. Este trabajo lo hacen por el lapso de cinco d&iacute;as hasta el Domingo de Resurrecci&oacute;n.</p>\n\n<p><strong>DOMINGO DE RAMOS</strong></p>\n\n<p>Inicia la Semana Santa, recordando la entrada de Jes&uacute;s a Jerusal&eacute;n.</p>\n\n<p><strong>Misa del Ni&ntilde;o de Ramos, con bendici&oacute;n de las palmas. - 8:00&nbsp; </strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo y en el atrio.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen de la Dolorosa, sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>&nbsp;</p>\n\n<p>La imagen del Ni&ntilde;o Ramos est&aacute; en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Mamitas abadesas, Coro del templo, Coro Musical, alzadores, pueblo en general.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; monaguillos, de blanco, y rojo, el Cabildo y el Coro Musical con camijetas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino ornamentado con telas de todos los colores.</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>El Cabildo porta bandera blanca, con asta de plata.</p>\n\n<p>Sacrist&aacute;n porta la Cruz de plata con &ldquo;faldilla&rdquo; blanca.</p>\n\n<p>Cruz Verde en el altar, apoyada en un horc&oacute;n.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Coro juvenil del templo interpreta cantos propios de la misa.</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>instrumentos</strong></p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivire, 3 cajas o kajanes.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la bendici&oacute;n de las palmas, la procesi&oacute;n sale hasta el atrio con la imagen del Ni&ntilde;o Ramos y luego inmediatamente retorna, para la celebraci&oacute;n de la misa.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Antes de las 8:00, las Memes rezan el rosario, paradas frente al altar, dirigidas por un Perpetuo, que porta una cruz de madera.</li>\n\t<li>El Cabildo indigenal se sienta en las primeras filas y detr&aacute;s se sit&uacute;an las Memes, en los asientos de las naves laterales los ni&ntilde;os.</li>\n\t<li>El P&aacute;rroco recorre el templo echando agua bendita a las palmas de motac&uacute;, (Cogollo, como llaman los moje&ntilde;os ignacianos), que portan las Memes, los ni&ntilde;os y la gente. El coro del templo acompa&ntilde;a esta ceremonia.</li>\n\t<li>P&aacute;rroco hace una lectura y da lugar a la procesi&oacute;n, incensando la imagen del Ni&ntilde;o Ramos y la Virgen Dolorosa.</li>\n\t<li>El orden de la procesi&oacute;n es: 3 personas que tocan las cajas o kajanes; Sacristanes con la Cruz de plata, Cabildo indigenal, P&aacute;rroco y Sacristanes, Memes con palmas, imagen del Ni&ntilde;o Ramos, los Sargentos Jud&iacute;os flanquean la imagen, y finalmente los ni&ntilde;os con palmas.</li>\n\t<li>La procesi&oacute;n sale por la nave del evangelio, precedida por el toque constante de cajas.</li>\n\t<li>La imagen cruza la puerta del templo y es incensada por el p&aacute;rroco, quien hace una oraci&oacute;n, se cierran las puertas del templo.</li>\n\t<li>El Coro Musical, con instrumentos canta el Hosanna, en castellano con libreto.</li>\n\t<li>El Sacrist&aacute;n golpea tres veces la puerta del templo, &eacute;sta se abre y entra el Cabildo indigenal, el P&aacute;rroco, Sacristanes y la imagen del Ni&ntilde;o Ramos se da la vuelta y vuelve a ingresar al templo, por el lado de la ep&iacute;stola, acompa&ntilde;ada con el sonido constante de las cajas.</li>\n\t<li>Se sit&uacute;a en su lugar a la imagen del Ni&ntilde;o Ramos, suena la campanilla, el P&aacute;rroco inciensa las im&aacute;genes.</li>\n\t<li>Inicia la celebraci&oacute;n de la misa.</li>\n\t<li>Antes de la consagraci&oacute;n del pan y el vino, el P&aacute;rroco nuevamente inciensa las im&aacute;genes, a los asistentes, mientras el Coro Musical canta el Hosanna, acompa&ntilde;ado de sivivire y caja.</li>\n\t<li>Concluye la misa y canta el Coro Musical acompa&ntilde;ado de sivivire y caja. (cantos eucar&iacute;sticos)</li>\n\t<li>&nbsp;</li>\n</ul>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<p>&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Ni&ntilde;o Ramos - 16:00&nbsp; </strong></p>\n\n<p>Esta procesi&oacute;n conmemora la entrada triunfal de Cristo a Jerusal&eacute;n.</p>\n\n<p><strong>Lugar:</strong> Se realiza desde el Cabildo y termina en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Ni&ntilde;o Ramos<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a> se lleva al Cabildo Indigenal para la procesi&oacute;n. Se sit&uacute;a la imagen bajo los arcos m&oacute;viles.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco de madera, con campanas que cuelgan de su cuello, y carga frutas en la grupa, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino profusamente ornamentado con telas de todos los colores.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Perpetuos, Cabildo indigenal, Mamitas abadesas, Sargentos Jud&iacute;os, Coro Musical, alzadores, j&oacute;venes con palmas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; monaguillos, de blanco, y rojo, Perpetuos, Cabildo y el Coro Musical con camijetas y sombrero; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Arcos, construidos con tacuara, forrados con telas de colores.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; blanca, la cruz esta cubierta con pa&ntilde;o blanco.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Tamborita: Caja redoblante, sivivire, tambor</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivires.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes portando la Cruz de plata y dos velas</p>\n\n<p>Cabildo indigenal</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco y sacristanes</p>\n\n<p>Imagen del Ni&ntilde;o Ramos</p>\n\n<p><strong>Actividades</strong></p>\n\n<p><em>Iniciada la tarde los miembros del Cabildo construyen un altar en la puerta del cabildo, al frente de la Cruz que significa la presencia misional en mojos.</em></p>\n\n<p><em>Este altar esta hecho de cuatro apoyos de bamb&uacute; forrados con telas blanco, amarillo y verde, entre los pilares se cuelga un techo blanco adornado con tela blanca, verde y naranja, en la parte de adelante se sit&uacute;a un arco movible y sostenido por los miembros del cabildo.</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></p>\n\n<p>El Perpetuo reza el rosario, en frente de la imagen del Ni&ntilde;o Ramos, y luego se realiza la procesi&oacute;n que se dirige al templo.</p>\n\n<p>La procesi&oacute;n se detiene en todas las esquinas de la plaza, para realizar las ceremonias.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Fuera del Cabildo Indigenal, donde est&aacute; la imagen del Ni&ntilde;o Ramos, un Perpetuo reza el rosario con las Memes que llevan palmas.</li>\n\t<li>Un manto blanco se ha extendido frente a la imagen, sobre el que rezan algunas Memes de rodillas.</li>\n\t<li>Termina el rosario, el Perpetuo y las Memes empiezan a cantar en Moje&ntilde;o, mientras tanto llegan los Sargentos Jud&iacute;os y se colocan flanqueando la imagen.</li>\n\t<li>El p&aacute;rroco y sacristanes se acercan, se inciensa la imagen, y se bendicen los ramos con agua bendita.</li>\n\t<li>El p&aacute;rroco hace una oraci&oacute;n, el Coro Musical canta Hosanna en castellano, nuevamente hace una oraci&oacute;n.</li>\n\t<li>Suena la caja, se inciensa la imagen nuevamente, los alzadores cargan la imagen y comienza la procesi&oacute;n, acompa&ntilde;ada por el redoble de la caja y la m&uacute;sica de la tamborita pregrabada, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes.</li>\n\t<li>En todas las esquinas de la plaza se hace lo siguiente:</li>\n</ul>\n\n<p style=\"margin-left:48px\">Se detiene la imagen del Ni&ntilde;o Ramos, bajo el dosel de tela anaranjada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa la imagen, mientras suenan las matracas.</p>\n\n<p style=\"margin-left:48px\">Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</p>\n\n<p style=\"margin-left:48px\">Se hace la lectura del evangelio</p>\n\n<p style=\"margin-left:48px\">El Coro Musical canta en castellano de memoria</p>\n\n<p style=\"margin-left:48px\">P&aacute;rroco hace una oraci&oacute;n.</p>\n\n<p style=\"margin-left:48px\">El Coro Musical canta &ldquo;am&eacute;n&rdquo;</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las campanillas.</p>\n\n<ul>\n\t<li>Cuando est&aacute;n cerca del templo, empieza el redoble de campanas y se escucha a la banda buri, adem&aacute;s de la grabaci&oacute;n de la tamborita y el redoble de tambor.</li>\n\t<li>La imagen del Ni&ntilde;o Ramos, se gira y da la espalda a la puerta del templo, se lee el evangelio, el Coro Musical canta en castellano, nuevamente la imagen gira para ingresar al templo.</li>\n\t<li>La procesi&oacute;n ingresa al templo, por el lado de la ep&iacute;stola.</li>\n\t<li>Se coloca a la imagen en lado izquierdo del altar.</li>\n\t<li>Suenan las campanillas, redoble de tambor, se inciensa la imagen del Ni&ntilde;o Ramos y de la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco, da comienzo a la celebraci&oacute;n de la misa, el Cabildo Indigenal se sit&uacute;a en las primeras bancas, detr&aacute;s est&aacute;n las memes y luego el pueblo en general.</li>\n</ul>\n\n<hr />\n<p><strong><em>Video: Procesion Domingo de Ramos</em></strong></p>\n\n<p><strong><em>www.facebook.com/100075644031143/videos/3364514693839674</em></strong></p>\n\n<p><a href=\"http://www.facebook.com/100075644031143/videos/3364514693839674\">Domingo de Ramos</a></p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> &ldquo;<em>Si bien la figura de Cristo corresponde a una persona mayor, el Cristo es identificado como Ni&ntilde;o Ramos, porque es inocente, sin culpa, como los ni&ntilde;os, es ni&ntilde;o porque no cambia nunca y vuelve a nacer cada a&ntilde;o&rdquo;. </em>Semana Santa San Ignacio de Mojos, Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg. 6.</p>\n\n<p>&nbsp;</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 11</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f6cd147e-8579-11ee-a653-53ebd0470963": null}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "4d46715f-9f58-4c15-9aca-6d1f4d9d6a6c"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La m&uacute;sica es un medio que permite expresar emociones y transmitir conocimientos o experiencias. Las comunidades ind&iacute;genas la han utilizado como instrumento de preservaci&oacute;n de su cultura, trasmitiendo sus saberes de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>En la &eacute;poca prehisp&aacute;nica Mojos era una regi&oacute;n poblada por diversos grupos &eacute;tnicos de habla Arawak, con la llegada de los jesuitas a finales del siglo XVII, estos grupos son reducidos y se establecen la misiones, una de ellas es San Ignacio.</p>\n\n<p>Los sacerdotes jesuitas, recurrieron a la afici&oacute;n de los ind&iacute;genas por la m&uacute;sica y la danza, para inculcarles la religi&oacute;n cristiana y sus valores. Los moje&ntilde;os, demostraron tener gran aptitud para el aprendizaje musical, tocaban con destreza todos los instrumentos que eran tra&iacute;dos de Europa, ya fuesen de cuerda o viento, y con el tiempo tambi&eacute;n fueron capaces de construirlos.</p>\n\n<p><em>Los jesuitas ense&ntilde;aron m&uacute;sica a, los indios y pronto &eacute;stos ocuparon sus lugares en el coro, como solistas, instrumentistas, copistas, constructores de instrumentos y hasta de maestros de capilla.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Los documentos que registran la presencia de las pr&aacute;cticas musicales y las danzas en el periodo jesuita, muestran la coexistencia de la m&uacute;sica sacra con la m&uacute;sica y danzas aut&oacute;ctonas.</p>\n\n<p>En sus escritos Alcide D&rsquo;Orbigny relata:</p>\n\n<p><em>...me sorprendi&oacute; la m&uacute;sica instrumental, plena de armon&iacute;a, en la que admir&eacute; sobre todo los bajos formados por un instrumento propio de los ind&iacute;genas, especie de flauta de Pan de uno a dos metros de largo, construida con hojas de palmeras unidas unas con otras, &hellip;</em></p>\n\n<p><em>Despu&eacute;s de la misa, los indios, tocados con una especie de aureola de plumas, y llevando cascabeles en las pantorrillas y un gran sable de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mis agudas hasta las mis graves, y acompa&ntilde;ados de flautas y tambores, salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a m&aacute;s que un n&uacute;mero muy limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas. <a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<p>[[Ver foto: Misa cantada Mojos]]</p>\n\n<p>Keller, Franz. &ldquo;Misa Cantada en la Antigua misi&oacute;n de Trinidad (Mamor&eacute;)&rdquo;The Amazon and Madeira Rivers. Sketches <em>and descriptions from the Note-Book of an Explorer. </em><em>London, 1874.</em></p>\n\n<p>&nbsp;</p>\n\n<p><em>Las danzas aut&oacute;ctonas fueron aceptadas por los misioneros como expresi&oacute;n genuina de los pueblos a su cargo, e incorporadas oficialmente al culto religioso, especialmente en las procesiones de Corpus, fiesta de la Sant&iacute;sima Trinidad o la conmemoraci&oacute;n del d&iacute;a del Santo bajo cuya advocaci&oacute;n se hallaban las diferentes misiones. El P. Eder informa que &quot;en ciertas horas se re&uacute;nen en casa del misionero, y bailan all&iacute; y dentro del Templo&quot;, y describe los atav&iacute;os de los bailarines: &quot;Para dar m&aacute;s gracia a sus bailes, hay algunos que se ponen pieles de monos y de aves; otros llevan escudos de plumas ingeridas (cosidas) en una tela; y en ellos hay dibujadas varias figuras de animales&quot;.</em></p>\n\n<p><em>&hellip;</em></p>\n\n<p><em>Las procesiones que se originaron en festividades religiosas tales como Corpus, Epifan&iacute;a, Trinidad, Navidad, etc., ocasionaban el despliegue de intensa actividad musical, donde se daban cita cantantes, bailarines e instrumentistas y donde interven&iacute;an todos los integrantes del pueblo. <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El pueblo moje&ntilde;o mantiene viva su cultura, salvaguardando: la m&uacute;sica prehisp&aacute;nica, que hace eco y uso de la naturaleza; y la m&uacute;sica eclesial, como forma de preservar la religiosidad heredada del periodo misional.</p>\n\n<p>Las partituras que dejaron los jesuitas luego de la expulsi&oacute;n fueron celosa y cuidadosamente conservadas por el Cabildo y el pueblo mismo, la importancia de estos documentos reside en su devoci&oacute;n ya que no se concibe la adoraci&oacute;n a Dios separada de la m&uacute;sica.</p>\n\n<p>El Cabildo Indigenal, como representante de la comunidad, cuyo rol principal es difundir el patrimonio cultural moje&ntilde;o, organiza y participa con las parcialidades de los Valores Espirituales del Pueblo, en las actividades festivas donde la m&uacute;sica y la danza son el elemento fundamental.</p>\n\n<p>Los integrantes de los conjuntos musicales, tiene la responsabilidad de mostrar y transmitir estos saberes, para preservarlos a trav&eacute;s del tiempo.</p>\n\n<p>Coro Musical. Conjunto de personas que cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio, tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el cajane o caja (tambor).</p>\n\n<p>Tamborita. Grupo musical que toca el sivivire, el sankuti, y la tampura, interpretando ritmos alegres t&iacute;picos de la zona.</p>\n\n<p>Banda. &nbsp;&nbsp;Grupo que toca la caja y la trompeta.</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momentos se incluye dentro los ritos religiosos de Semana Santa, las canciones, la m&uacute;sica interpretadas por el Coro Musical, la tamborita y la banda; y las danzas ejecutadas por los Macheteros y los Angelitos.</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, la tamborita y la banda, y cuando se ejecutan las danzas:</u></strong></p>\n\n<hr />\n<p><strong>DOMINGO DE RAMOS</strong></p>\n\n<p>Inicia la Semana Santa, recordando la entrada de Jes&uacute;s a Jerusal&eacute;n.</p>\n\n<p><strong>Misa del Ni&ntilde;o de Ramos, con bendici&oacute;n de las palmas. - 8:00&nbsp; </strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo y en el atrio.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen de la Dolorosa, sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>La imagen del Ni&ntilde;o Ramos est&aacute; en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Mamitas abadesas, Coro del templo, Coro Musical, alzadores, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; monaguillos, de blanco, y rojo, el Cabildo y el Coro Musical con camijetas.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino ornamentado con telas de todos los colores.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>El Cabildo porta bandera blanca, con asta de plata.</p>\n\n<p>Sacrist&aacute;n porta la Cruz de plata con &ldquo;faldilla&rdquo; blanca.</p>\n\n<p>Cruz Verde en el altar, apoyada en un horc&oacute;n.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Coro juvenil del templo interpreta cantos propios de la misa.</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivire, 3 cajas o kajanes.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la bendici&oacute;n de las palmas, la procesi&oacute;n sale hasta el atrio con la imagen del Ni&ntilde;o Ramos y luego inmediatamente retorna, para la celebraci&oacute;n de la misa.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Antes de las 8:00, las Memes rezan el rosario, paradas frente al altar, dirigidas por un Perpetuo, que porta una cruz de madera.</li>\n\t<li>El Cabildo indigenal se sienta en las primeras filas y detr&aacute;s se sit&uacute;an las Memes, en los asientos de las naves laterales los ni&ntilde;os.</li>\n\t<li>El P&aacute;rroco recorre el templo echando agua bendita a las palmas de motac&uacute;, (Cogollo, como llaman los moje&ntilde;os ignacianos), que portan las Memes, los ni&ntilde;os y la gente. El coro del templo acompa&ntilde;a esta ceremonia.</li>\n\t<li>P&aacute;rroco hace una lectura y da lugar a la procesi&oacute;n, incensando la imagen del Ni&ntilde;o Ramos y la Virgen Dolorosa.</li>\n\t<li>El orden de la procesi&oacute;n es: 3 personas que tocan las cajas o kajanes; Sacristanes con la Cruz de plata, Cabildo indigenal, P&aacute;rroco y Sacristanes, Memes con palmas, imagen del Ni&ntilde;o Ramos, los Sargentos Jud&iacute;os flanquean la imagen, y finalmente los ni&ntilde;os con palmas.</li>\n\t<li>La procesi&oacute;n sale por la nave del evangelio, <strong><u>precedida por el toque constante de cajas.</u></strong></li>\n\t<li>La imagen cruza la puerta del templo y es incensada por el p&aacute;rroco, quien hace una oraci&oacute;n, se cierran las puertas del templo.</li>\n\t<li><strong><u>El Coro Musical, con instrumentos canta el Hosanna, en castellano con libreto.</u></strong></li>\n\t<li>El Sacrist&aacute;n golpea tres veces la puerta del templo, &eacute;sta se abre y entra el Cabildo indigenal, el P&aacute;rroco, Sacristanes y la imagen del Ni&ntilde;o Ramos se da la vuelta y vuelve a ingresar al templo, por el lado de la ep&iacute;stola,<strong><u> acompa&ntilde;ada con el sonido constante de las cajas.</u></strong></li>\n\t<li>Se sit&uacute;a en su lugar a la imagen del Ni&ntilde;o Ramos, suena la campanilla, el P&aacute;rroco inciensa las im&aacute;genes.</li>\n\t<li>Inicia la celebraci&oacute;n de la misa.</li>\n\t<li>Antes de la consagraci&oacute;n del pan y el vino, el P&aacute;rroco nuevamente inciensa las im&aacute;genes, a los asistentes, <strong><u>mientras el Coro Musical canta el Hosanna, acompa&ntilde;ado de sivivire y caja.</u></strong></li>\n\t<li>C<strong><u>oncluye la misa y canta el Coro Musical acompa&ntilde;ado de sivivire y caja. (cantos eucar&iacute;sticos)</u></strong></li>\n</ul>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<p>&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Ni&ntilde;o Ramos - 16:00&nbsp; </strong></p>\n\n<p>Esta procesi&oacute;n conmemora la entrada triunfal de Cristo a Jerusal&eacute;n.</p>\n\n<p><strong>Lugar:</strong> Se realiza desde el Cabildo y termina en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Ni&ntilde;o Ramos<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a> se lleva al Cabildo Indigenal para la procesi&oacute;n. Se sit&uacute;a la imagen bajo los arcos m&oacute;viles.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco de madera, con campanas que cuelgan de su cuello, y carga frutas en la grupa, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino profusamente ornamentado con telas de todos los colores.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Perpetuos, Cabildo indigenal, Mamitas abadesas, Sargentos Jud&iacute;os, Coro Musical, alzadores, j&oacute;venes con palmas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; monaguillos, de blanco, y rojo, Perpetuos, Cabildo y el Coro Musical con camijetas y sombrero; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Arcos, construidos con tacuara, forrados con telas de colores.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; blanca, la cruz esta cubierta con pa&ntilde;o blanco.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Tamborita: Caja redoblante, sivivire, tambor</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivires.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes portando la Cruz de plata y dos velas</p>\n\n<p>Cabildo indigenal</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco y sacristanes</p>\n\n<p>Imagen del Ni&ntilde;o Ramos</p>\n\n<p><strong>Actividades</strong></p>\n\n<p><em>Iniciada la tarde los miembros del Cabildo construyen un altar en la puerta del cabildo, al frente de la Cruz que significa la presencia misional en mojos.</em></p>\n\n<p><em>Este altar esta hecho de cuatro apoyos de bamb&uacute; forrados con telas blanco, amarillo y verde, entre los pilares se cuelga un techo blanco adornado con tela blanca, verde y naranja, en la parte de adelante se sit&uacute;a un arco movible y sostenido por los miembros del cabildo.</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></p>\n\n<p>El Perpetuo reza el rosario, en frente de la imagen del Ni&ntilde;o Ramos, y luego se realiza la procesi&oacute;n que se dirige al templo.</p>\n\n<p>La procesi&oacute;n se detiene en todas las esquinas de la plaza, para realizar las ceremonias.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Fuera del Cabildo Indigenal, donde est&aacute; la imagen del Ni&ntilde;o Ramos, un Perpetuo reza el rosario con las Memes que llevan palmas.</li>\n\t<li>Un manto blanco se ha extendido frente a la imagen, sobre el que rezan algunas Memes de rodillas.</li>\n\t<li>Termina el rosario, <strong><u>el Perpetuo y las Memes empiezan a cantar en Moje&ntilde;o</u></strong>, mientras tanto llegan los Sargentos Jud&iacute;os y se colocan flanqueando la imagen.</li>\n\t<li>El p&aacute;rroco y sacristanes se acercan, se inciensa la imagen, y se bendicen los ramos con agua bendita.</li>\n\t<li>El p&aacute;rroco hace una oraci&oacute;n, <strong><u>el Coro Musical canta Hosanna en castellano, </u></strong>nuevamente hace una oraci&oacute;n.</li>\n\t<li><strong><u>Suena la caja,</u></strong> se inciensa la imagen nuevamente, los alzadores cargan la imagen y c<strong><u>omienza la procesi&oacute;n, acompa&ntilde;ada por el redoble de la caja y la m&uacute;sica de la tamborita pregrabada, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes.</u></strong></li>\n\t<li>En todas las esquinas de la plaza se hace lo siguiente:</li>\n</ul>\n\n<p style=\"margin-left:48px\">Se detiene la imagen del Ni&ntilde;o Ramos, bajo el dosel de tela anaranjada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa la imagen, mientras suenan las matracas.</p>\n\n<p style=\"margin-left:48px\">Canta el coro de se&ntilde;oras en castellano, con libreto, <strong><u>en la siguiente parada, ser&aacute; el turno del Coro Musica</u></strong>l, y as&iacute; alternadamente.</p>\n\n<p style=\"margin-left:48px\">Se hace la lectura del evangelio</p>\n\n<p style=\"margin-left:48px\"><strong><u>El Coro Musical canta en castellano de memoria</u></strong></p>\n\n<p style=\"margin-left:48px\">P&aacute;rroco hace una oraci&oacute;n.</p>\n\n<p style=\"margin-left:48px\"><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo;</u></strong></p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las campanillas.</p>\n\n<ul>\n\t<li>Cuando est&aacute;n cerca del templo, empieza el redoble de campanas y <strong><u>se escucha a la banda buri, adem&aacute;s de la grabaci&oacute;n de la tamborita y el redoble de tambor.</u></strong></li>\n\t<li>La imagen del Ni&ntilde;o Ramos, se gira y da la espalda a la puerta del templo, se lee el evangelio, <strong><u>el Coro Musical canta en castellano, </u></strong>nuevamente la imagen gira para ingresar al templo.</li>\n\t<li>La procesi&oacute;n ingresa al templo, por el lado de la ep&iacute;stola.</li>\n\t<li>Se coloca a la imagen en lado izquierdo del altar.</li>\n\t<li>Suenan las campanillas, redoble de tambor, se inciensa la imagen del Ni&ntilde;o Ramos y de la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco, da comienzo a la celebraci&oacute;n de la misa, el Cabildo Indigenal se sit&uacute;a en las primeras bancas, detr&aacute;s est&aacute;n las memes y luego el pueblo en general.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> &ldquo;<em>Si bien la figura de Cristo corresponde a una persona mayor, el Cristo es identificado como Ni&ntilde;o Ramos, porque es inocente, sin culpa, como los ni&ntilde;os, es ni&ntilde;o porque no cambia nunca y vuelve a nacer cada a&ntilde;o&rdquo;. </em>Semana Santa San Ignacio de Mojos, Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg. 6.</p>\n\n<p>&nbsp;</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 11</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "e6323cbf-1077-4730-847e-7aa0919f202d"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["6734af3e-4791-4d75-82c4-3fb2b73aed20"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": null, "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": null}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "380835e2-0754-4c8e-b55e-b3308c91d66f"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las&nbsp;tradiciones y expresiones orales, transmitidas de generaci&oacute;n en generaci&oacute;n como parte de la memoria colectiva de la comunidad, forman parte fundamental del&nbsp;patrimonio cultural inmaterial.</p>\n\n<p>Los pueblos aut&oacute;ctonos de la regi&oacute;n moje&ntilde;a, antes de pertenecer a las reducciones jesu&iacute;ticas, hac&iacute;an uso del canto y usaban sus propios instrumentos, en rituales de car&aacute;cter m&iacute;tico. Los misioneros adoptaron los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena, ense&ntilde;ando en su lugar m&uacute;sica y poemas sagrados estrictamente religiosos.</p>\n\n<p>Las tradiciones del antiguo pueblo misional de San Ignacio de Mojos se conservan hasta hoy, gracias a su gente, que mantiene con mucho orgullo y esfuerzo sus costumbres y ceremonias. Dentro de estas arraigadas tradiciones, est&aacute; la celebraci&oacute;n de Semana Santa, que como en otras latitudes, se festeja durante diez d&iacute;as, comenzando con el Viernes de Dolores, y concluyendo en el Domingo de Resurrecci&oacute;n. Las ceremonias de esta festividad, siguen pr&aacute;cticamente los mismos ritos establecidos por la religi&oacute;n cristiana, pero en sincretismo con la cultura del lugar, por medio de la inclusi&oacute;n del idioma moje&ntilde;o, que est&aacute; presente en ciertos momentos de las celebraciones, as&iacute; como la inserci&oacute;n de m&uacute;sica y bailes propios.</p>\n\n<p>La lengua que se habla en San Ignacio de Mojos, es el castellano, pero se conserva todav&iacute;a la lengua Moje&ntilde;a Ignaciana, que corresponde a la familia ling&uuml;&iacute;stica Arawak, y se hace presente especialmente en la celebraci&oacute;n de la misa cuando se hace la segunda lectura del evangelio.</p>\n\n<p>El canto del Coro Musical, es parte infaltable de la misa y las procesiones, interpretando canciones religiosas acompa&ntilde;ado por sus instrumentos, si bien las canciones son interpretadas en castellano ya forman parte de su tradici&oacute;n. El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor).</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momento se incluye dentro los ritos religiosos, la lengua moje&ntilde;a, y las canciones religiosas en castellano:</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, y cuando se hacen las lecturas en lengua moje&ntilde;a:</u></strong></p>\n\n<p><strong>DOMINGO DE RAMOS</strong></p>\n\n<p>Inicia la Semana Santa, recordando la entrada de Jes&uacute;s a Jerusal&eacute;n.</p>\n\n<p><strong>Misa del Ni&ntilde;o de Ramos, con bendici&oacute;n de las palmas. - 8:00&nbsp; </strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo y en el atrio.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen de la Dolorosa, sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>La imagen del Ni&ntilde;o Ramos est&aacute; en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino ornamentado con telas de todos los colores.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Mamitas abadesas, Coro del templo, Coro Musical, alzadores, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; monaguillos, de blanco, y rojo, el Cabildo y el Coro Musical con camijetas.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>El Cabildo porta bandera blanca, con asta de plata.</p>\n\n<p>Sacrist&aacute;n porta la Cruz de plata con &ldquo;faldilla&rdquo; blanca.</p>\n\n<p>Cruz Verde en el altar, apoyada en un horc&oacute;n.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Coro juvenil del templo interpreta cantos propios de la misa.</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivire, 3 cajas o kajanes.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la bendici&oacute;n de las palmas, la procesi&oacute;n sale hasta el atrio con la imagen del Ni&ntilde;o Ramos y luego inmediatamente retorna, para la celebraci&oacute;n de la misa.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Antes de las 8:00, las Memes rezan el rosario, paradas frente al altar, dirigidas por un Perpetuo, que porta una cruz de madera.</li>\n\t<li>El Cabildo indigenal se sienta en las primeras filas y detr&aacute;s se sit&uacute;an las Memes, en los asientos de las naves laterales los ni&ntilde;os.</li>\n\t<li>El P&aacute;rroco recorre el templo echando agua bendita a las palmas de motac&uacute;, (Cogollo, como llaman los moje&ntilde;os ignacianos), que portan las Memes, los ni&ntilde;os y la gente. El coro del templo acompa&ntilde;a esta ceremonia.</li>\n\t<li>P&aacute;rroco hace una lectura y da lugar a la procesi&oacute;n, incensando la imagen del Ni&ntilde;o Ramos y la Virgen Dolorosa.</li>\n\t<li>El orden de la procesi&oacute;n es: 3 personas que tocan las cajas o kajanes; Sacristanes con la Cruz de plata, Cabildo indigenal, P&aacute;rroco y Sacristanes, Memes con palmas, imagen del Ni&ntilde;o Ramos, los Sargentos Jud&iacute;os flanquean la imagen, y finalmente los ni&ntilde;os con palmas.</li>\n\t<li>La procesi&oacute;n sale por la nave del evangelio, precedida por el toque constante de cajas.</li>\n\t<li>La imagen cruza la puerta del templo y es incensada por el p&aacute;rroco, quien hace una oraci&oacute;n, se cierran las puertas del templo.</li>\n\t<li><strong><u>El Coro Musical, con instrumentos canta el Hosanna, en castellano con libreto.</u></strong></li>\n\t<li>El Sacrist&aacute;n golpea tres veces la puerta del templo, &eacute;sta se abre y entra el Cabildo indigenal, el P&aacute;rroco, Sacristanes y la imagen del Ni&ntilde;o Ramos se da la vuelta y vuelve a ingresar al templo, por el lado de la ep&iacute;stola, acompa&ntilde;ada con el sonido constante de las cajas.</li>\n\t<li>Se sit&uacute;a en su lugar a la imagen del Ni&ntilde;o Ramos, suena la campanilla, el P&aacute;rroco inciensa las im&aacute;genes.</li>\n\t<li>Inicia la celebraci&oacute;n de la misa.</li>\n\t<li>Antes de la consagraci&oacute;n del pan y el vino, el P&aacute;rroco nuevamente inciensa las im&aacute;genes, a los asistentes, <strong><u>mientras el Coro Musical canta el Hosanna, acompa&ntilde;ado de sivivire y caja.</u></strong></li>\n\t<li>Concluye la misa y <u><strong>canta el Coro Musical acompa&ntilde;ado de sivivire y caja. (cantos eucar&iacute;sticos)</strong></u></li>\n\t<li>&nbsp;</li>\n</ul>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<p>&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Ni&ntilde;o Ramos - 16:00&nbsp; </strong></p>\n\n<p>Esta procesi&oacute;n conmemora la entrada triunfal de Cristo a Jerusal&eacute;n.</p>\n\n<p><strong>Lugar:</strong> Se realiza desde el Cabildo y termina en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Ni&ntilde;o Ramos<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a> se lleva al Cabildo Indigenal para la procesi&oacute;n. Se sit&uacute;a la imagen bajo los arcos m&oacute;viles.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco de madera, con campanas que cuelgan de su cuello, y carga frutas en la grupa, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino profusamente ornamentado con telas de todos los colores.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Perpetuos, Cabildo indigenal, Mamitas abadesas, Sargentos Jud&iacute;os, Coro Musical, alzadores, j&oacute;venes con palmas, pueblo en general.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; monaguillos, de blanco, y rojo, Perpetuos, Cabildo y el Coro Musical con camijetas y sombrero; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Arcos, construidos con tacuara, forrados con telas de colores.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; blanca, la cruz esta cubierta con pa&ntilde;o blanco.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>instrumentos</strong></p>\n\n<p>Tamborita: Caja redoblante, sivivire, tambor</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivires.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes portando la Cruz de plata y dos velas</p>\n\n<p>Cabildo indigenal</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco y sacristanes</p>\n\n<p>Imagen del Ni&ntilde;o Ramos</p>\n\n<p><strong>Actividades</strong></p>\n\n<p><em>Iniciada la tarde los miembros del Cabildo construyen un altar en la puerta del cabildo, al frente de la Cruz que significa la presencia misional en mojos.</em></p>\n\n<p><em>Este altar esta hecho de cuatro apoyos de bamb&uacute; forrados con telas blanco, amarillo y verde, entre los pilares se cuelga un techo blanco adornado con tela blanca, verde y naranja, en la parte de adelante se sit&uacute;a un arco movible y sostenido por los miembros del cabildo.</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></p>\n\n<p>El Perpetuo reza el rosario, en frente de la imagen del Ni&ntilde;o Ramos, y luego se realiza la procesi&oacute;n que se dirige al templo.</p>\n\n<p>La procesi&oacute;n se detiene en todas las esquinas de la plaza, para realizar las ceremonias.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Fuera del Cabildo Indigenal, donde est&aacute; la imagen del Ni&ntilde;o Ramos, un Perpetuo reza el rosario con las Memes que llevan palmas.</li>\n\t<li>Un manto blanco se ha extendido frente a la imagen, sobre el que rezan algunas Memes de rodillas.</li>\n\t<li>Termina el rosario, el Perpetuo y las Memes empiezan a cantar en Moje&ntilde;o, mientras tanto llegan los Sargentos Jud&iacute;os y se colocan flanqueando la imagen.</li>\n\t<li>El p&aacute;rroco y sacristanes se acercan, se inciensa la imagen, y se bendicen los ramos con agua bendita.</li>\n\t<li>El p&aacute;rroco hace una oraci&oacute;n, el Coro Musical canta Hosanna en castellano, nuevamente hace una oraci&oacute;n.</li>\n\t<li>Suena la caja, se inciensa la imagen nuevamente, los alzadores cargan la imagen y comienza la procesi&oacute;n, acompa&ntilde;ada por el redoble de la caja y la m&uacute;sica de la tamborita pregrabada, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes.</li>\n\t<li>En todas las esquinas de la plaza se hace lo siguiente:</li>\n</ul>\n\n<p style=\"margin-left:48px\">Se detiene la imagen del Ni&ntilde;o Ramos, bajo el dosel de tela anaranjada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa la imagen, mientras suenan las matracas.</p>\n\n<p style=\"margin-left:48px\"><strong><u>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</u></strong></p>\n\n<p style=\"margin-left:48px\">Se hace la lectura del evangelio</p>\n\n<p style=\"margin-left:48px\"><strong><u>El Coro Musical canta en castellano de memoria</u></strong></p>\n\n<p style=\"margin-left:48px\">P&aacute;rroco hace una oraci&oacute;n.</p>\n\n<p style=\"margin-left:48px\">El Coro Musical canta &ldquo;am&eacute;n&rdquo;</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las campanillas.</p>\n\n<ul>\n\t<li>Cuando est&aacute;n cerca del templo, empieza el redoble de campanas y se escucha a la banda buri, adem&aacute;s de la grabaci&oacute;n de la tamborita y el redoble de tambor.</li>\n\t<li>La imagen del Ni&ntilde;o Ramos, se gira y da la espalda a la puerta del templo, se lee el evangelio, <strong><u>el Coro Musical canta en castellano,</u></strong> nuevamente la imagen gira para ingresar al templo.</li>\n\t<li>La procesi&oacute;n ingresa al templo, por el lado de la ep&iacute;stola.</li>\n\t<li>Se coloca a la imagen en lado izquierdo del altar.</li>\n\t<li>Suenan las campanillas, redoble de tambor, se inciensa la imagen del Ni&ntilde;o Ramos y de la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco, da comienzo a la celebraci&oacute;n de la misa, el Cabildo Indigenal se sit&uacute;a en las primeras bancas, detr&aacute;s est&aacute;n las memes y luego el pueblo en general.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> &ldquo;<em>Si bien la figura de Cristo corresponde a una persona mayor, el Cristo es identificado como Ni&ntilde;o Ramos, porque es inocente, sin culpa, como los ni&ntilde;os, es ni&ntilde;o porque no cambia nunca y vuelve a nacer cada a&ntilde;o&rdquo;. </em>Semana Santa San Ignacio de Mojos, Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg. 6.</p>\n\n<p>&nbsp;</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 11</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["d2a24278-85f8-422d-85c6-24e4009f191f", "b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "06e835ff-7108-4e78-b8a9-dabcc0872920"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2881376c-5ddf-42d1-89ca-a207b006c108", "resourceXresourceId": "9909f0c5-21f2-4e71-9420-96050a9d2ad9"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2024-07-01"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "449b50fb-e7db-4c34-a108-796c97b5b446", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "5632e51f-63dd-46de-8f5f-e02abc06fc17"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p><strong>PERSONAJES QUE PARTICIPAN</strong></p>\n\n<p><strong>CABILDO</strong></p>\n\n<p>La comunidad moje&ntilde;a est&aacute; guiada por el Cabildo Indigenal, sistema que fue introducido por los jesuitas, en el siglo XVIII. Actualmente, no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, y proteger el patrimonio cultural material e inmaterial, preservando las tradiciones culturales y religiosas.</p>\n\n<p>En San Ignacio el Cabildo, est&aacute; compuesto por: el Corregidor, Caciques, Capitanes, Alcaldes, Intendente, Alguacil, Fiscal, Comisarios y los Mayordomos que est&aacute;n subdivididos en parcialidades.</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>PERPETUOS</strong></p>\n\n<p>Son los se&ntilde;ores mayores que ayudan y apoyan al templo y al cabildo, deben su nombre al hecho de que solo son suplidos por vejez o muerte.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.<a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><em><strong>[4]</strong></em></a></p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERU</strong></p>\n\n<p>Su nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>Su danza es de forma marcial en dos filas, bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores.</p>\n\n<p>Sujeta del armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichach&iacute;es, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisito exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<hr />\n<p><u><strong>GLOSARIO</strong></u></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p>El tenebrario simboliza el d&iacute;a de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap&oacute;stoles, las tres Mar&iacute;as (Mar&iacute;a Salom&eacute;, Mar&iacute;a de Cleof&aacute;s y Mar&iacute;a Magdalena) y la Virgen Mar&iacute;a, es decir, aquellos que acompa&ntilde;aron a Jes&uacute;s ese d&iacute;a. La vela m&aacute;s alta representa a la Sant&iacute;sima Virgen, la &uacute;nica que crey&oacute; en la Resurrecci&oacute;n. El tri&aacute;ngulo mismo simboliza la Sant&iacute;sima Trinidad.&nbsp;</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p><strong>Camareta. </strong>Recipiente de fierro de 10 cm de altura y 10 cm de ancho, que contiene p&oacute;lvora, que&nbsp; ser&aacute; encendida y explota generando un atronador ruido.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><u><strong>BIBLIOGRAF&Iacute;A </strong></u></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. Pg. 8-9.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 21</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid,.pg. 11.</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> Ibid,.pg. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": "52722ac0-b5bc-4e60-96fe-ca0c470a301f"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 0, "tileid": 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Lo cubre una estructura vidriada en forma de prisma y descansa sobre anda de madera con doble fila de porta velas tallados con motivos fitoformes y con roleos.  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Bajo este dosel se para y se sit\u00faa la imagen principal de la procesi\u00f3n. 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La elecci\u00f3n de las telas depende de la capacidad adquisitiva que se tuvo en al a\u00f1o.  En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est\u00e1 envuelto en cintas de colores y cintas con los colores de la bandera nacional. Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m\u00e1s elevado se ubica la imagen de un \u00e1ngel vestido de blanco. 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La parte posterior presenta el escudo de la Compa\u00f1\u00eda de Jes\u00fas, ejecutado en un sutil bajorrelieve policromado."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sagrario"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "cf0efd6a-6f2b-42ea-98a7-123588049218", "provisionaledits": null, "resourceinstance_id": "6416527a-1828-43d8-85da-87560b0aa704", "sortorder": 19, "tileid": "3d05afd7-217b-41b6-86ed-5b2273b7470e"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Custodia - cop\u00f3n de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Custodia de caja cerrada, se eleva sobre una base cuadrada con bordes mixtil\u00edneos, guarnecido con filigrana, en el centro, la base del cop\u00f3n es circular con molduras biseladas y en bocel. Un pie hexagonal se eleva hasta el cop\u00f3n, y en su sector intermedio sobresale un cuerpo bulbiforme ornamentado con cuatro asas con decoraci\u00f3n vegetal. El cop\u00f3n que alberga las hostias, tiene forma agallonada, con cuatro asas de ornamentaci\u00f3n fitomorfa, que rematan en angelitos alados, cuelga de las asas la cadena con la llave que abre la custodia. La parte superior es la tapa de la custodia presenta una base redonda, de la que surge con cuerpo tronco piramidal, decorado con cuatro figuras de angelitos alados, rematando todo en la figura de un ave sobre la que un angelito alado de pie, sostiene la cruz. 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Los misioneros adoptaron los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena, ense&ntilde;ando en su lugar m&uacute;sica y poemas sagrados estrictamente religiosos.</p>\n\n<p>Las tradiciones del antiguo pueblo misional de San Ignacio de Mojos se conservan hasta hoy, gracias a su gente, que mantiene con mucho orgullo y esfuerzo sus costumbres y ceremonias. Dentro de estas arraigadas tradiciones, est&aacute; la celebraci&oacute;n de Semana Santa, que como en otras latitudes, se festeja durante diez d&iacute;as, comenzando con el Viernes de Dolores, y concluyendo en el Domingo de Resurrecci&oacute;n. Las ceremonias de esta festividad, siguen pr&aacute;cticamente los mismos ritos establecidos por la religi&oacute;n cristiana, pero en sincretismo con la cultura del lugar, por medio de la inclusi&oacute;n del idioma moje&ntilde;o, que est&aacute; presente en ciertos momentos de las celebraciones, as&iacute; como la inserci&oacute;n de m&uacute;sica y bailes propios.</p>\n\n<p>La lengua que se habla en San Ignacio de Mojos, es el castellano, pero se conserva todav&iacute;a la lengua Moje&ntilde;a Ignaciana, que corresponde a la familia ling&uuml;&iacute;stica Arawak, y se hace presente especialmente en la celebraci&oacute;n de la misa cuando se hace la segunda lectura del evangelio.</p>\n\n<p>El canto del Coro Musical, es parte infaltable de la misa y las procesiones, interpretando canciones religiosas acompa&ntilde;ado por sus instrumentos, si bien las canciones son interpretadas en castellano ya forman parte de su tradici&oacute;n. El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor).</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momento se incluye dentro los ritos religiosos, la lengua moje&ntilde;a, y las canciones religiosas en castellano:</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, y cuando se hacen las lecturas en lengua moje&ntilde;a:</u></strong></p>\n\n<p><strong>JUEVES SANTO</strong></p>\n\n<p>Desde la ma&ntilde;ana, los Santos Varones se dedican al arreglo del Santo Sepulcro, que est&aacute; ya sobre su respectiva anda para la procesi&oacute;n, lo adornan con flores artificiales y algunas naturales, de distintos colores, le colocan tambi&eacute;n luces y velas.</p>\n\n<p>En la ma&ntilde;ana se realiza la Celebraci&oacute;n de Las Tinieblas, y por la tarde la Celebraci&oacute;n de la misa del Se&ntilde;or, el lavatorio de pies, la procesi&oacute;n del Sant&iacute;simo Sacramento, y finalmente la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo, desde el jueves santo, hasta s&aacute;bado santo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>&nbsp;La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar), y mantiene sus tres velas encendidas.</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>&nbsp;La imagen del Cristo crucificado, con faldilla negra con decoraciones doradas, y la Virgen arrodillada con vestido blanco y manto celeste, sujetando con las manos un pa&ntilde;o blanco.</p>\n\n<p>&nbsp;La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>El Coro musical, Sacristanes, Sargentos jud&iacute;os, Cabildo indigenal, Mamitas abadesas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>El Coro, con camijetas; los Sacristanes, con sotana morada simbolizando el sufrimiento y la penitencia, y una sobrepelliz blanca; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; el Cabildo indigenal, con camijetas y portando sus bastones de mando; las Mamitas abadesas de blanco o morado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: 2 Bajones, 2 sivivires y 3 violines.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz negra de madera, sobre la que cuelga un pa&ntilde;o blanco, la porta uno de los Sargentos Jud&iacute;os.</p>\n\n<p>Tenebrario de madera</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Inicia a las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo, solamente se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>&nbsp;El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por el Coro Musical, con oraciones y cantos en castellano, la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican detr&aacute;s de la imagen de Cristo crucificado, y detr&aacute;s de la imagen de la Dolorosa, uno de ellos porta la cruz que los representa, y por la que tienen mucho respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li><strong><u>Oraci&oacute;n con cantos del Coro Musical en castellano (con libreto)</u></strong></li>\n\t<li>Suena la campanilla y el sacrist&aacute;n se levanta, se dirige a la imagen del Cristo crucificado para hacerle una reverencia, luego se acerca al tenebrario para apagar una vela, <strong><u>mientras esto sucede el Coro Musical se levanta, sigue orando y se tocan los instrumentos, </u></strong>luego de apagada la vela el sacrist&aacute;n retorna a su lugar, y el coro se sienta.</li>\n\t<li>Esto se hace para el apagado de cada vela. El orden de apagado se realiza de abajo hacia arriba, empezando por el lado derecho, se apagan 3 velas y se pasa al lado izquierdo, apagando otras 3 velas y as&iacute; se va alternando, hasta apagar casi todas las velas, excepto la &uacute;ltima que se encuentra en la parte superior del tenebrario.</li>\n\t<li>La &uacute;ltima vela del tenebrario no se apaga, es retirada por el sacrist&aacute;n y acompa&ntilde;ado del sonido de la matraca, se acerca e hinca frente al altar. Todos los asistentes est&aacute;n de pie.</li>\n\t<li>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminado por la iglesia y se golpean los asientos para que se siente, y los Sargentos jud&iacute;os golpean sus lanzas.</li>\n\t<li>Se recogen las velas apagadas y se distribuyen entre las personas asistentes.</li>\n\t<li>Pasada la ceremonia los Sargentos jud&iacute;os pasan a reverenciar la imagen de Cristo Crucificado, solo las velas que est&aacute;n al pie de la imagen quedan encendidas, no se permite que estas velas se apaguen. Los Sargentos jud&iacute;os custodian la imagen y se turnan en grupos cada 15 minutos, mientras en el atrio de la iglesia las Memes del Cabildo (Mamitas abadesas), sirven som&oacute; que es una bebida caliente preparada con ma&iacute;z pelado, ma&iacute;z molido y canela, y chocolate con pan de arroz.</li>\n\t<li>Esta ma&ntilde;ana sirve tambi&eacute;n para la confesi&oacute;n que realizan los feligreses, el confesionario es custodiado por los Sargentos jud&iacute;os.</li>\n</ul>\n\n<p><strong>Celebraci&oacute;n de la misa del Se&ntilde;or, lavatorio de pies, procesi&oacute;n del Sant&iacute;simo Sacramento - 16: 00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los ap&oacute;stoles, tambi&eacute;n se recuerda el lavatorio de los pies, que manifiesta el servicio y el amor de Cristo, que ha venido &ldquo;no a ser servido, sino a servir&rdquo;.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior sosteniendo un lienzo blanco, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Esta protegida por un baldaquino</p>\n\n<p>En las naves laterales se sit&uacute;an en el lado del evangelio 3 im&aacute;genes y en el lado de la ep&iacute;stola 4 im&aacute;genes.</p>\n\n<p><strong>Participan </strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, concejales, asamble&iacute;stas, Sargentos jud&iacute;os, Coro Musical, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco; los Sacristanes, con sotana blanca; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado; las autoridades con banda de identificaci&oacute;n, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro Musical, con camijetas.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: &nbsp;2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera blanca, la porta un miembro del Cabildo Indigenal.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>En el centro de la nave y delante del altar, se sit&uacute;an dos bancos que estar&aacute;n ocupados por los Santos varones del Cabildo, a quienes el padre har&aacute; el lavado de los pies.</p>\n\n<p>Luego de la misa se realiza la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y <strong><u>se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo</u></strong>.</li>\n\t<li>Durante el canto del Gloria, los Sacristanes pasan a recoger los bastones del Cabildo Indigenal, con este gesto ellos entregan el poder a Jes&uacute;s.</li>\n\t<li>Despu&eacute;s del serm&oacute;n del p&aacute;rroco, se procede a la ceremonia del lavado de los pies a cada uno los 12 Santos varones del Cabildo, que representan a los ap&oacute;stoles, mientras esto sucede el coro de j&oacute;venes, interpreta canciones en castellano acompa&ntilde;ados por guitarra.</li>\n\t<li>Luego continua la misa.</li>\n\t<li>Finalmente se hace la ceremonia de reponer el Sant&iacute;simo Sacramento que se ha consagrado en la eucarist&iacute;a, en el altar que han preparado el Mi&eacute;rcoles Santo.</li>\n</ul>\n\n<p style=\"margin-left:24px\"><strong>Procesi&oacute;n del Sant&iacute;simo Sacramento</strong></p>\n\n<ul>\n\t<li>Seis Santos varones sostienen un baldaqu&iacute;n o palio, hecho con tela blanca, en la nave delante del altar.</li>\n\t<li>En el altar, los sacristanes colocan sobre la espalda del p&aacute;rroco un pa&ntilde;o blanco y largo, con el que envuelve sus manos para no tocar el cop&oacute;n de plata, donde se guardan las hostias consagradas El p&aacute;rroco lo levanta y se dirige hacia el lugar donde est&aacute; el baldaqu&iacute;n, coloc&aacute;ndose bajo &eacute;ste.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: el Cabildo indigenal (uno de ellos porta una bandera blanca con soporte de plata que termina en una cruz del mismo material, autoridades c&iacute;vicas, el Coro Musical y los sacristanes que preceden al p&aacute;rroco con el cop&oacute;n, bajo el baldaqu&iacute;n, y detr&aacute;s de &eacute;l, caminan dos filas de Sargentos jud&iacute;os y en medio de ellos las mamitas abadesas.</li>\n\t<li>Inicia la procesi&oacute;n cuando se tocan las matracas, se esparce incienso con el incensario y <strong><u>comienzan los cantos en moje&ntilde;o (con libreto) y la m&uacute;sica interpretados por el Coro Musical,</u></strong> esto se repite constantemente en toda la procesi&oacute;n.</li>\n\t<li>Antes que la procesi&oacute;n termine en el altar, se recoge hacia un lado, el lienzo de color negro con la cruz roja, que imped&iacute;a la vista del altar temporal.</li>\n\t<li>La procesi&oacute;n pasa por detr&aacute;s del altar temporal y se detiene frente al altar.</li>\n\t<li>El p&aacute;rroco se dirige hacia el altar mayor temporal, y un Perpetuo sube los escalones para colocar el cop&oacute;n de plata dentro del sagrario.</li>\n\t<li>El p&aacute;rroco dirige unas palabras al publico y termina la ceremonia.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>La Ultima Cena - 18:00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los 12 ap&oacute;stoles.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el Cabildo indigenal</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Santos Varones, Perpetuos, Cabildo, Mamitas abadesas, concejales y asamble&iacute;stas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba color blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; blanco, la porta un Sacrist&aacute;n.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se designan tareas a las mujeres: limpieza, cocina, armado de las mesas, servir la mesa.</p>\n\n<p>La comida que ha sido preparada por las Memes, consiste en un plato de pescado pac&uacute; asado, arroz blanco, majadito, pl&aacute;tano cocido y pan de arroz, acompa&ntilde;ado de chicha.</p>\n\n<p>En el centro del Cabildo se colocan dos mesas largas, en una comer&aacute;n las autoridades (esto desde el 2023), y en la otra se ubican los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</p>\n\n<p>En la mesa en el Cabildo Indigenal se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco, representando al Ultima Cena de Cristo y sus disc&iacute;pulos.</p>\n\n<p>Acompa&ntilde;an este acto tres sacristanes, uno lleva la cruz de plata, con pa&ntilde;o blanco y los otros dos sujetan cada uno una vela encendida.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Se llama a la Santa Cena con el sonido de las matracas</li>\n\t<li>Los Sargentos jud&iacute;os hacen una procesi&oacute;n, por las calles, pero no van al Cabildo.</li>\n\t<li>Desde la iglesia, los Santos Varones, Perpetuos, Cabildo, las Memes (Mamitas abadesas) y Pasados, se dirigen caminando al patio del Cabildo, donde se extienden dos arcos cruzados, ornamentados con telas de colores, (sujetados por j&oacute;venes), bajo los arcos se sit&uacute;a la mesa donde se realiza la conmemoraci&oacute;n de la Ultima Cena.</li>\n\t<li>En la mesa se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco.</li>\n\t<li>Se hace una oraci&oacute;n bendici&eacute;ndola cena</li>\n\t<li>Los sacristanes se paran cerca de la mesa sosteniendo la cruz y las velas.</li>\n\t<li>Los comensales de la Santa Cena son alimentados por las autoridades del Cabildo, ya que no pueden tocar los platos ni los cubiertos con las manos, solo pueden tocar las tutumas de chicha.</li>\n\t<li>Luego del acto de la cena, se invita a todos los dem&aacute;s a comer.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Se&ntilde;or Crucificado - 20: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en las calles Montes, Bol&iacute;var, Santiesteban y Ballivi&aacute;n.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior sosteniendo un lienzo blanco, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm; La Ver&oacute;nica; 6&ordm; el Nazareno; 7&ordm; Se&ntilde;or Crucificado; y 8&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, concejales, asamble&iacute;stas, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana blanca y c&iacute;ngulo</p>\n\n<p>Cabildo indigenal, con camijetas blancas</p>\n\n<p>Mamitas abadesas con tipoi de color blanco o morado</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca y traje negro (pantal&oacute;n y saco)</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Autoridades con banda de identificaci&oacute;n</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; blanco, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca, la porta una autoridad municipal.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Antes de la salida del Cristo Crucificado y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Dentro el templo, los Hermanos de la Pasi&oacute;n de Cristo colocan sus cruces alrededor de la imagen del Cristo Crucificado para que reciban la bendici&oacute;n, ellos escoltan toda la procesi&oacute;n, mientras que los soldados jud&iacute;os solamente a la imagen de Cristo Crucificado y a la Dolorosa.</li>\n\t<li>Se inciensa la imagen de Cristo Crucificado, mientras tocan las matracas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; luego est&aacute;n las autoridades; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen de Cristo Crucificado custodiada por los Sargentos Jud&iacute;os, detr&aacute;s de estos, entra el p&uacute;blico en general y detr&aacute;s van los Penitentes y sus acompa&ntilde;antes. y por &uacute;ltimo la imagen de la Dolorosa</li>\n\t<li>Todos salen por el lado del evangelio y cuando el Cristo Crucificado cruza la puerta comienza la m&uacute;sica de la banda.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen del Cristo Crucificado.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, <strong><u>ser&aacute; el turno del Coro Musical que canta en castellano con libreto, </u></strong>y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</u></strong></li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</u></strong></li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva que entra por el lado de la ep&iacute;stola, acompa&ntilde;ada por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las matracas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["d2a24278-85f8-422d-85c6-24e4009f191f", "b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "c71fc5df-8a48-444a-8f67-1cf79f56e8c3"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400", "b6e4eb16-e3e1-4187-833b-327068bbbeaa", "f6149104-3d2f-4c31-8b0f-f58f7e19e8e1"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El&nbsp;patrimonio cultural inmaterial&nbsp;incluye pr&aacute;cticas y expresiones vivas heredadas de nuestros antepasados, transmitidas de generaci&oacute;n en generaci&oacute;n.&nbsp;Estas pr&aacute;cticas incluyen las tradiciones orales, artes esc&eacute;nicas, usos sociales, rituales, actos festivos, entre otros.</p>\n\n<p>A principios del siglo XVIII en las misiones de mojos, los bailes y danzas se efectuaban con atuendos de plumajes, hechos con materiales locales, estas pr&aacute;cticas eran conservadas por el Cabildo, como encargado de transmitir su significado y simbolog&iacute;a.</p>\n\n<hr />\n<p>Ver imagen :[[Semana Santa - Dibujo D&#39;Orbigny]]&nbsp;</p>\n\n<p>M&uacute;sica y danza religiosa en Moxos, (Bolivia.) <a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<hr />&nbsp;\n<p>Un grabado hecho por Alcide D&rsquo;Orbigny en 1832, muestra como se realizaban las celebraciones religiosas, con la participaci&oacute;n de danzantes (Macheteros), y m&uacute;sicos (tocando los bajones), as&iacute; los describe: &ldquo;<em>Despu&eacute;s de la misa los indios tocados con una especie de aureola de plumas y llevando cascabeles en las pantorrillas y un grandes sables de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mas agudas hasta las m&aacute;s graves y acompa&ntilde;ados de flautas y tambores , salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica muy singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a mas que un numero limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas.</em> &ldquo;<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></p>\n\n<p>Al observar esta imagen se evidencia que las danzas, los rituales, la vestimenta, y los instrumentos, han sufrido escasas modificaciones hasta nuestro d&iacute;as.</p>\n\n<p>D&rsquo;Orbigny, presenci&oacute; en San Pedro de Mojos la noche del Domingo de Ramos que es el comienzo de las celebraciones tradicionales de la Semana Santa. En el templo, le llam&oacute; la atenci&oacute;n el tama&ntilde;o y la cantidad de im&aacute;genes ubicadas al medio de la iglesia, que representaban la Pasi&oacute;n de Cristo: la flagelaci&oacute;n, la coronacion de espinas, el v&iacute;a crucis y, finalmente, la crucifixi&oacute;n. Describe tambi&eacute;n que en las v&iacute;speras, indios disfrazados de rojo u otros colores vivos desempe&ntilde;an el papel de jud&iacute;os, que recorren la misi&oacute;n muy despacio buscando a Jes&uacute;s, luego por la noche, la banda se re&uacute;ne y marcha acompa&ntilde;ada de m&uacute;sica triste, que proviene de los tambores, flautas y bajones.</p>\n\n<p>En el caso particular de la festividad de Semana Santa en San Ignacio de Mojos, los rituales relacionados a la misa, las procesiones, las representaciones de escenas religiosas, y las danzas como la de los Macheteros o Chiripier&uacute;ana, y Angelitos, se han mantenido casi inmutables a trav&eacute;s del tiempo.</p>\n\n<p>La representaci&oacute;n de escenas religiosas es parte vital de la festividad, destac&aacute;ndose particularmente: el Lavatorio de pies, la &Uacute;ltima Cena, la procesi&oacute;n de los Penitentes.&nbsp;Estas ceremonias, se describen a continuaci&oacute;n:</p>\n\n<hr />\n<p><strong>EL LAVATORIO DE PIES</strong></p>\n\n<p>Se realiza el Jueves Santo, manifiesta el servicio y el amor de Cristo, que ha venido &ldquo;no a ser servido, sino a servir&rdquo;.</p>\n\n<p>Lugar</p>\n\n<p>Se realiza en el templo.</p>\n\n<p>Participan</p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro Musical, pueblo en general.</p>\n\n<p>Vestimenta</p>\n\n<p>P&aacute;rroco con alba y estola de color blanco; los Sacristanes, con sotana blanca; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado; las autoridades con banda de identificaci&oacute;n, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro Musical, con camijetas.</p>\n\n<p>Instrumentos:</p>\n\n<p>Coro Musical: &nbsp;2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Actividades</p>\n\n<p>En el centro de la nave y delante del altar, se sit&uacute;an dos bancos que estar&aacute;n ocupados por los Santos Varones del Cabildo, a quienes el padre har&aacute; el lavado de pies.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</li>\n\t<li>Durante el canto del Gloria, los Sacristanes pasan a recoger los bastones del Cabildo Indigenal, con este gesto ellos entregan el poder a Jes&uacute;s.</li>\n\t<li><strong><u>Despu&eacute;s del serm&oacute;n del p&aacute;rroco, se procede a la ceremonia del lavado de los pies a cada uno los 12 Santos varones del Cabildo, que representan a los ap&oacute;stoles</u></strong>, mientras esto sucede el coro de j&oacute;venes, interpreta canciones en castellano acompa&ntilde;ados por guitarra.</li>\n\t<li>Luego continua la misa.</li>\n\t<li>Finalmente se hace la ceremonia de reponer el Sant&iacute;simo Sacramento que se ha consagrado en la <strong>eucarist&iacute;a</strong>, en el altar que han preparado el Mi&eacute;rcoles Santo.</li>\n</ul>\n\n<hr />\n<p><strong>ULTIMA CENA EN EL CABILDO</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los 12 ap&oacute;stoles. Se la realiza el</p>\n\n<p>Jueves Santo.</p>\n\n<p>Lugar</p>\n\n<p>Se realiza en el Cabildo indigenal.</p>\n\n<p>Participan</p>\n\n<p>P&aacute;rroco, Santos Varones, Perpetuos, Cabildo, Mamitas abadesas, concejales y asamble&iacute;stas, pueblo en general.</p>\n\n<p>Vestimenta</p>\n\n<p>P&aacute;rroco con alba color blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado.</p>\n\n<p>Elementos destacados</p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; blanca, la porta un Sacrist&aacute;n.</p>\n\n<p>Actividades</p>\n\n<p>Se designan tareas a las mujeres: limpieza, cocina, armado de las mesas, servir la mesa.</p>\n\n<p>La comida que ha sido preparada por las Memes, consiste en un plato de pescado pac&uacute; asado, arroz blanco, majadito, pl&aacute;tano cocido y pan de arroz, acompa&ntilde;ado de chicha.</p>\n\n<p>En el centro del Cabildo se colocan dos mesas largas, en una comer&aacute;n las autoridades (esto desde el 2023), y en la otra se ubican los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</p>\n\n<p>En la mesa en el Cabildo Indigenal se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco, representando al Ultima Cena de Cristo y sus disc&iacute;pulos.</p>\n\n<p>Acompa&ntilde;an este acto tres sacristanes, uno lleva la cruz de plata, con pa&ntilde;o blanco y los otros dos sujetan cada uno una vela encendida.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>Se llama a la Santa Cena con el sonido de las matracas</li>\n\t<li>Los Sargentos jud&iacute;os hacen una procesi&oacute;n, por las calles, pero no van al Cabildo.</li>\n\t<li>Desde la iglesia, los Santos Varones, Perpetuos, Cabildo, las Memes (Mamitas abadesas) y Pasados, se dirigen caminando al patio del Cabildo, donde se extienden dos arcos cruzados, ornamentados con telas de colores, (sujetados por j&oacute;venes), bajo los arcos se sit&uacute;a la mesa donde se realiza la conmemoraci&oacute;n de la Ultima Cena.</li>\n\t<li>En la mesa se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco.</li>\n\t<li>Se hace una oraci&oacute;n bendiciendo la cena.</li>\n\t<li>Los sacristanes se paran cerca de la mesa sosteniendo la cruz y las velas.</li>\n\t<li>Los comensales de la Santa Cena son alimentados por las autoridades del Cabildo, ya que no pueden tocar los platos ni los cubiertos con las manos, solo pueden tocar las tutumas de chicha.</li>\n\t<li>Luego del acto de la cena, se invita a todos los dem&aacute;s a comer.</li>\n</ul>\n\n<hr />\n<p><strong>LA PROCESI&Oacute;N DE LOS PENITENTES</strong></p>\n\n<p>Los Penitentes est&aacute;n presentes en las procesiones que se celebran en Semana Santa, generalmente se colocan al final de la procesi&oacute;n, y son los primeros en retornar al templo.</p>\n\n<p>Cargan en sus espaldas grandes cruces de madera, visten t&uacute;nica y faja negra, sobre su cabeza un pa&ntilde;o oscuro y poco transparente les cubre el rostro. Cada penitente tiene un s&eacute;quito que lo acompa&ntilde;a: su esposa que alumbra el camino con una vela, el Cirineo que le ayuda a llevar la cruz, que est&aacute; tambi&eacute;n acompa&ntilde;ado por su esposa.</p>\n\n<p>&nbsp;</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "a42aa624-999b-4d86-8cbb-0f46a00610f2"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La m&uacute;sica es un medio que permite expresar emociones y transmitir conocimientos o experiencias. Las comunidades ind&iacute;genas la han utilizado como instrumento de preservaci&oacute;n de su cultura, trasmitiendo sus saberes de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>En la &eacute;poca prehisp&aacute;nica Mojos era una regi&oacute;n poblada por diversos grupos &eacute;tnicos de habla Arawak, con la llegada de los jesuitas a finales del siglo XVII, estos grupos son reducidos y se establecen la misiones, una de ellas es San Ignacio.</p>\n\n<p>Los sacerdotes jesuitas, recurrieron a la afici&oacute;n de los ind&iacute;genas por la m&uacute;sica y la danza, para inculcarles la religi&oacute;n cristiana y sus valores. Los moje&ntilde;os, demostraron tener gran aptitud para el aprendizaje musical, tocaban con destreza todos los instrumentos que eran tra&iacute;dos de Europa, ya fuesen de cuerda o viento, y con el tiempo tambi&eacute;n fueron capaces de construirlos.</p>\n\n<p><em>Los jesuitas ense&ntilde;aron m&uacute;sica a, los indios y pronto &eacute;stos ocuparon sus lugares en el coro, como solistas, instrumentistas, copistas, constructores de instrumentos y hasta de maestros de capilla.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Los documentos que registran la presencia de las pr&aacute;cticas musicales y las danzas en el periodo jesuita, muestran la coexistencia de la m&uacute;sica sacra con la m&uacute;sica y danzas aut&oacute;ctonas.</p>\n\n<p>En sus escritos Alcide D&rsquo;Orbigny relata:</p>\n\n<p><em>...me sorprendi&oacute; la m&uacute;sica instrumental, plena de armon&iacute;a, en la que admir&eacute; sobre todo los bajos formados por un instrumento propio de los ind&iacute;genas, especie de flauta de Pan de uno a dos metros de largo, construida con hojas de palmeras unidas unas con otras, &hellip;</em></p>\n\n<p><em>Despu&eacute;s de la misa, los indios, tocados con una especie de aureola de plumas, y llevando cascabeles en las pantorrillas y un gran sable de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mis agudas hasta las mis graves, y acompa&ntilde;ados de flautas y tambores, salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a m&aacute;s que un n&uacute;mero muy limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas. <a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<hr />\n<p>[[Ver foto: Misa cantada Mojos]]</p>\n\n<p>Keller, Franz. &ldquo;Misa Cantada en la Antigua misi&oacute;n de Trinidad (Mamor&eacute;)&rdquo;The Amazon and Madeira Rivers. Sketches <em>and descriptions from the Note-Book of an Explorer. </em><em>London, 1874.</em></p>\n\n<hr />\n<p><em>Las danzas aut&oacute;ctonas fueron aceptadas por los misioneros como expresi&oacute;n genuina de los pueblos a su cargo, e incorporadas oficialmente al culto religioso, especialmente en las procesiones de Corpus, fiesta de la Sant&iacute;sima Trinidad o la conmemoraci&oacute;n del d&iacute;a del Santo bajo cuya advocaci&oacute;n se hallaban las diferentes misiones. El P. Eder informa que &quot;en ciertas horas se re&uacute;nen en casa del misionero, y bailan all&iacute; y dentro del Templo&quot;, y describe los atav&iacute;os de los bailarines: &quot;Para dar m&aacute;s gracia a sus bailes, hay algunos que se ponen pieles de monos y de aves; otros llevan escudos de plumas ingeridas (cosidas) en una tela; y en ellos hay dibujadas varias figuras de animales&quot;.</em></p>\n\n<p><em>&hellip;</em></p>\n\n<p><em>Las procesiones que se originaron en festividades religiosas tales como Corpus, Epifan&iacute;a, Trinidad, Navidad, etc., ocasionaban el despliegue de intensa actividad musical, donde se daban cita cantantes, bailarines e instrumentistas y donde interven&iacute;an todos los integrantes del pueblo. <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El pueblo moje&ntilde;o mantiene viva su cultura, salvaguardando: la m&uacute;sica prehisp&aacute;nica, que hace eco y uso de la naturaleza; y la m&uacute;sica eclesial, como forma de preservar la religiosidad heredada del periodo misional.</p>\n\n<p>Las partituras que dejaron los jesuitas luego de la expulsi&oacute;n fueron celosa y cuidadosamente conservadas por el Cabildo y el pueblo mismo, la importancia de estos documentos reside en su devoci&oacute;n ya que no se concibe la adoraci&oacute;n a Dios separada de la m&uacute;sica.</p>\n\n<p>El Cabildo Indigenal, como representante de la comunidad, cuyo rol principal es difundir el patrimonio cultural moje&ntilde;o, organiza y participa con las parcialidades de los Valores Espirituales del Pueblo, en las actividades festivas donde la m&uacute;sica y la danza son el elemento fundamental.</p>\n\n<p>Los integrantes de los conjuntos musicales, tiene la responsabilidad de mostrar y transmitir estos saberes, para preservarlos a trav&eacute;s del tiempo.</p>\n\n<p>Coro Musical. Conjunto de personas que cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio, tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el cajane o caja (tambor).</p>\n\n<p>Tamborita. Grupo musical que toca el sivivire, el sankuti, y la tampura, interpretando ritmos alegres t&iacute;picos de la zona.</p>\n\n<p>Banda. &nbsp;&nbsp;Grupo que toca la caja y la trompeta.</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momentos se incluye dentro los ritos religiosos de Semana Santa, las canciones, la m&uacute;sica interpretadas por el Coro Musical, la tamborita y la banda; y las danzas ejecutadas por los Macheteros y los Angelitos.</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, la tamborita y la banda, y cuando se ejecutan las danzas.</u></strong></p>\n\n<hr />\n<p><strong>JUEVES SANTO</strong></p>\n\n<p>Desde la ma&ntilde;ana, los Santos Varones se dedican al arreglo del Santo Sepulcro, que est&aacute; ya sobre su respectiva anda para la procesi&oacute;n, lo adornan con flores artificiales y algunas naturales, de distintos colores, le colocan tambi&eacute;n luces y velas.</p>\n\n<p>En la ma&ntilde;ana se realiza la Celebraci&oacute;n de Las Tinieblas, y por la tarde la Celebraci&oacute;n de la misa del Se&ntilde;or, el lavatorio de pies, la procesi&oacute;n del Sant&iacute;simo Sacramento, y finalmente la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo, desde el jueves santo, hasta s&aacute;bado santo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>&nbsp;La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar), y mantiene sus tres velas encendidas.</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>&nbsp;La imagen del Cristo crucificado, con faldilla negra con decoraciones doradas, y la Virgen arrodillada con vestido blanco y manto celeste, sujetando con las manos un pa&ntilde;o blanco.</p>\n\n<p>&nbsp;La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>El Coro musical, Sacristanes, Sargentos jud&iacute;os, Cabildo indigenal, Mamitas abadesas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>El Coro, con camijetas; los Sacristanes, con sotana morada simbolizando el sufrimiento y la penitencia, y una sobrepelliz blanca; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; el Cabildo indigenal, con camijetas y portando sus bastones de mando; las Mamitas abadesas de blanco o morado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: 2 Bajones, 2 sivivires y 3 violines.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz negra de madera, sobre la que cuelga un pa&ntilde;o blanco, la porta uno de los Sargentos Jud&iacute;os.</p>\n\n<p>Tenebrario de madera</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Inicia a las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo, solamente se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>&nbsp;El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por el Coro Musical, con oraciones y cantos en castellano, la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican detr&aacute;s de la imagen de Cristo crucificado, y detr&aacute;s de la imagen de la Dolorosa, uno de ellos porta la cruz que los representa, y por la que tienen mucho respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li><strong><u>Oraci&oacute;n con cantos del Coro Musical en castellano (con libreto)</u></strong></li>\n\t<li>Suena la campanilla y el sacrist&aacute;n se levanta, se dirige a la imagen del Cristo crucificado para hacerle una reverencia, luego se acerca al tenebrario para apagar una vela, mientras esto sucede <strong><u>el Coro Musical se levanta, sigue orando y se tocan los instrumentos,</u></strong> luego de apagada la vela el sacrist&aacute;n retorna a su lugar, y el coro se sienta.</li>\n\t<li>Esto se hace para el apagado de cada vela. El orden de apagado se realiza de abajo hacia arriba, empezando por el lado derecho, se apagan 3 velas y se pasa al lado izquierdo, apagando otras 3 velas y as&iacute; se va alternando, hasta apagar casi todas las velas, excepto la &uacute;ltima que se encuentra en la parte superior del tenebrario.</li>\n\t<li>La &uacute;ltima vela del tenebrario no se apaga, es retirada por el sacrist&aacute;n y acompa&ntilde;ado del sonido de la matraca, se acerca e hinca frente al altar. Todos los asistentes est&aacute;n de pie.</li>\n\t<li>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminado por la iglesia y se golpean los asientos para que se siente, y los Sargentos jud&iacute;os golpean sus lanzas.</li>\n\t<li>Se recogen las velas apagadas y se distribuyen entre las personas asistentes.</li>\n\t<li>Pasada la ceremonia los Sargentos jud&iacute;os pasan a reverenciar la imagen de Cristo Crucificado, solo las velas que est&aacute;n al pie de la imagen quedan encendidas, no se permite que estas velas se apaguen. Los Sargentos jud&iacute;os custodian la imagen y se turnan en grupos cada 15 minutos, mientras en el atrio de la iglesia las Memes del Cabildo (Mamitas abadesas), sirven som&oacute; que es una bebida caliente preparada con ma&iacute;z pelado, ma&iacute;z molido y canela, y chocolate con pan de arroz.</li>\n\t<li>Esta ma&ntilde;ana sirve tambi&eacute;n para la confesi&oacute;n que realizan los feligreses, el confesionario es custodiado por los Sargentos jud&iacute;os.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Celebraci&oacute;n de la misa del Se&ntilde;or, lavatorio de pies, procesi&oacute;n del Sant&iacute;simo Sacramento - 16: 00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los ap&oacute;stoles, tambi&eacute;n se recuerda el lavatorio de los pies, que manifiesta el servicio y el amor de Cristo, que ha venido &ldquo;no a ser servido, sino a servir&rdquo;.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior sosteniendo un lienzo blanco, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Esta protegida por un baldaquino</p>\n\n<p>En las naves laterales se sit&uacute;an en el lado del evangelio 3 im&aacute;genes y en el lado de la ep&iacute;stola 4 im&aacute;genes.</p>\n\n<p><strong>Participan </strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, concejales, asamble&iacute;stas, Sargentos jud&iacute;os, Coro Musical, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco; los Sacristanes, con sotana blanca; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado; las autoridades con banda de identificaci&oacute;n, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro Musical, con camijetas.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: &nbsp;2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera blanca, la porta un miembro del Cabildo Indigenal.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>En el centro de la nave y delante del altar, se sit&uacute;an dos bancos que estar&aacute;n ocupados por los Santos varones del Cabildo, a quienes el padre har&aacute; el lavado de los pies.</p>\n\n<p>Luego de la misa se realiza la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</li>\n\t<li>Durante el canto del Gloria, los Sacristanes pasan a recoger los bastones del Cabildo Indigenal, con este gesto ellos entregan el poder a Jes&uacute;s.</li>\n\t<li>Despu&eacute;s del serm&oacute;n del p&aacute;rroco, se procede a la ceremonia del lavado de los pies a cada uno los 12 Santos varones del Cabildo, que representan a los ap&oacute;stoles, mientras esto sucede el coro de j&oacute;venes, interpreta canciones en castellano acompa&ntilde;ados por guitarra.</li>\n\t<li>Luego continua la misa.</li>\n\t<li>Finalmente se hace la ceremonia de reponer el Sant&iacute;simo Sacramento que se ha consagrado en la eucarist&iacute;a, en el altar que han preparado el Mi&eacute;rcoles Santo.</li>\n</ul>\n\n<p style=\"margin-left:24px\"><strong>Procesi&oacute;n del Sant&iacute;simo Sacramento</strong></p>\n\n<ul>\n\t<li>Seis Santos varones sostienen un baldaqu&iacute;n o palio, hecho con tela blanca, en la nave delante del altar.</li>\n\t<li>En el altar, los sacristanes colocan sobre la espalda del p&aacute;rroco un pa&ntilde;o blanco y largo, con el que envuelve sus manos para no tocar el cop&oacute;n de plata, donde se guardan las hostias consagradas El p&aacute;rroco lo levanta y se dirige hacia el lugar donde est&aacute; el baldaqu&iacute;n, coloc&aacute;ndose bajo &eacute;ste.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: el Cabildo indigenal (uno de ellos porta una bandera blanca con soporte de plata que termina en una cruz del mismo material, autoridades c&iacute;vicas, el Coro Musical y los sacristanes que preceden al p&aacute;rroco con el cop&oacute;n, bajo el baldaqu&iacute;n, y detr&aacute;s de &eacute;l, caminan dos filas de Sargentos jud&iacute;os y en medio de ellos las mamitas abadesas.</li>\n\t<li>Inicia la procesi&oacute;n cuando se tocan las matracas, se esparce incienso con el incensario y<strong><u> comienzan los cantos en moje&ntilde;o (con libreto) y la m&uacute;sica interpretados por el Coro Musical, esto se repite constantemente en toda la procesi&oacute;n.</u></strong></li>\n\t<li>Antes que la procesi&oacute;n termine en el altar, se recoge hacia un lado, el lienzo de color negro con la cruz roja, que imped&iacute;a la vista del altar temporal.</li>\n\t<li>La procesi&oacute;n pasa por detr&aacute;s del altar temporal y se detiene frente al altar.</li>\n\t<li>El p&aacute;rroco se dirige hacia el altar mayor temporal, y un Perpetuo sube los escalones para colocar el cop&oacute;n de plata dentro del sagrario.</li>\n\t<li>El p&aacute;rroco dirige unas palabras al publico y termina la ceremonia.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>La Ultima Cena - 18:00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los 12 ap&oacute;stoles.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el Cabildo indigenal</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Santos Varones, Perpetuos, Cabildo, Mamitas abadesas, concejales y asamble&iacute;stas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba color blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; blanco, la porta un Sacrist&aacute;n.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se designan tareas a las mujeres: limpieza, cocina, armado de las mesas, servir la mesa.</p>\n\n<p>La comida que ha sido preparada por las Memes, consiste en un plato de pescado pac&uacute; asado, arroz blanco, majadito, pl&aacute;tano cocido y pan de arroz, acompa&ntilde;ado de chicha.</p>\n\n<p>En el centro del Cabildo se colocan dos mesas largas, en una comer&aacute;n las autoridades (esto desde el 2023), y en la otra se ubican los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</p>\n\n<p>En la mesa en el Cabildo Indigenal se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco, representando al Ultima Cena de Cristo y sus disc&iacute;pulos.</p>\n\n<p>Acompa&ntilde;an este acto tres sacristanes, uno lleva la cruz de plata, con pa&ntilde;o blanco y los otros dos sujetan cada uno una vela encendida.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Se llama a la Santa Cena con el sonido de las matracas</li>\n\t<li>Los Sargentos jud&iacute;os hacen una procesi&oacute;n, por las calles, pero no van al Cabildo.</li>\n\t<li>Desde la iglesia, los Santos Varones, Perpetuos, Cabildo, las Memes (Mamitas abadesas) y Pasados, se dirigen caminando al patio del Cabildo, donde se extienden dos arcos cruzados, ornamentados con telas de colores, (sujetados por j&oacute;venes), bajo los arcos se sit&uacute;a la mesa donde se realiza la conmemoraci&oacute;n de la Ultima Cena.</li>\n\t<li>En la mesa se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco.</li>\n\t<li>Se hace una oraci&oacute;n bendici&eacute;ndola cena</li>\n\t<li>Los sacristanes se paran cerca de la mesa sosteniendo la cruz y las velas.</li>\n\t<li>Los comensales de la Santa Cena son alimentados por las autoridades del Cabildo, ya que no pueden tocar los platos ni los cubiertos con las manos, solo pueden tocar las tutumas de chicha.</li>\n\t<li>Luego del acto de la cena, se invita a todos los dem&aacute;s a comer.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Se&ntilde;or Crucificado - 20: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en las calles Montes, Bol&iacute;var, Santiesteban y Ballivi&aacute;n.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior sosteniendo un lienzo blanco, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm; La Ver&oacute;nica; 6&ordm; el Nazareno; 7&ordm; Se&ntilde;or Crucificado; y 8&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, concejales, asamble&iacute;stas, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana blanca y c&iacute;ngulo</p>\n\n<p>Cabildo indigenal, con camijetas blancas</p>\n\n<p>Mamitas abadesas con tipoi de color blanco o morado</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca y traje negro (pantal&oacute;n y saco)</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Autoridades con banda de identificaci&oacute;n</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; blanco, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca, la porta una autoridad municipal.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Antes de la salida del Cristo Crucificado y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Dentro el templo, los Hermanos de la Pasi&oacute;n de Cristo colocan sus cruces alrededor de la imagen del Cristo Crucificado para que reciban la bendici&oacute;n, ellos escoltan toda la procesi&oacute;n, mientras que los soldados jud&iacute;os solamente a la imagen de Cristo Crucificado y a la Dolorosa.</li>\n\t<li>Se inciensa la imagen de Cristo Crucificado, mientras tocan las matracas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; luego est&aacute;n las autoridades; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen de Cristo Crucificado custodiada por los Sargentos Jud&iacute;os, detr&aacute;s de estos, entra el p&uacute;blico en general y detr&aacute;s van los Penitentes y sus acompa&ntilde;antes. y por &uacute;ltimo la imagen de la Dolorosa</li>\n\t<li>Todos salen por el lado del evangelio y cuando el Cristo Crucificado cruza la puerta comienza la m&uacute;sica de la banda.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen del Cristo Crucificado.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, <strong><u>ser&aacute; el turno del Coro Musical que canta en castellano con libreto, </u></strong>y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</u></strong></li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><u><strong>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</strong></u></li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li><strong><u>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</u></strong></li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva que entra por el lado de la ep&iacute;stola, <strong><u>acompa&ntilde;ada por la tamborita, (sonido pregrabado).</u></strong></li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las matracas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "e6323cbf-1077-4730-847e-7aa0919f202d"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["6734af3e-4791-4d75-82c4-3fb2b73aed20"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": null, "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": null}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "e96a366f-1b2b-42a1-b091-046edd9142b0"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las t&eacute;cnicas tradicionales de fabricaci&oacute;n, en este caso de instrumentos musicales, constituyen la manifestaci&oacute;n m&aacute;s tangible del patrimonio cultural inmaterial, el conocimiento de estas pr&aacute;cticas manuales ha pasado de generaci&oacute;n en generaci&oacute;n, dentro la comunidad moje&ntilde;a conect&aacute;ndola con su pasado.</p>\n\n<p>La construcci&oacute;n y empleo de instrumentos en Mojos data de la &eacute;poca prehisp&aacute;nica, y adquiere un gran desarrollo con la llegada de los jesuitas. Este tema ha sido investigado ampliamente por el antrop&oacute;logo Richard Mujica Angulo, a continuaci&oacute;n, adjunto una breve introducci&oacute;n y la descripci&oacute;n de los instrumentos musicales utilizados en San Ignacio, temas desarrollados en su art&iacute;culo:&nbsp; <em>El &ldquo;Juramento</em><em>&rdquo; </em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos</em> que forma parte de la Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es), 2013:</p>\n\n<p><em>Una de las principales referencia a los instrumentos musicales de Mojos son las de Alcides D&rsquo;orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de &ldquo;acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a 13 tubos, actualmente se registraron bajones de 10 tubos. Gran parte de los instrumentos de Mojos son precolombinos. Estos pueblos, adem&aacute;s de contar con estos instrumentos, hac&iacute;an uso del canto. Los misioneros decidieron adoptar los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena apoyando en su lugar m&uacute;sica concertada y poemas sagrados estrictamente religiosos.</em></p>\n\n<p><strong>Descripci&oacute;n de los instrumentos</strong></p>\n\n<p><strong><em>Sivivire.</em></strong><em> El Sivivire es un instrumento aer&oacute;fono&hellip; Es una flauta de tubo con embocadura lateral 0 (clasificado como 411.2 seg&uacute;n Hornbostel-Sachs) caracter&iacute;stico en la interpretaci&oacute;n de la m&uacute;sica, emple&aacute;ndose en diferentes g&eacute;neros musicales y danzas de San Ignacio de Mojos. El instrumento tiene siete orificios: seis digitables y uno que hace de embocadura&hellip;, el extremo base presenta el orificio de salida completo, y en el otro extremo se rellena la parte frontal con cera de abeja (lado embocadura). </em></p>\n\n<p><em>Esta flauta (se toma como base de descripci&oacute;n el Sivivire de los Macheteros) es interpretada pr&aacute;cticamente en todo el calendario anual festivo del lugar. En un conjunto de m&uacute;sicos se interpreta s&oacute;lo un Sivivire y generalmente est&aacute; acompa&ntilde;ado de membran&oacute;fonos: tampura, sankuti y caja... El ejecutante por lo general es var&oacute;n, lo denominan (flautero) y es &eacute;l mismo quien construye su flauta&hellip; </em></p>\n\n<p><em>Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;. Por ello cada danza tiene diferentes &ldquo;toques&rdquo; de acuerdo a la situaci&oacute;n ritual o festiva en la cual se ejecuta. </em><em>De forma general el repertorio musical de cada danza est&aacute; conformado por la marcha (de uso ritual especialmente en procesiones), el tayr&rsquo;imarapi (taquirari &ldquo;especial&rdquo;) primera pieza interpretada luego de la marcha; y finalmente, el v&rsquo;irimarapi (taquirari &ldquo;festivo&rdquo;) que se interpreta como parte de la fiesta misma. Existe una melod&iacute;a espec&iacute;fica para cada santo o virgen, el cual se marca espec&iacute;ficamente en la marcha. Respecto de esto Cirilo Yaca afirma: &ldquo;tiene que acompa&ntilde;ar a las im&aacute;genes, a los santos. Para acompa&ntilde;ar y visitar a estos ocupan la Marcha&rdquo;; por ello nos habla de un principal elemento del repertorio musical &ldquo;la marcha&rdquo; m&uacute;sica de car&aacute;cter sagrado y ritual. Otro elemento que conforma este repertorio es el &ldquo;taquirari&rdquo; (v&rsquo;irimarapi): &ldquo;el que vale m&aacute;s es el taquirari (...) se cambia el toque y se toca el taquirari en la fiesta, es m&aacute;s bonito, m&aacute;s entrador (...) la Marcha tiene un s&oacute;lo paso (...) Cada conjunto tiene su entrada [la marcha] y tiene su taquirari&rdquo;. Este el papel del instrumento, la danza y el repertorio musical de las m&uacute;sicas y danzas de Mojos.</em></p>\n\n<p><em>Los materiales empleados en la realizaci&oacute;n de instrumentos de basa en la tsakana (takuara fina o &ldquo;castilla&rdquo;), ca&ntilde;a-bamb&uacute; empleada para construirlo. Este material antiguamente se encontraba en las regiones extensas del monte; posteriormente, por causa de la expansi&oacute;n de las tierras de pastoreo que los ganaderos deciden ampliar, se reducen los lugares donde se encontraba este material. La inexistencia del material obliga a utilizar tubos pl&aacute;sticos de ca&ntilde;er&iacute;a y otros materiales como el aluminio. Por otro lado, el M&aacute;paji (Cera de Abeja), empleado para tapar el extremo de la flauta. Luego, tambi&eacute;n se presentan flautas de pl&aacute;stico de </em><em>&ldquo;</em><em>ca&ntilde;er&iacute;a&rdquo;, empleadas por la falta de la takuara tradicional. </em></p>\n\n<p><em>La elaboraci&oacute;n de este instrumento es de dominio de todo flautero y est&aacute; muy vinculado al individuo. Las t&eacute;cnicas empleadas para su elaboraci&oacute;n iniciar&iacute;an con la recolecci&oacute;n de la ca&ntilde;a: se limpia el orificio central. Se inicia la medida desde la base (cola) marcando el primer orificio digitable (dista el ancho de tres dedos). Luego, desde esta marca, se toma la medida de </em><em>&ldquo;</em><em>mi cuarta&rdquo; (distancia entre los dedos me&ntilde;ique y pulgar de la palma abierta); y se marca el orificio central digitable. Se emplea la misma medida (&ldquo;mi cuarta&rdquo;) para marcar el orificio de la embocadura o boquilla. Realizadas estas tres primeras marcas se se&ntilde;ala equidistantemente los lugares donde se realizar&aacute;n las cuatro perforaciones necesarias para la digitaci&oacute;n de la flauta&hellip; Los orificios se hacen con el tumare, un cuchillo en punta; y la emisi&oacute;n del sonido se ajusta moviendo (hacia adentro o afuera) la cera de abeja que tapa el extremo de la embocadura, s&oacute;lo la correcta posici&oacute;n permitir&aacute; la emisi&oacute;n de octavas. Por tanto, las dimensiones del Sivivire depende de dos factores: (1) la danza o </em><em>&ldquo;</em><em>toque&rdquo; que se interpretar&aacute;; y (2) las caracter&iacute;sticas corporales (la mano) del instrumentista, ya que cada qui&eacute;n busca el tama&ntilde;o m&aacute;s c&oacute;modo para su interpretaci&oacute;n.</em></p>\n\n<p><strong><em>Sankuti. </em></strong><em>Instrumento musical membran&oacute;fono elaborado en base al </em><em>&ldquo;</em><em>coraz&oacute;n</em><em> </em><em>&ldquo;del tronco de &aacute;rboles como la mara y el juchi, considerados como </em><em>&ldquo;</em><em>finos</em><em>&rdquo;</em><em> &hellip; Las membranas del sankuti (Cavour, 2010:246-247) son hechas de </em><em>&ldquo;</em><em>cuero de res&rdquo; el cual tiene mucho grosor y es cambiado eventualmente. Las correas que sujetan las membranas as&iacute; como las empleadas para colgar el instrumento en el hombro tambi&eacute;n est&aacute;n hechas del mismo cuero&hellip;</em></p>\n\n<p><em>Para ta&ntilde;er este instrumento se emplea una baqueta denominada </em><em>&ldquo;</em><em>palitoke&rdquo; que los lugare&ntilde;os traducen como </em><em>&ldquo;</em><em>Palito que se toca</em><em>&rdquo;</em><em>. Este material le otorga gran durabilidad lo que hace que sea&rdquo; heredado</em><em> </em><em>&ldquo;de un m&uacute;sico a otro, y por otro lado, se le otorga el sentido de </em><em>&ldquo;</em><em>antiguo&rdquo; ya que se afirma que </em><em>&ldquo;</em><em>el antiguo lo hicieron</em><em>&rdquo;.</em><em> </em></p>\n\n<p><em>(foto)</em></p>\n\n<p><strong><em>Kajane o Caja (Tambor). </em></strong><em>Otro instrumento membran&oacute;fono muy empleado en las danzas es la caja o tambor. Sus dimensiones promedio son de 38 cm. de di&aacute;metro por 23 cm. de altura&hellip; La caja de resonancia est&aacute; hecha en base a corteza de &aacute;rbol de toco; para su obtenci&oacute;n es perforada y luego &ldquo;cavada&rdquo; con ayuda de cinceles artesanales. El cuero utilizado en las membranas es de sullu de vaca, vale decir de la cr&iacute;a del ganado bovino10 el cual es envuelto en un aro de bejuco que le da la forma circular. Y cuenta con un sobrearo o y&rsquo;ana de casi 5 cm. de ancho hecho de madera v&rsquo;i (jianaki). En la membrana posterior se sujeta una cuerda de algod&oacute;n a manera de </em><em>&ldquo;</em><em>charlera&rdquo; para que el instrumento aumente su vibraci&oacute;n. </em></p>\n\n<p><em>Para su interpretaci&oacute;n la caja es colgada del cuerpo con ayuda de una correa hecha de cuero de res; y se hace uso del palitoki tambi&eacute;n denominado cajaneraki,11 un par de baquetas de unos 34 cm. de largo hechos de madera de gabetillo, chonta y de cuchi. En algunas ocasiones a la buena interpretaci&oacute;n de los instrumentos musicales, en especial a los membran&oacute;fonos se hace menci&oacute;n a que &quot;Se tesa con una cuerda&hellip; ya lo hace rezar</em><em>&rdquo;</em></p>\n\n<p><strong><em>Tampura (bombo).</em></strong><em> La Tampura, es el membran&oacute;fono asemejado al bombo, el cual tiene mayores dimensiones que los otros, con un di&aacute;metro de 46 cm. y 22 cm. de alto (Fotograf&iacute;a N&ordm; 7). La caja de resonancia est&aacute; hecha en base a madera blanca de toco o jocho&rsquo;o. Las membranas generalmente son de cuero de res y en algunos casos presenta inscripciones pintadas; por otro lado, indican que este cuero es del cuello de la res, el cual es curtido lav&aacute;ndolo con ceniza para </em><em>&ldquo;</em><em>que no lo cambie el sereno</em><em>&rdquo;</em><em> o sea para que no cambie el sonido. El instrumento que ayuda a su interpretaci&oacute;n es una baqueta de madera de v&rsquo;idenominadata&rsquo;earaki o tampuraraki (&ldquo;toca bombo&rdquo;), el cual mide 26,5 cm. de largo, el mango tiene 3 cm. de grosor y tiene una especie de mazo de 6 cm. de di&aacute;metro.</em></p>\n\n<p><strong><em>Chonono o cascabelana.</em></strong><em> En un idi&oacute;fono empleado por los danzantes, especialmente hombres, de cada danza&hellip; Consiste en una trozo rectangular de cuero (de 10 por 64 cm.) al cual van sujetas semillas o cascabeles; la base rectangular tiene dos tiras laterales utilizadas para amarrarlas a las piernas justo en la articulaci&oacute;n de la rodilla. En el caso de las danzas del machetero las semillas utilizadas en el chonono son de chakai y para otras danzas se emplea el naviri. Y para danzas como los toritos y ciervos se emplean cascabeles de bronce. </em></p>\n\n<p><em>Estos instrumentos acompa&ntilde;an a la m&uacute;sica d&aacute;ndole un comp&aacute;s r&iacute;tmico a partir de la danza de sus int&eacute;rpretes, esto hace referencia a que los danzantes tambi&eacute;n tienen un papel importante como interpretes del chonono.</em></p>\n\n<p><strong><em>El Baj&oacute;n.</em></strong><em> Es uno de los instrumentos musicales m&aacute;s difundidos de la regi&oacute;n, por lo cual ampliar&eacute; su descripci&oacute;n&hellip; Este instrumento aer&oacute;fono, conformado por pares (machohembra) a primera vista se parece a una especie de flauta de pan pero con boquillas de madera en cada uno de los tubos; sin embargo, se trata de unas &ldquo;trompetas m&uacute;ltiples</em><em>&rdquo;</em><em>construidas a base de varios tubos de hojas enrolladas atadas en </em><em>&ldquo;</em><em>forma de balsa o ala&rdquo;, donde cada tubo es acomodado en una sola hilera (Waisman 2002:533). </em></p>\n\n<p><em>El Baj&oacute;n est&aacute; elaborado con los siguientes materiales: Hoja de Cusi, varas de cogollo que estructuran la parte interna de cada tubo; hilo de algod&oacute;n o hilo </em><em>&ldquo;</em><em>camba</em><em>&rdquo; (</em><em>itsepite cajare) mezclada con cera (M&aacute;paji) de abeja &ldquo;se&ntilde;orita&rdquo;. Las boquillas torneadas de madera de cedro para cada tubo; donde una </em><em>&lsquo;</em><em>peineta&rdquo; </em><em>(</em><em>de 56.5 x4 cm) hecha de madera sujeta a todos los tubos (de 56.5 x 4 cm). Cada uno de los tubos tiene asignado una sigla del alfabeto grabada en la </em><em>&ldquo;</em><em>peineta&rdquo; que hace referencia a la afinaci&oacute;n de cada uno de ellos. El tubo de mayor tama&ntilde;o tiene una base de goma sujetado en la parte inferior para facilitar su apoyo en el suelo. </em></p>\n\n<p><em>Los pasos empleados para la elaboraci&oacute;n del baj&oacute;n son el armado del soporte o estructura de cogollo; enrollado o superposici&oacute;n de hojas de Cusi, atado (liado) con cordel (pita) de algod&oacute;n hilado, embadurnado con cera de abeja para fortificar el hilo y apoyar el agarre. Y se emplean herramientas como el Tumare (cuchillo) y la Capotera (aguja). </em></p>\n\n<p><em>Este instrumento musical se interpreta de mediante la </em><em>&ldquo;</em><em>t&eacute;cnica dialogada&rdquo; entre el Baj&oacute;n macho y Baj&oacute;n hembra. Vale decir que la melod&iacute;a se entreteje de forma dialogada entre los dos int&eacute;rpretes del instrumento. El sonido que emite este instrumento es grave. La forma de interpretaci&oacute;n de los bajones se basa en el soplido. Cada int&eacute;rprete sujeta el baj&oacute;n horizontalmente con ambas manos apretando los labios en la boquilla para tocarlos de forma similar a una trompeta. Sin embargo, por el tama&ntilde;o del instrumento el ejecutante no puede sujetar solo el baj&oacute;n, por ello, requiere de la ayuda de otra persona que sostenga el instrumento desde el extremo inferior.</em></p>\n\n<p><em>El baj&oacute;n tiene un rol muy reconocido como parte de la orquesta t&iacute;pica de San Ignacio, orient&aacute;ndose su interpretaci&oacute;n para acompa&ntilde;ar los c&aacute;nticos sagrados de misas, procesiones religiosas y </em><em>&ldquo;</em><em>velorios</em><em>&rdquo;</em><em> de santos y v&iacute;rgenes. Los instrumentistas o ejecutantes del baj&oacute;n son especialistas y gozan de alto prestigio en la comunidad. Los bajones actualmente son acompa&ntilde;ados por un viol&iacute;n, dos flautas, caja y tampura.</em></p>\n\n<p><em>Una de las principales referencia son las de Alcides D</em><em>&rsquo;</em><em>orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de </em><em>&ldquo;</em><em>acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a </em><em>13</em><em> tubos, actualmente se registraron bajones de 10 tubos. Hip&oacute;tesis no confirmadas plantean que el nombre original de este instrumento podr&iacute;a ser </em><em>&ldquo;</em><em>ippij&iacute;raseco&rdquo; aunque actualmente s&oacute;lo se emplea el nombre de Baj&oacute;n (Waisman 2002:534).</em></p>\n\n<hr />\n<p><em>[[Ver foto: Instrumentos musicales - Coro Musical]]</em></p>\n\n<hr />\n<p>&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["a0e4f8bb-9310-4344-b025-2609c8a26ec2"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "5e5d3a53-9ad0-4f38-a49c-ac2be9760d3c"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del patrimonio cultural inmaterial, es esencial para su salvaguarda, los medios utilizados son: la tradici&oacute;n oral, historias, conocimientos transmitidos verbalmente de generaci&oacute;n en generaci&oacute;n; usos sociales, rituales y festivos; t&eacute;cnicas artesanales tradicionales, entre otros.&nbsp;</p>\n\n<p>En San Ignacio, la transmisi&oacute;n de la lengua moje&ntilde;a se ha efectuado de padres a hijos de forma oral. La cultura moje&ntilde;a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense&ntilde;an formalmente el idioma moje&ntilde;o, como medio de salvaguardar la cultura.</p>\n\n<p>Los conocimientos de m&uacute;sica y confecci&oacute;n de instrumentos, son inculcados de maestro a aprendiz, as&iacute; es como se forman los integrantes del Coro Musical del Cabildo Indigenal, quienes deben adem&aacute;s, realizar el &ldquo;juramento&rdquo; que los marca de por vida, es el compromiso solemne de interpretar un instrumento musical y pertenecer a un grupo de danza, &nbsp;esta responsabilidad se adquiere luego que los &ldquo;taytas&rdquo; m&uacute;sicos consideran que el aprendiz est&aacute; capacitado y cumple las expectativas de interpretaci&oacute;n. La ceremonia del &ldquo;juramento&rdquo;, se realiza en el templo en ocasi&oacute;n de la festividad de la Virgen de la Candelaria, recibiendo la bendici&oacute;n del Padre. &nbsp;</p>\n\n<p><em>Los m&uacute;sicos en San Ignacio de Mojos son muy respetados y reconocidos en la comunidad al grado incluso de los Caciques. Por un lado, este prestigio se eleva cuando el int&eacute;rprete adem&aacute;s de conocer detalladamente la construcci&oacute;n de su propio instrumento tambi&eacute;n realiza otros (como es el caso de Robin Cuellar pr&aacute;cticamente uno de los pocos m&uacute;sicos que adem&aacute;s de ser violinista fabrica e interpreta los bajones) y m&aacute;s a&uacute;n si compone sus m&uacute;sicas.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>La creaci&oacute;n de la nueva escuela de m&uacute;sica, se ha convertido en factor importante de reproducci&oacute;n de la tradici&oacute;n musical moje&ntilde;a, adem&aacute;s de proveer oportunidades de conseguir un t&iacute;tulo profesional. El objetivo no es solamente recuperar la m&uacute;sica legado de la &eacute;poca misional y prehisp&aacute;nica, sino de proponer nueva m&uacute;sica popular.</p>\n\n<p>La m&uacute;sica que los ancianos ense&ntilde;an es m&aacute;s que todo religiosa, en cambio en la escuela se abarca un amplio espectro de estilos. Actualmente la escuela acoge a m&aacute;s de 300 alumnos en diferentes especialidades instrumentales.</p>\n\n<p>La participaci&oacute;n activa de la poblaci&oacute;n en las festividades religiosas es un reflejo del valor que se les atribuye. Desde los ancianos hasta los ni&ntilde;os, la poblaci&oacute;n moje&ntilde;a se involucra, esto es crucial para la transmisi&oacute;n de valores y la preservaci&oacute;n de las tradiciones.</p>\n\n<p>La transmisi&oacute;n de saberes y costumbres tiene tambi&eacute;n una base material, la que es indispensable para el mantenimiento de la manifestaci&oacute;n, sin duda, el&nbsp;objeto material&nbsp;es un testigo valioso y un documento que refleja el sentimiento colectivo de una sociedad. Como receptor y transmisor de m&uacute;ltiples significados culturales, est&aacute; arraigado en un tiempo y un espacio espec&iacute;ficos, su existencia nos conecta con la historia, las tradiciones y las creencias de quienes lo crearon y utilizaron. La tradici&oacute;n del uso de estos objetos se pasa entre generaciones y es promovido especialmente por el Cabildo Indigenal.&nbsp; Entre estos objetos destacan: el tocado de plumas de los Macheteros, sus machetes de madera; las im&aacute;genes religiosas; los instrumentos musicales; la vestimenta del Cabildo, Memes, Angelitos y Sargentos Jud&iacute;os, entre otros.</p>\n\n<p>Las danzas en San Ignacio poseen elementos simb&oacute;licos y rituales que se relacionan con un pasado hist&oacute;rico m&aacute;s extenso, incluso anterior a la llegada de los jesuitas. Estas danzas son expresi&oacute;n de la identidad cultural, que se transfirie de modo informal mediante la pr&aacute;ctica, la observaci&oacute;n y la imitaci&oacute;n, dentro la comunidad, y se conserva casi sin modificaciones.</p>\n\n<p>En las ceremonias de la festividad, especialmente en las procesiones, los mayores hacen referencia a la importancia de la participaci&oacute;n de los j&oacute;venes y ni&ntilde;os, el objetivo es que puedan aprender y dar continuidad a sus tradiciones, para que pervivan en el tiempo. Existe un sentimiento muy importante de aprecio de los mayores por la participaci&oacute;n de los ni&ntilde;os.</p>\n\n<p>Los Santos Varones y los miembros del Cabildo son los encargados de transmitir la memoria viva, los conocimientos y procedimientos que son parte de la celebraci&oacute;n de Semana Santa.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento&rdquo; para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "4d40f426-2621-488d-a5a0-df0b3079988d"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El patrimonio inmaterial est&aacute; expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici&oacute;n, por lo que est&aacute; sujeto a cambios y evoluciones.</p>\n\n<p>V&iacute;ctor Hugo limpias en su art&iacute;culo: Lo Infernal, lo Terrenal y lo Celestial en la Misi&oacute;n de Moxos<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a>, menciona las descripciones de Francisco J. Eder en 1772, sobre las ceremonias celebradas en Semana Santa:</p>\n\n<p><em>&ldquo;&hellip;Los d&iacute;as de la Semana Santa comienzan el Domingo de Ramos, con la procesi&oacute;n acostumbrada. Los d&iacute;as restantes todo se celebra con una exactitud tan grande, que no falta nada&hellip;Los tres d&iacute;as se entona el Oficio de Tinieblas; luego, la pasi&oacute;n en su lengua. Todos los indios visten de estricto negro desde el Mi&eacute;rcoles de Ceniza hasta el d&iacute;a de Pascua. Durante este periodo ni siquiera las mujeres utilizan el menor adorno. El Jueves Santo tiene lugar el tradicional lavatorio de los pies y la cena con doce indios. Pero nada dice tanto a favor de los indios como el silencio y la aplicaci&oacute;n en la procesi&oacute;n (del)&hellip; Viernes Santo, a los que contribuyen mucho la m&uacute;sica triste, la viveza de la escenograf&iacute;a con las estatuas&hellip; que representan los misterios del Se&ntilde;or&hellip; as&iacute; como los cantos que se repiten en cada parada...&rdquo; </em></p>\n\n<p>Francisco J. Eder, hace referencia tambi&eacute;n a las sangrientas flagelaciones que se infring&iacute;an los ind&iacute;genas tanto hombres como mujeres el d&iacute;a de Viernes Santo, si bien eran expresiones teatrales, estas eran exageradas e incluso implicaban a ni&ntilde;os, quienes llevaban sogas al cuello y coronas de espinas en la cabeza. &nbsp;As&iacute; mismo relata que la fiesta de Corpus Christi, era la de mayor alarde ornamental, donde los altares son adornados con hermosas palmas y flores, y que se hac&iacute;a explotar un peque&ntilde;o ca&ntilde;oncito delante de cada altar, los adornos del templo y la m&uacute;sica selecta, banderas de seda y los arcos triunfales le recordaban a Europa.</p>\n\n<p>Tomando como referencia estas descripciones se observa que, en la actualidad, la vestimenta de color negro se mantiene en los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo, las Mamitas Abadesas cambian los colores de su tipoi, utilizan el blanco o morado y el negro &uacute;nicamente el Viernes Santo, mientras que los miembros del Cabildo visten siempre de blanco.</p>\n\n<p>El Oficio de Tinieblas, se sigue celebrando durante tres d&iacute;as, en la misa se lee la segunda lectura en lengua moje&ntilde;a, la ceremonia del lavatorio de los pies y la Ultima Cena se realiza con la participaci&oacute;n del Cabildo Indigenal, tal como se hac&iacute;a &nbsp;en el siglo XVIII.</p>\n\n<p>Las costumbres de Corpus Christi descritas por el jesuita, son muy similares a las que observamos hoy en Semana Santa, la profusa ornamentaci&oacute;n de altares, con flores (en su mayor&iacute;a con flores artificiales), y la explosi&oacute;n de un peque&ntilde;o ca&ntilde;&oacute;n, seria hoy la explosi&oacute;n de la &ldquo;camareta&rdquo;, la m&uacute;sica solemne es interpretada por la&nbsp; banda y por la tamborita de los Sargentos Jud&iacute;os, aunque tambi&eacute;n se interpreta m&uacute;sica alegre en el alba del Domingo de Resurrecci&oacute;n cuando se celebra el encuentro del Se&ntilde;or Resucitado con su Madre, ese momento de alegr&iacute;a cuando la banda toca y la im&aacute;genes se saludan y bailan, es una de las escenas m&aacute;s conmovedoras de la festividad.</p>\n\n<p>Algunos cambios se han observado en relaci&oacute;n a lo registrado el a&ntilde;o 2010, por la Direcci&oacute;n General de Patrimonio Cultural del Ministerio de Culturas, estos se describen a continuaci&oacute;n:</p>\n\n<ul>\n\t<li>En el centro del Cabildo se colocan dos mesas largas, en una mesa se instalan las autoridades ediles y del consejo, (esto desde el 2023), y en la otra los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</li>\n\t<li>Se ha modificado tambi&eacute;n el d&iacute;a en que se instala el tel&oacute;n negro que cubre el altar y lleva una cruz roja al centro, que corresponde a &ldquo;Las Tinieblas&rdquo;, en 2010 se lo hac&iacute;a el Mi&eacute;rcoles Santo, en 2024 se coloca este tel&oacute;n el Lunes Santo.</li>\n\t<li>En el alba del Domingo de Resurrecci&oacute;n, cuando los Macheteros bailan en el atrio, en 2010 se registra que lo hacen acompa&ntilde;ados por los Toritos, mientras que, en 2024, los acompa&ntilde;an danzando los Angelitos.</li>\n</ul>\n\n<p>Se puede afirmar entonces, que las ceremonias celebradas en Semana Santa no han cambiado notoriamente desde el siglo XVIII hasta ahora, y se ha mantenido lo m&aacute;s significativo, que es la participaci&oacute;n de todos los miembros de la sociedad moje&ntilde;a, y el resguardo de su tradiciones, de la mano del Cabildo Indigenal.</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Memoria del V encuentro internacional del barroco. Visi&oacute;n Cultural. 2010.</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "01c25323-2513-404d-a62f-70d7037b4890"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El patrimonio inmaterial transmitido de generaci\u00f3n en generaci\u00f3n, por la memoria viva de la comunidad, esta expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici\u00f3n y son confirmadas y revitalizadas en el presente. En San Ignacio de Mojos, la transmisi\u00f3n de tradiciones y costumbres ha conseguido salvaguardar el Patrimonio Cultural Inmaterial. Los portadores de la tradici\u00f3n desempe\u00f1an un papel crucial al confirmar y revitalizar estas pr\u00e1cticas en el presente. El \u00e9xito de la preservaci\u00f3n se basa en: Participaci\u00f3n de Ni\u00f1os y J\u00f3venes. Al involucrar a ni\u00f1os y j\u00f3venes en las festividades, se asegura que adquieran habilidades y saberes ancestrales. Esto garantiza la continuidad de las costumbres al transferir conocimientos de una generaci\u00f3n a otra. Transmisi\u00f3n desde la Infancia. La transmisi\u00f3n comienza desde temprana edad, lo que permite que los ni\u00f1os internalicen las tradiciones y se conviertan en futuros portadores. La participaci\u00f3n activa en rituales y pr\u00e1cticas culturales refuerza su identidad cultural. Sostenibilidad y Adaptaci\u00f3n. La transmisi\u00f3n de tradiciones, no implica una mera repetici\u00f3n, sino tambi\u00e9n adaptaci\u00f3n. Los portadores de la tradici\u00f3n han mantenido la autenticidad, pero tambi\u00e9n han permitido que evolucione para seguir siendo relevante. Existe un esfuerzo organizado de la comunidad y el Plan Misiones para preservar el patrimonio cultural, con este objetivo se est\u00e1 efectuando la elaboraci\u00f3n de registros del patrimonio cultural, material e inmaterial, como instrumento de salvaguardia de estos acervos.  La comunidad se apoya en el Cabildo Indigenal como responsable del mantenimiento y perpetuaci\u00f3n del conjunto de c\u00f3digos relacionados con la celebraci\u00f3n de las festividades. Estas manifestaciones siguen uniendo a sus miembros y reforzando sus lazos identitarios, los cuales pueden verse debilitados por los procesos de transculturaci\u00f3n a los que todas las comunidades est\u00e1n expuestas en la actualidad. En San Ignacio, la transmisi\u00f3n de la lengua moje\u00f1a se ha efectuado de padres a hijos de forma oral. La cultura moje\u00f1a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense\u00f1an formalmente el idioma moje\u00f1o, como medio de salvaguardar la cultura.  La creaci\u00f3n de la nueva escuela de m\u00fasica, se ha convertido en factor importante de reproducci\u00f3n de la tradici\u00f3n musical moje\u00f1a, adem\u00e1s de proveer oportunidades de conseguir un t\u00edtulo profesional. El objetivo no es solamente recuperar la m\u00fasica legado de la \u00e9poca misional y prehisp\u00e1nica, sino de proponer nueva m\u00fasica popular.  La confecci\u00f3n de instrumentos, es tambi\u00e9n parte de los conocimientos que se han transmitido por generaciones, y se han ido mejorando con el tiempo. Aunque actualmente la mayor\u00eda de los instrumentos son importados.   La Semana Santa es proclive a preservarse y transmitirse, por su car\u00e1cter festivo e interactivo, con la realizaci\u00f3n de bailes, danzas, ceremonias religiosas, representaciones esc\u00e9nicas, m\u00fasica, etc. Es gracias a la relaci\u00f3n del Cabildo con la comunidad que estas manifestaciones se han adaptado con facilidad a los modos de vida actual, y se mantienen como escenarios de encuentro y convivencia, del pueblo moje\u00f1o."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "8859c76a-ad0b-43e8-ac85-d6885e457014"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>l conocimiento de los riesgos que puede afrontar el patrimonio inmaterial es una herramienta fundamental para su prevenci&oacute;n.</p>\n\n<p>Con la creaci&oacute;n de la nueva escuela de m&uacute;sica, se est&aacute; salvaguardando la tradici&oacute;n musical, pero tambi&eacute;n existe una falta de integraci&oacute;n con los miembros del Coro Musical, que interpretan sus instrumentos de la forma &ldquo;t&iacute;pica&rdquo;, mientras que en la escuela se tocan los instrumentos de manera formal. Esta situaci&oacute;n genera una brecha entre las pr&aacute;cticas tradicionales y las ense&ntilde;anzas acad&eacute;micas, lo que podr&iacute;a afectar la cohesi&oacute;n y la transmisi&oacute;n aut&eacute;ntica de la herencia musical. Es fundamental encontrar un equilibrio que permita la coexistencia y el enriquecimiento mutuo de ambas formas de interpretaci&oacute;n, asegurando as&iacute; la preservaci&oacute;n y evoluci&oacute;n de la tradici&oacute;n musical en su totalidad.</p>\n\n<p>Son pocas ya las personas que saben fabricar instrumentos, m&aacute;scaras, sombreros, entre otros objetos tradicionales, por lo que se est&aacute;n perdiendo estos saberes. La disminuci&oacute;n de artesanos y la falta de transmisi&oacute;n de estos conocimientos a las nuevas generaciones ponen en riesgo la continuidad de estas pr&aacute;cticas culturales. Es crucial implementar iniciativas que fomenten el aprendizaje y la preservaci&oacute;n de estas habilidades, asegurando as&iacute; que estas valiosas tradiciones no se pierdan y puedan ser apreciadas por futuras generaciones.</p>\n\n<p>El uso de instrumentos industrializados, o la construcci&oacute;n de instrumentos con materiales no tradicionales, por la facilidad de su manufactura, supone un riesgo de perder las &ldquo;formas de hacer&rdquo; tradicionales que son transmitidas usualmente de maestro a aprendiz.</p>\n\n<p>La utilizaci&oacute;n de nuevas tecnolog&iacute;as, como es el caso de las procesiones en Semana Santa, que ahora son acompa&ntilde;adas por una grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os, ha reemplazado la interpretaci&oacute;n en vivo que antiguamente realizaban los m&uacute;sicos. Este cambio implica una p&eacute;rdida de una parte de la tradici&oacute;n moje&ntilde;a, ya que la m&uacute;sica en vivo era un elemento esencial de estas celebraciones.</p>\n\n<p>La declaraci&oacute;n como Patrimonio Cultural Inmaterial de la Humanidad a la Ichapekene Piesta, la fiesta mayor de San Ignacio de Moxos, es una forma de dar valor y gran visibilidad a la cultura moje&ntilde;a. Esta mayor atenci&oacute;n a todas sus expresiones culturales, como es la festividad de Semana Santa, puede conllevar una p&eacute;rdida de la esencia propia de las celebraciones, que est&aacute;n profundamente arraigadas en la poblaci&oacute;n, modificando las formas art&iacute;sticas tradicionales para convertirlas en &ldquo;productos tur&iacute;sticos&quot;.</p>\n\n<p>Otro riesgo probable, se presenta cuando instituciones dedicadas a la promoci&oacute;n del turismo difunden sin reservas una manifestaci&oacute;n que no cuenta con los recursos materiales ni humanos necesarios para satisfacer las demandas de los asistentes. La comunidad local carece de aforos adecuados y de procedimientos de organizaci&oacute;n interna necesarios para manejar una afluencia excesiva y no sostenible de visitantes. Adem&aacute;s, la comunidad no se beneficia de la presencia de estos p&uacute;blicos, ya que no se establece un contacto duradero, sino que se produce un impacto puntual y aislado que poco o nada contribuye a la perpetuaci&oacute;n del Patrimonio Cultural.</p>\n\n<p>Las amenazas para la transmisi&oacute;n del patrimonio cultural inmaterial provienen de diversos factores, entre ellos los cambios sociales y demogr&aacute;ficos que reducen el contacto intergeneracional, como ocurre con las migraciones y la urbanizaci&oacute;n. Adem&aacute;s, la imposici&oacute;n de sistemas educativos formales que subestiman los conocimientos y t&eacute;cnicas tradicionales, as&iacute; como la influencia de los medios de comunicaci&oacute;n masivos, tambi&eacute;n contribuyen a estos riesgos.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "b429c9e3-a951-4d6c-b0a5-4209c5bfc065"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La cosmovisi&oacute;n del pueblo moje&ntilde;o, sintetiza los dogmas de la religi&oacute;n cat&oacute;lica, con la noci&oacute;n de la presencia de los esp&iacute;ritus tutelares de la naturaleza, estas arraigadas creencias y su conexi&oacute;n con lo sagrado, proporcionan un sentido de comunidad e identidad, que se demuestra en la importancia que le confieren a la pr&aacute;ctica solemne de las ceremonias, en este caso en la Semana Santa.</p>\n\n<p>Las parcialidades de los valores espirituales del pueblo, que forman parte del Cabildo Indigenal, son actores fundamentales en las celebraciones de la festividad.</p>\n\n<p>El templo de San Ignacio es el lugar sagrado, centro de todas las manifestaciones rituales, y desde el cual salen las procesiones que tambi&eacute;n son parte vital de la conmemoraci&oacute;n cristiana.</p>\n\n<p>Los ritos cat&oacute;licos como la misa, la procesi&oacute;n, el lavado de pies, la Ultima Cena, el Desclavamiento de Cristo, el Encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a, entre otros, son acompa&ntilde;ados constantemente por el Cabildo Indigenal, y sus parcialidades como el Coro Musical, las Mamitas Abadesas, los Sargentos Jud&iacute;os, los Sacristanes y los Macheteros.&nbsp;</p>\n\n<p>La pr&aacute;ctica solemne de las ceremonias religiosas, se ve enriquecida por la inclusi&oacute;n de los ritos y danzas ancestrales, como la danza de los Macheteros que portan un vistoso tocado de plumas, la intervenci&oacute;n del Coro Musical con sus instrumentos aut&oacute;ctonos, o la alegr&iacute;a de la tamborita y la banda.</p>\n\n<p>A continuaci&oacute;n, se describen episodios que son parte de los ritos religiosos o est&aacute;n relacionados con ellos, y tienen lugar en Semana Santa:</p>\n\n<hr />\n<p>La devoci&oacute;n se ve reflejada en mucho aspectos, es el caso de los j&oacute;venes que cargan las im&aacute;genes, ellos se sit&uacute;an al lado del santo, d&iacute;as antes de comenzar las festividades, para cuidarlo. Otra particularidad, es que su gran fe cat&oacute;lica les compromete a participar alzando las pesadas im&aacute;genes y sus andas, como una forma de limpiar sus pecados, colaborar con la iglesia, o por el bienestar de sus familias y del pueblo en general. Este trabajo lo hacen por el lapso de cinco d&iacute;as hasta el Domingo de Resurrecci&oacute;n.</p>\n\n<p>En las procesiones, las mujeres cargan las im&aacute;genes femeninas y los varones las masculinas, excepto en el alba de la Resurrecci&oacute;n, momento en el que los varones alzan la imagen de La Virgen, por el peso significativo de la misma, y la hacen bailar, cuando se encuentra con Cristo Resucitado.</p>\n\n<hr />\n<p><strong>Los Penitentes, en las procesiones</strong> son los que representan la expiaci&oacute;n de los pecados, estas personas hacen la promesa de cargar la Cruz, y se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<hr />\n<p><strong>Las Tinieblas</strong></p>\n\n<p>Se celebra en el templo, en las ma&ntilde;anas de los d&iacute;as: Jueves, Viernes y S&aacute;bado Santo.</p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p>A las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo. Se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por el Coro Musical, con oraciones y cantos en castellano, la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican, unos detr&aacute;s de la imagen de Cristo crucificado, y otros, detr&aacute;s de la imagen de la Dolorosa, un Sargento porta la cruz que los representa, y la sujeta con un chal blanco teniendo cuidado de no tocarla con las manos por el respeto que le tienen. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminando por la iglesia y se golpean los asientos para que se siente, tambi&eacute;n los Sargentos jud&iacute;os golpean sus lanzas.</p>\n\n<hr />\n<p><strong>Arreglo del Santo Sepulcro</strong></p>\n\n<p>El Jueves Santo, desde la ma&ntilde;ana, los Santos Varones se dedican al arreglo del Santo Sepulcro, que est&aacute; ya sobre su respectiva anda para la procesi&oacute;n, lo adornan con flores de distintos colores, artificiales y algunas naturales, le colocan tambi&eacute;n luces y velas.</p>\n\n<hr />\n<p><strong>La Ultima Cena</strong></p>\n\n<p>Esta celebraci&oacute;n se realiza el Jueves Santo en el Cabildo Indigenal, evoca la Ultima Cena que Jes&uacute;s pas&oacute; con los doce ap&oacute;stoles.</p>\n\n<p>Las mujeres son quienes se encargan de la limpieza, cocina, armado de las mesas y de servir la mesa. La comida que ha sido preparada por las Memes, consiste en un plato de pescado pac&uacute; asado, arroz blanco, majadito, pl&aacute;tano cocido y pan de arroz, acompa&ntilde;ado de chicha.</p>\n\n<p>En el centro del Cabildo se colocan dos mesas largas, en una comer&aacute;n las autoridades (esto desde el 2023), y en la otra se ubican los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</p>\n\n<p>En la mesa que ocupa el Cabildo Indigenal se sientan seis Santos Varones, al frente seis Perpetuos, y a la cabeza el P&aacute;rroco, representando la Ultima Cena de Cristo y sus disc&iacute;pulos.</p>\n\n<p>Acompa&ntilde;an este acto tres sacristanes, uno lleva la cruz de plata, con pa&ntilde;o blanco y los otros dos sujetan cada uno una vela encendida.</p>\n\n<hr />\n<p><strong>JUEVES SANTO</strong></p>\n\n<p>Desde la ma&ntilde;ana, los Santos Varones se dedican al arreglo del Santo Sepulcro, que est&aacute; ya sobre su respectiva anda para la procesi&oacute;n, lo adornan con flores artificiales y algunas naturales, de distintos colores, le colocan tambi&eacute;n luces y velas.</p>\n\n<p>En la ma&ntilde;ana se realiza la Celebraci&oacute;n de Las Tinieblas, y por la tarde la Celebraci&oacute;n de la misa del Se&ntilde;or, el lavatorio de pies, la procesi&oacute;n del Sant&iacute;simo Sacramento, y finalmente la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo, desde el jueves santo, hasta s&aacute;bado santo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>&nbsp;La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar), y mantiene sus tres velas encendidas.</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>&nbsp;La imagen del Cristo crucificado, con faldilla negra con decoraciones doradas, y la Virgen arrodillada con vestido blanco y manto celeste, sujetando con las manos un pa&ntilde;o blanco.</p>\n\n<p>&nbsp;La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>El Coro musical, Sacristanes, Sargentos jud&iacute;os, Cabildo indigenal, Mamitas abadesas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>El Coro, con camijetas; los Sacristanes, con sotana morada simbolizando el sufrimiento y la penitencia, y una sobrepelliz blanca; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; el Cabildo indigenal, con camijetas y portando sus bastones de mando; las Mamitas abadesas de blanco o morado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: 2 Bajones, 2 sivivires y 3 violines.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz negra de madera, sobre la que cuelga un pa&ntilde;o blanco, la porta uno de los Sargentos Jud&iacute;os.</p>\n\n<p>Tenebrario de madera</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Inicia a las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo, solamente se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>&nbsp;El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por el Coro Musical, con oraciones y cantos en castellano, la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican detr&aacute;s de la imagen de Cristo crucificado, y detr&aacute;s de la imagen de la Dolorosa, uno de ellos porta la cruz que los representa, y por la que tienen mucho respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Oraci&oacute;n con cantos del Coro Musical en castellano (con libreto)</li>\n\t<li>Suena la campanilla y el sacrist&aacute;n se levanta, se dirige a la imagen del Cristo crucificado para hacerle una reverencia, luego se acerca al tenebrario para apagar una vela, mientras esto sucede el Coro Musical se levanta, sigue orando y se tocan los instrumentos, luego de apagada la vela el sacrist&aacute;n retorna a su lugar, y el coro se sienta.</li>\n\t<li>Esto se hace para el apagado de cada vela. El orden de apagado se realiza de abajo hacia arriba, empezando por el lado derecho, se apagan 3 velas y se pasa al lado izquierdo, apagando otras 3 velas y as&iacute; se va alternando, hasta apagar casi todas las velas, excepto la &uacute;ltima que se encuentra en la parte superior del tenebrario.</li>\n\t<li>La &uacute;ltima vela del tenebrario no se apaga, es retirada por el sacrist&aacute;n y acompa&ntilde;ado del sonido de la matraca, se acerca e hinca frente al altar. Todos los asistentes est&aacute;n de pie.</li>\n\t<li>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminado por la iglesia y se golpean los asientos para que se siente, y los Sargentos jud&iacute;os golpean sus lanzas.</li>\n\t<li>Se recogen las velas apagadas y se distribuyen entre las personas asistentes.</li>\n\t<li>Pasada la ceremonia los Sargentos jud&iacute;os pasan a reverenciar la imagen de Cristo Crucificado, solo las velas que est&aacute;n al pie de la imagen quedan encendidas, no se permite que estas velas se apaguen. Los Sargentos jud&iacute;os custodian la imagen y se turnan en grupos cada 15 minutos, mientras en el atrio de la iglesia las Memes del Cabildo (Mamitas abadesas), sirven som&oacute; que es una bebida caliente preparada con ma&iacute;z pelado, ma&iacute;z molido y canela, y chocolate con pan de arroz.</li>\n\t<li>Esta ma&ntilde;ana sirve tambi&eacute;n para la confesi&oacute;n que realizan los feligreses, el confesionario es custodiado por los Sargentos jud&iacute;os.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Celebraci&oacute;n de la misa del Se&ntilde;or, lavatorio de pies, procesi&oacute;n del Sant&iacute;simo Sacramento - 16: 00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los ap&oacute;stoles, tambi&eacute;n se recuerda el lavatorio de los pies, que manifiesta el servicio y el amor de Cristo, que ha venido &ldquo;no a ser servido, sino a servir&rdquo;.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior sosteniendo un lienzo blanco, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Esta protegida por un baldaquino</p>\n\n<p>En las naves laterales se sit&uacute;an en el lado del evangelio 3 im&aacute;genes y en el lado de la ep&iacute;stola 4 im&aacute;genes.</p>\n\n<p><strong>Participan </strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, concejales, asamble&iacute;stas, Sargentos jud&iacute;os, Coro Musical, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco; los Sacristanes, con sotana blanca; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado; las autoridades con banda de identificaci&oacute;n, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro Musical, con camijetas.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: &nbsp;2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera blanca, la porta un miembro del Cabildo Indigenal.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>En el centro de la nave y delante del altar, se sit&uacute;an dos bancos que estar&aacute;n ocupados por los Santos varones del Cabildo, a quienes el padre har&aacute; el lavado de los pies.</p>\n\n<p>Luego de la misa se realiza la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</li>\n\t<li>Durante el canto del Gloria, los Sacristanes pasan a recoger los bastones del Cabildo Indigenal, con este gesto ellos entregan el poder a Jes&uacute;s.</li>\n\t<li>Despu&eacute;s del serm&oacute;n del p&aacute;rroco, se procede a la ceremonia del lavado de los pies a cada uno los 12 Santos varones del Cabildo, que representan a los ap&oacute;stoles, mientras esto sucede el coro de j&oacute;venes, interpreta canciones en castellano acompa&ntilde;ados por guitarra.</li>\n\t<li>Luego continua la misa.</li>\n\t<li>Finalmente se hace la ceremonia de reponer el Sant&iacute;simo Sacramento que se ha consagrado en la eucarist&iacute;a, en el altar que han preparado el Mi&eacute;rcoles Santo.</li>\n</ul>\n\n<p style=\"margin-left:24px\"><strong>Procesi&oacute;n del Sant&iacute;simo Sacramento</strong></p>\n\n<ul>\n\t<li>Seis Santos varones sostienen un baldaqu&iacute;n o palio, hecho con tela blanca, en la nave delante del altar.</li>\n\t<li>En el altar, los sacristanes colocan sobre la espalda del p&aacute;rroco un pa&ntilde;o blanco y largo, con el que envuelve sus manos para no tocar el cop&oacute;n de plata, donde se guardan las hostias consagradas El p&aacute;rroco lo levanta y se dirige hacia el lugar donde est&aacute; el baldaqu&iacute;n, coloc&aacute;ndose bajo &eacute;ste.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: el Cabildo indigenal (uno de ellos porta una bandera blanca con soporte de plata que termina en una cruz del mismo material, autoridades c&iacute;vicas, el Coro Musical y los sacristanes que preceden al p&aacute;rroco con el cop&oacute;n, bajo el baldaqu&iacute;n, y detr&aacute;s de &eacute;l, caminan dos filas de Sargentos jud&iacute;os y en medio de ellos las mamitas abadesas.</li>\n\t<li>Inicia la procesi&oacute;n cuando se tocan las matracas, se esparce incienso con el incensario y comienzan los cantos en moje&ntilde;o (con libreto) y la m&uacute;sica interpretados por el Coro Musical, esto se repite constantemente en toda la procesi&oacute;n.</li>\n\t<li>Antes que la procesi&oacute;n termine en el altar, se recoge hacia un lado, el lienzo de color negro con la cruz roja, que imped&iacute;a la vista del altar temporal.</li>\n\t<li>La procesi&oacute;n pasa por detr&aacute;s del altar temporal y se detiene frente al altar.</li>\n\t<li>El p&aacute;rroco se dirige hacia el altar mayor temporal, y un Perpetuo sube los escalones para colocar el cop&oacute;n de plata dentro del sagrario.</li>\n\t<li>El p&aacute;rroco dirige unas palabras al publico y termina la ceremonia.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>La Ultima Cena - 18:00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los 12 ap&oacute;stoles.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el Cabildo indigenal</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Santos Varones, Perpetuos, Cabildo, Mamitas abadesas, concejales y asamble&iacute;stas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba color blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; blanco, la porta un Sacrist&aacute;n.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se designan tareas a las mujeres: limpieza, cocina, armado de las mesas, servir la mesa.</p>\n\n<p>La comida que ha sido preparada por las Memes, consiste en un plato de pescado pac&uacute; asado, arroz blanco, majadito, pl&aacute;tano cocido y pan de arroz, acompa&ntilde;ado de chicha.</p>\n\n<p>En el centro del Cabildo se colocan dos mesas largas, en una comer&aacute;n las autoridades (esto desde el 2023), y en la otra se ubican los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</p>\n\n<p>En la mesa en el Cabildo Indigenal se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco, representando al Ultima Cena de Cristo y sus disc&iacute;pulos.</p>\n\n<p>Acompa&ntilde;an este acto tres sacristanes, uno lleva la cruz de plata, con pa&ntilde;o blanco y los otros dos sujetan cada uno una vela encendida.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Se llama a la Santa Cena con el sonido de las matracas</li>\n\t<li>Los Sargentos jud&iacute;os hacen una procesi&oacute;n, por las calles, pero no van al Cabildo.</li>\n\t<li>Desde la iglesia, los Santos Varones, Perpetuos, Cabildo, las Memes (Mamitas abadesas) y Pasados, se dirigen caminando al patio del Cabildo, donde se extienden dos arcos cruzados, ornamentados con telas de colores, (sujetados por j&oacute;venes), bajo los arcos se sit&uacute;a la mesa donde se realiza la conmemoraci&oacute;n de la Ultima Cena.</li>\n\t<li>En la mesa se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco.</li>\n\t<li>Se hace una oraci&oacute;n bendici&eacute;ndola cena</li>\n\t<li>Los sacristanes se paran cerca de la mesa sosteniendo la cruz y las velas.</li>\n\t<li>Los comensales de la Santa Cena son alimentados por las autoridades del Cabildo, ya que no pueden tocar los platos ni los cubiertos con las manos, solo pueden tocar las tutumas de chicha.</li>\n\t<li>Luego del acto de la cena, se invita a todos los dem&aacute;s a comer.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Se&ntilde;or Crucificado - 20: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en las calles Montes, Bol&iacute;var, Santiesteban y Ballivi&aacute;n.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior sosteniendo un lienzo blanco, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm; La Ver&oacute;nica; 6&ordm; el Nazareno; 7&ordm; Se&ntilde;or Crucificado; y 8&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, concejales, asamble&iacute;stas, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana blanca y c&iacute;ngulo</p>\n\n<p>Cabildo indigenal, con camijetas blancas</p>\n\n<p>Mamitas abadesas con tipoi de color blanco o morado</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca y traje negro (pantal&oacute;n y saco)</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Autoridades con banda de identificaci&oacute;n</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; blanco, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca, la porta una autoridad municipal.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Antes de la salida del Cristo Crucificado y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Dentro el templo, los Hermanos de la Pasi&oacute;n de Cristo colocan sus cruces alrededor de la imagen del Cristo Crucificado para que reciban la bendici&oacute;n, ellos escoltan toda la procesi&oacute;n, mientras que los soldados jud&iacute;os solamente a la imagen de Cristo Crucificado y a la Dolorosa.</li>\n\t<li>Se inciensa la imagen de Cristo Crucificado, mientras tocan las matracas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; luego est&aacute;n las autoridades; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen de Cristo Crucificado custodiada por los Sargentos Jud&iacute;os, detr&aacute;s de estos, entra el p&uacute;blico en general y detr&aacute;s van los Penitentes y sus acompa&ntilde;antes. y por &uacute;ltimo la imagen de la Dolorosa</li>\n\t<li>Todos salen por el lado del evangelio y cuando el Cristo Crucificado cruza la puerta comienza la m&uacute;sica de la banda.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen del Cristo Crucificado.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva que entra por el lado de la ep&iacute;stola, acompa&ntilde;ada por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las matracas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<hr />\n<p><strong><em>Videos Jueves Santo</em></strong></p>\n\n<p><strong><em>Las Tinieblas</em></strong></p>\n\n<p><strong><em><a href=\"https://www.facebook.com/253778992106765/videos/238073031404586\" style=\"color:#0563c1; text-decoration:underline\">https://www.facebook.com/253778992106765/videos/238073031404586</a></em></strong></p>\n\n<p><strong><em>Misa de la cena del se&ntilde;or, lavatorio pies y procesi&oacute;n de santisimo sacramento en el templo</em></strong></p>\n\n<p><strong><em><a href=\"https://www.facebook.com/watch/live/?ref=watch_permalink&amp;v=302431619532903\" style=\"color:#0563c1; text-decoration:underline\">https://www.facebook.com/watch/live/?ref=watch_permalink&amp;v=302431619532903</a></em></strong></p>\n\n<p><strong><em>Ultima cena </em></strong></p>\n\n<p><strong><em><a href=\"https://drive.google.com/file/d/1LVcjWrKM_p-UPHYFYqy-_0hmNdual7rz/view?usp=sharing\" style=\"color:#0563c1; text-decoration:underline\">https://drive.google.com/file/d/1LVcjWrKM_p-UPHYFYqy-_0hmNdual7rz/view?usp=sharing</a></em></strong></p>\n\n<p><strong><em>Procesi&oacute;n del se&ntilde;or crucificado</em></strong></p>\n\n<p><strong><em>https://www.facebook.com/100075644031143/videos/948188353143357</em></strong></p>\n\n<hr />\n<p>[1] Direcci&oacute;n General De Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em> pg. 21</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c28a1ac9-d6d0-4f45-8e54-38109c55bc2e", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "cde0e83a-394b-4955-b457-72f6d42302ab"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["9c539c14-ff65-4565-85a2-2268e4fe36ed", "bf356c16-8705-42f9-8947-6abf28e51a73", "ac9bf7d5-5ebe-428c-b88f-bb7b2f644a87"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las formas tradicionales de organizaci&oacute;n socio cultural se sustentan en valores comunes establecidos y creencias compartidas, apoyadas por estructuras jer&aacute;rquicas, donde la transmisi&oacute;n oral de conocimientos se realiza de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>El Cabildo Indigenal es la organizaci&oacute;n m&aacute;s representativa y reconocida de la sociedad moje&ntilde;a, desde sus inicios hasta la actualidad.</p>\n\n<p>El origen del Cabildo se remonta a los reinos hisp&aacute;nicos del siglo XV, que luego de establecerse en Am&eacute;rica cumplieron un rol importante en las reducciones jesu&iacute;ticas de Mojos desde principios del siglo XVIII, con el fin de reforzar los puntos d&eacute;biles en las misiones jesu&iacute;ticas, que albergaban a miles de ind&iacute;genas de diferentes etnias, agrupados en una sola doctrina.</p>\n\n<p>Los cabildos fueron una parte esencial en los antiguos pueblos misionales, cumpliendo roles de gobierno local y manteniendo una estrecha relaci&oacute;n con la iglesia. Aquellos que formaban parte de esta instituci&oacute;n no solo administraban justicia y gestionaban los recursos de la comunidad, sino que tambi&eacute;n se encargaban de transmitir a las generaciones futuras sus conocimientos y responsabilidades. Esta transmisi&oacute;n de saberes y pr&aacute;cticas era fundamental para preservar la cohesi&oacute;n social y cultural, y se compart&iacute;a ampliamente con la comunidad, asegurando as&iacute; la continuidad de las tradiciones y valores que sustentaban la vida en los pueblos misionales. Los oficios y cargos que eran parte de su estructura estaban ocupados por m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes y otros, que se constituyeron en las diversas parcialidades que conformaban el Cabildo.</p>\n\n<p><em>La religi&oacute;n era la esencia en las poblaciones, la iglesia o templo era el edificio central de instrucci&oacute;n cristiana, junto con la casa del cabildo, donde se reun&iacute;an las autoridades elegidas, cargo que desempe&ntilde;aban por el periodo de un a&ntilde;o, &ldquo;quien el a&ntilde;o anterior hab&iacute;a cumplido con diligencia su cargo, era ascendido, quien no, deb&iacute;a hacer m&eacute;ritos para permanecer o llegar ejercer otro cargo (Eder, 1985: 362).<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>En el siglo XVIII, exist&iacute;an 21 reducciones, cada una estaba representada por un Cabildo con oficios como m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes, entre otros, los que constituyeron las parcialidades del pueblo. Estos representantes gracias a su trabajo y dedicaci&oacute;n llegaron a gozar de gran prestigio, conformando una especie de &eacute;lite ind&iacute;gena, lo que deriv&oacute; en que la sociedad reduccional se dividiera en dos: la Familia, (miembros del Cabildo, los asistentes religiosos y los que ejerc&iacute;an alg&uacute;n oficio en las parcialidades y el templo, la escuela o los talleres), y el Pueblo, (los dem&aacute;s habitantes de la reducci&oacute;n).</p>\n\n<p>Los cargos del Cabildo estaban especificados en las <em>Leyes de las Reducciones y Pueblo de Indios</em>, que ordenaban la existencia de un indio Sacrist&aacute;n y dos o tres cantores, para la atenci&oacute;n del templo, y las ceremonias religiosas: &ldquo;<em>En todos los pueblos que pasaren de cien indios, haya dos o tres cantores, y en cada reducci&oacute;n un Sacrist&aacute;n, que tenga cuidado de guardar los ornamentos, y barrer la iglesia (Ley VI, Libro VI, Ti. III).&rdquo;</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><em><strong>[2]</strong></em></a></p>\n\n<p>Tambi&eacute;n estas Leyes mencionan la necesidad que los ind&iacute;genas cumplan funciones de gobierno pol&iacute;tico, como alcaldes y regidores, que son las autoridades m&aacute;s importantes&nbsp; del pueblo:<em> &ldquo;Ordenamos que, en cada pueblo y reducci&oacute;n, haya un alcalde indio de la misma reducci&oacute;n, y si pasare de ochenta casas, dos alcaldes, y dos regidores, tambi&eacute;n indios, y aunque el pueblo sea muy grande, no haya m&aacute;s que dos alcaldes y cuatro regidores, los cuales han de elegir por a&ntilde;o nuevo otros, como se practica en los pueblos de espa&ntilde;oles en indios, en presencia de los curas (Libro VI, T&iacute;tulo III, Ley XV).&rdquo;</em><em> <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El cabildo ya no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas de los siglos XVII y XVIII, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, preservar las tradiciones culturales y religiosas, y proteger el patrimonio cultural. Adem&aacute;s, han tomado medidas para defender el territorio frente a la explotaci&oacute;n de empresas madereras y ganaderas.</p>\n\n<p><em>&nbsp;&ldquo;&hellip;Actualmente, siguiendo los criterios jesu&iacute;ticos el Cabildo Indigenal est&aacute; compuesto por &ldquo;un Capital Grande, dos caciques, dos intendentes, cuatro alf&eacute;reces, dos fiscales, dos polic&iacute;as, once comisarios, un camaretero y un secretario (Eyzaguirre 2012:55) cada uno lleva sus propias funciones en sus distintas &aacute;reas. Al Corregidor tradicionalmente se le denomina Tayta&oacute;Tata(persona sabia), quien integra a los sectores, organizaciones, instituciones y familias, el que encierra el respeto y educaci&oacute;n heredada por la cultura de los abuelos. El Cabildo no percibe ning&uacute;n ingreso, el Corregidor no tiene sueldo, por lo que muchas no todas las personas asumen la responsabilidad de este cargo, y por otro lado, el Corregidor debe ser una persona mayor de entre 40 a 50 a&ntilde;os, como garant&iacute;a de su responsabilidad (Parroquias de Mojos 1988:32). La autoridad del Corregidor es elegida en una gran reuni&oacute;n del Cabildo Indigenal incluyendo la participaci&oacute;n de las agrupaciones de las Danzas e incluso personas de las comunidades; esta es una pr&aacute;ctica que la realiza el cabildo sin ninguna intromisi&oacute;n de la junta la prefectura, subprefectura, Comit&eacute;s C&iacute;vicos u otros.&rdquo;<a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><strong>[4]</strong></a></em></p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo de San Ignacio de Mojos, actualmente cuenta con un espacio o centro de reuniones para la poblaci&oacute;n, &eacute;sta edificaci&oacute;n se ubica detr&aacute;s del templo misional: <em>La distribuci&oacute;n espacial del cabildo expresa el rol importante que tienen sus representantes en las sillas principales se sientan las Autoridades principales del Cabildo: Corregidor, Representante, Capit&aacute;n Grande, Cacique e Intendente, detr&aacute;s es las autoridades se ubica el Coro Musical de la Iglesia, al lado izquierdo de las sillas de las autoridades, se encuentran los Pasados que son los ex-caciques y Ex-Corregidores, al lado derecho se ubican el Polic&iacute;a, Comisario, Alf&eacute;rez y el Camaretero; m&aacute;s all&aacute;, sobre el mismo lado derecho, se sientan los Perpetuos y, en el mismo lado, las Mamitas Abadesas. </em></p>\n\n<hr />\n<p>[[Ver foto: Distribuci&oacute;n espacial - Cabildo indigenal]]</p>\n\n<hr />\n<p><em>De frente a las Autoridades del Cabildo se encuentra el altar donde se encuentran las im&aacute;genes de los Santos; al lado derecho del altar se colocan los bastones de mando que llevan las autoridades, luego se ubican otro grupo de Mamitas Abadesas y al continuaci&oacute;n los Chiripier&uacute;ana(macheteros).<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"><strong>[5]</strong></a></em></p>\n\n<p>El Cabildo de San Ignacio de Mojos posee personer&iacute;a jur&iacute;dica como organizaci&oacute;n, su rol principal es mantener sus tradiciones y dar continuidad a la cultura moje&ntilde;a, organizar todas las actividades festivas, y tienen competencia sobre diversos asuntos del pueblo.</p>\n\n<hr />\n<p>La composici&oacute;n del Cabildo es la siguiente:</p>\n\n<hr />\n<p>[[ Ver foto: Composicion del Cabildo]].</p>\n\n<hr />&nbsp;\n<p>El Cabildo est&aacute; presente y es parte de la organizaci&oacute;n de las festividades, gracias a su pervivencia se ha logrado conservar el patrimonio cultural material e inmaterial, ya que son celosos guardianes de su acervo, evitando adem&aacute;s las influencias for&aacute;neas o renovaciones culturales.</p>\n\n<p>Las agrupaciones que participan en la festividad de Semana Santa, que son parte inherente al Cabildo son:</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"><strong>[6]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p>Las Mamitas Abadesas o Memes, forman parte de la parcialidad de los valores espirituales del pueblo.</p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.<a href=\"#_ftn7\" name=\"_ftnref7\" title=\"\"><strong>[7]</strong></a></em></p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;, este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisitos exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERUANA </strong></p>\n\n<p>El nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>La danza se ejecuta de forma marcial, en dos filas. Bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores, sujeta al armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichachies, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> <em>&nbsp;</em>Plan Mojos, Historia Cabildos. 2024. pg. 45.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid, pg. 50.</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid., pg. 51</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em> </em><em>&ldquo;para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Fuente: Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg..20.</p>\n\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" title=\"\">[6]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pp. 8-9.</p>\n\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" title=\"\">[7]</a> Ibid. p. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "acf3ae0d-cf1c-4562-aafa-820f1d569a43"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Escultura de bulto redondo hecho de madera de maguey, con brazos articulados."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La imagen est\u00e1 sujeta a la cruz por tres clavos de metal, dos para las manos y uno para los pies, en la cabeza lleva la corona de espinas. Viste faldilla negra con decoraciones doradas. La cruz de madera tallada que lo soporta, lleva en el crucero el escudo de la compa\u00f1\u00eda de Jes\u00fas, y en la parte superior el acr\u00f3nimo INRI, tallado en madera con ornamentaci\u00f3n de rocallas."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen del Cristo crucificado"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 18, "tileid": "8b1af69e-1db0-432b-96ca-f0399671eb89"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Viste t\u00fanica roja y manto color ciruela, con nimbo. Las manos cruzadas con las palmas hacia arriba"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de San Juan apostol"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "cb8a49c2-d491-44b9-8d1a-0a9d8a7352b3"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Candelabro triangular de madera con soporte del mismo material."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores. Simboliza el d\u00eda de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap\u00f3stoles, las tres Mar\u00edas (Mar\u00eda Salom\u00e9, Mar\u00eda de Cleof\u00e1s y Mar\u00eda Magdalena) y la Virgen Mar\u00eda, es decir, aquellos que acompa\u00f1aron a Jes\u00fas ese d\u00eda. La vela m\u00e1s alta representa a la Sant\u00edsima Virgen, la \u00fanica que crey\u00f3 en la Resurrecci\u00f3n. El tri\u00e1ngulo mismo simboliza la Sant\u00edsima Trinidad. 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Viste t\u00fanica blanca, con manto rojo y bordados de color plata, sobre la cabeza un pa\u00f1uelo blanco. Delante de la imagen de Jes\u00fas, se ha colocado un arco del que cuelga la imagen de un \u00e1ngel alado."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de Jes\u00fas en el huerto de Getseman\u00ed"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 5, "tileid": "7dc7d8da-7a1e-4157-94cc-89b574c70121"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La imagen esta de pie, con una columna a la que est\u00e1 atada por una cuerda. Viste una faldilla color morado y nimbo radiante."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen del Se\u00f1or de la columna"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 6, "tileid": "ca7d7bb9-ee63-4c33-803b-5652647e4049"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de la Ver\u00f3nica"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 7, "tileid": "f8e43a39-e663-4d9f-9005-d45f7133249d"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La imagen carga la cruz, lleva la corona de espinas en la cabeza, viste t\u00fanica color ciruela, con rebordes dorados. El anda que soporta la imagen con porta velas que la rodean, esta ornamentada con tela blanca y telas de color plateado, morado y negro."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen del Nazareno"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 8, "tileid": "42e216e4-ce37-4b5f-af76-f1acc7ee6207"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "5f1162c7-3d37-4b36-9ff5-a1bc64c8e2e3", "resourceXresourceId": "e5d8a9c3-ce11-49d5-a707-05d2b80f25e2"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "d2fed48a-552b-409a-8d3d-a83999f8f459", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 7, "tileid": "3feca9ba-8d48-436a-a662-fae14a40ae7f"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruces de madera - 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Porta una ca\u00f1a en la mano izquierda. 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La cruz se apoya en macolla circular de hierro fundido."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz procesional de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 13, "tileid": "b6ab8604-bdef-4874-83cc-2b2601b20c2e"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "7d589f1b-da90-4721-9e87-b0018073c423", "resourceXresourceId": "bb067661-54d7-4c51-bc6a-b892654c388b"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "d2fed48a-552b-409a-8d3d-a83999f8f459", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 9, "tileid": "da7ec9af-9e93-41c4-957b-3a1ec1eda808"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera de color negro"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sobre  la cruz se observan seis c\u00edrculos plateados con delgadas tiras del color de la bandera nacional en forma de cruz, un c\u00edrculo en el crucero muestra el Sagrado coraz\u00f3n, y en la parte superior la tablilla de INRI"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera - Sargentos Judios"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 14, "tileid": "f673af33-2da9-44ac-b0b4-617a16feb4bd"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Elemento con soporte reticulado de madera, con vanos vidriados."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Elemento de planta rectangular, con vanos vidriados, diez en los lados longitudinales y seis en el los lados cortos. Lo cubre una estructura vidriada en forma de prisma y descansa sobre anda de madera con doble fila de porta velas tallados con motivos fitoformes y con roleos.  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La elecci\u00f3n de las telas depende de la capacidad adquisitiva que se tuvo en al a\u00f1o.  En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est\u00e1 envuelto en cintas de colores y cintas con los colores de la bandera nacional. Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m\u00e1s elevado se ubica la imagen de un \u00e1ngel vestido de blanco. 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La parte posterior presenta el escudo de la Compa\u00f1\u00eda de Jes\u00fas, ejecutado en un sutil bajorrelieve policromado."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sagrario"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 19, "tileid": "7581f688-70e1-4a73-a8f2-90d8756c0811"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "f32cc6d2-81ce-4e51-870e-6d6322bc7a64", "resourceXresourceId": "e5abe34b-a46b-4136-b67c-b9ca308e0411"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "d2fed48a-552b-409a-8d3d-a83999f8f459", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 10, "tileid": "95e445e3-464f-4b59-8e4d-8eba30be606a"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "01e3f7c5-cb8b-4fa7-8dff-d6a66c70a184", "resourceXresourceId": "e8295ebc-0394-4062-a5ab-394cdb43d42b"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "d2fed48a-552b-409a-8d3d-a83999f8f459", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "b62e4a56-3143-4512-ac36-ba2481e02147"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera, revestida con plata repujada."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera revestida con plata repujada, ornamentada con roleos y figuras fitomorfas, la talla del Cristo crucificado est\u00e1 hecha en marfil policromado. En el crucero un c\u00edrculo a modo de nimbo, se rodea de piedras preciosas?, dentro del c\u00edrculo un sol con terminaciones de perlas de n\u00e1car."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Cruz para la Adoraci\u00f3n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 21, "tileid": "7dcfadb8-34ea-4e29-9a89-f111f4a3a10a"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Recipiente de barro cocido"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "C\u00e1ntaro de barro cocido con muescas en el borde de la boca del recipiente. Utilizado para guardar el agua bendita que luego los fieles podr\u00e1n llevar en recipientes propios."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "C\u00e1ntaro para agua bendita"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 22, "tileid": "ad19df35-5cc3-417d-acd0-e6e07ba20d6a"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Arcos hechos de tacuara, decorados con telas blancas y de colores."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "En cada esquina, donde se debe detener la procesi\u00f3n, se encuentran dos arcos m\u00f3viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit\u00faa la imagen principal de la procesi\u00f3n. Se fabrican dos \u201cjuegos\u201d de estos arcos, porque se van moviendo a medida que la procesi\u00f3n avanza."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Arcos m\u00f3viles "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "0728fe58-c1df-48ad-967b-1ecc9baa39b7", "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 23, "tileid": "c013a05a-34e5-491c-b4f2-8762b60ac3df"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": null, "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "e2247e94-1fde-11f0-a8a9-b3355d3a2630": null}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "e3b2d40c-6142-4482-8098-d98d6c7c30dc"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p><strong>PERSONAJES QUE PARTICIPAN</strong></p>\n\n<p><strong>CABILDO</strong></p>\n\n<p>La comunidad moje&ntilde;a est&aacute; guiada por el Cabildo Indigenal, sistema que fue introducido por los jesuitas, en el siglo XVIII. Actualmente, no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, y proteger el patrimonio cultural material e inmaterial, preservando las tradiciones culturales y religiosas.</p>\n\n<p>En San Ignacio el Cabildo, est&aacute; compuesto por: el Corregidor, Caciques, Capitanes, Alcaldes, Intendente, Alguacil, Fiscal, Comisarios y los Mayordomos que est&aacute;n subdivididos en parcialidades.</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>PERPETUOS</strong></p>\n\n<p>Son los se&ntilde;ores mayores que ayudan y apoyan al templo y al cabildo, deben su nombre al hecho de que solo son suplidos por vejez o muerte.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.<a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><em><strong>[4]</strong></em></a></p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERU</strong></p>\n\n<p>Su nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>Su danza es de forma marcial en dos filas, bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores.</p>\n\n<p>Sujeta del armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichach&iacute;es, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisito exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<hr />\n<p><u><strong>GLOSARIO</strong></u></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p>El tenebrario simboliza el d&iacute;a de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap&oacute;stoles, las tres Mar&iacute;as (Mar&iacute;a Salom&eacute;, Mar&iacute;a de Cleof&aacute;s y Mar&iacute;a Magdalena) y la Virgen Mar&iacute;a, es decir, aquellos que acompa&ntilde;aron a Jes&uacute;s ese d&iacute;a. La vela m&aacute;s alta representa a la Sant&iacute;sima Virgen, la &uacute;nica que crey&oacute; en la Resurrecci&oacute;n. El tri&aacute;ngulo mismo simboliza la Sant&iacute;sima Trinidad.&nbsp;</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p><strong>Camareta. </strong>Recipiente de fierro de 10 cm de altura y 10 cm de ancho, que contiene p&oacute;lvora, que&nbsp; ser&aacute; encendida y explota generando un atronador ruido.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><u><strong>BIBLIOGRAF&Iacute;A </strong></u></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. Pg. 8-9.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 21</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid,.pg. 11.</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> Ibid,.pg. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "776e65af-1198-4c23-bb37-da7d30191ef7"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "d2fed48a-552b-409a-8d3d-a83999f8f459"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio de Mojos"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-60.960207039194216, -16.373272483982817], "type": "Point"}, "id": "065ec495ec0cd84fa056b2165e811c3a", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "480a957c-a8ae-4b38-8ac4-bcca5526ed3b", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080000', 'num': '000004'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["a9c65048-6928-4580-bd7b-b499e41a163d"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "361d2d88-3f2f-4202-8dc9-defe9d41b718", "sortorder": 0, "tileid": "db63acd3-8740-43a9-9e26-3ee583ee67fe"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:33.136", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-080000-00-00-000017, "}, "es": {"description": "Mi\u00e9rcoles Santo - 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Actualmente, no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, y proteger el patrimonio cultural material e inmaterial, preservando las tradiciones culturales y religiosas.</p>\n\n<p>En San Ignacio el Cabildo, est&aacute; compuesto por: el Corregidor, Caciques, Capitanes, Alcaldes, Intendente, Alguacil, Fiscal, Comisarios y los Mayordomos que est&aacute;n subdivididos en parcialidades.</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>PERPETUOS</strong></p>\n\n<p>Son los se&ntilde;ores mayores que ayudan y apoyan al templo y al cabildo, deben su nombre al hecho de que solo son suplidos por vejez o muerte.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.<a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><em><strong>[4]</strong></em></a></p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERU</strong></p>\n\n<p>Su nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>Su danza es de forma marcial en dos filas, bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores.</p>\n\n<p>Sujeta del armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichach&iacute;es, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisito exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<hr />\n<p><u><strong>GLOSARIO</strong></u></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p>El tenebrario simboliza el d&iacute;a de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap&oacute;stoles, las tres Mar&iacute;as (Mar&iacute;a Salom&eacute;, Mar&iacute;a de Cleof&aacute;s y Mar&iacute;a Magdalena) y la Virgen Mar&iacute;a, es decir, aquellos que acompa&ntilde;aron a Jes&uacute;s ese d&iacute;a. La vela m&aacute;s alta representa a la Sant&iacute;sima Virgen, la &uacute;nica que crey&oacute; en la Resurrecci&oacute;n. El tri&aacute;ngulo mismo simboliza la Sant&iacute;sima Trinidad.&nbsp;</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p><strong>Camareta. </strong>Recipiente de fierro de 10 cm de altura y 10 cm de ancho, que contiene p&oacute;lvora, que&nbsp; ser&aacute; encendida y explota generando un atronador ruido.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><u><strong>BIBLIOGRAF&Iacute;A </strong></u></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. Pg. 8-9.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 21</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid,.pg. 11.</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> Ibid,.pg. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "723cab40-3c37-4b36-b4d1-6222a08a8271"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "031d4bed-4643-4169-8be1-a210aaa5b806"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La cosmovisi&oacute;n del pueblo moje&ntilde;o, sintetiza los dogmas de la religi&oacute;n cat&oacute;lica, con la noci&oacute;n de la presencia de los esp&iacute;ritus tutelares de la naturaleza, estas arraigadas creencias y su conexi&oacute;n con lo sagrado, proporcionan un sentido de comunidad e identidad, que se demuestra en la importancia que le confieren a la pr&aacute;ctica solemne de las ceremonias, en este caso en la Semana Santa.</p>\n\n<p>Las parcialidades de los valores espirituales del pueblo, que forman parte del Cabildo Indigenal, son actores fundamentales en las celebraciones de la festividad.</p>\n\n<p>El templo de San Ignacio es el lugar sagrado, centro de todas las manifestaciones rituales, y desde el cual salen las procesiones que tambi&eacute;n son parte vital de la conmemoraci&oacute;n cristiana.</p>\n\n<p>Los ritos cat&oacute;licos como la misa, la procesi&oacute;n, el lavado de pies, la Ultima Cena, el Desclavamiento de Cristo, el Encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a, entre otros, son acompa&ntilde;ados constantemente por el Cabildo Indigenal, y sus parcialidades como el Coro Musical, las Mamitas Abadesas, los Sargentos Jud&iacute;os, los Sacristanes y los Macheteros.&nbsp;</p>\n\n<p>La pr&aacute;ctica solemne de las ceremonias religiosas, se ve enriquecida por la inclusi&oacute;n de los ritos y danzas ancestrales, como la danza de los Macheteros que portan un vistoso tocado de plumas, la intervenci&oacute;n del Coro Musical con sus instrumentos aut&oacute;ctonos, o la alegr&iacute;a de la tamborita y la banda.</p>\n\n<p>A continuaci&oacute;n, se describen episodios que son parte de los ritos religiosos o est&aacute;n relacionados con ellos, y tienen lugar el Miercoles Santo en Semana Santa:</p>\n\n<hr />\n<p>La devoci&oacute;n se ve reflejada en mucho aspectos, es el caso de los j&oacute;venes que cargan las im&aacute;genes, ellos se sit&uacute;an al lado del santo, d&iacute;as antes de comenzar las festividades, para cuidarlo. Otra particularidad, es que su gran fe cat&oacute;lica les compromete a participar alzando las pesadas im&aacute;genes y sus andas, como una forma de limpiar sus pecados, colaborar con la iglesia, o por el bienestar de sus familias y del pueblo en general. Este trabajo lo hacen por el lapso de cinco d&iacute;as hasta el Domingo de Resurrecci&oacute;n.</p>\n\n<p>En las procesiones, las mujeres cargan las im&aacute;genes femeninas y los varones las masculinas, excepto en el alba de la Resurrecci&oacute;n, momento en el que los varones alzan la imagen de La Virgen, por el peso significativo de la misma, y la hacen bailar, cuando se encuentra con Cristo Resucitado.</p>\n\n<hr />\n<p><strong>Los Penitentes, en las procesiones</strong> son los que representan la expiaci&oacute;n de los pecados, estas personas hacen la promesa de cargar la Cruz, y se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<hr />\n<p><strong>Ornamentaci&oacute;n del Altar Mayor</strong></p>\n\n<p>Se realiza el Mi&eacute;rcoles Santo, cuando se inician los cuatro d&iacute;as principales que preceden a la resurrecci&oacute;n. Delante del retablo del Altar mayor se sit&uacute;a una estructura de madera de seis pisos, construida de forma escalonada, en la que se coloca el Sagrario en el cuarto piso, al centro.</p>\n\n<p>Desde la ma&ntilde;ana las Memes se encargan del arreglo del nuevo y provisional altar, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi&eacute;n se colocan cintas y flores blancas. La elecci&oacute;n de las telas depende de la capacidad adquisitiva que se tuvo en al a&ntilde;o.</p>\n\n<p>En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est&aacute; envuelto en cintas de colores y cintas con los colores de la bandera nacional.</p>\n\n<p>Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m&aacute;s elevado se ubica la imagen de un &aacute;ngel vestido de blanco.</p>\n\n<hr />\n<p><strong>MIERCOLES SANTO</strong></p>\n\n<p>El Mi&eacute;rcoles Santo da inicio a los cuatro d&iacute;as principales que preceden a la Resurrecci&oacute;n, por lo que se construye y ornamenta un altar donde se colocar&aacute; el Sagrario.</p>\n\n<p>Se celebran la misa y la procesi&oacute;n del Nazareno.</p>\n\n<p><strong>Misa y Procesi&oacute;n del Nazareno - 20:00</strong></p>\n\n<p>En el templo se sientan en los primeros asientos el Cabildo Indigenal, detr&aacute;s las Mamitas Abadesas y luego el pueblo en general.</p>\n\n<p><strong>Lugar: </strong>Se realiza en el templo y en la plaza principal.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Nazareno sobre el anda, se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar). Las velas prendidas a su alrededor.</p>\n\n<p>La imagen de la Virgen Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm;; La Ver&oacute;nica; 6&ordm; el Nazareno; y 7&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo redondo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>&nbsp;</p>\n\n<p>Jes&uacute;s en el huerto de Getseman&iacute;, la imagen esta de rodillas con los brazos doblados, las manos con las palmas hacia arriba. Viste t&uacute;nica blanca, con manto rojo y bordados de color plata, sobre la cabeza un pa&ntilde;uelo blanco. Delante de la imagen de Jes&uacute;s, se ha colocado un arco del que cuelga la imagen de un &aacute;ngel alado.</p>\n\n<p>Se&ntilde;or de la columna, la imagen esta de pie, con una columna a la que est&aacute; atada por una cuerda. Viste una faldilla color morado y nimbo radiante.</p>\n\n<p>Se&ntilde;or de la Ca&ntilde;a, con faldilla color ciruela, manto del mismo color con reborde dorado, con nimbo radiante. Porta una ca&ntilde;a en la mano izquierda.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>El Nazareno, la imagen carga la cruz, lleva la corona de espinas en la cabeza, viste t&uacute;nica color ciruela, con rebordes dorados. El anda que soporta la imagen con porta velas que la rodean, esta ornamentada con tela blanca y telas de color plateado, morado y negro.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana morada y sobrepelliz blanco.</p>\n\n<p>Cabildo indigenal, con camijetas blancas y portando sus bastones.</p>\n\n<p>Mamitas abadesas con tipoi de color blanco y morado.</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca, traje negro (pantal&oacute;n y saco), y banda blanca.</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas.</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, y 1 viol&iacute;n.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane. (m&uacute;sica pregrabada)</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de madera de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con delgadas tiras del color de la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI, la portan los Sargentos Jud&iacute;os.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; morada, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera morada con soporte de plata, la lleva un miembro del Cabildo Indigenal</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Desde la ma&ntilde;ana<strong> </strong>las Memes se encargan del arreglo del altar donde se colocar&aacute; el Sagrario, este altar es una estructura de madera de seis pisos, construida de forma escalonada, profusamente ornamentado, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi&eacute;n se colocan cintas y flores blancas. La elecci&oacute;n de las telas depende de la capacidad adquisitiva que se tuvo en al a&ntilde;o.</p>\n\n<p>En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est&aacute; envuelto en cintas de colores y cintas con los colores de la bandera nacional.</p>\n\n<p>Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m&aacute;s elevado se ubica la imagen de un &aacute;ngel vestido de blanco. (foto)</p>\n\n<p>Se realiza la misa y posteriormente inicia la procesi&oacute;n del Nazareno, donde salen todas las im&aacute;genes que recuerdan la pasi&oacute;n de Jes&uacute;s.</p>\n\n<p>Cargan a las im&aacute;genes femeninas, solamente mujeres, y a las im&aacute;genes masculinas solamente varones.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<p>Se celebra la misa, siguiendo los rituales lit&uacute;rgicos</p>\n\n<ul>\n\t<li>Canta el Coro Musical canciones lit&uacute;rgicas al Tata Jes&uacute;s Nazareno, en moxe&ntilde;o, acompa&ntilde;ado del sivivire solamente.</li>\n\t<li>Canta el coro del templo en castellano.</li>\n\t<li>Los Hermanos del Santo Sepulcro colocan las cruces con flores que portan, delante de la imagen del Nazareno, para que reciban la bendici&oacute;n.</li>\n\t<li>El p&aacute;rroco da inicio a la misa, en la que solo participa el coro del templo.</li>\n</ul>\n\n<p>Termina la celebraci&oacute;n de la misa e inmediatamente los alzadores se sit&uacute;an en sus lugares para comenzar la procesi&oacute;n.</p>\n\n<ul>\n\t<li>Afuera del templo toca la banda</li>\n\t<li>Los Sargentos Jud&iacute;os flanquean las im&aacute;genes del Nazareno y la Dolorosa.</li>\n\t<li>Antes de la salida del Nazareno y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Se inciensa la imagen del Nazareno, mientras tocan las campanillas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen del Nazareno, custodiada por los Sargentos Jud&iacute;os, y por &uacute;ltimo la imagen de la Dolorosa.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda y la grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit&uacute;a La imagen del Nazareno.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten las siguientes ceremonias:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>Miembros del Cabildo extienden un lienzo blanco sobre el que se sit&uacute;a el p&aacute;rroco para incensar la imagen, mientras suenan las campanillas.</li>\n\t\t<li>En la primera parada canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, acompa&ntilde;ado de los instrumentos y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio.</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Se retira el lienzo blanco que estaba en el piso.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso, cerca de la plaza.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva con las im&aacute;genes, entran por el lado de la ep&iacute;stola, acompa&ntilde;adas por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las campanillas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<hr />\n<p><strong><em>Video: Procesi&oacute;n se&ntilde;or Nazareno. Mi&eacute;rcoles Santo</em></strong></p>\n\n<p><strong><em>https://www.facebook.com/100075644031143/videos/397991802984245</em></strong></p>\n\n<p><strong><em><a href=\"https://www.facebook.com/share/v/BVs9jf5F7Mgp3T7U/\" style=\"color:#0563c1; text-decoration:underline\">https://www.facebook.com/share/v/BVs9jf5F7Mgp3T7U/</a></em></strong></p>\n\n<p style=\"margin-left:24px\"><a href=\"https://www.facebook.com/100075644031143/videos/397991802984245\">Procesi&oacute;n se&ntilde;or Nazareno. Mi&eacute;rcoles Santo</a></p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Direcci&oacute;n General De Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em> pg. 21</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c28a1ac9-d6d0-4f45-8e54-38109c55bc2e", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "031d4bed-4643-4169-8be1-a210aaa5b806", "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "4a796206-df18-41b5-8048-436517803268"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El conocimiento de los riesgos que puede afrontar el patrimonio inmaterial es una herramienta fundamental para su prevenci&oacute;n.</p>\n\n<p>Con la creaci&oacute;n de la nueva escuela de m&uacute;sica, se est&aacute; salvaguardando la tradici&oacute;n musical, pero tambi&eacute;n existe una falta de integraci&oacute;n con los miembros del Coro Musical, que interpretan sus instrumentos de la forma &ldquo;t&iacute;pica&rdquo;, mientras que en la escuela se tocan los instrumentos de manera formal. Esta situaci&oacute;n genera una brecha entre las pr&aacute;cticas tradicionales y las ense&ntilde;anzas acad&eacute;micas, lo que podr&iacute;a afectar la cohesi&oacute;n y la transmisi&oacute;n aut&eacute;ntica de la herencia musical. Es fundamental encontrar un equilibrio que permita la coexistencia y el enriquecimiento mutuo de ambas formas de interpretaci&oacute;n, asegurando as&iacute; la preservaci&oacute;n y evoluci&oacute;n de la tradici&oacute;n musical en su totalidad.</p>\n\n<p>Son pocas ya las personas que saben fabricar instrumentos, m&aacute;scaras, sombreros, entre otros objetos tradicionales, por lo que se est&aacute;n perdiendo estos saberes. La disminuci&oacute;n de artesanos y la falta de transmisi&oacute;n de estos conocimientos a las nuevas generaciones ponen en riesgo la continuidad de estas pr&aacute;cticas culturales. Es crucial implementar iniciativas que fomenten el aprendizaje y la preservaci&oacute;n de estas habilidades, asegurando as&iacute; que estas valiosas tradiciones no se pierdan y puedan ser apreciadas por futuras generaciones.</p>\n\n<p>El uso de instrumentos industrializados, o la construcci&oacute;n de instrumentos con materiales no tradicionales, por la facilidad de su manufactura, supone un riesgo de perder las &ldquo;formas de hacer&rdquo; tradicionales que son transmitidas usualmente de maestro a aprendiz.</p>\n\n<p>La utilizaci&oacute;n de nuevas tecnolog&iacute;as, como es el caso de las procesiones en Semana Santa, que ahora son acompa&ntilde;adas por una grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os, ha reemplazado la interpretaci&oacute;n en vivo que antiguamente realizaban los m&uacute;sicos. Este cambio implica una p&eacute;rdida de una parte de la tradici&oacute;n moje&ntilde;a, ya que la m&uacute;sica en vivo era un elemento esencial de estas celebraciones.</p>\n\n<p>La declaraci&oacute;n como Patrimonio Cultural Inmaterial de la Humanidad a la Ichapekene Piesta, la fiesta mayor de San Ignacio de Moxos, es una forma de dar valor y gran visibilidad a la cultura moje&ntilde;a. Esta mayor atenci&oacute;n a todas sus expresiones culturales, como es la festividad de Semana Santa, puede conllevar una p&eacute;rdida de la esencia propia de las celebraciones, que est&aacute;n profundamente arraigadas en la poblaci&oacute;n, modificando las formas art&iacute;sticas tradicionales para convertirlas en &ldquo;productos tur&iacute;sticos&quot;.</p>\n\n<p>Otro riesgo probable, se presenta cuando instituciones dedicadas a la promoci&oacute;n del turismo difunden sin reservas una manifestaci&oacute;n que no cuenta con los recursos materiales ni humanos necesarios para satisfacer las demandas de los asistentes. La comunidad local carece de aforos adecuados y de procedimientos de organizaci&oacute;n interna necesarios para manejar una afluencia excesiva y no sostenible de visitantes. Adem&aacute;s, la comunidad no se beneficia de la presencia de estos p&uacute;blicos, ya que no se establece un contacto duradero, sino que se produce un impacto puntual y aislado que poco o nada contribuye a la perpetuaci&oacute;n del Patrimonio Cultural.</p>\n\n<p>Las amenazas para la transmisi&oacute;n del patrimonio cultural inmaterial provienen de diversos factores, entre ellos los cambios sociales y demogr&aacute;ficos que reducen el contacto intergeneracional, como ocurre con las migraciones y la urbanizaci&oacute;n. Adem&aacute;s, la imposici&oacute;n de sistemas educativos formales que subestiman los conocimientos y t&eacute;cnicas tradicionales, as&iacute; como la influencia de los medios de comunicaci&oacute;n masivos, tambi&eacute;n contribuyen a estos riesgos.</p>\n\n<p>&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "031d4bed-4643-4169-8be1-a210aaa5b806", "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "b2d3e94b-7bb3-40c2-a938-e397c0536ef4"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["ac9bf7d5-5ebe-428c-b88f-bb7b2f644a87", "9c539c14-ff65-4565-85a2-2268e4fe36ed", "bf356c16-8705-42f9-8947-6abf28e51a73"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las formas tradicionales de organizaci&oacute;n socio cultural se sustentan en valores comunes establecidos y creencias compartidas, apoyadas por estructuras jer&aacute;rquicas, donde la transmisi&oacute;n oral de conocimientos se realiza de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>El Cabildo Indigenal es la organizaci&oacute;n m&aacute;s representativa y reconocida de la sociedad moje&ntilde;a, desde sus inicios hasta la actualidad.</p>\n\n<p>El origen del Cabildo se remonta a los reinos hisp&aacute;nicos del siglo XV, que luego de establecerse en Am&eacute;rica cumplieron un rol importante en las reducciones jesu&iacute;ticas de Mojos desde principios del siglo XVIII, con el fin de reforzar los puntos d&eacute;biles en las misiones jesu&iacute;ticas, que albergaban a miles de ind&iacute;genas de diferentes etnias, agrupados en una sola doctrina.</p>\n\n<p>Los cabildos fueron una parte esencial en los antiguos pueblos misionales, cumpliendo roles de gobierno local y manteniendo una estrecha relaci&oacute;n con la iglesia. Aquellos que formaban parte de esta instituci&oacute;n no solo administraban justicia y gestionaban los recursos de la comunidad, sino que tambi&eacute;n se encargaban de transmitir a las generaciones futuras sus conocimientos y responsabilidades. Esta transmisi&oacute;n de saberes y pr&aacute;cticas era fundamental para preservar la cohesi&oacute;n social y cultural, y se compart&iacute;a ampliamente con la comunidad, asegurando as&iacute; la continuidad de las tradiciones y valores que sustentaban la vida en los pueblos misionales. Los oficios y cargos que eran parte de su estructura estaban ocupados por m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes y otros, que se constituyeron en las diversas parcialidades que conformaban el Cabildo.</p>\n\n<p><em>La religi&oacute;n era la esencia en las poblaciones, la iglesia o templo era el edificio central de instrucci&oacute;n cristiana, junto con la casa del cabildo, donde se reun&iacute;an las autoridades elegidas, cargo que desempe&ntilde;aban por el periodo de un a&ntilde;o, &ldquo;quien el a&ntilde;o anterior hab&iacute;a cumplido con diligencia su cargo, era ascendido, quien no, deb&iacute;a hacer m&eacute;ritos para permanecer o llegar ejercer otro cargo (Eder, 1985: 362).<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>En el siglo XVIII, exist&iacute;an 21 reducciones, cada una estaba representada por un Cabildo con oficios como m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes, entre otros, los que constituyeron las parcialidades del pueblo. Estos representantes gracias a su trabajo y dedicaci&oacute;n llegaron a gozar de gran prestigio, conformando una especie de &eacute;lite ind&iacute;gena, lo que deriv&oacute; en que la sociedad reduccional se dividiera en dos: la Familia, (miembros del Cabildo, los asistentes religiosos y los que ejerc&iacute;an alg&uacute;n oficio en las parcialidades y el templo, la escuela o los talleres), y el Pueblo, (los dem&aacute;s habitantes de la reducci&oacute;n).</p>\n\n<p>Los cargos del Cabildo estaban especificados en las <em>Leyes de las Reducciones y Pueblo de Indios</em>, que ordenaban la existencia de un indio Sacrist&aacute;n y dos o tres cantores, para la atenci&oacute;n del templo, y las ceremonias religiosas: &ldquo;<em>En todos los pueblos que pasaren de cien indios, haya dos o tres cantores, y en cada reducci&oacute;n un Sacrist&aacute;n, que tenga cuidado de guardar los ornamentos, y barrer la iglesia (Ley VI, Libro VI, Ti. III).&rdquo;</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><em><strong>[2]</strong></em></a></p>\n\n<p>Tambi&eacute;n estas Leyes mencionan la necesidad que los ind&iacute;genas cumplan funciones de gobierno pol&iacute;tico, como alcaldes y regidores, que son las autoridades m&aacute;s importantes&nbsp; del pueblo:<em> &ldquo;Ordenamos que, en cada pueblo y reducci&oacute;n, haya un alcalde indio de la misma reducci&oacute;n, y si pasare de ochenta casas, dos alcaldes, y dos regidores, tambi&eacute;n indios, y aunque el pueblo sea muy grande, no haya m&aacute;s que dos alcaldes y cuatro regidores, los cuales han de elegir por a&ntilde;o nuevo otros, como se practica en los pueblos de espa&ntilde;oles en indios, en presencia de los curas (Libro VI, T&iacute;tulo III, Ley XV).&rdquo;</em><em> <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El cabildo ya no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas de los siglos XVII y XVIII, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, preservar las tradiciones culturales y religiosas, y proteger el patrimonio cultural. Adem&aacute;s, han tomado medidas para defender el territorio frente a la explotaci&oacute;n de empresas madereras y ganaderas.</p>\n\n<p><em>&nbsp;&ldquo;&hellip;Actualmente, siguiendo los criterios jesu&iacute;ticos el Cabildo Indigenal est&aacute; compuesto por &ldquo;un Capital Grande, dos caciques, dos intendentes, cuatro alf&eacute;reces, dos fiscales, dos polic&iacute;as, once comisarios, un camaretero y un secretario (Eyzaguirre 2012:55) cada uno lleva sus propias funciones en sus distintas &aacute;reas. Al Corregidor tradicionalmente se le denomina Tayta&oacute;Tata(persona sabia), quien integra a los sectores, organizaciones, instituciones y familias, el que encierra el respeto y educaci&oacute;n heredada por la cultura de los abuelos. El Cabildo no percibe ning&uacute;n ingreso, el Corregidor no tiene sueldo, por lo que muchas no todas las personas asumen la responsabilidad de este cargo, y por otro lado, el Corregidor debe ser una persona mayor de entre 40 a 50 a&ntilde;os, como garant&iacute;a de su responsabilidad (Parroquias de Mojos 1988:32). La autoridad del Corregidor es elegida en una gran reuni&oacute;n del Cabildo Indigenal incluyendo la participaci&oacute;n de las agrupaciones de las Danzas e incluso personas de las comunidades; esta es una pr&aacute;ctica que la realiza el cabildo sin ninguna intromisi&oacute;n de la junta la prefectura, subprefectura, Comit&eacute;s C&iacute;vicos u otros.&rdquo;<a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><strong>[4]</strong></a></em></p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo de San Ignacio de Mojos, actualmente cuenta con un espacio o centro de reuniones para la poblaci&oacute;n, &eacute;sta edificaci&oacute;n se ubica detr&aacute;s del templo misional: <em>La distribuci&oacute;n espacial del cabildo expresa el rol importante que tienen sus representantes en las sillas principales se sientan las Autoridades principales del Cabildo: Corregidor, Representante, Capit&aacute;n Grande, Cacique e Intendente, detr&aacute;s es las autoridades se ubica el Coro Musical de la Iglesia, al lado izquierdo de las sillas de las autoridades, se encuentran los Pasados que son los ex-caciques y Ex-Corregidores, al lado derecho se ubican el Polic&iacute;a, Comisario, Alf&eacute;rez y el Camaretero; m&aacute;s all&aacute;, sobre el mismo lado derecho, se sientan los Perpetuos y, en el mismo lado, las Mamitas Abadesas. </em></p>\n\n<p>[[Ver foto: Distribuci&oacute;n espacial - Cabildo indigenal]]</p>\n\n<p>&nbsp;</p>\n\n<p><em>De frente a las Autoridades del Cabildo se encuentra el altar donde se encuentran las im&aacute;genes de los Santos; al lado derecho del altar se colocan los bastones de mando que llevan las autoridades, luego se ubican otro grupo de Mamitas Abadesas y al continuaci&oacute;n los Chiripier&uacute;ana(macheteros).<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"><strong>[5]</strong></a></em></p>\n\n<p>El Cabildo de San Ignacio de Mojos posee personer&iacute;a jur&iacute;dica como organizaci&oacute;n, su rol principal es mantener sus tradiciones y dar continuidad a la cultura moje&ntilde;a, organizar todas las actividades festivas, y tienen competencia sobre diversos asuntos del pueblo.</p>\n\n<p>La composici&oacute;n del Cabildo es la siguiente:</p>\n\n<p>[[ Ver foto: Composicion del Cabildo]].</p>\n&nbsp;\n\n<p>El Cabildo est&aacute; presente y es parte de la organizaci&oacute;n de las festividades, gracias a su pervivencia se ha logrado conservar el patrimonio cultural material e inmaterial, ya que son celosos guardianes de su acervo, evitando adem&aacute;s las influencias for&aacute;neas o renovaciones culturales.</p>\n\n<p>Las agrupaciones que participan en la festividad de Semana Santa, que son parte inherente al Cabildo son:</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"><strong>[6]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p>Las Mamitas Abadesas o Memes, forman parte de la parcialidad de los valores espirituales del pueblo.</p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.<a href=\"#_ftn7\" name=\"_ftnref7\" title=\"\"><strong>[7]</strong></a></em></p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;, este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisitos exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERUANA </strong></p>\n\n<p>El nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>La danza se ejecuta de forma marcial, en dos filas. Bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores, sujeta al armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichachies, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> <em>&nbsp;</em>Plan Mojos, Historia Cabildos. 2024. pg. 45.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid, pg. 50.</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid., pg. 51</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em> </em><em>&ldquo;para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Fuente: Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg..20.</p>\n\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" title=\"\">[6]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pp. 8-9.</p>\n\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" title=\"\">[7]</a> Ibid. p. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "031d4bed-4643-4169-8be1-a210aaa5b806", "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "98dae480-a3ff-4f42-bfd9-dd317d4ff8c5"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La m&uacute;sica es un medio que permite expresar emociones y transmitir conocimientos o experiencias. Las comunidades ind&iacute;genas la han utilizado como instrumento de preservaci&oacute;n de su cultura, trasmitiendo sus saberes de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>En la &eacute;poca prehisp&aacute;nica Mojos era una regi&oacute;n poblada por diversos grupos &eacute;tnicos de habla Arawak, con la llegada de los jesuitas a finales del siglo XVII, estos grupos son reducidos y se establecen la misiones, una de ellas es San Ignacio.</p>\n\n<p>Los sacerdotes jesuitas, recurrieron a la afici&oacute;n de los ind&iacute;genas por la m&uacute;sica y la danza, para inculcarles la religi&oacute;n cristiana y sus valores. Los moje&ntilde;os, demostraron tener gran aptitud para el aprendizaje musical, tocaban con destreza todos los instrumentos que eran tra&iacute;dos de Europa, ya fuesen de cuerda o viento, y con el tiempo tambi&eacute;n fueron capaces de construirlos.</p>\n\n<p style=\"margin-left:47px\"><em>Los jesuitas ense&ntilde;aron m&uacute;sica a, los indios y pronto &eacute;stos ocuparon sus lugares en el coro, como solistas, instrumentistas, copistas, constructores de instrumentos y hasta de maestros de capilla.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Los documentos que registran la presencia de las pr&aacute;cticas musicales y las danzas en el periodo jesuita, muestran la coexistencia de la m&uacute;sica sacra con la m&uacute;sica y danzas aut&oacute;ctonas.</p>\n\n<p>En sus escritos Alcide D&rsquo;Orbigny relata:</p>\n\n<p style=\"margin-left:47px\"><em>...me sorprendi&oacute; la m&uacute;sica instrumental, plena de armon&iacute;a, en la que admir&eacute; sobre todo los bajos formados por un instrumento propio de los ind&iacute;genas, especie de flauta de Pan de uno a dos metros de largo, construida con hojas de palmeras unidas unas con otras, &hellip;</em></p>\n\n<p style=\"margin-left:47px\"><em>Despu&eacute;s de la misa, los indios, tocados con una especie de aureola de plumas, y llevando cascabeles en las pantorrillas y un gran sable de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mis agudas hasta las mis graves, y acompa&ntilde;ados de flautas y tambores, salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a m&aacute;s que un n&uacute;mero muy limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas. <a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<hr />\n<p>[[Ver foto: Misa cantada Mojos]]</p>\n\n<p>Keller, Franz. &ldquo;Misa Cantada en la Antigua misi&oacute;n de Trinidad (Mamor&eacute;)&rdquo;The Amazon and Madeira Rivers. Sketches <em>and descriptions from the Note-Book of an Explorer. </em><em>London, 1874.</em></p>\n\n<hr />\n<p><em>Las danzas aut&oacute;ctonas fueron aceptadas por los misioneros como expresi&oacute;n genuina de los pueblos a su cargo, e incorporadas oficialmente al culto religioso, especialmente en las procesiones de Corpus, fiesta de la Sant&iacute;sima Trinidad o la conmemoraci&oacute;n del d&iacute;a del Santo bajo cuya advocaci&oacute;n se hallaban las diferentes misiones. El P. Eder informa que &quot;en ciertas horas se re&uacute;nen en casa del misionero, y bailan all&iacute; y dentro del Templo&quot;, y describe los atav&iacute;os de los bailarines: &quot;Para dar m&aacute;s gracia a sus bailes, hay algunos que se ponen pieles de monos y de aves; otros llevan escudos de plumas ingeridas (cosidas) en una tela; y en ellos hay dibujadas varias figuras de animales&quot;.</em></p>\n\n<p><em>&hellip;</em></p>\n\n<p><em>Las procesiones que se originaron en festividades religiosas tales como Corpus, Epifan&iacute;a, Trinidad, Navidad, etc., ocasionaban el despliegue de intensa actividad musical, donde se daban cita cantantes, bailarines e instrumentistas y donde interven&iacute;an todos los integrantes del pueblo. <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El pueblo moje&ntilde;o mantiene viva su cultura, salvaguardando: la m&uacute;sica prehisp&aacute;nica, que hace eco y uso de la naturaleza; y la m&uacute;sica eclesial, como forma de preservar la religiosidad heredada del periodo misional.</p>\n\n<p>Las partituras que dejaron los jesuitas luego de la expulsi&oacute;n fueron celosa y cuidadosamente conservadas por el Cabildo y el pueblo mismo, la importancia de estos documentos reside en su devoci&oacute;n ya que no se concibe la adoraci&oacute;n a Dios separada de la m&uacute;sica.</p>\n\n<p>El Cabildo Indigenal, como representante de la comunidad, cuyo rol principal es difundir el patrimonio cultural moje&ntilde;o, organiza y participa con las parcialidades de los Valores Espirituales del Pueblo, en las actividades festivas donde la m&uacute;sica y la danza son el elemento fundamental.</p>\n\n<p>Los integrantes de los conjuntos musicales, tiene la responsabilidad de mostrar y transmitir estos saberes, para preservarlos a trav&eacute;s del tiempo.</p>\n\n<p>Coro Musical. Conjunto de personas que cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio, tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el cajane o caja (tambor).</p>\n\n<p>Tamborita. Grupo musical que toca el sivivire, el sankuti, y la tampura, interpretando ritmos alegres t&iacute;picos de la zona.</p>\n\n<p>Banda. &nbsp;&nbsp;Grupo que toca la caja y la trompeta.</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momentos se incluye dentro los ritos religiosos de Semana Santa, las canciones, la m&uacute;sica interpretadas por el Coro Musical, la tamborita y la banda; y las danzas ejecutadas por los Macheteros y los Angelitos.</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, la tamborita y la banda, y cuando se ejecutan las danzas. </u></strong></p>\n\n<div>\n<p><strong>MIERCOLES SANTO</strong></p>\n\n<p>El Mi&eacute;rcoles Santo da inicio a los cuatro d&iacute;as principales que preceden a la Resurrecci&oacute;n, por lo que se construye y ornamenta un altar donde se colocar&aacute; el Sagrario.</p>\n\n<p>Se celebran la misa y la procesi&oacute;n del Nazareno.</p>\n\n<p><strong>Misa y Procesi&oacute;n del Nazareno - 20:00</strong></p>\n\n<p>En el templo se sientan en los primeros asientos el Cabildo Indigenal, detr&aacute;s las Mamitas Abadesas y luego el pueblo en general.</p>\n\n<p><strong>Lugar: </strong>Se realiza en el templo y en la plaza principal.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Nazareno sobre el anda, se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar). Las velas prendidas a su alrededor.</p>\n\n<p>La imagen de la Virgen Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm;; La Ver&oacute;nica; 6&ordm; el Nazareno; y 7&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo redondo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>Jes&uacute;s en el huerto de Getseman&iacute;, la imagen esta de rodillas con los brazos doblados, las manos con las palmas hacia arriba. Viste t&uacute;nica blanca, con manto rojo y bordados de color plata, sobre la cabeza un pa&ntilde;uelo blanco. Delante de la imagen de Jes&uacute;s, se ha colocado un arco del que cuelga la imagen de un &aacute;ngel alado.</p>\n\n<p>Se&ntilde;or de la columna, la imagen esta de pie, con una columna a la que est&aacute; atada por una cuerda. Viste una faldilla color morado y nimbo radiante.</p>\n\n<p>Se&ntilde;or de la Ca&ntilde;a, con faldilla color ciruela, manto del mismo color con reborde dorado, con nimbo radiante. Porta una ca&ntilde;a en la mano izquierda.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>El Nazareno, la imagen carga la cruz, lleva la corona de espinas en la cabeza, viste t&uacute;nica color ciruela, con rebordes dorados. El anda que soporta la imagen con porta velas que la rodean, esta ornamentada con tela blanca y telas de color plateado, morado y negro.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana morada y sobrepelliz blanco.</p>\n\n<p>Cabildo indigenal, con camijetas blancas y portando sus bastones.</p>\n\n<p>Mamitas abadesas con tipoi de color blanco y morado.</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca, traje negro (pantal&oacute;n y saco), y banda blanca.</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas.</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, y 1 viol&iacute;n.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane. (m&uacute;sica pregrabada)</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de madera de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con delgadas tiras del color de la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI, la portan los Sargentos Jud&iacute;os.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; morada, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera morada con soporte de plata, la lleva un miembro del Cabildo Indigenal</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Desde la ma&ntilde;ana<strong> </strong>las Memes se encargan del arreglo del altar donde se colocar&aacute; el Sagrario, este altar es una estructura de madera de seis pisos, construida de forma escalonada, profusamente ornamentado, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi&eacute;n se colocan cintas y flores blancas. La elecci&oacute;n de las telas depende de la capacidad adquisitiva que se tuvo en al a&ntilde;o.</p>\n\n<p>En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est&aacute; envuelto en cintas de colores y cintas con los colores de la bandera nacional.</p>\n\n<p>Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m&aacute;s elevado se ubica la imagen de un &aacute;ngel vestido de blanco. (foto)</p>\n\n<p>Se realiza la misa y posteriormente inicia la procesi&oacute;n del Nazareno, donde salen todas las im&aacute;genes que recuerdan la pasi&oacute;n de Jes&uacute;s.</p>\n\n<p>Cargan a las im&aacute;genes femeninas, solamente mujeres, y a las im&aacute;genes masculinas solamente varones.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<p>Se celebra la misa, siguiendo los rituales lit&uacute;rgicos</p>\n\n<ul>\n\t<li><strong><u>Canta el Coro Musical canciones lit&uacute;rgicas al Tata Jes&uacute;s Nazareno, en moxe&ntilde;o, acompa&ntilde;ado del sivivire solamente.</u></strong></li>\n\t<li>Canta el coro del templo en castellano.</li>\n\t<li>Los Hermanos del Santo Sepulcro colocan las cruces con flores que portan, delante de la imagen del Nazareno, para que reciban la bendici&oacute;n.</li>\n\t<li>El p&aacute;rroco da inicio a la misa, en la que solo participa el coro del templo.</li>\n</ul>\n\n<p>Termina la celebraci&oacute;n de la misa e inmediatamente los alzadores se sit&uacute;an en sus lugares para comenzar la procesi&oacute;n.</p>\n\n<ul>\n\t<li><strong><u>Afuera del templo toca la banda</u></strong></li>\n\t<li>Los Sargentos Jud&iacute;os flanquean las im&aacute;genes del Nazareno y la Dolorosa.</li>\n\t<li>Antes de la salida del Nazareno y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Se inciensa la imagen del Nazareno, mientras tocan las campanillas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen del Nazareno, custodiada por los Sargentos Jud&iacute;os, y por &uacute;ltimo la imagen de la Dolorosa.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, <strong><u>siempre acompa&ntilde;ada por la banda y la grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os.</u></strong></li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit&uacute;a La imagen del Nazareno.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten las siguientes ceremonias:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>Miembros del Cabildo extienden un lienzo blanco sobre el que se sit&uacute;a el p&aacute;rroco para incensar la imagen, mientras suenan las campanillas.</li>\n\t\t<li>En la primera parada canta el coro de se&ntilde;oras en castellano, con libreto, e<strong><u>n la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, acompa&ntilde;ado de los instrumentos </u></strong>y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio.</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</u></strong></li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</u></strong></li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Se retira el lienzo blanco que estaba en el piso.</li>\n\t\t<li><strong><u>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</u></strong></li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso, cerca de la plaza.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva con las im&aacute;genes, entran por el lado de la ep&iacute;stola, <strong><u>acompa&ntilde;adas por la tamborita, (sonido pregrabado).</u></strong></li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las campanillas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Claro Samuel, La M&uacute;sica en las Misiones Jesuitas de Moxos.&nbsp; Revista Musical Chilena. Santiago, 1969. pg. 11. Ss.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV. pg. 1309 ss.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Claro Samuel, op. cit., pp. 13-16</p>\n</div>\n</div>\n\n<hr />\n<p>&nbsp;</p>\n\n<ul>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "e6323cbf-1077-4730-847e-7aa0919f202d"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["6734af3e-4791-4d75-82c4-3fb2b73aed20"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": null, "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": null}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "031d4bed-4643-4169-8be1-a210aaa5b806", "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "ad0869b5-0aa3-4dc7-98e2-c8ae2d902f23"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las&nbsp;tradiciones y expresiones orales, transmitidas de generaci&oacute;n en generaci&oacute;n como parte de la memoria colectiva de la comunidad, forman parte fundamental del&nbsp;patrimonio cultural inmaterial.</p>\n\n<p>Los pueblos aut&oacute;ctonos de la regi&oacute;n moje&ntilde;a, antes de pertenecer a las reducciones jesu&iacute;ticas, hac&iacute;an uso del canto y usaban sus propios instrumentos, en rituales de car&aacute;cter m&iacute;tico. Los misioneros adoptaron los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena, ense&ntilde;ando en su lugar m&uacute;sica y poemas sagrados estrictamente religiosos.</p>\n\n<p>Las tradiciones del antiguo pueblo misional de San Ignacio de Mojos se conservan hasta hoy, gracias a su gente, que mantiene con mucho orgullo y esfuerzo sus costumbres y ceremonias. Dentro de estas arraigadas tradiciones, est&aacute; la celebraci&oacute;n de Semana Santa, que como en otras latitudes, se festeja durante diez d&iacute;as, comenzando con el Viernes de Dolores, y concluyendo en el Domingo de Resurrecci&oacute;n. Las ceremonias de esta festividad, siguen pr&aacute;cticamente los mismos ritos establecidos por la religi&oacute;n cristiana, pero en sincretismo con la cultura del lugar, por medio de la inclusi&oacute;n del idioma moje&ntilde;o, que est&aacute; presente en ciertos momentos de las celebraciones, as&iacute; como la inserci&oacute;n de m&uacute;sica y bailes propios.</p>\n\n<p>La lengua que se habla en San Ignacio de Mojos, es el castellano, pero se conserva todav&iacute;a la lengua Moje&ntilde;a Ignaciana, que corresponde a la familia ling&uuml;&iacute;stica Arawak, y se hace presente especialmente en la celebraci&oacute;n de la misa cuando se hace la segunda lectura del evangelio.</p>\n\n<p>El canto del Coro Musical, es parte infaltable de la misa y las procesiones, interpretando canciones religiosas acompa&ntilde;ado por sus instrumentos, si bien las canciones son interpretadas en castellano ya forman parte de su tradici&oacute;n. El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor).</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momento se incluye dentro los ritos religiosos, la lengua moje&ntilde;a, y las canciones religiosas en castellano:</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, y cuando se hacen las lecturas en lengua moje&ntilde;a:</u></strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>MIERCOLES SANTO</strong></p>\n\n<p>El Mi&eacute;rcoles Santo da inicio a los cuatro d&iacute;as principales que preceden a la Resurrecci&oacute;n, por lo que se construye y ornamenta un altar donde se colocar&aacute; el Sagrario.</p>\n\n<p>Se celebran la misa y la procesi&oacute;n del Nazareno.</p>\n\n<p><strong>Misa y Procesi&oacute;n del Nazareno - 20:00</strong></p>\n\n<p>En el templo se sientan en los primeros asientos el Cabildo Indigenal, detr&aacute;s las Mamitas Abadesas y luego el pueblo en general.</p>\n\n<p><strong>Lugar: </strong>Se realiza en el templo y en la plaza principal.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Nazareno sobre el anda, se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar). Las velas prendidas a su alrededor.</p>\n\n<p>La imagen de la Virgen Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm;; La Ver&oacute;nica; 6&ordm; el Nazareno; y 7&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo redondo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>Jes&uacute;s en el huerto de Getseman&iacute;, la imagen esta de rodillas con los brazos doblados, las manos con las palmas hacia arriba. Viste t&uacute;nica blanca, con manto rojo y bordados de color plata, sobre la cabeza un pa&ntilde;uelo blanco. Delante de la imagen de Jes&uacute;s, se ha colocado un arco del que cuelga la imagen de un &aacute;ngel alado.</p>\n\n<p>Se&ntilde;or de la columna, la imagen esta de pie, con una columna a la que est&aacute; atada por una cuerda. Viste una faldilla color morado y nimbo radiante.</p>\n\n<p>Se&ntilde;or de la Ca&ntilde;a, con faldilla color ciruela, manto del mismo color con reborde dorado, con nimbo radiante. Porta una ca&ntilde;a en la mano izquierda.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>El Nazareno, la imagen carga la cruz, lleva la corona de espinas en la cabeza, viste t&uacute;nica color ciruela, con rebordes dorados. El anda que soporta la imagen con porta velas que la rodean, esta ornamentada con tela blanca y telas de color plateado, morado y negro.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana morada y sobrepelliz blanco.</p>\n\n<p>Cabildo indigenal, con camijetas blancas y portando sus bastones.</p>\n\n<p>Mamitas abadesas con tipoi de color blanco y morado.</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca, traje negro (pantal&oacute;n y saco), y banda blanca.</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas.</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, y 1 viol&iacute;n.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane. (m&uacute;sica pregrabada)</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de madera de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con delgadas tiras del color de la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI, la portan los Sargentos Jud&iacute;os.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; morada, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera morada con soporte de plata, la lleva un miembro del Cabildo Indigenal</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Desde la ma&ntilde;ana<strong> </strong>las Memes se encargan del arreglo del altar donde se colocar&aacute; el Sagrario, este altar es una estructura de madera de seis pisos, construida de forma escalonada, profusamente ornamentado, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi&eacute;n se colocan cintas y flores blancas. La elecci&oacute;n de las telas depende de la capacidad adquisitiva que se tuvo en al a&ntilde;o.</p>\n\n<p>En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est&aacute; envuelto en cintas de colores y cintas con los colores de la bandera nacional.</p>\n\n<p>Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m&aacute;s elevado se ubica la imagen de un &aacute;ngel vestido de blanco. (foto)</p>\n\n<p>Se realiza la misa y posteriormente inicia la procesi&oacute;n del Nazareno, donde salen todas las im&aacute;genes que recuerdan la pasi&oacute;n de Jes&uacute;s.</p>\n\n<p>Cargan a las im&aacute;genes femeninas, solamente mujeres, y a las im&aacute;genes masculinas solamente varones.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<p>Se celebra la misa, siguiendo los rituales lit&uacute;rgicos</p>\n\n<ul>\n\t<li><strong><u>Canta el Coro Musical canciones lit&uacute;rgicas al Tata Jes&uacute;s Nazareno, en moxe&ntilde;o, acompa&ntilde;ado del sivivire solamente.</u></strong></li>\n\t<li>Canta el coro del templo en castellano.</li>\n\t<li>Los Hermanos del Santo Sepulcro colocan las cruces con flores que portan, delante de la imagen del Nazareno, para que reciban la bendici&oacute;n.</li>\n\t<li>El p&aacute;rroco da inicio a la misa, en la que solo participa el coro del templo.</li>\n</ul>\n\n<p>Termina la celebraci&oacute;n de la misa e inmediatamente los alzadores se sit&uacute;an en sus lugares para comenzar la procesi&oacute;n.</p>\n\n<ul>\n\t<li><strong><u>Afuera del templo toca la banda</u></strong></li>\n\t<li>Los Sargentos Jud&iacute;os flanquean las im&aacute;genes del Nazareno y la Dolorosa.</li>\n\t<li>Antes de la salida del Nazareno y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Se inciensa la imagen del Nazareno, mientras tocan las campanillas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen del Nazareno, custodiada por los Sargentos Jud&iacute;os, y por &uacute;ltimo la imagen de la Dolorosa.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes,<strong> siempre acompa&ntilde;ada por la banda y la grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os.</strong></li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit&uacute;a La imagen del Nazareno.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten las siguientes ceremonias:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>Miembros del Cabildo extienden un lienzo blanco sobre el que se sit&uacute;a el p&aacute;rroco para incensar la imagen, mientras suenan las campanillas.</li>\n\t\t<li>En la primera parada canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, s<strong><u>er&aacute; el turno del Coro Musical que canta en castellano con libreto, acompa&ntilde;ado de los instrumentos </u></strong>y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio.</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</u></strong></li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</u></strong></li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Se retira el lienzo blanco que estaba en el piso.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso, cerca de la plaza.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva con las im&aacute;genes, entran por el lado de la ep&iacute;stola, acompa&ntilde;adas por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las campanillas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["d2a24278-85f8-422d-85c6-24e4009f191f", "b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "031d4bed-4643-4169-8be1-a210aaa5b806", "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "9348ff68-ac4e-4a24-a878-d04ed746cec0"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las t&eacute;cnicas tradicionales de fabricaci&oacute;n, en este caso de instrumentos musicales, constituyen la manifestaci&oacute;n m&aacute;s tangible del patrimonio cultural inmaterial, el conocimiento de estas pr&aacute;cticas manuales ha pasado de generaci&oacute;n en generaci&oacute;n, dentro la comunidad moje&ntilde;a conect&aacute;ndola con su pasado.</p>\n\n<p>La construcci&oacute;n y empleo de instrumentos en Mojos data de la &eacute;poca prehisp&aacute;nica, y adquiere un gran desarrollo con la llegada de los jesuitas. Este tema ha sido investigado ampliamente por el antrop&oacute;logo Richard Mujica Angulo, a continuaci&oacute;n, adjunto una breve introducci&oacute;n y la descripci&oacute;n de los instrumentos musicales utilizados en San Ignacio, temas desarrollados en su art&iacute;culo:&nbsp; <em>El &ldquo;Juramento</em><em>&rdquo; </em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos</em> que forma parte de la Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es), 2013:</p>\n\n<p><em>Una de las principales referencia a los instrumentos musicales de Mojos son las de Alcides D&rsquo;orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de &ldquo;acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a 13 tubos, actualmente se registraron bajones de 10 tubos. Gran parte de los instrumentos de Mojos son precolombinos. Estos pueblos, adem&aacute;s de contar con estos instrumentos, hac&iacute;an uso del canto. Los misioneros decidieron adoptar los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena apoyando en su lugar m&uacute;sica concertada y poemas sagrados estrictamente religiosos.</em></p>\n\n<p><strong>Descripci&oacute;n de los instrumentos</strong></p>\n\n<p><strong><em>Sivivire.</em></strong><em> El Sivivire es un instrumento aer&oacute;fono&hellip; Es una flauta de tubo con embocadura lateral 0 (clasificado como 411.2 seg&uacute;n Hornbostel-Sachs) caracter&iacute;stico en la interpretaci&oacute;n de la m&uacute;sica, emple&aacute;ndose en diferentes g&eacute;neros musicales y danzas de San Ignacio de Mojos. El instrumento tiene siete orificios: seis digitables y uno que hace de embocadura&hellip;, el extremo base presenta el orificio de salida completo, y en el otro extremo se rellena la parte frontal con cera de abeja (lado embocadura). </em></p>\n\n<p><em>Esta flauta (se toma como base de descripci&oacute;n el Sivivire de los Macheteros) es interpretada pr&aacute;cticamente en todo el calendario anual festivo del lugar. En un conjunto de m&uacute;sicos se interpreta s&oacute;lo un Sivivire y generalmente est&aacute; acompa&ntilde;ado de membran&oacute;fonos: tampura, sankuti y caja... El ejecutante por lo general es var&oacute;n, lo denominan (flautero) y es &eacute;l mismo quien construye su flauta&hellip; </em></p>\n\n<p><em>Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;. Por ello cada danza tiene diferentes &ldquo;toques&rdquo; de acuerdo a la situaci&oacute;n ritual o festiva en la cual se ejecuta. </em><em>De forma general el repertorio musical de cada danza est&aacute; conformado por la marcha (de uso ritual especialmente en procesiones), el tayr&rsquo;imarapi (taquirari &ldquo;especial&rdquo;) primera pieza interpretada luego de la marcha; y finalmente, el v&rsquo;irimarapi (taquirari &ldquo;festivo&rdquo;) que se interpreta como parte de la fiesta misma. Existe una melod&iacute;a espec&iacute;fica para cada santo o virgen, el cual se marca espec&iacute;ficamente en la marcha. Respecto de esto Cirilo Yaca afirma: &ldquo;tiene que acompa&ntilde;ar a las im&aacute;genes, a los santos. Para acompa&ntilde;ar y visitar a estos ocupan la Marcha&rdquo;; por ello nos habla de un principal elemento del repertorio musical &ldquo;la marcha&rdquo; m&uacute;sica de car&aacute;cter sagrado y ritual. Otro elemento que conforma este repertorio es el &ldquo;taquirari&rdquo; (v&rsquo;irimarapi): &ldquo;el que vale m&aacute;s es el taquirari (...) se cambia el toque y se toca el taquirari en la fiesta, es m&aacute;s bonito, m&aacute;s entrador (...) la Marcha tiene un s&oacute;lo paso (...) Cada conjunto tiene su entrada [la marcha] y tiene su taquirari&rdquo;. Este el papel del instrumento, la danza y el repertorio musical de las m&uacute;sicas y danzas de Mojos.</em></p>\n\n<p><em>Los materiales empleados en la realizaci&oacute;n de instrumentos de basa en la tsakana (takuara fina o &ldquo;castilla&rdquo;), ca&ntilde;a-bamb&uacute; empleada para construirlo. Este material antiguamente se encontraba en las regiones extensas del monte; posteriormente, por causa de la expansi&oacute;n de las tierras de pastoreo que los ganaderos deciden ampliar, se reducen los lugares donde se encontraba este material. La inexistencia del material obliga a utilizar tubos pl&aacute;sticos de ca&ntilde;er&iacute;a y otros materiales como el aluminio. Por otro lado, el M&aacute;paji (Cera de Abeja), empleado para tapar el extremo de la flauta. Luego, tambi&eacute;n se presentan flautas de pl&aacute;stico de </em><em>&ldquo;</em><em>ca&ntilde;er&iacute;a&rdquo;, empleadas por la falta de la takuara tradicional. </em></p>\n\n<p><em>La elaboraci&oacute;n de este instrumento es de dominio de todo flautero y est&aacute; muy vinculado al individuo. Las t&eacute;cnicas empleadas para su elaboraci&oacute;n iniciar&iacute;an con la recolecci&oacute;n de la ca&ntilde;a: se limpia el orificio central. Se inicia la medida desde la base (cola) marcando el primer orificio digitable (dista el ancho de tres dedos). Luego, desde esta marca, se toma la medida de </em><em>&ldquo;</em><em>mi cuarta&rdquo; (distancia entre los dedos me&ntilde;ique y pulgar de la palma abierta); y se marca el orificio central digitable. Se emplea la misma medida (&ldquo;mi cuarta&rdquo;) para marcar el orificio de la embocadura o boquilla. Realizadas estas tres primeras marcas se se&ntilde;ala equidistantemente los lugares donde se realizar&aacute;n las cuatro perforaciones necesarias para la digitaci&oacute;n de la flauta&hellip; Los orificios se hacen con el tumare, un cuchillo en punta; y la emisi&oacute;n del sonido se ajusta moviendo (hacia adentro o afuera) la cera de abeja que tapa el extremo de la embocadura, s&oacute;lo la correcta posici&oacute;n permitir&aacute; la emisi&oacute;n de octavas. Por tanto, las dimensiones del Sivivire depende de dos factores: (1) la danza o </em><em>&ldquo;</em><em>toque&rdquo; que se interpretar&aacute;; y (2) las caracter&iacute;sticas corporales (la mano) del instrumentista, ya que cada qui&eacute;n busca el tama&ntilde;o m&aacute;s c&oacute;modo para su interpretaci&oacute;n.</em></p>\n\n<p><strong><em>Sankuti. </em></strong><em>Instrumento musical membran&oacute;fono elaborado en base al </em><em>&ldquo;</em><em>coraz&oacute;n</em><em> </em><em>&ldquo;del tronco de &aacute;rboles como la mara y el juchi, considerados como </em><em>&ldquo;</em><em>finos</em><em>&rdquo;</em><em> &hellip; Las membranas del sankuti (Cavour, 2010:246-247) son hechas de </em><em>&ldquo;</em><em>cuero de res&rdquo; el cual tiene mucho grosor y es cambiado eventualmente. Las correas que sujetan las membranas as&iacute; como las empleadas para colgar el instrumento en el hombro tambi&eacute;n est&aacute;n hechas del mismo cuero&hellip;</em></p>\n\n<p><em>Para ta&ntilde;er este instrumento se emplea una baqueta denominada </em><em>&ldquo;</em><em>palitoke&rdquo; que los lugare&ntilde;os traducen como </em><em>&ldquo;</em><em>Palito que se toca</em><em>&rdquo;</em><em>. Este material le otorga gran durabilidad lo que hace que sea&rdquo; heredado</em><em> </em><em>&ldquo;de un m&uacute;sico a otro, y por otro lado, se le otorga el sentido de </em><em>&ldquo;</em><em>antiguo&rdquo; ya que se afirma que </em><em>&ldquo;</em><em>el antiguo lo hicieron</em><em>&rdquo;.</em><em> </em></p>\n\n<p><em>(foto)</em></p>\n\n<p><strong><em>Kajane o Caja (Tambor). </em></strong><em>Otro instrumento membran&oacute;fono muy empleado en las danzas es la caja o tambor. Sus dimensiones promedio son de 38 cm. de di&aacute;metro por 23 cm. de altura&hellip; La caja de resonancia est&aacute; hecha en base a corteza de &aacute;rbol de toco; para su obtenci&oacute;n es perforada y luego &ldquo;cavada&rdquo; con ayuda de cinceles artesanales. El cuero utilizado en las membranas es de sullu de vaca, vale decir de la cr&iacute;a del ganado bovino10 el cual es envuelto en un aro de bejuco que le da la forma circular. Y cuenta con un sobrearo o y&rsquo;ana de casi 5 cm. de ancho hecho de madera v&rsquo;i (jianaki). En la membrana posterior se sujeta una cuerda de algod&oacute;n a manera de </em><em>&ldquo;</em><em>charlera&rdquo; para que el instrumento aumente su vibraci&oacute;n. </em></p>\n\n<p><em>Para su interpretaci&oacute;n la caja es colgada del cuerpo con ayuda de una correa hecha de cuero de res; y se hace uso del palitoki tambi&eacute;n denominado cajaneraki,11 un par de baquetas de unos 34 cm. de largo hechos de madera de gabetillo, chonta y de cuchi. En algunas ocasiones a la buena interpretaci&oacute;n de los instrumentos musicales, en especial a los membran&oacute;fonos se hace menci&oacute;n a que &quot;Se tesa con una cuerda&hellip; ya lo hace rezar</em><em>&rdquo;</em></p>\n\n<p><strong><em>Tampura (bombo).</em></strong><em> La Tampura, es el membran&oacute;fono asemejado al bombo, el cual tiene mayores dimensiones que los otros, con un di&aacute;metro de 46 cm. y 22 cm. de alto (Fotograf&iacute;a N&ordm; 7). La caja de resonancia est&aacute; hecha en base a madera blanca de toco o jocho&rsquo;o. Las membranas generalmente son de cuero de res y en algunos casos presenta inscripciones pintadas; por otro lado, indican que este cuero es del cuello de la res, el cual es curtido lav&aacute;ndolo con ceniza para </em><em>&ldquo;</em><em>que no lo cambie el sereno</em><em>&rdquo;</em><em> o sea para que no cambie el sonido. El instrumento que ayuda a su interpretaci&oacute;n es una baqueta de madera de v&rsquo;idenominadata&rsquo;earaki o tampuraraki (&ldquo;toca bombo&rdquo;), el cual mide 26,5 cm. de largo, el mango tiene 3 cm. de grosor y tiene una especie de mazo de 6 cm. de di&aacute;metro.</em></p>\n\n<p><strong><em>Chonono o cascabelana.</em></strong><em> En un idi&oacute;fono empleado por los danzantes, especialmente hombres, de cada danza&hellip; Consiste en una trozo rectangular de cuero (de 10 por 64 cm.) al cual van sujetas semillas o cascabeles; la base rectangular tiene dos tiras laterales utilizadas para amarrarlas a las piernas justo en la articulaci&oacute;n de la rodilla. En el caso de las danzas del machetero las semillas utilizadas en el chonono son de chakai y para otras danzas se emplea el naviri. Y para danzas como los toritos y ciervos se emplean cascabeles de bronce. </em></p>\n\n<p><em>Estos instrumentos acompa&ntilde;an a la m&uacute;sica d&aacute;ndole un comp&aacute;s r&iacute;tmico a partir de la danza de sus int&eacute;rpretes, esto hace referencia a que los danzantes tambi&eacute;n tienen un papel importante como interpretes del chonono.</em></p>\n\n<p><strong><em>El Baj&oacute;n.</em></strong><em> Es uno de los instrumentos musicales m&aacute;s difundidos de la regi&oacute;n, por lo cual ampliar&eacute; su descripci&oacute;n&hellip; Este instrumento aer&oacute;fono, conformado por pares (machohembra) a primera vista se parece a una especie de flauta de pan pero con boquillas de madera en cada uno de los tubos; sin embargo, se trata de unas &ldquo;trompetas m&uacute;ltiples</em><em>&rdquo;</em><em>construidas a base de varios tubos de hojas enrolladas atadas en </em><em>&ldquo;</em><em>forma de balsa o ala&rdquo;, donde cada tubo es acomodado en una sola hilera (Waisman 2002:533). </em></p>\n\n<p><em>El Baj&oacute;n est&aacute; elaborado con los siguientes materiales: Hoja de Cusi, varas de cogollo que estructuran la parte interna de cada tubo; hilo de algod&oacute;n o hilo </em><em>&ldquo;</em><em>camba</em><em>&rdquo; (</em><em>itsepite cajare) mezclada con cera (M&aacute;paji) de abeja &ldquo;se&ntilde;orita&rdquo;. Las boquillas torneadas de madera de cedro para cada tubo; donde una </em><em>&lsquo;</em><em>peineta&rdquo; </em><em>(</em><em>de 56.5 x4 cm) hecha de madera sujeta a todos los tubos (de 56.5 x 4 cm). Cada uno de los tubos tiene asignado una sigla del alfabeto grabada en la </em><em>&ldquo;</em><em>peineta&rdquo; que hace referencia a la afinaci&oacute;n de cada uno de ellos. El tubo de mayor tama&ntilde;o tiene una base de goma sujetado en la parte inferior para facilitar su apoyo en el suelo. </em></p>\n\n<p><em>Los pasos empleados para la elaboraci&oacute;n del baj&oacute;n son el armado del soporte o estructura de cogollo; enrollado o superposici&oacute;n de hojas de Cusi, atado (liado) con cordel (pita) de algod&oacute;n hilado, embadurnado con cera de abeja para fortificar el hilo y apoyar el agarre. Y se emplean herramientas como el Tumare (cuchillo) y la Capotera (aguja). </em></p>\n\n<p><em>Este instrumento musical se interpreta de mediante la </em><em>&ldquo;</em><em>t&eacute;cnica dialogada&rdquo; entre el Baj&oacute;n macho y Baj&oacute;n hembra. Vale decir que la melod&iacute;a se entreteje de forma dialogada entre los dos int&eacute;rpretes del instrumento. El sonido que emite este instrumento es grave. La forma de interpretaci&oacute;n de los bajones se basa en el soplido. Cada int&eacute;rprete sujeta el baj&oacute;n horizontalmente con ambas manos apretando los labios en la boquilla para tocarlos de forma similar a una trompeta. Sin embargo, por el tama&ntilde;o del instrumento el ejecutante no puede sujetar solo el baj&oacute;n, por ello, requiere de la ayuda de otra persona que sostenga el instrumento desde el extremo inferior.</em></p>\n\n<p><em>El baj&oacute;n tiene un rol muy reconocido como parte de la orquesta t&iacute;pica de San Ignacio, orient&aacute;ndose su interpretaci&oacute;n para acompa&ntilde;ar los c&aacute;nticos sagrados de misas, procesiones religiosas y </em><em>&ldquo;</em><em>velorios</em><em>&rdquo;</em><em> de santos y v&iacute;rgenes. Los instrumentistas o ejecutantes del baj&oacute;n son especialistas y gozan de alto prestigio en la comunidad. Los bajones actualmente son acompa&ntilde;ados por un viol&iacute;n, dos flautas, caja y tampura.</em></p>\n\n<p><em>Una de las principales referencia son las de Alcides D</em><em>&rsquo;</em><em>orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de </em><em>&ldquo;</em><em>acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a </em><em>13</em><em> tubos, actualmente se registraron bajones de 10 tubos. Hip&oacute;tesis no confirmadas plantean que el nombre original de este instrumento podr&iacute;a ser </em><em>&ldquo;</em><em>ippij&iacute;raseco&rdquo; aunque actualmente s&oacute;lo se emplea el nombre de Baj&oacute;n (Waisman 2002:534).</em></p>\n\n<p><em>[[Ver foto: Instrumentos musicales - Coro Musical]]</em></p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["a0e4f8bb-9310-4344-b025-2609c8a26ec2"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "031d4bed-4643-4169-8be1-a210aaa5b806", "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "6fa5b46e-e7cf-433c-a21e-0ea1baf26962"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del patrimonio cultural inmaterial, es esencial para su salvaguarda, los medios utilizados son: la tradici&oacute;n oral, historias, conocimientos transmitidos verbalmente de generaci&oacute;n en generaci&oacute;n; usos sociales, rituales y festivos; t&eacute;cnicas artesanales tradicionales, entre otros.&nbsp;</p>\n\n<p>En San Ignacio, la transmisi&oacute;n de la lengua moje&ntilde;a se ha efectuado de padres a hijos de forma oral. La cultura moje&ntilde;a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense&ntilde;an formalmente el idioma moje&ntilde;o, como medio de salvaguardar la cultura.</p>\n\n<p>Los conocimientos de m&uacute;sica y confecci&oacute;n de instrumentos, son inculcados de maestro a aprendiz, as&iacute; es como se forman los integrantes del Coro Musical del Cabildo Indigenal, quienes deben adem&aacute;s, realizar el &ldquo;juramento&rdquo; que los marca de por vida, es el compromiso solemne de interpretar un instrumento musical y pertenecer a un grupo de danza, &nbsp;esta responsabilidad se adquiere luego que los &ldquo;taytas&rdquo; m&uacute;sicos consideran que el aprendiz est&aacute; capacitado y cumple las expectativas de interpretaci&oacute;n. La ceremonia del &ldquo;juramento&rdquo;, se realiza en el templo en ocasi&oacute;n de la festividad de la Virgen de la Candelaria, recibiendo la bendici&oacute;n del Padre. &nbsp;</p>\n\n<p><em>Los m&uacute;sicos en San Ignacio de Mojos son muy respetados y reconocidos en la comunidad al grado incluso de los Caciques. Por un lado, este prestigio se eleva cuando el int&eacute;rprete adem&aacute;s de conocer detalladamente la construcci&oacute;n de su propio instrumento tambi&eacute;n realiza otros (como es el caso de Robin Cuellar pr&aacute;cticamente uno de los pocos m&uacute;sicos que adem&aacute;s de ser violinista fabrica e interpreta los bajones) y m&aacute;s a&uacute;n si compone sus m&uacute;sicas.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>La creaci&oacute;n de la nueva escuela de m&uacute;sica, se ha convertido en factor importante de reproducci&oacute;n de la tradici&oacute;n musical moje&ntilde;a, adem&aacute;s de proveer oportunidades de conseguir un t&iacute;tulo profesional. El objetivo no es solamente recuperar la m&uacute;sica legado de la &eacute;poca misional y prehisp&aacute;nica, sino de proponer nueva m&uacute;sica popular.</p>\n\n<p>La m&uacute;sica que los ancianos ense&ntilde;an es m&aacute;s que todo religiosa, en cambio en la escuela se abarca un amplio espectro de estilos. Actualmente la escuela acoge a m&aacute;s de 300 alumnos en diferentes especialidades instrumentales.</p>\n\n<p>La participaci&oacute;n activa de la poblaci&oacute;n en las festividades religiosas es un reflejo del valor que se les atribuye. Desde los ancianos hasta los ni&ntilde;os, la poblaci&oacute;n moje&ntilde;a se involucra, esto es crucial para la transmisi&oacute;n de valores y la preservaci&oacute;n de las tradiciones.</p>\n\n<p>La transmisi&oacute;n de saberes y costumbres tiene tambi&eacute;n una base material, la que es indispensable para el mantenimiento de la manifestaci&oacute;n, sin duda, el&nbsp;objeto material&nbsp;es un testigo valioso y un documento que refleja el sentimiento colectivo de una sociedad. Como receptor y transmisor de m&uacute;ltiples significados culturales, est&aacute; arraigado en un tiempo y un espacio espec&iacute;ficos, su existencia nos conecta con la historia, las tradiciones y las creencias de quienes lo crearon y utilizaron. La tradici&oacute;n del uso de estos objetos se pasa entre generaciones y es promovido especialmente por el Cabildo Indigenal.&nbsp; Entre estos objetos destacan: el tocado de plumas de los Macheteros, sus machetes de madera; las im&aacute;genes religiosas; los instrumentos musicales; la vestimenta del Cabildo, Memes, Angelitos y Sargentos Jud&iacute;os, entre otros.</p>\n\n<p>Las danzas en San Ignacio poseen elementos simb&oacute;licos y rituales que se relacionan con un pasado hist&oacute;rico m&aacute;s extenso, incluso anterior a la llegada de los jesuitas. Estas danzas son expresi&oacute;n de la identidad cultural, que se transfirie de modo informal mediante la pr&aacute;ctica, la observaci&oacute;n y la imitaci&oacute;n, dentro la comunidad, y se conserva casi sin modificaciones.</p>\n\n<p>En las ceremonias de la festividad, especialmente en las procesiones, los mayores hacen referencia a la importancia de la participaci&oacute;n de los j&oacute;venes y ni&ntilde;os, el objetivo es que puedan aprender y dar continuidad a sus tradiciones, para que pervivan en el tiempo. Existe un sentimiento muy importante de aprecio de los mayores por la participaci&oacute;n de los ni&ntilde;os.</p>\n\n<p>Los Santos Varones y los miembros del Cabildo son los encargados de transmitir la memoria viva, los conocimientos y procedimientos que son parte de la celebraci&oacute;n de Semana Santa.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento&rdquo; para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "031d4bed-4643-4169-8be1-a210aaa5b806", "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "ecdaa852-4964-41ac-bfaf-18f86cb0894b"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El patrimonio inmaterial transmitido de generaci\u00f3n en generaci\u00f3n, por la memoria viva de la comunidad, esta expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici\u00f3n y son confirmadas y revitalizadas en el presente. En San Ignacio de Mojos, la transmisi\u00f3n de tradiciones y costumbres ha conseguido salvaguardar el Patrimonio Cultural Inmaterial. Los portadores de la tradici\u00f3n desempe\u00f1an un papel crucial al confirmar y revitalizar estas pr\u00e1cticas en el presente. El \u00e9xito de la preservaci\u00f3n se basa en: Participaci\u00f3n de Ni\u00f1os y J\u00f3venes. Al involucrar a ni\u00f1os y j\u00f3venes en las festividades, se asegura que adquieran habilidades y saberes ancestrales. Esto garantiza la continuidad de las costumbres al transferir conocimientos de una generaci\u00f3n a otra. Transmisi\u00f3n desde la Infancia. La transmisi\u00f3n comienza desde temprana edad, lo que permite que los ni\u00f1os internalicen las tradiciones y se conviertan en futuros portadores. La participaci\u00f3n activa en rituales y pr\u00e1cticas culturales refuerza su identidad cultural. Sostenibilidad y Adaptaci\u00f3n. La transmisi\u00f3n de tradiciones, no implica una mera repetici\u00f3n, sino tambi\u00e9n adaptaci\u00f3n. Los portadores de la tradici\u00f3n han mantenido la autenticidad, pero tambi\u00e9n han permitido que evolucione para seguir siendo relevante. Existe un esfuerzo organizado de la comunidad y el Plan Misiones para preservar el patrimonio cultural, con este objetivo se est\u00e1 efectuando la elaboraci\u00f3n de registros del patrimonio cultural, material e inmaterial, como instrumento de salvaguardia de estos acervos.  La comunidad se apoya en el Cabildo Indigenal como responsable del mantenimiento y perpetuaci\u00f3n del conjunto de c\u00f3digos relacionados con la celebraci\u00f3n de las festividades. Estas manifestaciones siguen uniendo a sus miembros y reforzando sus lazos identitarios, los cuales pueden verse debilitados por los procesos de transculturaci\u00f3n a los que todas las comunidades est\u00e1n expuestas en la actualidad. En San Ignacio, la transmisi\u00f3n de la lengua moje\u00f1a se ha efectuado de padres a hijos de forma oral. La cultura moje\u00f1a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense\u00f1an formalmente el idioma moje\u00f1o, como medio de salvaguardar la cultura.  La creaci\u00f3n de la nueva escuela de m\u00fasica, se ha convertido en factor importante de reproducci\u00f3n de la tradici\u00f3n musical moje\u00f1a, adem\u00e1s de proveer oportunidades de conseguir un t\u00edtulo profesional. El objetivo no es solamente recuperar la m\u00fasica legado de la \u00e9poca misional y prehisp\u00e1nica, sino de proponer nueva m\u00fasica popular.  La confecci\u00f3n de instrumentos, es tambi\u00e9n parte de los conocimientos que se han transmitido por generaciones, y se han ido mejorando con el tiempo. Aunque actualmente la mayor\u00eda de los instrumentos son importados.   La Semana Santa es proclive a preservarse y transmitirse, por su car\u00e1cter festivo e interactivo, con la realizaci\u00f3n de bailes, danzas, ceremonias religiosas, representaciones esc\u00e9nicas, m\u00fasica, etc. Es gracias a la relaci\u00f3n del Cabildo con la comunidad que estas manifestaciones se han adaptado con facilidad a los modos de vida actual, y se mantienen como escenarios de encuentro y convivencia, del pueblo moje\u00f1o."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "031d4bed-4643-4169-8be1-a210aaa5b806", "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "8e41db69-4f5b-4940-aa1a-2fb7c05222dd"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400", "b6e4eb16-e3e1-4187-833b-327068bbbeaa", "f6149104-3d2f-4c31-8b0f-f58f7e19e8e1"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El&nbsp;patrimonio cultural inmaterial&nbsp;incluye pr&aacute;cticas y expresiones vivas heredadas de nuestros antepasados, transmitidas de generaci&oacute;n en generaci&oacute;n.&nbsp;Estas pr&aacute;cticas incluyen las tradiciones orales, artes esc&eacute;nicas, usos sociales, rituales, actos festivos, entre otros.</p>\n\n<p>A principios del siglo XVIII en las misiones de mojos, los bailes y danzas se efectuaban con atuendos de plumajes, hechos con materiales locales, estas pr&aacute;cticas eran conservadas por el Cabildo, como encargado de transmitir su significado y simbolog&iacute;a.</p>\n\n<hr />\n<p>Ver imagen :[[Semana Santa - Dibujo D&#39;Orbigny]]&nbsp;</p>\n\n<p>M&uacute;sica y danza religiosa en Moxos, (Bolivia.) <a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<hr />\n<p>Un grabado hecho por Alcide D&rsquo;Orbigny en 1832, muestra como se realizaban las celebraciones religiosas, con la participaci&oacute;n de danzantes (Macheteros), y m&uacute;sicos (tocando los bajones), as&iacute; los describe: &ldquo;<em>Despu&eacute;s de la misa los indios tocados con una especie de aureola de plumas y llevando cascabeles en las pantorrillas y un grandes sables de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mas agudas hasta las m&aacute;s graves y acompa&ntilde;ados de flautas y tambores , salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica muy singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a mas que un numero limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas.</em> &ldquo;<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></p>\n\n<p>Al observar esta imagen se evidencia que las danzas, los rituales, la vestimenta, y los instrumentos, han sufrido escasas modificaciones hasta nuestro d&iacute;as.</p>\n\n<p>D&rsquo;Orbigny, presenci&oacute; en San Pedro de Mojos la noche del Domingo de Ramos que es el comienzo de las celebraciones tradicionales de la Semana Santa. En el templo, le llam&oacute; la atenci&oacute;n el tama&ntilde;o y la cantidad de im&aacute;genes ubicadas al medio de la iglesia, que representaban la Pasi&oacute;n de Cristo: la flagelaci&oacute;n, la coronacion de espinas, el v&iacute;a crucis y, finalmente, la crucifixi&oacute;n. Describe tambi&eacute;n que en las v&iacute;speras, indios disfrazados de rojo u otros colores vivos desempe&ntilde;an el papel de jud&iacute;os, que recorren la misi&oacute;n muy despacio buscando a Jes&uacute;s, luego por la noche, la banda se re&uacute;ne y marcha acompa&ntilde;ada de m&uacute;sica triste, que proviene de los tambores, flautas y bajones.</p>\n\n<p>En el caso particular de la festividad de Semana Santa en San Ignacio de Mojos, los rituales relacionados a la misa, las procesiones, las representaciones de escenas religiosas, y las danzas como la de los Macheteros o Chiripier&uacute;ana, y Angelitos, se han mantenido casi inmutables a trav&eacute;s del tiempo.</p>\n\n<p>La representaci&oacute;n de escenas religiosas es parte vital de la festividad, destac&aacute;ndose particularmente: la procesi&oacute;n de los Penitentes, el Lavatorio de pies, la &Uacute;ltima Cena, La Desclavaci&oacute;n de Cristo y el encuentro del Se&ntilde;or Resucitado con su Madre.</p>\n\n<p>La danza est&aacute; presente tambi&eacute;n, en el Domingo de Resurrecci&oacute;n donde los Macheteros o Chiripier&uacute;ana, bailan en el atrio del templo, como demostraci&oacute;n de regocijo.</p>\n\n<p>El Miercoles Santo, los Penitentes acompa&ntilde;an la procesion.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#\" name=\"_ftnref4\">[3]</a></em></p>\n\n<p><strong>MIERCOLES SANTO</strong></p>\n\n<p>El Mi&eacute;rcoles Santo da inicio a los cuatro d&iacute;as principales que preceden a la Resurrecci&oacute;n, por lo que se construye y ornamenta un altar donde se colocar&aacute; el Sagrario.</p>\n\n<p>Se celebran la misa y la procesi&oacute;n del Nazareno.</p>\n\n<p><strong>Misa y Procesi&oacute;n del Nazareno - 20:00</strong></p>\n\n<p>En el templo se sientan en los primeros asientos el Cabildo Indigenal, detr&aacute;s las Mamitas Abadesas y luego el pueblo en general.</p>\n\n<p><strong>Lugar: </strong>Se realiza en el templo y en la plaza principal.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Nazareno sobre el anda, se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar). Las velas prendidas a su alrededor.</p>\n\n<p>La imagen de la Virgen Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm;; La Ver&oacute;nica; 6&ordm; el Nazareno; y 7&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo redondo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>&nbsp;</p>\n\n<p>Jes&uacute;s en el huerto de Getseman&iacute;, la imagen esta de rodillas con los brazos doblados, las manos con las palmas hacia arriba. Viste t&uacute;nica blanca, con manto rojo y bordados de color plata, sobre la cabeza un pa&ntilde;uelo blanco. Delante de la imagen de Jes&uacute;s, se ha colocado un arco del que cuelga la imagen de un &aacute;ngel alado.</p>\n\n<p>Se&ntilde;or de la columna, la imagen esta de pie, con una columna a la que est&aacute; atada por una cuerda. Viste una faldilla color morado y nimbo radiante.</p>\n\n<p>Se&ntilde;or de la Ca&ntilde;a, con faldilla color ciruela, manto del mismo color con reborde dorado, con nimbo radiante. Porta una ca&ntilde;a en la mano izquierda.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>&nbsp;</p>\n\n<p>El Nazareno, la imagen carga la cruz, lleva la corona de espinas en la cabeza, viste t&uacute;nica color ciruela, con rebordes dorados. El anda que soporta la imagen con porta velas que la rodean, esta ornamentada con tela blanca y telas de color plateado, morado y negro.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>&nbsp;</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana morada y sobrepelliz blanco.</p>\n\n<p>Cabildo indigenal, con camijetas blancas y portando sus bastones.</p>\n\n<p>Mamitas abadesas con tipoi de color blanco y morado.</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca, traje negro (pantal&oacute;n y saco), y banda blanca.</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas.</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, y 1 viol&iacute;n.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane. (m&uacute;sica pregrabada)</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de madera de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con delgadas tiras del color de la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI, la portan los Sargentos Jud&iacute;os.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; morada, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera morada con soporte de plata, la lleva un miembro del Cabildo Indigenal</p>\n\n<p><strong>Actividades</strong></p>\n\n<p><a name=\"_Hlk170890308\">Desde la ma&ntilde;ana<strong> </strong>las Memes se encargan del arreglo del altar donde se colocar&aacute; el Sagrario, este altar es una estructura de madera de seis pisos, construida de forma escalonada, profusamente ornamentado, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi&eacute;n se colocan cintas y flores blancas. La elecci&oacute;n de las telas depende de la capacidad adquisitiva que se tuvo en al a&ntilde;o. </a></p>\n\n<p>En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est&aacute; envuelto en cintas de colores y cintas con los colores de la bandera nacional.</p>\n\n<p>Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m&aacute;s elevado se ubica la imagen de un &aacute;ngel vestido de blanco. (foto)</p>\n\n<p>Se realiza la misa y posteriormente inicia la procesi&oacute;n del Nazareno, donde salen todas las im&aacute;genes que recuerdan la pasi&oacute;n de Jes&uacute;s.</p>\n\n<p>Cargan a las im&aacute;genes femeninas, solamente mujeres, y a las im&aacute;genes masculinas solamente varones.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<p>Se celebra la misa, siguiendo los rituales lit&uacute;rgicos</p>\n\n<ul>\n\t<li>Canta el Coro Musical canciones lit&uacute;rgicas al Tata Jes&uacute;s Nazareno, en moxe&ntilde;o, acompa&ntilde;ado del sivivire solamente.</li>\n\t<li>Canta el coro del templo en castellano.</li>\n\t<li>Los Hermanos del Santo Sepulcro colocan las cruces con flores que portan, delante de la imagen del Nazareno, para que reciban la bendici&oacute;n.</li>\n\t<li>El p&aacute;rroco da inicio a la misa, en la que solo participa el coro del templo.</li>\n</ul>\n\n<p>Termina la celebraci&oacute;n de la misa e inmediatamente los alzadores se sit&uacute;an en sus lugares para comenzar la procesi&oacute;n.</p>\n\n<ul>\n\t<li>Afuera del templo toca la banda</li>\n\t<li>Los Sargentos Jud&iacute;os flanquean las im&aacute;genes del Nazareno y la Dolorosa.</li>\n\t<li>Antes de la salida del Nazareno y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Se inciensa la imagen del Nazareno, mientras tocan las campanillas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen del Nazareno, custodiada por los Sargentos Jud&iacute;os, y por &uacute;ltimo la imagen de la Dolorosa.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda y la grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit&uacute;a La imagen del Nazareno.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten las siguientes ceremonias:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>Miembros del Cabildo extienden un lienzo blanco sobre el que se sit&uacute;a el p&aacute;rroco para incensar la imagen, mientras suenan las campanillas.</li>\n\t\t<li>En la primera parada canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, acompa&ntilde;ado de los instrumentos y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio.</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Se retira el lienzo blanco que estaba en el piso.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso, cerca de la plaza.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva con las im&aacute;genes, entran por el lado de la ep&iacute;stola, acompa&ntilde;adas por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las campanillas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<p><strong>PERSONAJES QUE PARTICIPAN</strong></p>\n\n<p><strong>CABILDO</strong></p>\n\n<p><em>&ldquo;La autoridad tradicional es el Cabildo representado por el Corregidor acompa&ntilde;ado de los Caciques; el cual cuenta con 25 representantes de cada comunidad ind&iacute;gena. El rol del Corregidor es llevar adelante el control de la poblaci&oacute;n desde actividades familiares hasta las fiestas, relacionamiento as&iacute; a gran parte de las instituciones que componen la poblaci&oacute;n. Actualmente, siguiendo los criterios jesu&iacute;ticos el Cabildo Indigenal est&aacute; compuesto por </em><em>\u2549</em><em>un Capital Grande, dos caciques, dos intendentes, cuatro alf&eacute;reces, dos fiscales, dos polic&iacute;as, once comisarios, un camaretero y un secretario (Eyzaguirre 2012:55) cada uno lleva sus propias funciones en sus distintas &aacute;reas. Al Corregidor tradicionalmente se le denomina Tayta &oacute; Tata (persona sabia), quien integra a los sectores, organizaciones, instituciones y familias, el que encierra el respeto y educaci&oacute;n heredada por la cultura de los abuelos. El Cabildo no percibe ning&uacute;n ingreso, el Corregidor no tiene sueldo, por lo que muchas no todas las personas asumen la responsabilidad de este cargo, y por otro lado, el Corregidor debe ser una persona mayor de entre 40 a 50 a&ntilde;os, como garant&iacute;a de su responsabilidad (Parroquias de Mojos 1988:32). La autoridad del Corregidor es elegida en una gran reuni&oacute;n del Cabildo Indigenal incluyendo la participaci&oacute;n de las agrupaciones de las Danzas e incluso personas de las comunidades; esta es una pr&aacute;ctica que la realiza el cabildo sin ninguna intromisi&oacute;n de la junta la prefectura, subprefectura, Comit&eacute;s C&iacute;vicos u otros.&rdquo;</em> <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\">[3]</a></p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos jud&iacute;os, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>&nbsp;Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; su rol es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</p>\n\n<p>Dos Sargentos Jud&iacute;os est&aacute;n apostados al lado del Cristo Crucificado.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><strong>[4]</strong></a></em></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"><strong>[5]</strong></a></em></p>\n\n<p><strong>LAS MAMITAS ABADESAS DE LA IGLESIA (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"><em><strong>[6]</strong></em></a></p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> D&rsquo;Orbigny Alcides, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV, fig. N.&ordm; 34.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid. pg. 1310.</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> <a name=\"_Hlk170379563\">M&uacute;jica, Angulo Richard, El &ldquo;Juramento</a>&rdquo; para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Mojos, Reuni&oacute;n Anual de Etnolog&iacute;a N&ordm; 26, La Paz: MUSEF, 2013, Tomo 2 &ndash; Cultura(s) Popular(es), pg. 96.</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos</em>.pg.21.</p>\n\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Ibid.pg. 11.</p>\n\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" title=\"\">[6]</a> Ibid.pg. 14</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "031d4bed-4643-4169-8be1-a210aaa5b806", "provisionaledits": null, "resourceinstance_id": "22204195-a1e8-432e-a2b9-be5356c25638", "sortorder": 0, "tileid": "711cdcad-83e7-4dd1-8674-e40cf07e7df7"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Viste t\u00fanica roja y manto color ciruela, con nimbo. 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La elecci\u00f3n de las telas depende de la capacidad adquisitiva que se tuvo en al a\u00f1o.  En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est\u00e1 envuelto en cintas de colores y cintas con los colores de la bandera nacional. Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m\u00e1s elevado se ubica la imagen de un \u00e1ngel vestido de blanco. 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{"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las transformaciones a primera vista, est&aacute; en la vestimenta. Las alas de los angelitos anteriormente era de cuero, ahora son de madera quienes tienen esta pieza desde hace a&ntilde;os en la familia. Otros pueden construirlos con madera, otros los hacen de carton.&nbsp;</p>\n\n<p>Anteriormente la participaci&oacute;n de los danzarines esta relegado a los hombres, actualmente las mujeres pueden participar.</p>\n\n<p>La explicaci&oacute;n de la participaci&oacute;n de la mujer en las danzas es recordada por el Presidente de la danza Los Angelitos Jorge Nazaro. Hasta hace aproximadamente 5 a 8 a&ntilde;os, la participaci&oacute;n en las danzas tradicionales estaba reservada exclusivamente para varones. La situaci&oacute;n cambi&oacute; cuando la abuela de una ni&ntilde;a solicit&oacute; permiso para que su nieta, de 10 a&ntilde;os en ese momento, pudiera bailar los Angelitos como parte de una promesa personal. La ni&ntilde;a quer&iacute;a bailar durante 5 a&ntilde;os, hasta tener la edad de 15 a&ntilde;os. Despu&eacute;s de considerarlo, el responsable de la danza acept&oacute; la solicitud, marcando as&iacute; el inicio de la participaci&oacute;n de mujeres en esta tradici&oacute;n. A partir de entonces, otras ni&ntilde;as tambi&eacute;n comenzaron a unirse a la danza.</p>\n\n<p>Si bien las mujeres eran excluidas de estas actividades asign&aacute;ndoles roles tradicionales, con la aceptaci&oacute;n de ni&ntilde;as para bailar y la presencia actual de leyes que protegen los derechos de las mujeres y promueven la equidad de g&eacute;nero, se les permite participar. Aunque se han enfrentado cr&iacute;ticas, la comunidad ha cambiado, adoptando una postura m&aacute;s inclusiva y respetuosa hacia las tradiciones porque las mujeres tambi&eacute;n se comprometen a bailar y siguen las normativas.&nbsp;Tanto mujeres como hombres visten de la misma manera, pantal&oacute;n oscuro, camisa blanca, cintas de colores. No se diferencian por el g&eacute;nero.&nbsp;</p>\n\n<p>Las coronas son de cart&oacute;n, forradas con papel de color plata. Anteriormente las coronas tambi&eacute;n eran de cuero.&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "836629e6-2c45-4daa-8934-b66a7a9c8646", "provisionaledits": null, "resourceinstance_id": "bb5c333a-6d31-4f30-ba80-da60cdf174b4", "sortorder": 0, "tileid": "690578e1-ac5c-46f0-9ff9-c8a23d311e18"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La falta de m&uacute;sicos para acompa&ntilde;ar a las visitas y los tres d&iacute;as de baile, es un aspecto de atenci&oacute;n. Los m&uacute;sicos tienen fuentes laborales fuera del Cabildo e inclusive fuera de la ciudad. Ellos retornan para las fiestas de la Navidad, algunos si otros no. Acompa&ntilde;ar a los bailarines los tres d&iacute;as de danza, implica que los m&ugrave;sicos deban dejar sus labores y deben turnarse para descansar. Ello requiere que haya seis y ocho m&uacute;sicos, su ausencia conlleva cansancio y prolongar el tiempo de las visitas.&nbsp;</p>\n\n<p>El n&uacute;mero de invitaciones est&aacute; disminuyendo porque las familias que los invitan no tienen los recursos para recibir a una gran cantidad de personas, entre bailarines, padres, madres, m&uacute;sicos y autoridades. Las invitaciones son importantes porque son muestra de la creencia en que los bailarines traen la presencia del ni&ntilde;o Jes&uacute;s al hogar.</p>\n\n<p>&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "836629e6-2c45-4daa-8934-b66a7a9c8646", "provisionaledits": null, "resourceinstance_id": "bb5c333a-6d31-4f30-ba80-da60cdf174b4", "sortorder": 0, "tileid": "f4f26658-31d3-43ab-9fd9-a9aa6284cdd5"}, {"data": {"d691d91e-d3e5-11ee-a8c9-b13f60624ac2": [{"inverseOntologyProperty": "", "ontologyProperty": "", "resourceId": "e78ca9b7-a961-4fe8-a101-b7586e69a275", "resourceXresourceId": "c916a227-54fb-4edd-a7d0-5d9f8b8fe782"}]}, "nodegroup_id": "2eef1f82-d3e5-11ee-a8c9-b13f60624ac2", "parenttile_id": "836629e6-2c45-4daa-8934-b66a7a9c8646", "provisionaledits": null, "resourceinstance_id": "bb5c333a-6d31-4f30-ba80-da60cdf174b4", "sortorder": 0, "tileid": "0a670139-4a55-436a-a696-7cbc024f707e"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>DANZA LOS ANGELITOS</strong></p>\n\n<p><strong>HISTORIA</strong></p>\n\n<p>Se relata el nacimiento de Jes&uacute;s, ocurrido la noche del 24 de diciembre. La narrativa destaca las dificultades que enfrentaron Mar&iacute;a y Jos&eacute; para encontrar refugio. Al tocar puertas, nadie les ofreci&oacute; espacio, evidenciando la mala actitud de la sociedad. Finalmente, encontraron un lugar de descanso de animales donde se refugiaron. Jes&uacute;s naci&oacute; en condiciones de pobreza y en un entorno fr&iacute;o. Los animales presentes le proporcionaron calor, y seg&uacute;n la tradici&oacute;n, los &aacute;ngeles de Dios celebraron su nacimiento a medianoche. Los &aacute;ngeles cantaron en su nacimiento, por ello se danza representa esta historia convertida en tradici&oacute;n.</p>\n\n<p>Los Angelitos anunciaron a los pastores la buena noticia del nacimiento del Mes&iacute;as en Bel&eacute;n. Un &aacute;ngel se les aparece mientras cuidaban sus ovejas, indicando que lo encontrar&aacute;n envuelto en pa&ntilde;ales en un pesebre. Fueron los primeros en recibir la noticia celestial de que ha nacido el ni&ntilde;o Jes&uacute;s. Al bailador Angelito se denominan en idioma moxe&ntilde;o trinitario <em>copovosi</em>.</p>\n\n<p>En el pasado, los bailadores angelitos eran principalmente personas mayores, ya que no se permit&iacute;a a los ni&ntilde;os ni a los j&oacute;venes participar. La presencia de un fiscal con un chicote evitaba que los ni&ntilde;os jugaran e hicieran ruido, este control se aplicaba a diversas danzas. La participaci&oacute;n en danzas tradicionales estaba restringida a hombres debido a la creencia de que los &aacute;ngeles eran exclusivamente varones, seg&uacute;n la ense&ntilde;anza de los jesuitas.</p>\n\n<p>La explicaci&oacute;n de la participaci&oacute;n de la mujer en las danzas es recordada por el Presidente de la danza Los Angelitos Jorge Nazaro. Hasta hace aproximadamente 5 a 8 a&ntilde;os, la participaci&oacute;n en las danzas tradicionales estaba reservada exclusivamente para varones. La situaci&oacute;n cambi&oacute; cuando la abuela de una ni&ntilde;a solicit&oacute; permiso para que su nieta, de 10 a&ntilde;os en ese momento, pudiera bailar los Angelitos como parte de una promesa personal. La ni&ntilde;a quer&iacute;a bailar durante 5 a&ntilde;os, hasta tener la edad de 15 a&ntilde;os. Despu&eacute;s de considerarlo, el responsable de la danza acept&oacute; la solicitud, marcando as&iacute; el inicio de la participaci&oacute;n de mujeres en esta tradici&oacute;n. A partir de entonces, otras ni&ntilde;as tambi&eacute;n comenzaron a unirse a la danza.</p>\n\n<p>Si bien las mujeres eran excluidas de estas actividades asign&aacute;ndoles roles tradicionales, con la aceptaci&oacute;n de ni&ntilde;as para bailar y la presencia actual de leyes que protegen los derechos de las mujeres y promueven la equidad de g&eacute;nero, se les permite participar. Aunque se han enfrentado cr&iacute;ticas, la comunidad ha cambiado, adoptando una postura m&aacute;s inclusiva y respetuosa hacia las tradiciones porque las mujeres tambi&eacute;n se comprometen a bailar y siguen las normativas.</p>\n\n<p>Durante las festividades navide&ntilde;as la danza de los angelitos se baila tres d&iacute;as el 25 y 26 de diciembre, durante estos d&iacute;as llevan alas y corona, y el &uacute;ltimo d&iacute;a, el 27 bailan sin alas, marcando el fin de la danza.</p>\n\n<p>La participaci&oacute;n en estas danzas era considerada una responsabilidad seria, y antes de bailar, se llevaba a cabo una reuni&oacute;n para integrar a nuevos miembros al grupo, lo cual implicaba e implica un compromiso del bailador o m&uacute;sico muy significativo para cumplir con su promesa o penitencia.</p>\n\n<p><strong>PROCESO DE ORGANIZACI&Oacute;N </strong></p>\n\n<p>La organizaci&oacute;n de la danza de los angelitos comienza en el Cabildo una semana antes de la fecha programada, el 24 de diciembre. A pesar de enfrentar tropiezos con los m&uacute;sicos durante los ensayos, porque no est&aacute;n a completa disposici&oacute;n, por trabajo o realizan otras tareas, se estableci&oacute; con ellos el compromiso. La participaci&oacute;n en el conjunto est&aacute; abierta a todos, desde ni&ntilde;os hasta personas mayores. Se debe recalcar que las danzas de navidad solo se bailan para esta oportunidad, una vez al a&ntilde;o.</p>\n\n<p>Los ensayos se realizan cinco d&iacute;as antes del 24 de diciembre, se practican diferentes coreograf&iacute;as, d&iacute;a a d&iacute;a se van sumando m&aacute;s bailarines. Los que encabezan son los antiguos bailarines son cuatro pero los primeros dos son los que dirigen el grupo. Ellos marcan los pasos para que los dem&aacute;s los aprendan, trascurridos los a&ntilde;os de promesa que generalmente es de tres a&ntilde;os, los que dirigen cambian dando paso a los que siguen. De esa manera los que est&aacute;n detr&aacute;s van aprendiendo la forma de dirigir el grupo, los pasos y las coreograf&iacute;as.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>VESTIMENTA</strong></p>\n\n<p>Los danzarines visten pantal&oacute;n negro o azul, tienen camisa blanca. Encima la camisa se arregla las cintas de colores, cada cinta cruzada en el pecho y otras cintas en los brazos. En la cabeza llevan una corona hecha de cart&oacute;n forrado de papel color brilloso. En la espalda tienen alas hechas de madera pintadas de blanco, otros de cart&oacute;n, tienen correas que se sujetan a los hombros. En la cintura tienen una pa&ntilde;oleta cruzada, se denomina faja.</p>\n\n<p>Anteriormente las alas eran de cuero y ten&iacute;an plumas. Se sol&iacute;an utilizar plumas de pato para cubrir la estructura de madera. Las mam&aacute;s de los ni&ntilde;os que participaban en la danza acompa&ntilde;aban a los angelitos, formando filas detr&aacute;s de ellos para cuidar a los peque&ntilde;os durante la representaci&oacute;n. Ellas se vest&iacute;an con tipoy.</p>\n\n<p>En las danzas de los angelitos, la bandera que llevan representa las alas de los &Aacute;ngeles que veneraron al ni&ntilde;o Jes&uacute;s en Bel&eacute;n, siendo los que anunciaron el nacimiento del ni&ntilde;o. Aunque la vestimenta de los &Aacute;ngeles en realidad no fue vista, la tradici&oacute;n incluye la representaci&oacute;n de alas y coronas adornadas. En las danzas, la bandera, las cintas cruzadas, y la pa&ntilde;oleta en la cintura son elementos simb&oacute;licos de la vestimenta de los &Aacute;ngeles en su adoraci&oacute;n al Salvador del mundo.</p>\n\n<p>El uniforme actualmente ha cambiado porque es dif&iacute;cil que todos est&eacute;n uniformados, por los escasos recursos. Si se exige que todos los bailadores usen camisa blanca y usen cualquier color de pantal&oacute;n, las alas no tiene la forma uniformada, el n&uacute;mero de cintas de colores y ancho son distintos, seg&uacute;n el precio accesible. Algunos pueden comprar nuevos pantalones y camisas pero otros no.</p>\n\n<p>Las coronas de los cuatro angelitos que est&aacute;n delante se consideran sagradas, al llegar a la catedral y a las invitaciones, se depositan al lado del pesebre del ni&ntilde;o, para ser bendecidos por &eacute;l. Al salir se vuelven a poner en la cabeza.</p>\n\n<p><strong>INVITACIONES Y RECORRIDO</strong></p>\n\n<p>Anteriormente, hace a&ntilde;os atr&aacute;s, la danza de los Angelitos eran recibidos con masaco. Siempre hac&iacute;an un recorrido a las diferentes casas d&oacute;nde est&aacute; acomodado el ni&ntilde;o en el nacimiento, donde pasaban los invitaban a entrar. Durante los tres d&iacute;as de celebraci&oacute;n (25, 26 y 27 de diciembre), el conjunto asist&iacute;a a varias invitaciones en el &aacute;rea, que inclu&iacute;an lugares como la 6 de agosto, la calle Cochabamba, la Santa Cruz, 18 de noviembre, Pompeya y cruzaban el arroyo en canoa en la &eacute;poca en que no exist&iacute;a la circunvalaci&oacute;n.</p>\n\n<p>Anteriormente el recorrido tradicional de los angelitos inclu&iacute;a dos invitaciones en la calle Cochabamba, otra en la casa de Don Pachuri o Jes&uacute;s Aguilera, un exmiembro del Cabildo. Posteriormente, suel&iacute;an tener dos invitaciones adicionales en lugares como en el barrio primero de mayo o la laguna de oxidaci&oacute;n, cerca de la calle Machetero. El segundo d&iacute;a es m&aacute;s distante, yendo a lugares como Pompeya o Caminos, dependiendo de las invitaciones recibidas. Finalmente, el tercer d&iacute;a realizan presentaciones cercanas a la zona de origen. Este recorrido es considerado sagrado para los participantes en la tradici&oacute;n de los angelitos. El tercer d&iacute;a se baila sin alas, solo con la corona en la cabeza y las banderas con la m&uacute;sica alegre denominada, la borrachera, por ser un ritmo muy movido.</p>\n\n<p>Actualmente el recorrido fue:</p>\n\n<p><strong>Primer d&iacute;a 25 de diciembre.</strong></p>\n\n<ul>\n\t<li>Primera invitaci&oacute;n: Casa de Daniel Yumo, en la calle Moxos en el barrio Pompeya. No fueron a ese sitio porque estaba lloviendo, hab&iacute;a ni&ntilde;os peque&ntilde;os.</li>\n\t<li>Segunda invitaci&oacute;n: Calle Cochabamba y Av. del Mar. Familia A&ntilde;ez</li>\n\t<li>Tercera invitaci&oacute;n: Av. Machetero y calle Quitachiyu cerca al monumento de la Madre India. En ese lugar la tradici&oacute;n de recibir a los angelitos proviene de generaciones anteriores en la familia de la narradora, cuya madre fue abadesa del Cabildo ind&iacute;gena. Despu&eacute;s de la muerte de su madre, sus hermanas mayores tomaron la responsabilidad de cuidar las im&aacute;genes de la Virgen del Carmen. La tradici&oacute;n incluye celebrar la fiesta de la Virgen del Carmen el 16 de julio como preparaci&oacute;n para la Navidad y el A&ntilde;o Nuevo. La narradora se siente feliz al recibir a los bailarines en su casa, y considera que seguir la tradici&oacute;n de su madre es una forma de honrarla. Adem&aacute;s, la narradora espera que sus hijas contin&uacute;en con la tradici&oacute;n y pide a la gente que siempre abran las puertas para recibir a los angelitos.</li>\n\t<li>Cuarta invitaci&oacute;n: Casa de Jes&uacute;s Aguilera o Don Pachuri. Calle Quitachiyu cerca cancha de futbol y cerca de la 3ra casa de invitaci&oacute;n y del monumento a la Madre India. Jes&uacute;s Aguilera fue presidente de la danza de los toritos en el Cabildo, ahora con 80 a&ntilde;os, no escucha bien pero se siente feliz de recibir a los angelitos en su casa. A pesar de sentirse enfermo, expresa su alegr&iacute;a de estar presente con los angelitos, destacando el cari&ntilde;o y la fe en la Virgen Mar&iacute;a como su impulso para participar. La esposa de Jes&uacute;s Aguilera agradece la presencia de los angelitos. Expresa su agradecimiento a sus hijas, m&uacute;sicos, y angelitos por reunirse en su hogar para celebrar el nacimiento del ni&ntilde;o Jes&uacute;s. Agradece a todos los presentes y rezan juntos un Padre Nuestro, expresando gratitud tambi&eacute;n a la madre sant&iacute;sima por sus bendiciones en cada hogar y familia. Finaliza agradeciendo nuevamente a los ni&ntilde;os y m&uacute;sicos, la m&uacute;sica y la danza contin&uacute;an.</li>\n\t<li>Quinta invitaci&oacute;n: Casa de Dario Moy. Avenida Santos Noco, esquina calle Jos&eacute; Bopi.</li>\n</ul>\n\n<p><strong>El segundo d&iacute;a 26 de diciembre:</strong></p>\n\n<ul>\n\t<li>Primera invitaci&oacute;n: En el callej&oacute;n del Cabildo Ind&iacute;gena.</li>\n\t<li>Segunda invitaci&oacute;n: Cerca lagunas de oxidaci&oacute;n. Av. 26 de diciembre zona los Alamos. Familia Guaji.</li>\n\t<li>Tercera invitaci&oacute;n: Callej&oacute;n Avenida Santos Noco.</li>\n\t<li>Cuarta invitaci&oacute;n: Av. Santos Noco, casa de un m&uacute;sico antiguo del Cabildo.</li>\n</ul>\n\n<p><strong>Tercer d&iacute;a 27 de diciembre</strong>. Hubo una sola invitaci&oacute;n en la zona Caminos, al retornar bailaron en el Cabildo dando por terminado la representaci&oacute;n de la danza.</p>\n\n<p>En a&ntilde;os anteriores, el conjunto sol&iacute;a visitar la mayor&iacute;a de las casas que lo solicitaban. A&ntilde;os anteriores se recuerda que pr&aacute;cticamente todas las casas eran visitadas. Sin embargo, a medida que Trinidad creci&oacute;, la participaci&oacute;n y las invitaciones al conjunto disminuyeron. Aunque el recorrido tradicional de tres d&iacute;as se mantiene, la cantidad de invitaciones ha disminuido. Este cambio genera preocupaci&oacute;n sobre el futuro de las tradiciones y la participaci&oacute;n comunitaria en el conjunto.</p>\n\n<p><strong>PASO DEL CARGO</strong></p>\n\n<p>Jorge Nazaro entrego el cargo de Presidente de los Angelitos a Luis Fernando Noe Fabricano, que es Alcalde del Directorio del Cabildo. Inicialmente Jorge Nazaro quiso que &eacute;l pueda hacerse cargo de las dos danzas de las que es Presidente. Luis F. Noe arguy&oacute; que &ldquo;la danza del Santo Barco es muy pesado&rdquo; en el sentido de ser una danza muy dif&iacute;cil de organizar. Es as&iacute; que solo acept&oacute; ser Presidente de la danza de los Angelitos. Jorge Nazaro presento a Luis F. Noe a los bailarines el d&iacute;a del &uacute;ltimo ensayo, los bailarines lo recibieron bien. El &uacute;ltimo d&iacute;a de baile de esta danza Jorge Nazaro y Luis F. Noe bailaron juntos. Los ni&ntilde;os y los j&oacute;venes abrazaron a Jorge despidi&eacute;ndose, fue una despedida muy emotiva.&nbsp;&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p><strong>RITMOS DE LA MUSICA DE LOS ANGELITOS</strong></p>\n\n<p>Durante los ensayos y la presentaci&oacute;n los d&iacute;as correspondientes, se tocaron tres ritmos, los primeros dos son pasacalles.</p>\n\n<ul>\n\t<li>El primer pasacalle se ejecuta mientras el conjunto sale del Cabildo, cambiando despu&eacute;s de unas tres o cuatro cuadras.</li>\n\t<li>El segundo pasacalle es llamado &quot;tranco largo&quot;, indicando un ritmo m&aacute;s r&aacute;pido.</li>\n\t<li>El tercer ritmo es de adoraci&oacute;n y se toca al llegar a la iglesia o a las casas donde tienen invitaciones, como parte de la veneraci&oacute;n al ni&ntilde;o Jes&uacute;s en su pesebre. Se llama adoraci&oacute;n porque se hincan tres veces al llegar y al salir de la casa de invitaci&oacute;n y en el Cabildo al salir y al llegar.</li>\n</ul>\n\n<p><strong>COREOGRAFIA</strong></p>\n\n<p>Cuando salen y llegan a la catedral y a las invitaciones, deben hacer tres reverencias. Durante las danzas de los angelitos, se forman dos filas y se realizan las diferentes coreograf&iacute;as.</p>\n\n<ul>\n\t<li><strong>El tranco largo</strong>. Es para ir r&aacute;pidamente hacia el pr&oacute;ximo domicilio.</li>\n\t<li><strong>La cruz</strong>. Es la formaci&oacute;n de la cruz</li>\n\t<li><strong>El hurac&aacute;n.</strong> Son dos c&iacute;rculos que hacen los bailadores. Se van cruzando.</li>\n\t<li><strong>El c&iacute;rculo</strong>. Es un solo c&iacute;rculo grande.</li>\n\t<li><strong>La borrachera</strong>. Hacen c&iacute;rculo los bailadores agarran la bandera de sus extremos. Hay otro paso de baile</li>\n\t<li><strong>La viborilla</strong>. Es el mismo paso de cuando se hace la cruz, van cruzando tres veces una de ida y otra de vuelta pero en fila recta. &nbsp;</li>\n</ul>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "836629e6-2c45-4daa-8934-b66a7a9c8646", "provisionaledits": null, "resourceinstance_id": "bb5c333a-6d31-4f30-ba80-da60cdf174b4", "sortorder": 0, "tileid": "1d6c6e16-5acc-452c-b399-4f60f771b73d"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza es una agrupaci&oacute;n de personas que asumen la responsabilidad de participar continuamente. Asumir la responsabilidad de participar est&aacute; enmarcado en el Compromiso. El compromiso se conforma en dos principios, la fe del participante respecto del santo o santa y la responsabilidad con el Cabildo como lugar de residencia y vida cultural social.&nbsp;</p>\n\n<p>Las danzas son aprendidas en los ensayos por un organizador que es apoyado por los m&uacute;sicos y otras personas bailarines antiguos. La responsabilidad principal de la ense&ntilde;anza de la danza est&aacute; en el organizador que es un cargo asumido de por vida.</p>\n\n<p>La danza tiene participaci&oacute;n de varios ni&ntilde;os, ni&ntilde;as, adolescentes. La motivaci&oacute;n de los ni&ntilde;os para participar son los regalos que les son entregados el 25 de diciembre. Los regalos son entregados preferentemente a los ni&ntilde;os y las ni&ntilde;as, si hay muchos regalos son entregados a la mayor cantidad de ni&ntilde;os y ni&ntilde;as del Cabildo. Desde temprana edad los ni&ntilde;os son motivados a participar. Los padres son los responsables de cuidarlos y vestirlos para la ocasi&oacute;n. As&iacute; que la participaci&oacute;n no s&oacute;lo son los bailarines, tambi&eacute;n son los padres y madres del Cabildo.</p>\n\n<p>.&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "836629e6-2c45-4daa-8934-b66a7a9c8646", "provisionaledits": null, "resourceinstance_id": "bb5c333a-6d31-4f30-ba80-da60cdf174b4", "sortorder": 0, "tileid": "2f9202aa-a319-457a-9176-c22c7377fb7f"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Danza de los Angelitos re\u00fane una gran cantidad de gente de la comunidad del Cabildo. Posee elementos de su estructura, como los organizadores. Existe un organizador un antiguo y uno reciente que est\u00e1 aprendiendo sobre la danza, tiene al organizador antiguo que lo acompa\u00f1a. El organizador antiguo Jorge Nazaro, dejo el cargo porque se encuentra enfermo. As\u00ed mismo, tiene el respaldo de las autoridades del Cabildo.  Hay bastante inter\u00e9s en continuar con la danza por su contenido religioso importante en la Fiesta de Navidad. Las generaciones j\u00f3venes, ni\u00f1os y ni\u00f1as participan activamente. As\u00ed mismo, las invitaciones, si bien han disminuido, existe el Compromiso de continuar con enviando invitaciones a la danza. Lo que se espera es que las invitaciones sean m\u00e1s numerosas.  Por otro lado, el Cabildo respalda la realizaci\u00f3n de la danza con los aportes de los comunarios, aunque no sea suficiente, y aunque se deje de realizar acciones inherentes a la representaci\u00f3n, como el agasajo a los Hu\u00e9rfanos, tienen la decisi\u00f3n de continuar con la pr\u00e1ctica.  Se espera que reciban apoyo de organizaciones externas, para coadyuvar a la realizaci\u00f3n con todas  las expresiones, recuperando el agasajo de los Hu\u00e9rfanos. Este agasajo se realizaba en la \u00e9poca misional, se ha encontrado escritos que describen como una de las varias acciones de la Fiesta de Navidad en tiempo de los jesuitas. Owens citado en Block (1997) describe el cuidado de los hu\u00e9rfanos como una tarea de mujeres viudas, dato resultado de los censos jesu\u00edticos realizado en el siglo XVIII. Bajo esta costumbre el cuidado de los hu\u00e9rfanos se traduce en el agasajo que se realiza en Navidad, el 26 de diciembre.  Block, David. La cultura reduccional de los llanos de mojos. Tradici\u00f3n aut\u00f3ctona, empresa jestu\u00edtica & pol\u00edtica civil, 1660 \u2013 1880. Universidad de Nebraska. 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Se transmiten a los hijos y a la familia pero suele suceder en ocasiones donde se abordan los recuerdos. En tanto no se hable de este tema no se recrea la memoria para contar las historias.&nbsp;"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ef293d31-515d-4d14-91be-0fb9ae54a3c6", "provisionaledits": null, "resourceinstance_id": "c294625a-e25d-46c8-b042-e5d4d45b1b6b", "sortorder": 0, "tileid": "d153ee5d-3b29-42a1-a56e-b6b98311616d"}, {"data": {}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ef293d31-515d-4d14-91be-0fb9ae54a3c6", "provisionaledits": null, "resourceinstance_id": "c294625a-e25d-46c8-b042-e5d4d45b1b6b", "sortorder": 0, "tileid": "982f7ef8-7926-4575-8581-56aabbe989dd"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>EL CUENTO DE LA VELA DEL CEBO</strong></p>\n\n<p>Hab&iacute;a una se&ntilde;ora costurera que todos los d&iacute;as cos&iacute;a; durante el d&iacute;a no hac&iacute;a nada, pero en la noche trabajaba. A veces, abusar tanto no es bueno. Al final, todo el mundo tiene derecho a descansar, incluso la gente que trabaja de noche. Nosotros, que estamos ocupados durante el d&iacute;a, tambi&eacute;n necesitamos nuestro tiempo de descanso. Hubo un momento en que se dijo que los se&ntilde;ores de la noche se hab&iacute;an despertado. Entonces, de repente, alguien toc&oacute; la puerta: toc, toc, toc. Era una se&ntilde;ora que dijo &quot;buenas noches&quot;. Pregunt&oacute; qu&eacute; estaba haciendo, y al enterarse de que estaba cosiendo, se fue.</p>\n\n<p>A la siguiente noche cambio de personalidad y toco la puerta, el pregunto qu&eacute; estaba haciendo, le dijo que estaba cosiendo. La tercera vez que vino, pregunt&oacute;, va costurar otra vez? Le dijo que s&iacute;. Le dijo si pod&iacute;a hacerle un favor: no quiero ir con estas velas y le pregunt&oacute; si pod&iacute;a encarg&aacute;rselas. La costurera acept&oacute; y la se&ntilde;ora le dej&oacute; las velas. Sin embargo, pasaron seis d&iacute;as y la costurera no abri&oacute; el paquete.</p>\n\n<p>Una semana despu&eacute;s, le cuenta a su vecina que una se&ntilde;ora le entreg&oacute; una bolsa que le hab&iacute;an encargado hace tiempo, no sab&iacute;a que conten&iacute;a el paquete. La costurera ten&iacute;a curiosidad y su amiga le dice destap&eacute;mosla, decidi&oacute; abrir el paquete. Descubri&oacute; que en lugar de velas de sebo, hab&iacute;a huesos humanos. Result&oacute; que la se&ntilde;ora que ven&iacute;a a visitarla era la misma persona cuyos huesos hab&iacute;an sido entregados porque estaba muerta. Esta historia nos recuerda la importancia de respetar el descanso de los dem&aacute;s y ser cuidadosos.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["29a2ed34-bbc1-4132-b95f-96d7b7013e10"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "ef293d31-515d-4d14-91be-0fb9ae54a3c6", "provisionaledits": null, "resourceinstance_id": "c294625a-e25d-46c8-b042-e5d4d45b1b6b", "sortorder": 0, "tileid": "86c52a4b-0475-4f26-bfbe-2da26de2e7b0"}, {"data": {}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "ef293d31-515d-4d14-91be-0fb9ae54a3c6", "provisionaledits": null, "resourceinstance_id": "c294625a-e25d-46c8-b042-e5d4d45b1b6b", "sortorder": 0, "tileid": "78ff982e-0771-447e-96c6-7aee98978f42"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": 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"4c57b98a-5759-49a9-b70c-86bdf5ab7633", "sortorder": 0, "tileid": "2610b3a5-1ed7-49e8-850e-cc3ead8dba6b"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '00', 'codsA': '00', 'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "FIESTA DE NAVIDAD"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000036", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"de": {"direction": 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"es": {"direction": "ltr", "value": "<p>A lo largo de los a&ntilde;os en que se realiza esta fiesta, hubo muchas transformaciones en diferentes niveles. En el &aacute;mbito familiar, la construcci&oacute;n de los pesebres de hacerse de barro con material del ambiente natura paso a la compra de las figuras necesarias, tiene que ver la elaboraci&oacute;n de la torta de navidad reemplazada por el panet&oacute;n.</p>\n\n<p>Otras transformaciones tiene que ver con el involucramiento de la poblaci&oacute;n fuera del Cabildo, en vista que esta descripci&oacute;n es sobre la fiesta de Navidad en su generalidad, intervienen miembros del Cabildo y la poblaci&oacute;n de la ciudad de Trinidad.</p>\n\n<p>Uno de ellos es la ruta de trayecto de las invitaciones a las danzas que se practican en esta &eacute;poca. Tiene que ver con el trayecto de las invitaciones que antes correspond&iacute;a a casi transitar por toda la ciudad cuando no ten&iacute;a un crecimiento significativo como lo es ahora. Actualmente el trayecto corresponde a invitaciones mayormente en barrios alejados del centro. Al mismo, el n&uacute;mero de las invitaciones ha disminuido, era numeroso de parte de familias externas al Cabildo sumadas a las invitaciones de las familias del Cabildo. Ahora las invitaciones provienen mayormente de familias que vivieron en el Cabildo y que ahora residen en barrios alejados o al interior del Cabildo.</p>\n\n<p>Dentro del Cabildo esta la no realizaci&oacute;n del agasajo a los Hu&eacute;rfanos, por no disponer de recursos econ&oacute;micos para la preparaci&oacute;n de la comida y los regalos.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "c964e57e-077b-43a5-b991-073c60dc3857", "provisionaledits": null, "resourceinstance_id": "4c57b98a-5759-49a9-b70c-86bdf5ab7633", "sortorder": 0, "tileid": "b7c007ac-113d-474a-85c3-096b58703127"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4c57b98a-5759-49a9-b70c-86bdf5ab7633", "sortorder": 0, "tileid": "c964e57e-077b-43a5-b991-073c60dc3857"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["322b3277-4cda-4519-a47e-74db25067384"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>LA FIESTA DE NAVIDAD EN LA CIUDAD DE TRINIDAD, BENI</strong></p>\n\n<p>La navidad se desarrolla desde el 25 de diciembre hasta el 14 de enero. El 25 de diciembre es el nacimiento de Jes&uacute;s y el 14 de enero es el &uacute;ltimo baile de la danza el Santo Barco. Este tiempo contiene diferentes significaciones para la poblaci&oacute;n, para los trinitarios y los ind&iacute;genas del Cabildo.</p>\n\n<p>&nbsp;</p>\n\n<p>En general, la celebraci&oacute;n de la Navidad es un llamado a celebrar la vida nueva y el amor, tanto hacia el ni&ntilde;o Jes&uacute;s como hacia el pr&oacute;jimo, siguiendo el ejemplo de Cristo. Durante la preparaci&oacute;n de las festividades navide&ntilde;as, se destaca la importancia de ver al ni&ntilde;o Dios en un pesebre como s&iacute;mbolo de la nueva vida. La narrativa subraya la conexi&oacute;n entre la vivencia del amor al pr&oacute;jimo y la solidaridad, haciendo hincapi&eacute; en las acciones concretas de bondad como respuesta a las ense&ntilde;anzas de Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LAS TRADICIONES DE NAVIDAD DE A&Ntilde;OS PASADOS</strong></p>\n\n<p>Gladys Rodr&iacute;guez Ch&aacute;vez, una vecina de la calle Cochabamba, cuenta que la poblaci&oacute;n trinitaria recuerda que anteriormente, la danza de los Angelitos, despu&eacute;s de la misa a las 6:30 de la ma&ntilde;ana, los danzarines del Cabildo ind&iacute;gena recorr&iacute;an las calles de Trinidad, siguiendo una ruta que pasaba por la plazuela del estudiante, la calle Cochabamba, el colegio La Salle, la iglesia F&aacute;tima y la calle Bol&iacute;var. Recuerdan que durante el recorrido, eran acompa&ntilde;ados por m&uacute;sicos que tocaban la flauta y la bombilla. Un personaje destacado era &quot;El padrino t&iacute;o Chichimeca&quot;, encargado de tocar la flauta. La danza inclu&iacute;a toritos, mamas y angelitos como personajes principales. El se&ntilde;or Alejandro, vendedor de raspadillos, era el m&uacute;sico que los acompa&ntilde;aba. En cada casa que visitaban los danzarines, se les ofrec&iacute;a comida, chicha y refrescos como muestra de hospitalidad. La tradici&oacute;n inclu&iacute;a la elaboraci&oacute;n de bizcochos y tortas, y en algunas casas, se serv&iacute;a almuerzo. Esta pr&aacute;ctica se centraba en adorar al ni&ntilde;o Jes&uacute;s, y la comunidad se un&iacute;a para mantener viva esta tradici&oacute;n. En las d&eacute;cadas del 1960 y 1970, los ni&ntilde;os que no eran del Cabildo segu&iacute;an a los danzarines que recorr&iacute;an las casas donde se preparaban los nacimientos.</p>\n\n<p>&nbsp;</p>\n\n<p>La elaboraci&oacute;n de tortas, una tradici&oacute;n navide&ntilde;a, ha disminuido considerablemente, y aunque algunas casas a&uacute;n las hacen para Navidad, la tendencia actual es reemplazarlas con panet&oacute;n. Anteriormente, era com&uacute;n tomar chocolate con torta en la ma&ntilde;ana del 25 de diciembre, pero ahora la costumbre est&aacute; desapareciendo, siendo sustituida por el panet&oacute;n. Ahora se observa una p&eacute;rdida de conexi&oacute;n con las tradiciones a medida que pasa el tiempo.</p>\n\n<p>&nbsp;</p>\n\n<p>Anteriormente, la celebraci&oacute;n de Navidad para la poblaci&oacute;n trinitaria \u2015identificada como la poblaci&oacute;n fuera del Cabildo\u2015 era un momento especial con la familia reunida. Se cocinaban diferentes platos como pavo, que a veces resultaba seco, en cambio el pato era sabroso. Para A&ntilde;o Nuevo, preparaban chancho, siguiendo creencias relacionadas con la prosperidad.</p>\n\n<p>&nbsp;</p>\n\n<p>La tradici&oacute;n inclu&iacute;a la reuni&oacute;n familiar en la noche de Navidad para intercambiar regalos, que se entregaban a los mayores en la noche del 24 de diciembre y a los ni&ntilde;os el d&iacute;a 25. Los ni&ntilde;os recib&iacute;an regalos dejados en sus almohadas, generando emoci&oacute;n al buscarlos con sus manos al despertar.</p>\n\n<p>&nbsp;</p>\n\n<p>A diferencia de los mayores, a los ni&ntilde;os se les dejaba su regalo bajo la almohada mientras dorm&iacute;an, y al despertar, buscaban su regalo all&iacute;. En la infancia, apreciaban recibir mu&ntilde;equitos y golosinas, especialmente uvas con calcoman&iacute;as que se adher&iacute;an a la ropa con la plancha. El globo era un objeto muy ansiado, ya que no estaba disponible localmente y lo tra&iacute;an de Santa Cruz, siendo considerado un art&iacute;culo costoso.</p>\n\n<p>&nbsp;</p>\n\n<p>Los regalos sol&iacute;an llegar de otras ciudades en aviones cargueros, principalmente a las tiendas locales. Recuerda un incidente en el que un avi&oacute;n se sali&oacute; de la pista y se quem&oacute; antes de la Navidad, resultando en la p&eacute;rdida de muchos regalos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LOS PESEBRES</strong></p>\n\n<p>En tiempos pasados, los pesebres se confeccionaban con barro y el pasto era cultivado en latitas en las que sembraban arroz para que creciera como pasto. La pr&aacute;ctica inclu&iacute;a sembrar arroz inicialmente y, despu&eacute;s de algunos d&iacute;as, sembrar ma&iacute;z. Estos pesebres sol&iacute;an incluir animales dom&eacute;sticos como gallos, patos y una vaca, junto con peque&ntilde;as tazas a manera de utensilios.</p>\n\n<p>&nbsp;</p>\n\n<p>Hasta la d&eacute;cada del 1980 o 1990, la tradici&oacute;n de hacer nacimientos en Trinidad perduraba. Los nacimientos sol&iacute;an ser naturales, hechos de barro con figuras como vaquitas, pescaditos y los tres reyes magos. La abuela de Lizandro Pe&ntilde;arrieta, por ejemplo, sol&iacute;a organizar un pesebre en su sala, en una mesa se esparc&iacute;a tierra negra y sembrando arroz para simular el pasto, para darle vida al paisaje. La tradici&oacute;n se ha ido perdiendo con el tiempo, pero en aquella &eacute;poca, era una costumbre importante.</p>\n\n<p>&nbsp;</p>\n\n<p>La siembra del pasto para los nacimientos sol&iacute;a realizarse en latas, ya sea utilizando latas de alcohol o latas peque&ntilde;as en la mesa. Las familias se reun&iacute;an en Nochebuena, la tradici&oacute;n inclu&iacute;a la llegada de todos los miembros de la familia para cenar, adorar al ni&ntilde;o Jes&uacute;s y abrir los regalos a partir de las 12 de la noche.</p>\n\n<p>En las d&eacute;cadas de 1960 y 1970, la tradici&oacute;n de hacer nacimientos era importante en la calle Cochabamba. Varias familias, como la se&ntilde;ora Urbana, la familia Ruiz, Don Sixto Hern&aacute;ndez, la se&ntilde;ora Trinidad (mami Trini), la familia Selada, los Mu&ntilde;oz, los Zambrano, la familia Ortega, la familia Palma, y los Ganosa, entre otras, sol&iacute;an crear hermosos nacimientos. La abuela Clara Aponte, en particular, destacaba por su devoci&oacute;n cat&oacute;lica y por considerar la Navidad como un acto sagrado. La calle Cochabamba era conocida por sus elaborados nacimientos, y en la d&eacute;cada del 1980, los danzarines sol&iacute;an visitar las casas tras la misa de la ma&ntilde;ana del 25 de diciembre. Aunque algunas de estas tradiciones han disminuido con el tiempo, estas familias eran conocidas por mantener viva la costumbre de hacer nacimientos. Hab&iacute;a un nacimiento muy bonito, de la se&ntilde;ora Rosaura Arias, actualmente el Hotel Yacuma.</p>\n\n<p>&nbsp;</p>\n\n<p>La tradici&oacute;n de hacer nacimientos en la familia ha disminuido con el tiempo. Antes, la abuela de las familias o las madres, eran quienes exig&iacute;an la creaci&oacute;n de un nacimiento con elementos naturales, como vaquitas y pescaditos hechos a mano, arbolitos naturales y bolitas artificiales. Tras la muerte de la abuela, su t&iacute;a se llev&oacute; los objetos que guardaba. Aunque ahora el nacimiento en la casa es m&aacute;s peque&ntilde;o y los elementos son comprados, se destaca la importancia de mantener viva la tradici&oacute;n de hacer un pesebre, que representa una ense&ntilde;anza del catolicismo y refleja la uni&oacute;n familiar.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LA NAVIDAD EN EL CABILDO INDIGENAL</strong></p>\n\n<p>Para la comunidad del Cabildo Indigenal la navidad es la importancia de comprender la celebraci&oacute;n como un momento para celebrar la vida nueva, la cual est&aacute; intr&iacute;nsecamente ligada al amor. Se enfatiza el amor al ni&ntilde;o Jes&uacute;s y al pr&oacute;jimo, siguiendo el ejemplo de Cristo. Se subraya la realidad simb&oacute;lica al contemplar al ni&ntilde;o Jes&uacute;s en un pesebre y la conexi&oacute;n entre la vida, destacando que el amor se manifiesta a trav&eacute;s de la fraternidad y la solidaridad. Se hace referencia a la ense&ntilde;anza de Jes&uacute;s sobre la importancia de ayudar a los necesitados como expresi&oacute;n real de amor al pr&oacute;jimo.</p>\n\n<p>&nbsp;</p>\n\n<p>Actualmente el Corregidor del Cabildo Indigenal sostiene que se mantiene estas tradiciones con el objetivo de fomentar un esp&iacute;ritu positivo y nuevo, buscando la luz de la vida. La celebraci&oacute;n de la Navidad sirve como recordatorio de la importancia de la solidaridad y la armon&iacute;a en la familia, especialmente en consideraci&oacute;n de los ni&ntilde;os necesitados. Se espera que estas festividades propicien la reconciliaci&oacute;n y la generosidad, creando un ambiente de armon&iacute;a en el hogar.</p>\n\n<p>&nbsp;</p>\n\n<p>Anteriormente el primer d&iacute;a el 25 de navidad junto a la danza de los Angelitos participaban las parcialidades y hu&eacute;rfanos, que cantaban rezos y tambi&eacute;n bailaban. En el tercer d&iacute;a, anteriormente los Aruchos se un&iacute;an a los Macheteros y bailan con adornos caracter&iacute;sticos de esta danza, los Aruchos ten&iacute;an cantos para la ocasi&oacute;n. Las parcialidades exhib&iacute;an sus herramientas, como libros de canto los doctrineros. C&aacute;ntaros de leche, los vaqueros. Los sacristanes con sus velas. Con sus herramientas los tejedores, los herreros, meleadores y carpinteros, cada uno con sus herramientas y ten&iacute;an una melod&iacute;a propia para bailar.</p>\n\n<p>&nbsp;</p>\n\n<p>A diferencia de otras danzas, una de las caracter&iacute;sticas principales de las danzas de navidad, es que salen una vez al a&ntilde;o, espec&iacute;ficamente para venerar al ni&ntilde;o Jes&uacute;s en la festividad navide&ntilde;a.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LAS NOVENAS Y LA MISA DE NOCHE BUENA</strong></p>\n\n<p>La celebraci&oacute;n de la navidad comienza con las novenas, son nueve misas, comienza tres semanas antes&nbsp; y la &uacute;ltima novena es el 24 de diciembre. Se dan oraciones, lecturas de la biblia y cantos de la navidad. Se reza el rosario.</p>\n\n<p>&nbsp;</p>\n\n<p>La misa de la noche buena el 24 de diciembre, es especial, ya que es el nacimiento de Cristo. Para ello un d&iacute;a antes se construye el pesebre con chuchio, madera y hojas de motac&uacute;.</p>\n\n<p>&nbsp;</p>\n\n<p>Se acomoda las estatuillas de Mar&iacute;a, Jos&eacute;, los pastores, los reyes, animales. Hay otro grupo para el pesebre del sal&oacute;n del Cabildo. El cual tambi&eacute;n se construye de madera, y adornos navide&ntilde;os.&nbsp; En la iglesia tambi&eacute;n se arma el &aacute;rbol de navidad.</p>\n\n<p>&nbsp;</p>\n\n<p>La novena de navidad, tiene cantos especiales al nacimiento del ni&ntilde;o Dios y las lecturas del mismo evento. Al terminar se re&uacute;nen los bailarines de la danza los Angelitos para salir a la catedral.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>EL REPIQUE DE CAMPANAS PARA NAVIDAD</strong></p>\n\n<p>Los repiques de campanas son particulares para la fiesta de navidad. Los repicadores forman parte de la comunidad ind&iacute;gena. Al mismo tiempo que se toca la campana se toca la caja de repiques. Ambos establecen una especie de dialogo, ya que los mismos repiques se toca tanto en la caja como en las campanas.</p>\n\n<p>&nbsp;</p>\n\n<p>El grupo de los campaneros y los repicadores de caja, conforman un solo grupo. El grupo musical llamado <em>cajerionos</em>, donde &quot;caja&quot; se refiere al tambor. Inicialmente, los <em>cajerionos</em> eran parte del grupo de campaneros, encargados de tocar las campanas en coordinaci&oacute;n con el repicador, quien marca el ritmo con la caja. Con el tiempo, los <em>cajerionos</em> se integraron al grupo de m&uacute;sicos, formando parte esencial en las festividades.</p>\n\n<p>&nbsp;</p>\n\n<p>Cada fecha especial tiene su propio repique, como el solemne y el alegre. Durante Navidad, replican un sonido alegre para anunciar el nacimiento de Jes&uacute;s. Aunque los campaneros y repicadores eran originalmente los mismos, la instituci&oacute;n de campaneros llev&oacute; a una separaci&oacute;n, pero algunos repicadores tambi&eacute;n se convirtieron en campaneros. En la actualidad, hay tres repicadores en el Cabildo Luis Tamo y Sebasti&aacute;n No&eacute; y Bernardo No&eacute;, existe la necesidad de incluir a un joven conocedor de los toques de campana en el grupo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LOS HU&Eacute;RFANOS</strong></p>\n\n<p>En el Cabildo, los hu&eacute;rfanos recib&iacute;an un banquete el 25 de diciembre, era un banquete especial para ni&ntilde;os hu&eacute;rfanos, aquellos que han perdido a sus padres. La tradici&oacute;n est&aacute; vinculada a la idea de que Jes&uacute;s tambi&eacute;n acogi&oacute; a los ni&ntilde;os, eran doce como los ap&oacute;stoles.&nbsp; La importancia de su participaci&oacute;n juntamente con la danza de Los Angelitos fue de brindar atenci&oacute;n adecuada a estos ni&ntilde;os, ya que a menudo enfrentan situaciones dif&iacute;ciles, como maltrato. La comunidad busca cuidar y alimentar a los ni&ntilde;os hu&eacute;rfanos durante la Navidad, siguiendo la ense&ntilde;anza de Jes&uacute;s de dar importancia a los ni&ntilde;os y ancianos. La palabra <em>vacha</em> hu&eacute;rfano en trinitario se utiliza para describir a un ni&ntilde;o mal atendido o abandonado. La tradici&oacute;n refleja el deseo de cuidar y mostrar amor a aquellos que han perdido a sus padres.</p>\n\n<p>&nbsp;</p>\n\n<p>Estos hu&eacute;rfanos son considerados &quot;<em>wachitas</em>&quot; y, a partir de ese momento, la comunidad se compromete a cumplir el papel de padres para ellos. Esta iniciativa busca proporcionar a los hu&eacute;rfanos la posibilidad de tener figuras parentales que realicen las funciones que sus padres fallecidos cumplir&iacute;an.</p>\n\n<p>&nbsp;</p>\n\n<p>Los hu&eacute;rfanos para Navidad se buscan ni&ntilde;os varones porque el santo es hombre en cambio para la celebraci&oacute;n de santas que son mujeres se buscan ni&ntilde;as mujeres hu&eacute;rfanos para darle su banquete por eso en Navidad se buscan hu&eacute;rfanos varones porque Jes&uacute;s es hombre y San Jos&eacute; es hombre. Debe haber un mayordomo para atender a los ni&ntilde;os se coordina una semana antes de Navidad con los m&uacute;sicos que van a tocar y buscar el mayordomo y a los ni&ntilde;os hu&eacute;rfanos.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p><strong>EL COMPROMISO Y LA PENITENCIA</strong></p>\n\n<p>Ir a las visitas en todas las danzas es c&oacute;mo cumplir una penitencia ya que uno se cansa, son muchas las invitaciones a las que hay que ir y los recorridos son largos y ese cansancio es la penitencia y la motivaci&oacute;n para seguir.</p>\n\n<p>&nbsp;</p>\n\n<p>La reuni&oacute;n de organizaci&oacute;n se realiza para todas las danzas, para establecer el cumplimiento de los compromisos y confirmar la participaci&oacute;n de quienes hab&iacute;an participado el a&ntilde;o pasado. Estas personas reafirman su compromiso de bailar. Ellos dicen &ldquo;estoy comprometida&rdquo; o &ldquo;estoy comprometido a bailar&rdquo; y es as&iacute; como confirman su participaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>El compromiso implica cumplir con la palabra dada y hacerlo de cualquier manera, sea donde la persona se encuentre, debe volver al Cabildo para cumplir con el compromiso.</p>\n\n<p>&nbsp;</p>\n\n<p>En las reuniones tambi&eacute;n se decide la participaci&oacute;n de los personajes principales, las personas con m&aacute;s experiencia hablan sobre c&oacute;mo se realiz&oacute; estas danzas a&ntilde;os anteriores y saber c&oacute;mo se tiene que proceder, lo dicen como un cuento, en base a historias que ocurrieron. Hacen referencia a la religi&oacute;n, a Dios y a Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p>Ellos o los ancianos recomiendan que se busquen a las personas que representar&aacute;n a los personajes faltantes, no dos d&iacute;as antes del baile, sino una semana antes. Las autoridades deben ir a visitar a la casa de esa persona elegida para invitarla a participar y se comprometa.</p>\n\n<p>&nbsp;</p>\n\n<p>Los personajes principales para una danza solos m&uacute;sicos y los personajes central en el caso del santo barco los personajes centrales son dos doctores y la reina.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LAS INVITACIONES</strong></p>\n\n<p>Son visitas a diferentes familias que desean que los bailarines vayan a su casa a adorar al ni&ntilde;o Jes&uacute;s, cada casa tiene un pesebre. Las invitaciones son confirmadas tres d&iacute;as antes de la representaci&oacute;n de la danza. De esa manera, se organizan para trazar la ruta y el tiempo que se puedan tardar en cada casa y as&iacute; cumplir con todas las invitaciones.</p>\n\n<p>&nbsp;</p>\n\n<p>Generalmente las familias que los invitan fueron parte del Cabildo de la Sant&iacute;sima Trinidad o familias que comparten la fe. Ellos entienden que las danzas son sagradas, por ello es importante que vayan a su casa y recibirlos, para ellos las danzas son una bendici&oacute;n para las familias que los reciben y es una manera de seguir la tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Los danzarines de los Angelitos, Los Reyes, el Santo Barco invitan a los due&ntilde;os de casa a bailar. Cada uno de estas danzas tienen elementos sagrados, los Angelitos es la corona, Los Reyes tienen sus coronas, el Santo Barco tiene los sombreros de los doctores. Son estos elementos que les ponen en la cabeza a los due&ntilde;os de casa y les invitan a bailar.</p>\n\n<p>&nbsp;</p>\n\n<p>Cuando las invitaciones est&aacute;n a distancias muy largas se trasladan en motos a los bailarines, especialmente a los ni&ntilde;os. &nbsp;Son padres y madres o hermanos, se ayudan entre s&iacute; para ir a todas las invitaciones, sobre todo cuando van a la quinta visita ya est&aacute;n muy cansados.</p>\n\n<p>&nbsp;</p>\n\n<p>Todos se ayudan es una manera de afianzar las relaciones entre las familias del Cabildo y de participar en las danzas, no siempre bailando, pero s&iacute; acompa&ntilde;ando. As&iacute; a una invitaci&oacute;n llegan un n&uacute;mero grande de personas. La familia que recibe a los bailarines debe invitar refrescos y comida a todos los que llegan.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "c964e57e-077b-43a5-b991-073c60dc3857", "provisionaledits": null, "resourceinstance_id": "4c57b98a-5759-49a9-b70c-86bdf5ab7633", "sortorder": 0, "tileid": "b93111ca-e723-4a23-afeb-53d38ad1fd3c"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se debe destacar tres caracter\u00edsticas:  Una, es la fiesta misma, su simbolismo y significado repercute en la poblaci\u00f3n creyente, por la fe principalmente y la transformaci\u00f3n que logra en el \u00e1nimo y empat\u00eda hacia personas necesitadas, en el restablecimiento de lazos familiares, re\u00fane a la familia.  Dos, los rituales en la iglesia, las costumbres en los hogares, en el Cabildo, son diferentes pero tienen el mismo fin, el de recibir un s\u00edmbolo de la fe cat\u00f3lica, el nacimiento de Jes\u00fas. En torno a \u00e9l se desarrollan muchas actividades modernas o tradicionales.  Tres, la historia constantemente rememorada de un suceso cat\u00f3lico, se funde con las tradiciones del Cabildo Indigenal y son permanentemente practicados. 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Siendo la Navidad una fiesta que tiene un conjunto de actividades, combina formas de transmisi&oacute;n entre padres a hijos cuando es una celebraci&oacute;n familiar como el armado del pesebre. Cuando se asiste a misa para el nacimiento del ni&ntilde;o Jes&uacute;s, la representaci&oacute;n de las danzas es una transmisi&oacute;n de pr&aacute;ctica cultural generacional. En tanto que la elaboraci&oacute;n de artefactos artesanales implica una transmisi&oacute;n de maestro a aprendiz como la elaboraci&oacute;n de las coronas de los Reyes Magos o aprender los repiques de las campanas.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "c964e57e-077b-43a5-b991-073c60dc3857", "provisionaledits": null, "resourceinstance_id": "4c57b98a-5759-49a9-b70c-86bdf5ab7633", "sortorder": 1, "tileid": "638582fb-0dcb-445e-bd0c-af9b83f75a67"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Una de ellas la excesiva comercializaci&oacute;n que distrae la religiosidad propia de esta fiesta.</p>\n\n<p>El desconocimiento de la historia y el significado de las danzas tradicionales de Navidad representadas por el Cabildo, no es propia de toda la ciudadan&iacute;a de Trinidad.</p>\n\n<p>La falta de coordinaci&oacute;n con las instituciones gubernamentales respecto de la protecci&oacute;n que los bailarines necesitan en el trayecto rumbo a la catedral. Las motos y autom&oacute;viles interceptan el recorrido poniendo en riesgo a la comitiva. &nbsp;En la misma l&iacute;nea, se recomienda coordinaci&oacute;n con el Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad, para organizar la llegada y participaci&oacute;n de los bailarines en la catedral durante la eucarist&iacute;a, en todas fechas del calendario religioso anual.</p>\n\n<p>El reemplazo de objetos con significado tradicional por otros modernos. Es posible producir los objetos tradicionales, se recomienda gestionar proyectos al respecto.</p>\n\n<p>Falta de apoyo a los reproductores de las tradiciones, en temas gastron&oacute;micos, artesanales, pr&aacute;cticas culturales.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "c964e57e-077b-43a5-b991-073c60dc3857", "provisionaledits": null, "resourceinstance_id": "4c57b98a-5759-49a9-b70c-86bdf5ab7633", "sortorder": 0, "tileid": "d91fa186-4ce0-4872-b40c-d067bd5cba46"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4c57b98a-5759-49a9-b70c-86bdf5ab7633", "sortorder": 0, "tileid": "bb5989fe-f7b9-4c07-b4a8-66cc414360e7"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "b295645f-426e-49ab-9bd1-12c5728a359d", "resourceXresourceId": "62c491fb-6a99-4ab2-a5ea-5dd2675eb5e4"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "bb5989fe-f7b9-4c07-b4a8-66cc414360e7", "provisionaledits": null, "resourceinstance_id": "4c57b98a-5759-49a9-b70c-86bdf5ab7633", "sortorder": 0, "tileid": "484d350a-740b-48f3-8509-ac1467fba5f8"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "9f90c19d-0d7c-40e6-bce7-7bdbb49454f6", "resourceXresourceId": "e805d242-6716-4f93-8a10-21b511340fe3"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "bb5989fe-f7b9-4c07-b4a8-66cc414360e7", "provisionaledits": null, "resourceinstance_id": "4c57b98a-5759-49a9-b70c-86bdf5ab7633", "sortorder": 1, "tileid": "1974e114-7213-41b7-b88a-8f8a65efaa78"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "99e472d2-8f5d-4942-998a-6bba8491c32a"}], "2984c167-857c-11ee-a653-53ebd0470963": "bc9095da-c024-42d5-a9f5-41606dd36ef8", "2984c168-857c-11ee-a653-53ebd0470963": "2024-03-13"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "4ccfdd6d-316b-451d-91f0-6afe84a9b63d", "provisionaledits": null, "resourceinstance_id": "4c57b98a-5759-49a9-b70c-86bdf5ab7633", "sortorder": 0, "tileid": "77c104e0-4d1a-453d-873b-9bffa488cfe2"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:47.113", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000039, "}, "es": {"description": "Los Reyes Magos- Gran Cabildo Indigenal de la Sant\u00edsima Trinidad. 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Ciudad Trinidad Beni"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": null}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 0, "tileid": "d52d1d12-75c2-4b85-b2a4-0bbf4f5db539"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 0, "tileid": "2e6854df-b18e-468a-9a3b-2ef91b257e90"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>LOS REYES MAGOS</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>HISTORIA</strong></p>\n\n<p>Los Reyes Magos fueron personas sabias que conoc&iacute;an y estudiaban las estrellas, una estrella les&nbsp; anunci&oacute; la llegada del Mes&iacute;as. Despu&eacute;s de preparar su camino, llegaron a Bel&eacute;n, adoraron al ni&ntilde;o Jes&uacute;s y le ofrecieron oro, mirra e incienso. Al encontrarse con Herodes, este les pidi&oacute; informarle de su paradero al regresar, pero ellos optaron ir por otro camino para evitar revelar la ubicaci&oacute;n del ni&ntilde;o.</p>\n\n<p>&nbsp;</p>\n\n<p>El Monse&ntilde;or El&iacute;as Montoya afirma que en la epifan&iacute;a del 6 de enero se celebra la manifestaci&oacute;n a los Reyes Magos del nacimiento de Jes&uacute;s, representando que personas de otras culturas tambi&eacute;n pueden ir a adorar al ni&ntilde;o Jes&uacute;s. Esta tradici&oacute;n refleja el auto sacramental de la representaci&oacute;n de los Reyes Magos que se hac&iacute;a en los tiempos de los jesuitas, destacando la manifestaci&oacute;n de Dios como luz para todas las naciones. La celebraci&oacute;n de la Navidad se centra en la gloria del pueblo de Dios y la epifan&iacute;a abarca a todos los pueblos, incluyendo aquellos que no son descendientes de Abraham, Isaac y Jacob.</p>\n\n<p>&nbsp;</p>\n\n<p>La epifan&iacute;a quiere decir revelaci&oacute;n. En la historia de los Reyes Magos, la estrella juega un papel crucial gui&aacute;ndolos hacia el lugar donde se encuentra el ni&ntilde;o Jes&uacute;s en Bel&eacute;n. La estrella es un anuncio importante para los magos de oriente, mientras que los pastores reciben su anuncio a trav&eacute;s de los &aacute;ngeles en el cielo, indicando as&iacute; el nacimiento del Mes&iacute;as, la estrella es la revelaci&oacute;n para los Reyes Mayos de ese suceso.</p>\n\n<p>&nbsp;</p>\n\n<p>Los Reyes Magos del oriente siguen a la estrella que los gu&iacute;a a Jerusal&eacute;n. Ellos saben que el nacido es un rey, por ello al llegar a Jerusal&eacute;n se presentan con Herodes y consultan sobre &nbsp;el nacimiento del Mes&iacute;as. Herodes, preocupado, busca la informaci&oacute;n en los maestros de la ley y sacerdotes, quienes indican que el Mes&iacute;as nacer&aacute; en Bel&eacute;n de Jud&aacute;. Pide a los Reyes Magos hacerle conocer la ubicaci&oacute;n de ese Mes&iacute;as, Herodes finge inter&eacute;s en adorar al ni&ntilde;o, su verdadera intenci&oacute;n es matarlo.</p>\n\n<p>&nbsp;</p>\n\n<p>Dentro de las costumbres tradicionales del Cabildo Indigenal, anteriormente, siguiendo una tradici&oacute;n cultural, unos d&iacute;as antes de la danza de los Reyes Magos se ten&iacute;a la presencia de unos personajes denominados chichaconos. Eran ni&ntilde;os que participaban llevando sus ofrendas, como guineos, chive, charque, y pescado. Se dirig&iacute;an a la Catedral y la comunidad del Cabildo tambi&eacute;n participaba llevando ofrendas como frutas y dinero. El 6 de enero, el sacrist&aacute;n repart&iacute;a las ofrendas a las abadesas, que recib&iacute;an los productos para atenci&oacute;n de la iglesia.</p>\n\n<p><strong>SIGNIFICADO DE LOS TRES REYES Y LA EPIFANIA</strong></p>\n\n<p>Los relatos de la biblia indican como dice el Monse&ntilde;or Julio Mar&iacute;a, la Navidad representa la manifestaci&oacute;n de Dios al pueblo escogido de Abraham, Isaac y Jacob. En contraste, la epifan&iacute;a, traducida como manifestaci&oacute;n, simboliza la luz para todas las naciones, manifestada a los magos del oriente a trav&eacute;s de una estrella que indica el nacimiento del rey de los jud&iacute;os. Aunque los magos no son descendientes de Abraham, Isaac y Jacob, emprenden un viaje y llegan a Jerusal&eacute;n, donde consultan al rey Herodes sobre el nacimiento del mes&iacute;as. Herodes, desconcertado, indaga con sacerdotes y maestros, quienes le informan que el mes&iacute;as nacer&aacute; en Bel&eacute;n seg&uacute;n el profeta Miqueas. Herodes instruye a los magos a buscar en Bel&eacute;n y, al regresar, informarle para que tambi&eacute;n pueda rendir adoraci&oacute;n. Los magos, al seguir la estrella, llegan a donde est&aacute; Jes&uacute;s en brazos de la virgen Mar&iacute;a.</p>\n\n<p>&nbsp;</p>\n\n<p>La fiesta de la Epifan&iacute;a, celebrada el 6 de enero, es de gran importancia. Este d&iacute;a conmemora la manifestaci&oacute;n de Dios a todas las naciones y culturas, y aunque la Navidad anuncia el nacimiento de Jes&uacute;s como la gloria del pueblo de Israel, la Epifan&iacute;a destaca que Jes&uacute;s es la luz para todos los pueblos. Como cat&oacute;licos, se insta a vivir la realidad de disc&iacute;pulos misioneros, llevando la luz de Jes&uacute;s a todas las naciones y culturas para que encuentren en &eacute;l la vida y la salvaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>La Iglesia cat&oacute;lica celebra la Epifan&iacute;a destacando tres eventos: la adoraci&oacute;n de los magos del oriente, el bautizo de Jes&uacute;s y las bodas de Cana&aacute;n en Galilea. Estos momentos reflejan la manifestaci&oacute;n de Dios. El oficio divino y la liturgia de las horas resaltan estos tres eventos en la fiesta de la Epifan&iacute;a. En las bodas de Cana&aacute;n, la presencia de Mar&iacute;a, parte de la familia, tambi&eacute;n subraya la manifestaci&oacute;n divina.</p>\n\n<p>&nbsp;</p>\n\n<p>Los magos, seg&uacute;n el Evangelio, eran expertos en la lectura de astros, no necesariamente reyes. Aunque los llamamos &quot;reyes magos&quot;, la Biblia los describe como magos. Eran individuos religiosos que reconocieron el nacimiento del Mes&iacute;as, el Rey de los Jud&iacute;os, al observar las estrellas. Despu&eacute;s de adorar al ni&ntilde;o Jes&uacute;s y ofrecer sus dones, a los magos se les advierte en sue&ntilde;os que eviten regresar por Jerusal&eacute;n, ya que Herodes planea matar al ni&ntilde;o. Por ello, toman otro camino de regreso a sus tierras. Al darse cuenta de que los magos no vuelven, Herodes, temiendo perder su poder, ordena la matanza de ni&ntilde;os menores de 2 a&ntilde;os en Bel&eacute;n, cumpli&eacute;ndose as&iacute; la profec&iacute;a. La Iglesia celebra el 28 de diciembre la fiesta de los Santos Inocentes en memoria de esos ni&ntilde;os asesinados por orden de Herodes.</p>\n\n<p>&nbsp;</p>\n\n<p>En palabra del Monse&ntilde;or Julio Mar&iacute;a, en la tradici&oacute;n, los magos del oriente, al presentar tres regalos al ni&ntilde;o Jes&uacute;s en brazos de la virgen Mar&iacute;a, reconocen al ni&ntilde;o como el rey de reyes ofreciendo oro, como Dios, es el rey de reyes; ofreciendo incienso se&ntilde;ala su divinidad y ofreciendo mirra que simboliza su condici&oacute;n humana y mortal. Es reconocer al ni&ntilde;o como el hijo de Dios, la luz de todas las naciones y el Mes&iacute;as para todos los pueblos y culturas, encarnando as&iacute; la Sant&iacute;sima Trinidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LA DANZA LOS REYES EN EL CABILDO </strong></p>\n\n<p>La Presidenta de la danza los Reyes Magos Elida Camama, &nbsp;afirma que tiene un significado profundo relacionado con la adoraci&oacute;n y la epifan&iacute;a de Dios y es un evento para vestirse elegantemente. La historia que cuenta Se remonta a la historia de los tres Reyes Magos del oriente: Melchor, Gaspar y Baltazar. Cada uno de ellos simboliza una ofrenda al ni&ntilde;o Jes&uacute;s: oro, incienso y mirra. Estas ofrendas representan sabidur&iacute;a, conocimiento, protecci&oacute;n y preparaci&oacute;n para el sacrificio. La tradici&oacute;n se basa en relatos b&iacute;blicos, y la danza es una expresi&oacute;n de adoraci&oacute;n y gratitud.</p>\n\n<p>&nbsp;</p>\n\n<p>La danza representa a los tres Reyes Magos que adoraron al ni&ntilde;o Jes&uacute;s. Guiados por una estrella, llevaron regalos de mirra, oro e incienso al lugar de su nacimiento. Ella indica que esta tradici&oacute;n pertenece originalmente a los Reyesanos en Beni.</p>\n\n<p>&nbsp;</p>\n\n<p>La tradici&oacute;n de los Reyes Magos en la danza involucra parejas casadas o comprometidas, basada en la creencia de que ning&uacute;n hombre debe viajar solo, seg&uacute;n ense&ntilde;anzas religiosas. En los a&ntilde;os 80, se eleg&iacute;an parejas comprometidas para representar a los Reyes Magos en la danza, consider&aacute;ndolo una bendici&oacute;n para su futura relaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>La danza de los Reyes Magos ha experimentado cambios a lo largo del tiempo. Antes se bailaba con vestimenta menos elegante, como camijeta y coronas de chala de algod&oacute;n, representando una imagen m&aacute;s musulmana. Con el crecimiento de la ciudad y la influencia de ritmos alegres, se moderniz&oacute; la vestimenta, optando por trajes m&aacute;s formales. A pesar de estos cambios, la presencia de la estrella que gu&iacute;a a los Reyes Magos se ha mantenido constante.</p>\n\n<p>&nbsp;</p>\n\n<p>La Presidenta de Directorio que organiza la danza, Elida Camama agradece a los j&oacute;venes, se&ntilde;oritas y ni&ntilde;os que contin&uacute;an con la danza de los Reyes Magos, destacando su compromiso de tres a&ntilde;os de participar en la danza. Ella espera que los nuevos integrantes comprendan el significado de las ofrendas y los insta a mantener el compromiso. Se menciona la importancia de leer la Biblia y se agradece al corregidor y al doctrinero por su apoyo. El mensaje concluye reiterando la seriedad del compromiso con la iglesia.</p>\n\n<p>La participaci&oacute;n en la danza de los reyes magos es un compromiso serio y una promesa. Aunque algunos j&oacute;venes han emigrado por motivos profesionales, se espera que regresen para cumplir con el compromiso anual de ser reyes. Esta tradici&oacute;n se considera sagrada y debe ser cumplida sin importar d&oacute;nde se encuentra, deben regresar, ya que representa una especie de juramento que no se puede romper. El respeto por la solemnidad de la danza refleja la seriedad con la que los reyes magos emprendieron su b&uacute;squeda del ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>ORGANIZACI&Oacute;N </strong></p>\n\n<p>La directiva que organiza a la danza se compone de Presidente, vicepresidente, secretario de actas y vocal, prensa y propaganda, el cargo es vitalicio. La presidenta actual es Elida Camana Conorio es Ignaciana creci&oacute; en Trinidad.</p>\n\n<p>&nbsp;</p>\n\n<p>En la d&eacute;cada de los 60, residentes ignacianos, como Genoveva Saavedra y Horacio Simane, iniciaron la danza de los Reyes Magos en el barrio San Antonio. Esta tradici&oacute;n se ha extendido a lo largo de los a&ntilde;os en diversos lugares religiosos del departamento. A&ntilde;o tras a&ntilde;o se ha preservado la danza y todav&iacute;a se encuentra en la memoria de quienes ense&ntilde;aron y mantuvieron viva esta pr&aacute;ctica.</p>\n\n<p>&nbsp;</p>\n\n<p>Los integrantes del directorio han estado involucrados desde la d&eacute;cada de los 90. El directorio que organiza la danza de los reyes magos existe desde hace aproximadamente 30 a&ntilde;os. En ese entonces, por la ausencia de los organizadores originales, quienes fallecieron, los integrantes de la danza decidieron formar un directorio, eligiendo representantes y un vicepresidente entre los mismos bailarines para continuar la tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>El directorio de la danza de los reyes magos se organiza internamente mediante votaciones y compromisos individuales. A lo largo del tiempo, han tenido que adaptarse y buscar nuevas formas de mantener unidos a los participantes. En el caso de Naya P&eacute;rez Secretaria el Directorio, se uni&oacute; al directorio a una edad temprana, ten&iacute;a 15 a&ntilde;os sus abuelos la apoyaban en el cargo. Despu&eacute;s de la p&eacute;rdida de sus abuelos, tuvieron que reestructurarse, quedando solo tres personas para liderar el grupo. Cada uno de los integrantes del directorio tienen una funci&oacute;n, existe una pareja que se dedica a buscar a los m&uacute;sicos. Otros integrantes van a confirmar las invitaciones para saber a qu&eacute; casas visitar&aacute;n. La presidenta dirige el coro y junto a la vicepresidenta organizan toda la danza, adem&aacute;s, ellas deben confirmar que los sacerdotes, en la catedral, los recibir&aacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Originalmente, la danza era llevada a cabo por residentes ignacianos en Trinidad, y los participantes deb&iacute;an ser parejas casadas mayores. Ante la falta de personas casadas dispuestas a participar, se empezaron a elegir j&oacute;venes, rompiendo con la tradici&oacute;n inicial. En los &uacute;ltimos dos a&ntilde;os, se han integrado m&uacute;sicos j&oacute;venes, a&ntilde;adiendo flauta a las tradicionales interpretaciones con viol&iacute;n, se ha reemplazado el viol&iacute;n por la flauta porque se han perdido a los violinistas de la tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>El conjunto se organiza tres d&iacute;as antes de los ensayos, despu&eacute;s la mesa directiva convoca a los participantes quienes hicieron promesa de bailar en la agrupaci&oacute;n, todos hicieron la promesa incluyendo los m&uacute;sicos.</p>\n\n<p>&nbsp;</p>\n\n<p>Se menciona que esto representa un compromiso tanto para los varones como para las mujeres, en otras palabras, la danza de los Reyes Magos implica un compromiso de a&ntilde;os para los bailarines. Para llegar a ser rey en la danza de los Reyes Magos, primero se es embanderado durante tres a&ntilde;os, luego ascender a comandante por otros tres a&ntilde;os. Despu&eacute;s de este per&iacute;odo, se espera a que los otros reyes cumplan su compromiso de tres a&ntilde;os antes de asumir el puesto. El proceso completo lleva al menos 9 a&ntilde;os, comenzando como embanderado. Cada rol, ya sea embanderado, comandante o rey, tiene funciones espec&iacute;ficas durante la danza, y la transici&oacute;n se realiza gradualmente a medida que los participantes avanzan en tama&ntilde;o por la edad y responsabilidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Los roles de Rey de Oro, Rey de Mirra y Rey de Plata o Incienso se turnan, un a&ntilde;o se es Rey de Oro, al siguiente a&ntilde;o Rey de Plata y despu&eacute;s ser Rey de Mirra. Lo mismo sucede con las reinas. Al cumplir tres a&ntilde;os, dan paso a nuevos participantes. Con un total de veintid&oacute;s integrantes, incluyendo ni&ntilde;os y j&oacute;venes, la danza tiene roles espec&iacute;ficos, y los participantes asumen distintas responsabilidades a lo largo del tiempo.</p>\n\n<p>&nbsp;</p>\n\n<p>Jos&eacute; David Yucra Tamo representa al Rey de oro, relata su trayectoria en la danza. Inici&oacute; bailando como embanderado a los 8 a&ntilde;os, luego se retir&oacute; de la danza durante 2 a&ntilde;os y regres&oacute; como comandante, ajust&aacute;ndose seg&uacute;n el tama&ntilde;o en la fila.&nbsp; La fila se organiza seg&uacute;n el tama&ntilde;o de los bailarines, de mayor a menor. Aunque no cumpli&oacute; con los 2 a&ntilde;os continuos debido a problemas familiares, asume la responsabilidad de ser rey, encarg&aacute;ndose de dirigir y asegurar que todos los participantes mantengan el mismo movimiento. Actualmente, desempe&ntilde;a el papel de rey Melchor, el Rey de Oro.</p>\n\n<p>&nbsp;</p>\n\n<p>Por su parte, Newton Yucra Tamo&nbsp; es comandante. El comenz&oacute; bailando desde sus 11 a&ntilde;os, comenz&oacute; como embanderado. Para &eacute;l es una responsabilidad ya que debe vigilar que los ni&ntilde;os que est&aacute;n atr&aacute;s se queden en la fila y no se vayan a otro lado. Su responsabilidad es cuidar de los ni&ntilde;os.</p>\n\n<p>&nbsp;</p>\n\n<p>Andrea Graciela Iba&ntilde;ez Tamo Reyna de Mirra, comenz&oacute; a bailar desde muy joven, inicialmente como doncella y finalmente fue coronada como reina este a&ntilde;o. A lo largo de los a&ntilde;os, ascendi&oacute; de posici&oacute;n y ahora se encuentra alegre por ser reina. Explica la jerarqu&iacute;a en la danza, mencionando a los comandantes, doncellas, coro, y sirvientes, con cada a&ntilde;o se va cambiando de roles. Este a&ntilde;o es Reina de Mirra, est&aacute; en segunda posici&oacute;n despu&eacute;s del Rey de Oro, al siguiente a&ntilde;o ser&aacute; Reina de oro, la joven que le sigue en la fila, ser&aacute; la Reina de Incienso, subir&aacute; a ser Reina de Mirra y la Reina de oro ser&aacute; Reina de Incienso. Ella comparte su entusiasmo por la tradici&oacute;n y su alegr&iacute;a de ser por fin reina, ya que espero muchos a&ntilde;os por este puesto.</p>\n\n<p>&nbsp;</p>\n\n<p>Entonces existen varios personajes en la danza. Est&aacute;n los Reyes con las Reinas, los Comandantes con las doncellas, los ni&ntilde;os y j&oacute;venes que son los Embanderados, que al mismo tiempo son el coro que canta en la catedral acompa&ntilde;ando en el momento de la adoraci&oacute;n. Ellos mismos son los denominados sirvientes de los reyes.</p>\n\n<p>&nbsp;</p>\n\n<p>La tradici&oacute;n de integrar a los ni&ntilde;os al coro de la danza de los reyes magos surgi&oacute; debido a la energ&iacute;a y entusiasmo que aportaban con sus c&aacute;nticos durante la adoraci&oacute;n en la iglesia. Con el tiempo, se decidi&oacute; no solo incorporarlos al coro, sino tambi&eacute;n ense&ntilde;arles a bailar, permiti&eacute;ndoles participar plenamente en la adoraci&oacute;n durante la festividad. Muchos de los actuales reyes magos comenzaron como parte del coro y fueron avanzando a trav&eacute;s de los a&ntilde;os mientras los reyes de mayor edad cumpl&iacute;an con su compromiso principal.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LA ADORACI&Oacute;N</strong></p>\n\n<p>Un momento importante de la danza es La Adoraci&oacute;n. Esta se realiza en la catedral frente al pesebre. Cada uno de los reyes acompa&ntilde;ados de su reina se hinca en tres momentos frente al ni&ntilde;o hasta llegar a &eacute;l. Se entregan los regalos correspondientes a cada rey.&nbsp; Posteriormente se vuelven a hincar en tres momentos avanzando hacia atr&aacute;s para despu&eacute;s saludar al p&aacute;rroco e irse a sentar para que el siguiente rey haga lo mismo. Todos deben hincarse en ese orden, reyes, comandantes y sirvientes, todos en pareja.</p>\n\n<p>&nbsp;</p>\n\n<p>Es la representaci&oacute;n de la llegada de los Reyes Magos para adorar al ni&ntilde;o nacido. Lo que se denomina auto sacramental. Cada Rey con su Reina ofrecen los regalos correspondientes. Al terminar dan un saludo al sacerdote y se van a sentar.</p>\n\n<p>La directiva del Cabildo tambi&eacute;n hace la adoraci&oacute;n, as&iacute; como lo hacen los reyes.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>VESTIMENTA</strong></p>\n\n<p>El vestuario que utilizan las mujeres, son vestidos largos de acuerdo al color de los reyes. El Rey de Oro ser&aacute; amarillo, el Rey de Mirra es rojo o morado, el Rey de Incienso es color plata, celeste o azul, en la cabeza tienen coronas de flores hechas de cintas o flores artificiales. Las reinas tambi&eacute;n visten velos, capas, y accesorios como rosarios y flores que llevan en la mano. Las flores ser&aacute;n entregadas al ni&ntilde;o en la catedral. Los rosarios son heredados de sus abuelos o abuelas a los descendiente de la familia.</p>\n\n<p>&nbsp;</p>\n\n<p>Los reyes vestir&aacute;n camisa blanca y pantal&oacute;n negro, tienen corbata, encima de todo tienen capas seg&uacute;n el color del rey, as&iacute; como las coronas. Los comandantes son tres, tienen traje negro, con camisa blanca y corbata, llevan la bandera boliviana y una calatrava en la cabeza. Los embanderados tienen camisas blancas y coronas similares al de los angelitos pero con cintas de colores seg&uacute;n los colores de los reyes.</p>\n\n<p>&nbsp;</p>\n\n<p>Las doncellas todas tienen vestidos largos con coronas de flores en la cabeza. De acuerdo al color del vestido se identifican si son del sequito de alguno de los reyes y reinas.</p>\n\n<p>Las capas tanto de reyes y reinas son proporcionadas por la directiva, mientras que las dem&aacute;s prendas son propias de cada bailar&iacute;n, incluyendo los comandantes, las doncellas y los embanderados, cada uno de ellos tienen su propia vestimenta.</p>\n\n<p>&nbsp;</p>\n\n<p>Las coronas de los reyes son construidos por cada rey. Es un elemento sagrado ya que al llegar a la catedral y las invitaciones se acomodan al lado del pesebre para que el ni&ntilde;o Jes&uacute;s de su bendici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El ARCO Y LA ESTRELLA DE BEL&Eacute;N</strong></p>\n\n<p>El arco que lleva la Estrella de Bel&eacute;n es una estructura&nbsp; de tubo de PVC, antes era de madera de ochoho o bejuco, el PVC que dura m&aacute;s ya que el bejuco se seca y se quiebra. La estrella es elaborada de madera de ochoho y al centro tiene un espejo. El tubo est&aacute; forrado de telas de colores, son los colores de los reyes magos, rojo, amarillo, azul o celeste. Tambi&eacute;n est&aacute; adornado con flores hechas de cintas de colores.</p>\n\n<p>&nbsp;</p>\n\n<p>La estrella va delante de la comitiva porque es la gu&iacute;a hacia el nacimiento del ni&ntilde;o Jes&uacute;s. Es un elemento sagrado. Cuando se llega a la catedral a las invitaciones, se acomoda en cada pesebre.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>MUSICA</strong></p>\n\n<p>Los instrumentos de m&uacute;sica son la caja, viol&iacute;n y flauta. Se baila tres toques con tres piezas de baile son melod&iacute;as denominadas Machichi del Rey con variantes.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>COREOGRAFIA </strong></p>\n\n<p>Se ordenan en tres filas, el Rey de Oro va al centro, el Rey de Mirra a la izquierda y el Rey de Incienso a la derecha. Todos los dem&aacute;s, comandantes, embanderados y doncellas se ordenan tambi&eacute;n en tres filas seg&uacute;n el color del rey.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Dos filas.</strong> Una de hombres y otra de mujeres, todos miran al frente, ordenados a la cabeza el Rey de Oro, despu&eacute;s del Rey de Mirra y luego el Rey de Incienso, atr&aacute;s los comandantes y los embanderados. De igual manera se ordenan la fila de las mujeres, atr&aacute;s reinas las doncellas. El paso adelante y atr&aacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Dos filas y vuelta.</strong> Ordenados como se describi&oacute; antes, en el mismo lugar con un pa&ntilde;uelo dan una vuelta levantando el pa&ntilde;uelo. El paso adelante y atr&aacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Dos filas mir&aacute;ndose</strong>. Con el mismo orden, pero frente a frente y luego volver a la mirar al frente como en el paso de dos filas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Dos filas y dos vueltas</strong>. El mismo orden en dos filas, siguiendo el ritmo, todos dan una vuelta y otra vuelta al sentido contrario, levantando los pa&ntilde;uelos. Siempre mirando al frente.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Dos filas mir&aacute;ndose y vuelta</strong>. Mismo orden, mir&aacute;ndose frente a frente, cambian de lugar dos veces, al tiempo que levantan el pa&ntilde;uelo al cambiar de lugar.</p>\n\n<p>Para terminar se repite el paso Dos filas y vuelta. Cada vez que se termina un ritmo, todos al un&iacute;sono dicen, &ldquo;Santo Barco&rdquo;</p>\n\n<p>&nbsp;</p>\n\n<p>Al salir a la catedral el arco de la estrella sale primero y entra primero tanto en la catedral como en las invitaciones, todos los bailarines al llegar se arrodillan tres veces y al salir tambi&eacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>LAS INVITACIONES</strong></p>\n\n<p>El recorrido a las invitaciones se realiza solo el 6 de enero. En esta ocasi&oacute;n fueron varias, el recorrido comienza dirigi&eacute;ndose a la catedral, una vez terminada la misa, salen a realizar reverencia al pesebre ubicado al frente de la iglesia. De ah&iacute; se dirigen a las invitaciones.</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Primera invitaci&oacute;n:</strong> Casa de Daniel Yumo en la calle Moxos del barrio Pompeya</li>\n\t<li><strong>Segunda invitaci&oacute;n</strong>: En Villa Corina. Familia Yaca</li>\n\t<li><strong>Tercera invitaci&oacute;n:</strong> Familia Yuco Guaji, Av. Machetero y calle Quitachiyu cerca al monumento de la Madre India. Es la misma de los Angelitos en su segunda visita.</li>\n\t<li><strong>Cuarta invitaci&oacute;n</strong>: Av. 27 de Mayo y 6 de Agosto. Familia Franco</li>\n\t<li><strong>Quinta invitaci&oacute;n</strong>: Cabildo Pedro Ignacio Muiba, en el barrio del mismo nombre.</li>\n\t<li><strong>Sexta invitaci&oacute;n:</strong> Av. 6 de Agosto, barrio Pedro Ignacio Muiba. Familia Richard Figueroa</li>\n\t<li><strong>S&eacute;ptima invitaci&oacute;n:</strong> Esq. Cementerio, Av. Santos Noco. Familia Moy</li>\n\t<li><strong>Octava invitaci&oacute;n</strong>: Callej&oacute;n del Cabildo. Familia Manu</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>EL MARIPEO</strong></p>\n\n<p>Es una costumbre donde se presenta al Corregidor del Cabildo un recipiente de barro lleno de chicha. El Corregidor debe invitar a todos los bailarines, a los organizadores de la danza, a los due&ntilde;os de casa, hasta terminar. Se invita la chicha en tutuma, generalmente se vuelve a invitar otro recipiente con chicha.</p>\n\n<p>&nbsp;</p>\n\n<p>Los sitios de invitaci&oacute;n son los que preparan la chicha e invitan al Corregidor para festejar los Reyes.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "2e6854df-b18e-468a-9a3b-2ef91b257e90", "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 0, "tileid": "551a810f-b596-4a9a-9f90-248fd6bc5167"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Anteriormente la vestimenta de los hombres, los reyes era una camijeta y se utilizaban coronas como especie de turbantes. Ahora utilizan trajes de vestir y las coronas que ellos elaboran con materiales contempor&aacute;neos. Las mujeres siempre utilizaron vestidos, aunque se piensa que anteriormente eran tipoy.</p>\n\n<p>Respecto de la fe y el compromiso no ha cambiado, existe gran n&uacute;mero de j&oacute;venes que participan y esperan a trav&eacute;s de los a&ntilde;os, llegar a ser reyes y reinas.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "2e6854df-b18e-468a-9a3b-2ef91b257e90", "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 0, "tileid": "a46b4e94-5473-44fd-abc5-9900970deeca"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Descoordinaci&oacute;n entre la Directiva y las autoridades del Cabildo, pero es improbable.</p>\n\n<p>Descoordinaci&oacute;n con los representantes de la iglesia para ingresar a la catedral y los esperen para que puedan realizar la escenificaci&oacute;n de la adoraci&oacute;n.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "2e6854df-b18e-468a-9a3b-2ef91b257e90", "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 0, "tileid": "b40054a4-c6db-401d-be80-554305a4d89a"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La danza posee Directiva, quienes se encargan de organizar la danza coordinando con las autoridades del Cabildo. Ellos explican el significado de la danza y la importancia para el nacimiento del ni\u00f1o Jes\u00fas.  Existe convocatoria de j\u00f3venes, ni\u00f1os y ni\u00f1as, personas que componen la danza. Los adultos los acompa\u00f1an para cuidarlos en todos los recorridos.  Tienen invitaciones aunque la representaci\u00f3n sea un solo d\u00eda, deben responder a todas las invitaciones aunque se termine en la madrugada.  Los m\u00fasicos que los acompa\u00f1an, hacen turnos, tambi\u00e9n motivados por el compromiso. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "2e6854df-b18e-468a-9a3b-2ef91b257e90", "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 0, "tileid": "59112a50-09f7-4bfb-8449-e1b5371dd593"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Pr\u00e1ctica cultural generacional colectiva"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza es una agrupaci&oacute;n de personas que asumen la responsabilidad de participar continuamente. Asumir la responsabilidad de participar est&aacute; enmarcado en el Compromiso. El compromiso se conforma en dos principios, la fe del participante respecto del santo o santa y la responsabilidad con el Cabildo como lugar de residencia y vida cultural social.&nbsp;</p>\n\n<p>Las danzas son aprendidas en los ensayos por un organizador que es apoyado por los m&uacute;sicos y otras personas bailarines antiguos. La responsabilidad principal de la ense&ntilde;anza de la danza est&aacute; en el organizador que es un cargo asumido de por vida.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "2e6854df-b18e-468a-9a3b-2ef91b257e90", "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 1, "tileid": "3cc0bd93-02a9-4343-bdae-91b90b32bc52"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 0, "tileid": "37747779-d8fb-4225-bb6d-45205a16c602"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "f4793fa4-c9cc-47a1-ab84-0cc5189349b3", "resourceXresourceId": "8269cde8-2e47-4254-b214-9d933358e670"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "37747779-d8fb-4225-bb6d-45205a16c602", "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 1, "tileid": "a38eb820-6871-4a56-b871-ee4f7db80476"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "51684c5d-032a-4643-8ded-7d0976a1e560", "resourceXresourceId": "89f7e7b8-eba0-4671-931f-640d00a9222e"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "37747779-d8fb-4225-bb6d-45205a16c602", "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 0, "tileid": "ab3ea1cf-733e-49ed-96b5-02637978b32d"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "5d9b9e2e-b4c9-4a83-b248-95db825655f7"}], "2984c167-857c-11ee-a653-53ebd0470963": "bc9095da-c024-42d5-a9f5-41606dd36ef8", "2984c168-857c-11ee-a653-53ebd0470963": "2024-03-18"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "013ff86a-8fa5-4b4f-8b83-18a62cae305f", "provisionaledits": null, "resourceinstance_id": "11c78083-e241-44dc-8ad8-4b8f79834dbd", "sortorder": 0, "tileid": "10596b1c-0c51-48c7-9e0b-48a9b9f1a267"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:15.530", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000017, "}, "es": {"description": "Loreto. Artesana en cester\u00eda Marita Le\u00f3n", "map_popup": "Beni", "name": "PI-080601-00-00-000017, Loreto. Artesana en cester\u00eda Marita Le\u00f3n"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080601-00-00-000017, Loreto. Artesana en cester\u00eda Marita Le\u00f3n", "principaluser_id": 26, "resourceinstanceid": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2dc47da8-3afe-47b0-a1f5-1cc7c7689499", "resourceXresourceId": "4adfdec4-66b1-404f-9823-dd96eb7c7c96"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "eeb7f702-d683-4d9b-b94a-957bc8299b35"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "T\u00e9cnicas artesanales"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080601-00-00-000017", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto. Artesana en cester\u00eda Marita Le\u00f3n"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "f3871094-9980-4cb0-a2f5-a384b4692d22"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "8feca3e5-09b6-4c11-ab9f-e730e1e0f8d8"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Loreto. Artesana en cester&iacute;a Marita Le&oacute;n</strong></p>\n\n<p>La cester&iacute;a es una de las expresiones artesanales m&aacute;s antiguas y funcionales. Marita Le&oacute;n, artesana dedicada a este oficio, ha perfeccionado su t&eacute;cnica a lo largo de los a&ntilde;os, creando piezas que no solo cumplen una funci&oacute;n pr&aacute;ctica, tambi&eacute;n es decorativa, reflejan la identidad cultural de su comunidad</p>\n\n<p>Su trabajo orientado al uso diario, est&aacute; representado por canastos y otros recipientes indispensables en la vida cotidiana.</p>\n\n<p><strong>Descripci&oacute;n de la vida de la artesana</strong></p>\n\n<p>Marita Le&oacute;n, una artesana de Loreto, comenz&oacute; su aprendizaje en el arte de la cester&iacute;a desde temprana edad. Fue en la escuela donde tuvo la oportunidad de aprender de Alfredo Arce Mendoza, un artesano de la tercera edad que a&uacute;n reside en la comunidad. Aunque hoy casi ciego y viviendo solo, Alfredo sigue siendo una figura clave para la transmisi&oacute;n de saberes en la regi&oacute;n, y su ense&ntilde;anza ha sido crucial en la formaci&oacute;n de Marita. Adem&aacute;s, en su &eacute;poca escolar, tambi&eacute;n cont&oacute; con la gu&iacute;a de una profesora que les ense&ntilde;&oacute; a tejer, aunque el estilo y la t&eacute;cnica de trenzado eran diferentes, comenzando por el ala en la elaboraci&oacute;n de sombreros. A lo largo de los a&ntilde;os, Marita ha perfeccionado sus t&eacute;cnicas, y hoy su trabajo no solo abarca la cester&iacute;a, sino tambi&eacute;n el arte de pintar caparazones de tortuga, conocidos en el idioma moxe&ntilde;o como peta, en los que captura paisajes locales. Adem&aacute;s, utiliza tejas y otros materiales que transforma con destreza en piezas de arte. Aunque en su juventud intent&oacute; aprender a crear el plumaje para la danza machetero, no logr&oacute; dominar esa t&eacute;cnica.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Perspectivas para el futuro</strong></p>\n\n<p>Marita espera que sus hijos, aunque no han mostrado inter&eacute;s por el oficio hasta ahora, puedan aprender su arte y preservarlo para las futuras generaciones. Asimismo, tiene la esperanza de que otros en su comunidad o de fuera de ella se acerquen a su taller para aprender de sus conocimientos. La transmisi&oacute;n de este saber artesanal es crucial para ella, ya que considera que su oficio no solo es una forma de sustento, sino tambi&eacute;n una expresi&oacute;n cultural que merece ser conservada y compartida con otros.</p>\n\n<p><strong>Materiales y procedencia</strong></p>\n\n<p>Marita Le&oacute;n, artesana especializada en esta labor, trabaja con materiales naturales y t&eacute;cnicas heredadas de generaciones anteriores para crear piezas funcionales y ornamentales.</p>\n\n<p>El principal material utilizado en su cester&iacute;a es el cogollo de motac&uacute;, una fibra vegetal que debe cumplir ciertas condiciones para garantizar su flexibilidad y durabilidad. Se seleccionan los cogollos amarillos, ya que los verdes a&uacute;n inmaduros no son lo suficientemente d&oacute;ciles para el trenzado. Antes de su uso, el motac&uacute; debe estar completamente seco.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Herramientas de trabajo</strong></p>\n\n<p>Para el proceso de corte y preparaci&oacute;n de la fibra, Marita emplea tijeras, para obtener tiras uniformes y adecuadas para el tejido.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>T&eacute;cnicas de elaboraci&oacute;n</strong></p>\n\n<p>Cada pieza de cester&iacute;a tiene un inicio y un acabado distintos, dependiendo del tipo de objeto que se elabore:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Jayase (canastas).</strong> Se inicia el tejido desde la base, determinando desde all&iacute; el tama&ntilde;o y la forma final, que puede ser grande, mediano, ancho o cil&iacute;ndrico. Si se utilizan cogollos grandes (hojas anchas), el trenzado es m&aacute;s r&aacute;pido y ancho, permitiendo completar la pieza en aproximadamente cinco d&iacute;as. Si se emplean cogollos peque&ntilde;os (hojas delgadas), el trenzado es m&aacute;s menudo y detallado, lo que requiere mayor tiempo de elaboraci&oacute;n.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Sopla fuego (venteadores).</strong> Se inicia con las hojas del tallo, que se tejen una a una hasta formar una estructura triangular. El trabajo finaliza con una trenza, que posteriormente se sujeta a la pieza para garantizar su firmeza.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Sombreros</strong>. El tejido comienza en la parte central del casco y avanza progresivamente hasta llegar al ala, asegurando resistencia y un acabado uniforme.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Tipos de Artesan&iacute;a y Usos</strong></p>\n\n<p>Marita Le&oacute;n elabora diversos objetos de cester&iacute;a, entre ellos:</p>\n\n<ul>\n\t<li><strong>Jayase (canastas).</strong> Utilizadas para transportar y almacenar diversos productos.</li>\n\t<li><strong>Sopla fuego (venteadores).</strong> Herramientas tradicionales para avivar el fuego en la cocina.</li>\n\t<li><strong>Sombreros</strong>. Ideales para protegerse del sol y resaltar la identidad cultural.</li>\n\t<li><strong>Piezas ornamentales.</strong> Creaciones decorativas tejidas con gran detalle y precisi&oacute;n.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Destino y comercializaci&oacute;n</strong></p>\n\n<p>Las creaciones de Marita Le&oacute;n son adquiridas por los habitantes de Loreto, as&iacute; como por personas de otras localidades que solicitan encargos personalizados. Durante octubre y diciembre, coincidiendo con la celebraci&oacute;n de Las L&aacute;grimas de Loreto y la fiesta patronal, aumenta el inter&eacute;s por sus productos, atrayendo a visitantes que buscan piezas artesanales aut&eacute;nticas. Sus hijos no aprenden su oficio y tampoco existen personas que se interesen en esta artesan&iacute;a.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["da719d9d-e927-4281-aeef-d551a1da07ff"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8feca3e5-09b6-4c11-ab9f-e730e1e0f8d8", "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "ebf380e8-17da-4058-9824-8b30e44c2125"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos de Marita Le&oacute;n en el oficio de la cester&iacute;a y otras expresiones art&iacute;sticas se transmiten a trav&eacute;s de la ense&ntilde;anza directa y la observaci&oacute;n como los principales medios. Desde joven, Marita tuvo la oportunidad de aprender de un artesano local, Alfredo Arce Mendoza, quien ense&ntilde;aba a los estudiantes en su escuela. A pesar de sus limitaciones visuales actuales, Alfredo sigue siendo una figura fundamental en la transmisi&oacute;n de la t&eacute;cnica en la comunidad. Adem&aacute;s, Marita tambi&eacute;n recibi&oacute; ense&ntilde;anzas de una profesora, quien les mostr&oacute; una variante de la t&eacute;cnica de trenzado, aunque comenzando el sombrero de manera diferente, lo que refleja un enfoque m&aacute;s formal y estructurado de aprendizaje en su &eacute;poca escolar. La transmisi&oacute;n de conocimientos en este contexto ocurre de forma oral y pr&aacute;ctica, donde la repetici&oacute;n y la observaci&oacute;n directa permiten que el aprendiz asimile cada paso del proceso.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s de la ense&ntilde;anza tradicional, Marita ha seguido ampliando sus habilidades de forma autodidacta y experimental, integrando otras formas de arte, como la pintura sobre caparazones de tortuga (peta), que le permite reinterpretar su entorno a trav&eacute;s de paisajes.. Su deseo de que sus hijos o incluso otras personas se interesen por su oficio demuestra su voluntad de mantener vivo este conocimiento. Sin embargo, el hecho de que no haya logrado pasar su saber a la siguiente generaci&oacute;n dentro de su familia resalta un reto com&uacute;n en la transmisi&oacute;n de oficios tradicionales, que depende no solo de la voluntad del maestro, sino tambi&eacute;n del inter&eacute;s y la disponibilidad de nuevos aprendices.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "8feca3e5-09b6-4c11-ab9f-e730e1e0f8d8", "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "9759575c-01cb-46ea-867f-75f6929dd960"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las pr&aacute;cticas artesanales de Marita Le&oacute;n, como la cester&iacute;a y la pintura sobre caparazones de tortuga, est&aacute;n sujetas a transformaciones tanto en sus t&eacute;cnicas como en su relaci&oacute;n con la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Marita ha mostrado una notable flexibilidad al integrar nuevas formas de arte, como la pintura en caparazones de tortuga, lo que sugiere una transformaci&oacute;n en su enfoque art&iacute;stico. Esta adaptaci&oacute;n podr&iacute;a reflejar una respuesta a los cambios del mercado o a la b&uacute;squeda de nuevas formas de expresi&oacute;n que atraigan a diferentes personas, especialmente a aquellos que buscan piezas decorativas. La incursi&oacute;n en t&eacute;cnicas como la pintura sobre caparazones, al igual que el uso de materiales como tejas, tambi&eacute;n indica un cambio en el concepto de la artesan&iacute;a, alej&aacute;ndose de la mera funcionalidad para convertirse en un arte ornamental. Esto demuestra que, aunque las tradiciones puedan transformarse o perderse, tambi&eacute;n existe una capacidad de adaptaci&oacute;n a las nuevas demandas y contextos, lo que puede permitir a los artesanos encontrar nuevos caminos para revitalizar su oficio y conectar con p&uacute;blicos contempor&aacute;neos.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "8feca3e5-09b6-4c11-ab9f-e730e1e0f8d8", "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "0965d73c-fd65-4c89-bde5-cbeed8514358"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la pr&aacute;ctica artesanal de Marita Le&oacute;n es la falta de transmisi&oacute;n de conocimientos a las nuevas generaciones. El hecho de que sus hijos no est&eacute;n interesados en aprender el oficio y que no haya otras personas en la comunidad que se acerquen a esta tradici&oacute;n plantea una amenaza significativa para la continuidad de la cester&iacute;a y otras artes locales. Esta desconexi&oacute;n generacional puede llevar al olvido de t&eacute;cnicas tradicionales, como el trenzado espec&iacute;fico de la cester&iacute;a de Loreto, lo que puede resultar en la desaparici&oacute;n de un saber ancestral. La disminuci&oacute;n del inter&eacute;s por las artesan&iacute;as tambi&eacute;n puede estar vinculada a un cambio en las prioridades sociales y econ&oacute;micas, donde las nuevas generaciones optan por piezas modernas, alej&aacute;ndose de la conservaci&oacute;n de oficios tradicionales.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo importante es la comercializaci&oacute;n limitada y la falta de apoyo para los artesanos en el contexto actual. Si bien Marita logra vender sus productos durante las festividades locales, la demanda en otras &eacute;pocas del a&ntilde;o es incierta, lo que pone en peligro la viabilidad econ&oacute;mica de su pr&aacute;ctica. Adem&aacute;s, la escasa promoci&oacute;n y visibilidad de estas artesan&iacute;as fuera de la comunidad de Loreto tambi&eacute;n limita su alcance y potencial de mercado. Si no se desarrollan estrategias que fomenten una mayor difusi&oacute;n y aprecio por el trabajo artesanal, este podr&iacute;a quedar relegado a un nicho reducido, afectando su sostenibilidad a largo plazo. La escasa integraci&oacute;n de los artesanos en redes m&aacute;s amplias de comercializaci&oacute;n o apoyo institucional tambi&eacute;n representa una amenaza para la supervivencia de la pr&aacute;ctica artesanal.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "8feca3e5-09b6-4c11-ab9f-e730e1e0f8d8", "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "dc41b07b-3027-49e0-949d-5c02785368a3"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica artesanal de Marita Le\u00f3n es la riqueza cultural y t\u00e9cnica de sus productos. La cester\u00eda que elabora, utilizando materiales naturales como el cogollo de motac\u00fa, es un claro ejemplo de un saber ancestral que se ha perfeccionado a lo largo de los a\u00f1os. Esta t\u00e9cnica no solo cumple una funci\u00f3n pr\u00e1ctica, sino que tambi\u00e9n tiene un alto valor simb\u00f3lico y cultural. El hecho de que Marita tambi\u00e9n trabaje con otros materiales, como el caparaz\u00f3n de tortuga para pintar paisajes, demuestra su habilidad para adaptar y diversificar su arte, manteniendo siempre un v\u00ednculo con sus ra\u00edces. Su capacidad para crear tanto piezas funcionales como ornamentales le otorga una gran versatilidad, lo que le permite satisfacer diversas necesidades y gustos dentro de su comunidad y m\u00e1s all\u00e1.  Otra fortaleza importante es la resiliencia de Marita y su habilidad para seguir practicando y adapt\u00e1ndose a los cambios, a pesar de las dificultades personales y familiares que ha enfrentado. Su deseo de ense\u00f1ar el oficio a sus hijos o a otras personas de la comunidad muestra su compromiso con la preservaci\u00f3n de esta tradici\u00f3n, a pesar de las barreras que puedan existir. Adem\u00e1s, la conexi\u00f3n que mantiene con las festividades locales, como Las L\u00e1grimas de Loreto y la fiesta patronal, le permite mantener la relevancia de su trabajo dentro del contexto cultural de la regi\u00f3n. Este v\u00ednculo con la comunidad y las celebraciones locales no solo le da visibilidad a sus productos, sino que tambi\u00e9n refuerza el valor cultural de sus creaciones, haciendo que su arte siga siendo apreciado."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "8feca3e5-09b6-4c11-ab9f-e730e1e0f8d8", "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "793d0f2d-6b6d-426d-9cc7-fa785a6bc78d"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cester\u00eda"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Jayase mediano Materiales Cogollo de palma T\u00e9cnica de elaboraci\u00f3n La elaboraci\u00f3n del jayase es completamente manual, mediante la t\u00e9cnica tradicional del trenzado. Se utiliza el cogollo de palma, un material vegetal flexible pero resistente, que permite dar forma a estructuras firmes. Este proceso requiere destreza y experiencia, ya que el trenzado debe ser uniforme para asegurar la funcionalidad de la pieza. Descripci\u00f3n de la pieza El jayase grande es una canasta de gran tama\u00f1o, tejida \u00edntegramente con cogollo de palma. Su forma y estructura permiten un uso vers\u00e1til en distintas actividades cotidianas. Su dise\u00f1o refleja los saberes ancestrales y la relaci\u00f3n estrecha entre el entorno natural y las pr\u00e1cticas artesanales locales. Descripci\u00f3n del contexto El jayase ha sido una canasta de uso diario en las comunidades de Loreto, especialmente \u00fatil en las labores dom\u00e9sticas y agr\u00edcolas. Su presencia es parte de la vida cotidiana de los pueblos, adapt\u00e1ndose a diferentes necesidades seg\u00fan el momento y lugar. Descripci\u00f3n de la funci\u00f3n/uso Originalmente, el jayase era utilizado para guardar o almacenar semillas, alimentos u otros objetos necesarios para la subsistencia diaria. En la actualidad, su uso ha cambiado: muchas de estas piezas se consideran ornamentales y se emplean como elementos decorativos o de exposici\u00f3n durante actos festivos, evidenciando un proceso de resignificaci\u00f3n cultural. Referencias hist\u00f3ricas Las canastas elaboradas con cogollo de palma como el jayase fueron esenciales para los grupos humanos que se desplazaban de un sitio a otro. Estas piezas cumpl\u00edan una funci\u00f3n fundamental en el transporte de alimentos y semillas, siendo tejidas seg\u00fan la necesidad y disponibilidad del material, el cual sol\u00eda encontrarse en diversos entornos naturales. Hoy en d\u00eda, la recolecci\u00f3n del cogollo de palma representa un esfuerzo mayor. La artesana encargada de elaborar el jayase debe desplazarse hasta zonas del monte ubicadas a una distancia considerable de Loreto para obtener la materia prima, lo que evidencia tanto el valor del oficio como los desaf\u00edos actuales para su continuidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Jayase mediano"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8feca3e5-09b6-4c11-ab9f-e730e1e0f8d8", "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 1, "tileid": "923d9a7f-4fbb-45ba-bf3d-d609b9115e3e"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cester\u00eda"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Jayase grande Materiales Cogollo de palma T\u00e9cnica de elaboraci\u00f3n La elaboraci\u00f3n del jayase es completamente manual, mediante la t\u00e9cnica tradicional del trenzado. Se utiliza el cogollo de palma, un material vegetal flexible pero resistente, que permite dar forma a estructuras firmes. Este proceso requiere destreza y experiencia, ya que el trenzado debe ser uniforme para asegurar la funcionalidad de la pieza. Descripci\u00f3n de la pieza El jayase grande es una canasta de gran tama\u00f1o, tejida \u00edntegramente con cogollo de palma. Su forma y estructura permiten un uso vers\u00e1til en distintas actividades cotidianas. Su dise\u00f1o refleja los saberes ancestrales y la relaci\u00f3n estrecha entre el entorno natural y las pr\u00e1cticas artesanales locales. Descripci\u00f3n del contexto El jayase ha sido una canasta de uso diario en las comunidades de Loreto, especialmente \u00fatil en las labores dom\u00e9sticas y agr\u00edcolas. Su presencia es parte de la vida cotidiana de los pueblos, adapt\u00e1ndose a diferentes necesidades seg\u00fan el momento y lugar. Descripci\u00f3n de la funci\u00f3n/uso Originalmente, el jayase era utilizado para guardar o almacenar semillas, alimentos u otros objetos necesarios para la subsistencia diaria. En la actualidad, su uso ha cambiado: muchas de estas piezas se consideran ornamentales y se emplean como elementos decorativos o de exposici\u00f3n durante actos festivos, evidenciando un proceso de resignificaci\u00f3n cultural. Referencias hist\u00f3ricas Las canastas elaboradas con cogollo de palma como el jayase fueron esenciales para los grupos humanos que se desplazaban de un sitio a otro. Estas piezas cumpl\u00edan una funci\u00f3n fundamental en el transporte de alimentos y semillas, siendo tejidas seg\u00fan la necesidad y disponibilidad del material, el cual sol\u00eda encontrarse en diversos entornos naturales. Hoy en d\u00eda, la recolecci\u00f3n del cogollo de palma representa un esfuerzo mayor. La artesana encargada de elaborar el jayase debe desplazarse hasta zonas del monte ubicadas a una distancia considerable de Loreto para obtener la materia prima, lo que evidencia tanto el valor del oficio como los desaf\u00edos actuales para su continuidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Jayase grande"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8feca3e5-09b6-4c11-ab9f-e730e1e0f8d8", "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "9f9df27a-e431-4944-90c6-c7a3a2c60337"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cester\u00eda"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Cogollo de palma T\u00e9cnica de elaboraci\u00f3n El sombrero de palma se elabora manualmente utilizando la t\u00e9cnica del trenzado. Este proceso requiere habilidad y destreza, ya que cada trenza debe realizarse con precisi\u00f3n para garantizar la calidad y la resistencia del sombrero. Descripci\u00f3n de la pieza El sombrero tiene una forma circular, con un extremo que se extiende en una rama de palma, la cual sirve como agarradera. Su dise\u00f1o es simple pero funcional, adaptado tanto a la necesidad de protecci\u00f3n como a la est\u00e9tica de los trajes tradicionales. Descripci\u00f3n del contexto Este sombrero es utilizado principalmente en actos festivos, acompa\u00f1ando los trajes tradicionales como el tipoy y la camijeta. Es un accesorio simb\u00f3lico en las celebraciones, representando tanto la identidad cultural como la conexi\u00f3n con las tradiciones ancestrales de la regi\u00f3n. Descripci\u00f3n de la funci\u00f3n/uso El sombrero de palma tiene como funci\u00f3n principal protegerse del sol. Su estructura ligera y ventilada lo hace ideal para las altas temperaturas de la regi\u00f3n, ofreciendo sombra y frescura en medio del calor. Referencias hist\u00f3ricas Originalmente, el sombrero de palma ten\u00eda un uso diario, pero con el paso del tiempo se ha transformado en una pieza ornamental, reservada principalmente para actos festivos. Existen registros hist\u00f3ricos que indican que, en la d\u00e9cada de 1760, hubo un comercio activo de artesan\u00edas que inclu\u00eda sombreros de jipijapa y motac\u00fa. Estos sombreros eran vendidos en mercados importantes de la regi\u00f3n como Santa Cruz, Oruro, La Paz, Potos\u00ed y Argentina. En este contexto, el prefecto Aguilar promovi\u00f3 la venta de diez mil sombreros en el mercado de Guayaquil, impulsando as\u00ed el comercio artesanal en la regi\u00f3n (s/t. 1992, p. 99)."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sombrero de palma"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8feca3e5-09b6-4c11-ab9f-e730e1e0f8d8", "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 2, "tileid": "b85c73df-52a4-4548-aa1f-500bc7fc29bf"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cester\u00eda"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Cogollo de palma T\u00e9cnica de elaboraci\u00f3n El sopla fuego se elabora de forma manual mediante la t\u00e9cnica del trenzado. Este proceso artesanal permite transformar el cogollo de palma en una pieza funcional, resistente y liviana, adaptada al uso diario en ambientes calurosos o de uso para la cocina tradicional. Descripci\u00f3n de la pieza Se trata de una pieza de forma triangular, con un extremo rematado por una rama de palma que funciona como agarradera. Su estructura es firme y plana, ideal para generar una corriente de aire dirigida con facilidad.  Descripci\u00f3n del contexto El sopla fuego es una herramienta dom\u00e9stica tradicional utilizada para ventear aire, especialmente al fog\u00f3n. Su uso ha sido com\u00fan en los hogares rurales y entre comunidades que preparan sus alimentos con fuego de le\u00f1a. Con el tiempo, ha encontrado tambi\u00e9n un uso alternativo como abanico en d\u00edas de calor intenso. Descripci\u00f3n de la funci\u00f3n/uso Su funci\u00f3n principal es avivar el fuego en el fog\u00f3n, facilitando la cocci\u00f3n de los alimentos. Hoy, adem\u00e1s de su uso original, tambi\u00e9n se emplea para ventilarse y refrescarse en ambientes calurosos, cumpliendo as\u00ed una doble funci\u00f3n en el \u00e1mbito dom\u00e9stico y cotidiano. Referencias hist\u00f3ricas Las piezas tejidas con cogollo de palma han sido utilizadas desde tiempos antiguos por grupos humanos que se desplazaban de un lugar a otro. Dada la abundancia del material en el entorno natural, estas comunidades sol\u00edan fabricar el sopla fuego cuando lo necesitaban, ya que el cogollo pod\u00eda encontrarse f\u00e1cilmente en distintas zonas. Actualmente, la artesana que los elabora debe trasladarse al monte a una distancia considerable de Loreto para recolectar el material necesario. Esta pr\u00e1ctica da cuenta de una continuidad cultural adaptada al presente, donde la tradici\u00f3n persiste a pesar de las transformaciones en el acceso a los recursos y las condiciones de vida."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sopla fuego"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8feca3e5-09b6-4c11-ab9f-e730e1e0f8d8", "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 3, "tileid": "451ffcfd-2f0d-42dd-bc75-344fd72bd7cb"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "7452ec68-6b13-41dd-985a-c89cda0bb401"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2025-02-21"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "eeb7f702-d683-4d9b-b94a-957bc8299b35", "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "4ded34c6-e1b6-4d3a-8d0b-1a01b886e3ee"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.76138574424617, -15.193672701684108], "type": "Point"}, "id": "3a4baebceb082952bc12a06b3c504cda", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "230359b9-1b01-4cea-881d-e54daf949019", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080601', 'num': '000001'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "af0d2352-e42a-4139-9d76-1cba7ef584a2", "sortorder": 0, "tileid": "50a8a62c-c302-46eb-bde8-1ba33fbffa25"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:35.968", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-080000-00-00-000018, "}, "es": {"description": "Domingo de Resurrecci\u00f3n - 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"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Altar Mayor temporal"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 17, "tileid": "f6fbc7a6-9c9d-4c06-8602-3b38c53f65b4"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La m&uacute;sica es un medio que permite expresar emociones y transmitir conocimientos o experiencias. Las comunidades ind&iacute;genas la han utilizado como instrumento de preservaci&oacute;n de su cultura, trasmitiendo sus saberes de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>En la &eacute;poca prehisp&aacute;nica Mojos era una regi&oacute;n poblada por diversos grupos &eacute;tnicos de habla Arawak, con la llegada de los jesuitas a finales del siglo XVII, estos grupos son reducidos y se establecen la misiones, una de ellas es San Ignacio.</p>\n\n<p>Los sacerdotes jesuitas, recurrieron a la afici&oacute;n de los ind&iacute;genas por la m&uacute;sica y la danza, para inculcarles la religi&oacute;n cristiana y sus valores. Los moje&ntilde;os, demostraron tener gran aptitud para el aprendizaje musical, tocaban con destreza todos los instrumentos que eran tra&iacute;dos de Europa, ya fuesen de cuerda o viento, y con el tiempo tambi&eacute;n fueron capaces de construirlos.</p>\n\n<p><em>Los jesuitas ense&ntilde;aron m&uacute;sica a, los indios y pronto &eacute;stos ocuparon sus lugares en el coro, como solistas, instrumentistas, copistas, constructores de instrumentos y hasta de maestros de capilla.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Los documentos que registran la presencia de las pr&aacute;cticas musicales y las danzas en el periodo jesuita, muestran la coexistencia de la m&uacute;sica sacra con la m&uacute;sica y danzas aut&oacute;ctonas.</p>\n\n<p>En sus escritos Alcide D&rsquo;Orbigny relata:</p>\n\n<p><em>...me sorprendi&oacute; la m&uacute;sica instrumental, plena de armon&iacute;a, en la que admir&eacute; sobre todo los bajos formados por un instrumento propio de los ind&iacute;genas, especie de flauta de Pan de uno a dos metros de largo, construida con hojas de palmeras unidas unas con otras, &hellip;</em></p>\n\n<p><em>Despu&eacute;s de la misa, los indios, tocados con una especie de aureola de plumas, y llevando cascabeles en las pantorrillas y un gran sable de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mis agudas hasta las mis graves, y acompa&ntilde;ados de flautas y tambores, salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a m&aacute;s que un n&uacute;mero muy limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas. <a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<hr />\n<p>[[Ver foto: Misa cantada Mojos]]</p>\n\n<p>Keller, Franz. &ldquo;Misa Cantada en la Antigua misi&oacute;n de Trinidad (Mamor&eacute;)&rdquo;The Amazon and Madeira Rivers. Sketches <em>and descriptions from the Note-Book of an Explorer. </em><em>London, 1874.</em></p>\n\n<hr />\n<p><em>Las danzas aut&oacute;ctonas fueron aceptadas por los misioneros como expresi&oacute;n genuina de los pueblos a su cargo, e incorporadas oficialmente al culto religioso, especialmente en las procesiones de Corpus, fiesta de la Sant&iacute;sima Trinidad o la conmemoraci&oacute;n del d&iacute;a del Santo bajo cuya advocaci&oacute;n se hallaban las diferentes misiones. El P. Eder informa que &quot;en ciertas horas se re&uacute;nen en casa del misionero, y bailan all&iacute; y dentro del Templo&quot;, y describe los atav&iacute;os de los bailarines: &quot;Para dar m&aacute;s gracia a sus bailes, hay algunos que se ponen pieles de monos y de aves; otros llevan escudos de plumas ingeridas (cosidas) en una tela; y en ellos hay dibujadas varias figuras de animales&quot;.</em></p>\n\n<p><em>&hellip;</em></p>\n\n<p><em>Las procesiones que se originaron en festividades religiosas tales como Corpus, Epifan&iacute;a, Trinidad, Navidad, etc., ocasionaban el despliegue de intensa actividad musical, donde se daban cita cantantes, bailarines e instrumentistas y donde interven&iacute;an todos los integrantes del pueblo. <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El pueblo moje&ntilde;o mantiene viva su cultura, salvaguardando: la m&uacute;sica prehisp&aacute;nica, que hace eco y uso de la naturaleza; y la m&uacute;sica eclesial, como forma de preservar la religiosidad heredada del periodo misional.</p>\n\n<p>Las partituras que dejaron los jesuitas luego de la expulsi&oacute;n fueron celosa y cuidadosamente conservadas por el Cabildo y el pueblo mismo, la importancia de estos documentos reside en su devoci&oacute;n ya que no se concibe la adoraci&oacute;n a Dios separada de la m&uacute;sica.</p>\n\n<p>El Cabildo Indigenal, como representante de la comunidad, cuyo rol principal es difundir el patrimonio cultural moje&ntilde;o, organiza y participa con las parcialidades de los Valores Espirituales del Pueblo, en las actividades festivas donde la m&uacute;sica y la danza son el elemento fundamental.</p>\n\n<p>Los integrantes de los conjuntos musicales, tiene la responsabilidad de mostrar y transmitir estos saberes, para preservarlos a trav&eacute;s del tiempo.</p>\n\n<p>Coro Musical. Conjunto de personas que cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio, tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el cajane o caja (tambor).</p>\n\n<p>Tamborita. Grupo musical que toca el sivivire, el sankuti, y la tampura, interpretando ritmos alegres t&iacute;picos de la zona.</p>\n\n<p>Banda. &nbsp;&nbsp;Grupo que toca la caja y la trompeta.</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momentos se incluye dentro los ritos religiosos de Semana Santa, las canciones, la m&uacute;sica interpretadas por el Coro Musical, la tamborita y la banda; y las danzas ejecutadas por los Macheteros y los Angelitos.</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, la tamborita y la banda, y cuando se ejecutan las danzas.</u></strong></p>\n\n<hr />\n<p><strong>DOMINGO DE RESURRECION </strong></p>\n\n<p><strong><em>La noche Blanca</em></strong></p>\n\n<p><em>A esta noche los j&oacute;venes la denominan la &ldquo;noche blanca&rdquo;, los j&oacute;venes esperan hasta las 4 de la madrugada del d&iacute;a domingo en medio de juegos que comparten mientras hacen la vigilia</em>.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[4]</a></p>\n\n<hr />\n<p><strong>Procesi&oacute;n del encuentro del Se&ntilde;or Resucitado con su Madre&nbsp; -&nbsp; 4:00&nbsp; </strong></p>\n\n<p>Se celebra el encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a.</p>\n\n<p><strong>Lugar: </strong>Se realiza la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>Salen en procesi&oacute;n en el siguiente orden: San Juan; Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, y finalmente la imagen de Cristo Resucitado.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, Angelitos, la tamborita de los Macheteros, alzadores varones que portan a Cristo Resucitado, San Juan y a la Virgen Dolorosa y alzadoras mujeres que portan a las im&aacute;genes femeninas, j&oacute;venes que flanquean la procesi&oacute;n, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana blanca.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo con camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p>Macheteros o Chiripier&uacute;ana, con camijeta, con franjas coloridas a los costados, sobre los hombros un pa&ntilde;uelo rojo, llevan en la mano derecha un machete de madera, y portan en la cabeza un tocado hecho de plumas de parabas, cuelga de este tocado un cuero que representa la piel de tigre, que llega hasta los talones, los que est&aacute;n cubiertos con semillas de paichach&iacute;s, que hacen las veces de cascabeles.</p>\n\n<p>Angelitos, llevan m&aacute;scara de &aacute;ngel sobre la frente, con pa&ntilde;oleta anaranjada sobre la cabeza, los que representan a la mujer tienen rasgos femeninos y usan tipoi anaranjado, los que representan a los hombres, con bigote, y usan pantal&oacute;n, todos usan chaleco generalmente oscuro, alas de cuero, cascabeles en las rodillas, en la mano derecha flores silvestres y en la derecha un l&aacute;tigo de colores.&nbsp;</p>\n\n<p>La tamborita, con pa&ntilde;oleta del mismo color que los angelitos.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz de plata, con faldilla blanca, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca con soporte de plata, la porta un miembro del Cabildo.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti, cajane, tampura.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, unos por la calle de la izquierda y el Cristo por la de la derecha de la plaza, para luego encontrarse en el medio de la calle al otro lado de la plaza. All&iacute; las im&aacute;genes se har&aacute;n venias y bailar&aacute;n demostrando la alegr&iacute;a de reencontrarse.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li><strong><u>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, la tamborita se ubica en la fila de en medio.</u></strong></li>\n\t<li>Salen del templo las im&aacute;genes de San Juan: Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, luego los sacristanes cargando la Cruz de plata; el Cabildo portando una bandera blanca; el p&aacute;rroco y finalmente la imagen de Cristo Resucitado, sobre anda con porta velas. Todo esto en silencio.</li>\n\t<li>El Cristo Resucitado flanqueado por filas de j&oacute;venes, (hombres y mujeres), vestidos con pantal&oacute;n oscuro y camisa blanca, se va por la calle de la derecha de la plaza y las otras im&aacute;genes por la de la izquierda.</li>\n\t<li>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le quit&oacute; el manto negro).</li>\n\t<li>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer la venia para que la imagen baje y suba).</li>\n\t<li>Cuando est&aacute;n a unos 10 metros, se las inciensa y <strong><u>un miembro del Coro Musical canta Aleluya y hace una oraci&oacute;n (con libreto),</u></strong> luego el p&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y<strong><u> las im&aacute;genes comienzan a bailar al ritmo de la banda, la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo</u></strong>.</li>\n\t<li><strong><u>Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita,</u></strong> en la esquina de la plaza para guiarlos al templo.</li>\n\t<li>Al acercarse al templo, ta&ntilde;en las campanas continuamente.</li>\n\t<li><strong><u>En el atrio los Macheteros se colocan en dos filas una a cada lado de la puerta, contin&uacute;an bailando.</u></strong></li>\n\t<li>Las im&aacute;genes de San Juan; la Virgen Mar&iacute;a; la Ver&oacute;nica, se quedan cerca de la plaza para dar paso a las principales.</li>\n\t<li>Ingresan en medio de <strong><u>los Macheteros, que permanecen en el atrio bailando:</u></strong> el Sacrist&aacute;n que porta la Cruz de plata, representantes del Cabildo con la bandera blanca, el p&aacute;rroco con sacristanes, la imagen de Cristo Resucitado, la imagen de la Virgen Mar&iacute;a y el resto de las im&aacute;genes.</li>\n\t<li>Se colocan en sus respectivos lugares y el p&aacute;rroco las inciensa, mientras <strong><u>en el atrio continua la m&uacute;sica.</u></strong></li>\n\t<li>El P&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li><strong><u>Canta el coro musical en castellano, acompa&ntilde;ado con sivivire y caja.</u></strong></li>\n\t<li>Comienza la misa del D&iacute;a de la Aurora, el coro de j&oacute;venes del templo acompa&ntilde;a toda la ceremonia, antes de dar la Comuni&oacute;n, el p&aacute;rroco inciensa el altar y las im&aacute;genes de Cristo Resucitado y la Virgen Mar&iacute;a, el sacrist&aacute;n al padre, mientras el <strong><u>Coro Musical canta &ldquo;Hosanna&rdquo; acompa&ntilde;ado del sivivire y la caja.</u></strong></li>\n\t<li>Termina la misa y <strong><u>el sivivire y cajane acompa&ntilde;an al Coro musical &ldquo;Reina del cielo&hellip; aleluya&rdquo;</u></strong></li>\n</ul>\n\n<hr />\n<p><strong>Celebraci&oacute;n de la misa del Dia de Pascua o Misa del Gloria Aleluya &ndash; 9:00</strong></p>\n\n<p>Esta misa conmemora la Resurrecci&oacute;n de Cristo, con el Gloria Aleluya.</p>\n\n<p>El Cabildo Indigenal, los Santos Varones y las Mamitas Abadesas se re&uacute;nen para la adoraci&oacute;n de el Sagrario, que esta ubicado en el altar mayor.</p>\n\n<p>Este d&iacute;a el saludo de las personas cambia por el &ldquo;Pascua Aleluya&rdquo;.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Claro Samuel, La M&uacute;sica en las Misiones Jesuitas de Moxos.&nbsp; Revista Musical Chilena. Santiago, 1969. pg. 11. Ss.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV. pg. 1309 ss.</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Claro Samuel, op. cit., pp. 13-16</p>\n\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[4]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 34.</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "e6323cbf-1077-4730-847e-7aa0919f202d"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["6734af3e-4791-4d75-82c4-3fb2b73aed20"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": null, "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": null}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "e56a1f0a-4ede-49ad-a316-d5d6bbb6da9e"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["f6149104-3d2f-4c31-8b0f-f58f7e19e8e1", "44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El&nbsp;patrimonio cultural inmaterial&nbsp;incluye pr&aacute;cticas y expresiones vivas heredadas de nuestros antepasados, transmitidas de generaci&oacute;n en generaci&oacute;n.&nbsp;Estas pr&aacute;cticas incluyen las tradiciones orales, artes esc&eacute;nicas, usos sociales, rituales, actos festivos, entre otros.</p>\n\n<p>A principios del siglo XVIII en las misiones de mojos, los bailes y danzas se efectuaban con atuendos de plumajes, hechos con materiales locales, estas pr&aacute;cticas eran conservadas por el Cabildo, como encargado de transmitir su significado y simbolog&iacute;a.</p>\n\n<hr />\n<p>Ver imagen :[[Semana Santa - Dibujo D&#39;Orbigny]]&nbsp;</p>\n\n<p>M&uacute;sica y danza religiosa en Moxos, (Bolivia.) <a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<hr />&nbsp;\n<p>Un grabado hecho por Alcide D&rsquo;Orbigny en 1832, muestra como se realizaban las celebraciones religiosas, con la participaci&oacute;n de danzantes (Macheteros), y m&uacute;sicos (tocando los bajones), as&iacute; los describe: &ldquo;<em>Despu&eacute;s de la misa los indios tocados con una especie de aureola de plumas y llevando cascabeles en las pantorrillas y un grandes sables de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mas agudas hasta las m&aacute;s graves y acompa&ntilde;ados de flautas y tambores , salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica muy singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a mas que un numero limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas.</em> &ldquo;<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></p>\n\n<p>Al observar esta imagen se evidencia que las danzas, los rituales, la vestimenta, y los instrumentos, han sufrido escasas modificaciones hasta nuestro d&iacute;as.</p>\n\n<p>D&rsquo;Orbigny, presenci&oacute; en San Pedro de Mojos la noche del Domingo de Ramos que es el comienzo de las celebraciones tradicionales de la Semana Santa. En el templo, le llam&oacute; la atenci&oacute;n el tama&ntilde;o y la cantidad de im&aacute;genes ubicadas al medio de la iglesia, que representaban la Pasi&oacute;n de Cristo: la flagelaci&oacute;n, la coronacion de espinas, el v&iacute;a crucis y, finalmente, la crucifixi&oacute;n. Describe tambi&eacute;n que en las v&iacute;speras, indios disfrazados de rojo u otros colores vivos desempe&ntilde;an el papel de jud&iacute;os, que recorren la misi&oacute;n muy despacio buscando a Jes&uacute;s, luego por la noche, la banda se re&uacute;ne y marcha acompa&ntilde;ada de m&uacute;sica triste, que proviene de los tambores, flautas y bajones.</p>\n\n<p>En el caso particular de la festividad de Semana Santa en San Ignacio de Mojos, los rituales relacionados a la misa, las procesiones, las representaciones de escenas religiosas, y las danzas como la de los Macheteros o Chiripier&uacute;ana, y Angelitos, se han mantenido casi inmutables a trav&eacute;s del tiempo.</p>\n\n<p>La representaci&oacute;n de escenas religiosas es parte vital de la festividad, destac&aacute;ndose particularmente: el encuentro del Se&ntilde;or Resucitado con su Madre.</p>\n\n<p>La danza est&aacute; presente tambi&eacute;n, en el Domingo de Resurrecci&oacute;n donde los Macheteros o Chiripier&uacute;ana, bailan en el atrio del templo, como demostraci&oacute;n de regocijo. Estas ceremonias, se describen a continuaci&oacute;n:</p>\n\n<hr />\n<p><strong>DOMINGO DE RESURRECION </strong></p>\n\n<p><strong><em>La noche Blanca</em></strong></p>\n\n<p><em>A esta noche los j&oacute;venes la denominan la &ldquo;noche blanca&rdquo;, los j&oacute;venes esperan hasta las 4 de la madrugada del d&iacute;a domingo en medio de juegos que comparten mientras hacen la vigilia</em>.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<hr />\n<p><strong>Procesi&oacute;n del encuentro del Se&ntilde;or Resucitado con su Madre&nbsp; -&nbsp; 4:00&nbsp; </strong></p>\n\n<p>Se celebra el encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a.</p>\n\n<p><strong>Lugar: </strong>Se realiza la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>Salen en procesi&oacute;n en el siguiente orden: San Juan; Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, y finalmente la imagen de Cristo Resucitado.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, Angelitos, la tamborita de los Macheteros, alzadores varones que portan a Cristo Resucitado, San Juan y a la Virgen Dolorosa y alzadoras mujeres que portan a las im&aacute;genes femeninas, j&oacute;venes que flanquean la procesi&oacute;n, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana blanca.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo con camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p>Macheteros o Chiripier&uacute;ana, con camijeta, con franjas coloridas a los costados, sobre los hombros un pa&ntilde;uelo rojo, llevan en la mano derecha un machete de madera, y portan en la cabeza un tocado hecho de plumas de parabas, cuelga de este tocado un cuero que representa la piel de tigre, que llega hasta los talones, los que est&aacute;n cubiertos con semillas de paichach&iacute;s, que hacen las veces de cascabeles.</p>\n\n<p>Angelitos, llevan m&aacute;scara de &aacute;ngel sobre la frente, con pa&ntilde;oleta anaranjada sobre la cabeza, los que representan a la mujer tienen rasgos femeninos y usan tipoi anaranjado, los que representan a los hombres, con bigote, y usan pantal&oacute;n, todos usan chaleco generalmente oscuro, alas de cuero, cascabeles en las rodillas, en la mano derecha flores silvestres y en la derecha un l&aacute;tigo de colores.&nbsp;</p>\n\n<p>La tamborita, con pa&ntilde;oleta del mismo color que los angelitos.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz de plata, con faldilla blanca, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca con soporte de plata, la porta un miembro del Cabildo.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti, cajane, tampura.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, unos por la calle de la izquierda y el Cristo por la de la derecha de la plaza, para luego encontrarse en el medio de la calle al otro lado de la plaza. All&iacute; las im&aacute;genes se har&aacute;n venias y bailar&aacute;n demostrando la alegr&iacute;a de reencontrarse.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, la tamborita se ubica en la fila de en medio.</li>\n\t<li>Salen del templo las im&aacute;genes de San Juan: Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, luego los sacristanes cargando la Cruz de plata; el Cabildo portando una bandera blanca; el p&aacute;rroco y finalmente la imagen de Cristo Resucitado, sobre anda con porta velas. Todo esto en silencio.</li>\n\t<li>El Cristo Resucitado flanqueado por filas de j&oacute;venes, (hombres y mujeres), vestidos con pantal&oacute;n oscuro y camisa blanca, se va por la calle de la derecha de la plaza y las otras im&aacute;genes por la de la izquierda.</li>\n\t<li>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le quit&oacute; el manto negro).</li>\n\t<li>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer la venia para que la imagen baje y suba).</li>\n\t<li>Cuando est&aacute;n a unos 10 metros, se las inciensa y un miembro del Coro Musical canta Aleluya y hace una oraci&oacute;n (con libreto), luego el p&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y las im&aacute;genes comienzan a bailar al ritmo de la banda, la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo.</li>\n\t<li>Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita, en la esquina de la plaza para guiarlos al templo.</li>\n\t<li>Al acercarse al templo, ta&ntilde;en las campanas continuamente.</li>\n\t<li>En el atrio los Macheteros se colocan en dos filas una a cada lado de la puerta, contin&uacute;an bailando.</li>\n\t<li>Las im&aacute;genes de San Juan; la Virgen Mar&iacute;a; la Ver&oacute;nica, se quedan cerca de la plaza para dar paso a las principales.</li>\n\t<li>Ingresan en medio de los Macheteros, que permanecen en el atrio bailando: el Sacrist&aacute;n que porta la Cruz de plata, representantes del Cabildo con la bandera blanca, el p&aacute;rroco con sacristanes, la imagen de Cristo Resucitado, la imagen de la Virgen Mar&iacute;a y el resto de las im&aacute;genes.</li>\n\t<li>Se colocan en sus respectivos lugares y el p&aacute;rroco las inciensa, mientras en el atrio continua la m&uacute;sica.</li>\n\t<li>El P&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>Canta el coro musical en castellano, acompa&ntilde;ado con sivivire y caja.</li>\n\t<li>Comienza la misa del D&iacute;a de la Aurora, el coro de j&oacute;venes del templo acompa&ntilde;a toda la ceremonia, antes de dar la Comuni&oacute;n, el p&aacute;rroco inciensa el altar y las im&aacute;genes de Cristo Resucitado y la Virgen Mar&iacute;a, el sacrist&aacute;n al padre, mientras el Coro Musical canta &ldquo;Hosanna&rdquo; acompa&ntilde;ado del sivivire y la caja.</li>\n\t<li>Termina la misa y el sivivire y cajane acompa&ntilde;an al Coro musical &ldquo;Reina del cielo&hellip; aleluya&rdquo;</li>\n</ul>\n\n<hr />\n<p><strong>Celebraci&oacute;n de la misa del Dia de Pascua o Misa del Gloria Aleluya &ndash; 9:00</strong></p>\n\n<p>Esta misa conmemora la Resurrecci&oacute;n de Cristo, con el Gloria Aleluya.</p>\n\n<p>El Cabildo Indigenal, los Santos Varones y las Mamitas Abadesas se re&uacute;nen para la adoraci&oacute;n de el Sagrario, que esta ubicado en el altar mayor.</p>\n\n<p>Este d&iacute;a el saludo de las personas cambia por el &ldquo;Pascua Aleluya&rdquo;.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Ibid., p.34.</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "3b0ac994-0939-451d-bd0e-635530b4a2ca"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["9c539c14-ff65-4565-85a2-2268e4fe36ed", "ac9bf7d5-5ebe-428c-b88f-bb7b2f644a87", "bf356c16-8705-42f9-8947-6abf28e51a73"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las formas tradicionales de organizaci&oacute;n socio cultural se sustentan en valores comunes establecidos y creencias compartidas, apoyadas por estructuras jer&aacute;rquicas, donde la transmisi&oacute;n oral de conocimientos se realiza de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>El Cabildo Indigenal es la organizaci&oacute;n m&aacute;s representativa y reconocida de la sociedad moje&ntilde;a, desde sus inicios hasta la actualidad.</p>\n\n<p>El origen del Cabildo se remonta a los reinos hisp&aacute;nicos del siglo XV, que luego de establecerse en Am&eacute;rica cumplieron un rol importante en las reducciones jesu&iacute;ticas de Mojos desde principios del siglo XVIII, con el fin de reforzar los puntos d&eacute;biles en las misiones jesu&iacute;ticas, que albergaban a miles de ind&iacute;genas de diferentes etnias, agrupados en una sola doctrina.</p>\n\n<p>Los cabildos fueron una parte esencial en los antiguos pueblos misionales, cumpliendo roles de gobierno local y manteniendo una estrecha relaci&oacute;n con la iglesia. Aquellos que formaban parte de esta instituci&oacute;n no solo administraban justicia y gestionaban los recursos de la comunidad, sino que tambi&eacute;n se encargaban de transmitir a las generaciones futuras sus conocimientos y responsabilidades. Esta transmisi&oacute;n de saberes y pr&aacute;cticas era fundamental para preservar la cohesi&oacute;n social y cultural, y se compart&iacute;a ampliamente con la comunidad, asegurando as&iacute; la continuidad de las tradiciones y valores que sustentaban la vida en los pueblos misionales. Los oficios y cargos que eran parte de su estructura estaban ocupados por m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes y otros, que se constituyeron en las diversas parcialidades que conformaban el Cabildo.</p>\n\n<p><em>La religi&oacute;n era la esencia en las poblaciones, la iglesia o templo era el edificio central de instrucci&oacute;n cristiana, junto con la casa del cabildo, donde se reun&iacute;an las autoridades elegidas, cargo que desempe&ntilde;aban por el periodo de un a&ntilde;o, &ldquo;quien el a&ntilde;o anterior hab&iacute;a cumplido con diligencia su cargo, era ascendido, quien no, deb&iacute;a hacer m&eacute;ritos para permanecer o llegar ejercer otro cargo (Eder, 1985: 362).<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>En el siglo XVIII, exist&iacute;an 21 reducciones, cada una estaba representada por un Cabildo con oficios como m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes, entre otros, los que constituyeron las parcialidades del pueblo. Estos representantes gracias a su trabajo y dedicaci&oacute;n llegaron a gozar de gran prestigio, conformando una especie de &eacute;lite ind&iacute;gena, lo que deriv&oacute; en que la sociedad reduccional se dividiera en dos: la Familia, (miembros del Cabildo, los asistentes religiosos y los que ejerc&iacute;an alg&uacute;n oficio en las parcialidades y el templo, la escuela o los talleres), y el Pueblo, (los dem&aacute;s habitantes de la reducci&oacute;n).</p>\n\n<p>Los cargos del Cabildo estaban especificados en las <em>Leyes de las Reducciones y Pueblo de Indios</em>, que ordenaban la existencia de un indio Sacrist&aacute;n y dos o tres cantores, para la atenci&oacute;n del templo, y las ceremonias religiosas: &ldquo;<em>En todos los pueblos que pasaren de cien indios, haya dos o tres cantores, y en cada reducci&oacute;n un Sacrist&aacute;n, que tenga cuidado de guardar los ornamentos, y barrer la iglesia (Ley VI, Libro VI, Ti. III).&rdquo;</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><em><strong>[2]</strong></em></a></p>\n\n<p>Tambi&eacute;n estas Leyes mencionan la necesidad que los ind&iacute;genas cumplan funciones de gobierno pol&iacute;tico, como alcaldes y regidores, que son las autoridades m&aacute;s importantes&nbsp; del pueblo:<em> &ldquo;Ordenamos que, en cada pueblo y reducci&oacute;n, haya un alcalde indio de la misma reducci&oacute;n, y si pasare de ochenta casas, dos alcaldes, y dos regidores, tambi&eacute;n indios, y aunque el pueblo sea muy grande, no haya m&aacute;s que dos alcaldes y cuatro regidores, los cuales han de elegir por a&ntilde;o nuevo otros, como se practica en los pueblos de espa&ntilde;oles en indios, en presencia de los curas (Libro VI, T&iacute;tulo III, Ley XV).&rdquo;</em><em> <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El cabildo ya no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas de los siglos XVII y XVIII, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, preservar las tradiciones culturales y religiosas, y proteger el patrimonio cultural. Adem&aacute;s, han tomado medidas para defender el territorio frente a la explotaci&oacute;n de empresas madereras y ganaderas.</p>\n\n<p><em>&nbsp;&ldquo;&hellip;Actualmente, siguiendo los criterios jesu&iacute;ticos el Cabildo Indigenal est&aacute; compuesto por &ldquo;un Capital Grande, dos caciques, dos intendentes, cuatro alf&eacute;reces, dos fiscales, dos polic&iacute;as, once comisarios, un camaretero y un secretario (Eyzaguirre 2012:55) cada uno lleva sus propias funciones en sus distintas &aacute;reas. Al Corregidor tradicionalmente se le denomina Tayta&oacute;Tata(persona sabia), quien integra a los sectores, organizaciones, instituciones y familias, el que encierra el respeto y educaci&oacute;n heredada por la cultura de los abuelos. El Cabildo no percibe ning&uacute;n ingreso, el Corregidor no tiene sueldo, por lo que muchas no todas las personas asumen la responsabilidad de este cargo, y por otro lado, el Corregidor debe ser una persona mayor de entre 40 a 50 a&ntilde;os, como garant&iacute;a de su responsabilidad (Parroquias de Mojos 1988:32). La autoridad del Corregidor es elegida en una gran reuni&oacute;n del Cabildo Indigenal incluyendo la participaci&oacute;n de las agrupaciones de las Danzas e incluso personas de las comunidades; esta es una pr&aacute;ctica que la realiza el cabildo sin ninguna intromisi&oacute;n de la junta la prefectura, subprefectura, Comit&eacute;s C&iacute;vicos u otros.&rdquo;<a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><strong>[4]</strong></a></em></p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo de San Ignacio de Mojos, actualmente cuenta con un espacio o centro de reuniones para la poblaci&oacute;n, &eacute;sta edificaci&oacute;n se ubica detr&aacute;s del templo misional: <em>La distribuci&oacute;n espacial del cabildo expresa el rol importante que tienen sus representantes en las sillas principales se sientan las Autoridades principales del Cabildo: Corregidor, Representante, Capit&aacute;n Grande, Cacique e Intendente, detr&aacute;s es las autoridades se ubica el Coro Musical de la Iglesia, al lado izquierdo de las sillas de las autoridades, se encuentran los Pasados que son los ex-caciques y Ex-Corregidores, al lado derecho se ubican el Polic&iacute;a, Comisario, Alf&eacute;rez y el Camaretero; m&aacute;s all&aacute;, sobre el mismo lado derecho, se sientan los Perpetuos y, en el mismo lado, las Mamitas Abadesas. </em></p>\n\n<hr />\n<p>[[Ver foto: Distribuci&oacute;n espacial - Cabildo indigenal]]</p>\n\n<hr />\n<p><em>De frente a las Autoridades del Cabildo se encuentra el altar donde se encuentran las im&aacute;genes de los Santos; al lado derecho del altar se colocan los bastones de mando que llevan las autoridades, luego se ubican otro grupo de Mamitas Abadesas y al continuaci&oacute;n los Chiripier&uacute;ana(macheteros).<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"><strong>[5]</strong></a></em></p>\n\n<p>El Cabildo de San Ignacio de Mojos posee personer&iacute;a jur&iacute;dica como organizaci&oacute;n, su rol principal es mantener sus tradiciones y dar continuidad a la cultura moje&ntilde;a, organizar todas las actividades festivas, y tienen competencia sobre diversos asuntos del pueblo.</p>\n\n<p>La composici&oacute;n del Cabildo es la siguiente:</p>\n\n<hr />\n<p>[[ Ver foto: Composicion del Cabildo]].</p>\n\n<hr />&nbsp;\n<p>El Cabildo est&aacute; presente y es parte de la organizaci&oacute;n de las festividades, gracias a su pervivencia se ha logrado conservar el patrimonio cultural material e inmaterial, ya que son celosos guardianes de su acervo, evitando adem&aacute;s las influencias for&aacute;neas o renovaciones culturales.</p>\n\n<p>Las agrupaciones que participan en la festividad de Semana Santa, que son parte inherente al Cabildo son:</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"><strong>[6]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p>Las Mamitas Abadesas o Memes, forman parte de la parcialidad de los valores espirituales del pueblo.</p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.<a href=\"#_ftn7\" name=\"_ftnref7\" title=\"\"><strong>[7]</strong></a></em></p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;, este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisitos exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERUANA </strong></p>\n\n<p>El nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>La danza se ejecuta de forma marcial, en dos filas. Bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores, sujeta al armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichachies, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> <em>&nbsp;</em>Plan Mojos, Historia Cabildos. 2024. pg. 45.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid, pg. 50.</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid., pg. 51</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em> </em><em>&ldquo;para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Fuente: Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg..20.</p>\n\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" title=\"\">[6]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pp. 8-9.</p>\n\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" title=\"\">[7]</a> Ibid. p. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "501f52de-6ebe-4ba3-93ba-82f1b85929bc"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las t&eacute;cnicas tradicionales de fabricaci&oacute;n, en este caso de instrumentos musicales, constituyen la manifestaci&oacute;n m&aacute;s tangible del patrimonio cultural inmaterial, el conocimiento de estas pr&aacute;cticas manuales ha pasado de generaci&oacute;n en generaci&oacute;n, dentro la comunidad moje&ntilde;a conect&aacute;ndola con su pasado.</p>\n\n<p>La construcci&oacute;n y empleo de instrumentos en Mojos data de la &eacute;poca prehisp&aacute;nica, y adquiere un gran desarrollo con la llegada de los jesuitas. Este tema ha sido investigado ampliamente por el antrop&oacute;logo Richard Mujica Angulo, a continuaci&oacute;n, adjunto una breve introducci&oacute;n y la descripci&oacute;n de los instrumentos musicales utilizados en San Ignacio, temas desarrollados en su art&iacute;culo:&nbsp; <em>El &ldquo;Juramento</em><em>&rdquo; </em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos</em> que forma parte de la Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es), 2013:</p>\n\n<p><em>Una de las principales referencia a los instrumentos musicales de Mojos son las de Alcides D&rsquo;orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de &ldquo;acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a 13 tubos, actualmente se registraron bajones de 10 tubos. Gran parte de los instrumentos de Mojos son precolombinos. Estos pueblos, adem&aacute;s de contar con estos instrumentos, hac&iacute;an uso del canto. Los misioneros decidieron adoptar los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena apoyando en su lugar m&uacute;sica concertada y poemas sagrados estrictamente religiosos.</em></p>\n\n<p><strong>Descripci&oacute;n de los instrumentos</strong></p>\n\n<p><strong><em>Sivivire.</em></strong><em> El Sivivire es un instrumento aer&oacute;fono&hellip; Es una flauta de tubo con embocadura lateral 0 (clasificado como 411.2 seg&uacute;n Hornbostel-Sachs) caracter&iacute;stico en la interpretaci&oacute;n de la m&uacute;sica, emple&aacute;ndose en diferentes g&eacute;neros musicales y danzas de San Ignacio de Mojos. El instrumento tiene siete orificios: seis digitables y uno que hace de embocadura&hellip;, el extremo base presenta el orificio de salida completo, y en el otro extremo se rellena la parte frontal con cera de abeja (lado embocadura). </em></p>\n\n<p><em>Esta flauta (se toma como base de descripci&oacute;n el Sivivire de los Macheteros) es interpretada pr&aacute;cticamente en todo el calendario anual festivo del lugar. En un conjunto de m&uacute;sicos se interpreta s&oacute;lo un Sivivire y generalmente est&aacute; acompa&ntilde;ado de membran&oacute;fonos: tampura, sankuti y caja... El ejecutante por lo general es var&oacute;n, lo denominan (flautero) y es &eacute;l mismo quien construye su flauta&hellip; </em></p>\n\n<p><em>Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;. Por ello cada danza tiene diferentes &ldquo;toques&rdquo; de acuerdo a la situaci&oacute;n ritual o festiva en la cual se ejecuta. </em><em>De forma general el repertorio musical de cada danza est&aacute; conformado por la marcha (de uso ritual especialmente en procesiones), el tayr&rsquo;imarapi (taquirari &ldquo;especial&rdquo;) primera pieza interpretada luego de la marcha; y finalmente, el v&rsquo;irimarapi (taquirari &ldquo;festivo&rdquo;) que se interpreta como parte de la fiesta misma. Existe una melod&iacute;a espec&iacute;fica para cada santo o virgen, el cual se marca espec&iacute;ficamente en la marcha. Respecto de esto Cirilo Yaca afirma: &ldquo;tiene que acompa&ntilde;ar a las im&aacute;genes, a los santos. Para acompa&ntilde;ar y visitar a estos ocupan la Marcha&rdquo;; por ello nos habla de un principal elemento del repertorio musical &ldquo;la marcha&rdquo; m&uacute;sica de car&aacute;cter sagrado y ritual. Otro elemento que conforma este repertorio es el &ldquo;taquirari&rdquo; (v&rsquo;irimarapi): &ldquo;el que vale m&aacute;s es el taquirari (...) se cambia el toque y se toca el taquirari en la fiesta, es m&aacute;s bonito, m&aacute;s entrador (...) la Marcha tiene un s&oacute;lo paso (...) Cada conjunto tiene su entrada [la marcha] y tiene su taquirari&rdquo;. Este el papel del instrumento, la danza y el repertorio musical de las m&uacute;sicas y danzas de Mojos.</em></p>\n\n<p><em>Los materiales empleados en la realizaci&oacute;n de instrumentos de basa en la tsakana (takuara fina o &ldquo;castilla&rdquo;), ca&ntilde;a-bamb&uacute; empleada para construirlo. Este material antiguamente se encontraba en las regiones extensas del monte; posteriormente, por causa de la expansi&oacute;n de las tierras de pastoreo que los ganaderos deciden ampliar, se reducen los lugares donde se encontraba este material. La inexistencia del material obliga a utilizar tubos pl&aacute;sticos de ca&ntilde;er&iacute;a y otros materiales como el aluminio. Por otro lado, el M&aacute;paji (Cera de Abeja), empleado para tapar el extremo de la flauta. Luego, tambi&eacute;n se presentan flautas de pl&aacute;stico de </em><em>&ldquo;</em><em>ca&ntilde;er&iacute;a&rdquo;, empleadas por la falta de la takuara tradicional. </em></p>\n\n<p><em>La elaboraci&oacute;n de este instrumento es de dominio de todo flautero y est&aacute; muy vinculado al individuo. Las t&eacute;cnicas empleadas para su elaboraci&oacute;n iniciar&iacute;an con la recolecci&oacute;n de la ca&ntilde;a: se limpia el orificio central. Se inicia la medida desde la base (cola) marcando el primer orificio digitable (dista el ancho de tres dedos). Luego, desde esta marca, se toma la medida de </em><em>&ldquo;</em><em>mi cuarta&rdquo; (distancia entre los dedos me&ntilde;ique y pulgar de la palma abierta); y se marca el orificio central digitable. Se emplea la misma medida (&ldquo;mi cuarta&rdquo;) para marcar el orificio de la embocadura o boquilla. Realizadas estas tres primeras marcas se se&ntilde;ala equidistantemente los lugares donde se realizar&aacute;n las cuatro perforaciones necesarias para la digitaci&oacute;n de la flauta&hellip; Los orificios se hacen con el tumare, un cuchillo en punta; y la emisi&oacute;n del sonido se ajusta moviendo (hacia adentro o afuera) la cera de abeja que tapa el extremo de la embocadura, s&oacute;lo la correcta posici&oacute;n permitir&aacute; la emisi&oacute;n de octavas. Por tanto, las dimensiones del Sivivire depende de dos factores: (1) la danza o </em><em>&ldquo;</em><em>toque&rdquo; que se interpretar&aacute;; y (2) las caracter&iacute;sticas corporales (la mano) del instrumentista, ya que cada qui&eacute;n busca el tama&ntilde;o m&aacute;s c&oacute;modo para su interpretaci&oacute;n.</em></p>\n\n<p><strong><em>Sankuti. </em></strong><em>Instrumento musical membran&oacute;fono elaborado en base al </em><em>&ldquo;</em><em>coraz&oacute;n</em><em> </em><em>&ldquo;del tronco de &aacute;rboles como la mara y el juchi, considerados como </em><em>&ldquo;</em><em>finos</em><em>&rdquo;</em><em> &hellip; Las membranas del sankuti (Cavour, 2010:246-247) son hechas de </em><em>&ldquo;</em><em>cuero de res&rdquo; el cual tiene mucho grosor y es cambiado eventualmente. Las correas que sujetan las membranas as&iacute; como las empleadas para colgar el instrumento en el hombro tambi&eacute;n est&aacute;n hechas del mismo cuero&hellip;</em></p>\n\n<p><em>Para ta&ntilde;er este instrumento se emplea una baqueta denominada </em><em>&ldquo;</em><em>palitoke&rdquo; que los lugare&ntilde;os traducen como </em><em>&ldquo;</em><em>Palito que se toca</em><em>&rdquo;</em><em>. Este material le otorga gran durabilidad lo que hace que sea&rdquo; heredado</em><em> </em><em>&ldquo;de un m&uacute;sico a otro, y por otro lado, se le otorga el sentido de </em><em>&ldquo;</em><em>antiguo&rdquo; ya que se afirma que </em><em>&ldquo;</em><em>el antiguo lo hicieron</em><em>&rdquo;.</em><em> </em></p>\n\n<p><em>(foto)</em></p>\n\n<p><strong><em>Kajane o Caja (Tambor). </em></strong><em>Otro instrumento membran&oacute;fono muy empleado en las danzas es la caja o tambor. Sus dimensiones promedio son de 38 cm. de di&aacute;metro por 23 cm. de altura&hellip; La caja de resonancia est&aacute; hecha en base a corteza de &aacute;rbol de toco; para su obtenci&oacute;n es perforada y luego &ldquo;cavada&rdquo; con ayuda de cinceles artesanales. El cuero utilizado en las membranas es de sullu de vaca, vale decir de la cr&iacute;a del ganado bovino10 el cual es envuelto en un aro de bejuco que le da la forma circular. Y cuenta con un sobrearo o y&rsquo;ana de casi 5 cm. de ancho hecho de madera v&rsquo;i (jianaki). En la membrana posterior se sujeta una cuerda de algod&oacute;n a manera de </em><em>&ldquo;</em><em>charlera&rdquo; para que el instrumento aumente su vibraci&oacute;n. </em></p>\n\n<p><em>Para su interpretaci&oacute;n la caja es colgada del cuerpo con ayuda de una correa hecha de cuero de res; y se hace uso del palitoki tambi&eacute;n denominado cajaneraki,11 un par de baquetas de unos 34 cm. de largo hechos de madera de gabetillo, chonta y de cuchi. En algunas ocasiones a la buena interpretaci&oacute;n de los instrumentos musicales, en especial a los membran&oacute;fonos se hace menci&oacute;n a que &quot;Se tesa con una cuerda&hellip; ya lo hace rezar</em><em>&rdquo;</em></p>\n\n<p><strong><em>Tampura (bombo).</em></strong><em> La Tampura, es el membran&oacute;fono asemejado al bombo, el cual tiene mayores dimensiones que los otros, con un di&aacute;metro de 46 cm. y 22 cm. de alto (Fotograf&iacute;a N&ordm; 7). La caja de resonancia est&aacute; hecha en base a madera blanca de toco o jocho&rsquo;o. Las membranas generalmente son de cuero de res y en algunos casos presenta inscripciones pintadas; por otro lado, indican que este cuero es del cuello de la res, el cual es curtido lav&aacute;ndolo con ceniza para </em><em>&ldquo;</em><em>que no lo cambie el sereno</em><em>&rdquo;</em><em> o sea para que no cambie el sonido. El instrumento que ayuda a su interpretaci&oacute;n es una baqueta de madera de v&rsquo;idenominadata&rsquo;earaki o tampuraraki (&ldquo;toca bombo&rdquo;), el cual mide 26,5 cm. de largo, el mango tiene 3 cm. de grosor y tiene una especie de mazo de 6 cm. de di&aacute;metro.</em></p>\n\n<p><strong><em>Chonono o cascabelana.</em></strong><em> En un idi&oacute;fono empleado por los danzantes, especialmente hombres, de cada danza&hellip; Consiste en una trozo rectangular de cuero (de 10 por 64 cm.) al cual van sujetas semillas o cascabeles; la base rectangular tiene dos tiras laterales utilizadas para amarrarlas a las piernas justo en la articulaci&oacute;n de la rodilla. En el caso de las danzas del machetero las semillas utilizadas en el chonono son de chakai y para otras danzas se emplea el naviri. Y para danzas como los toritos y ciervos se emplean cascabeles de bronce. </em></p>\n\n<p><em>Estos instrumentos acompa&ntilde;an a la m&uacute;sica d&aacute;ndole un comp&aacute;s r&iacute;tmico a partir de la danza de sus int&eacute;rpretes, esto hace referencia a que los danzantes tambi&eacute;n tienen un papel importante como interpretes del chonono.</em></p>\n\n<p><strong><em>El Baj&oacute;n.</em></strong><em> Es uno de los instrumentos musicales m&aacute;s difundidos de la regi&oacute;n, por lo cual ampliar&eacute; su descripci&oacute;n&hellip; Este instrumento aer&oacute;fono, conformado por pares (machohembra) a primera vista se parece a una especie de flauta de pan pero con boquillas de madera en cada uno de los tubos; sin embargo, se trata de unas &ldquo;trompetas m&uacute;ltiples</em><em>&rdquo;</em><em>construidas a base de varios tubos de hojas enrolladas atadas en </em><em>&ldquo;</em><em>forma de balsa o ala&rdquo;, donde cada tubo es acomodado en una sola hilera (Waisman 2002:533). </em></p>\n\n<p><em>El Baj&oacute;n est&aacute; elaborado con los siguientes materiales: Hoja de Cusi, varas de cogollo que estructuran la parte interna de cada tubo; hilo de algod&oacute;n o hilo </em><em>&ldquo;</em><em>camba</em><em>&rdquo; (</em><em>itsepite cajare) mezclada con cera (M&aacute;paji) de abeja &ldquo;se&ntilde;orita&rdquo;. Las boquillas torneadas de madera de cedro para cada tubo; donde una </em><em>&lsquo;</em><em>peineta&rdquo; </em><em>(</em><em>de 56.5 x4 cm) hecha de madera sujeta a todos los tubos (de 56.5 x 4 cm). Cada uno de los tubos tiene asignado una sigla del alfabeto grabada en la </em><em>&ldquo;</em><em>peineta&rdquo; que hace referencia a la afinaci&oacute;n de cada uno de ellos. El tubo de mayor tama&ntilde;o tiene una base de goma sujetado en la parte inferior para facilitar su apoyo en el suelo. </em></p>\n\n<p><em>Los pasos empleados para la elaboraci&oacute;n del baj&oacute;n son el armado del soporte o estructura de cogollo; enrollado o superposici&oacute;n de hojas de Cusi, atado (liado) con cordel (pita) de algod&oacute;n hilado, embadurnado con cera de abeja para fortificar el hilo y apoyar el agarre. Y se emplean herramientas como el Tumare (cuchillo) y la Capotera (aguja). </em></p>\n\n<p><em>Este instrumento musical se interpreta de mediante la </em><em>&ldquo;</em><em>t&eacute;cnica dialogada&rdquo; entre el Baj&oacute;n macho y Baj&oacute;n hembra. Vale decir que la melod&iacute;a se entreteje de forma dialogada entre los dos int&eacute;rpretes del instrumento. El sonido que emite este instrumento es grave. La forma de interpretaci&oacute;n de los bajones se basa en el soplido. Cada int&eacute;rprete sujeta el baj&oacute;n horizontalmente con ambas manos apretando los labios en la boquilla para tocarlos de forma similar a una trompeta. Sin embargo, por el tama&ntilde;o del instrumento el ejecutante no puede sujetar solo el baj&oacute;n, por ello, requiere de la ayuda de otra persona que sostenga el instrumento desde el extremo inferior.</em></p>\n\n<p><em>El baj&oacute;n tiene un rol muy reconocido como parte de la orquesta t&iacute;pica de San Ignacio, orient&aacute;ndose su interpretaci&oacute;n para acompa&ntilde;ar los c&aacute;nticos sagrados de misas, procesiones religiosas y </em><em>&ldquo;</em><em>velorios</em><em>&rdquo;</em><em> de santos y v&iacute;rgenes. Los instrumentistas o ejecutantes del baj&oacute;n son especialistas y gozan de alto prestigio en la comunidad. Los bajones actualmente son acompa&ntilde;ados por un viol&iacute;n, dos flautas, caja y tampura.</em></p>\n\n<p><em>Una de las principales referencia son las de Alcides D</em><em>&rsquo;</em><em>orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de </em><em>&ldquo;</em><em>acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a </em><em>13</em><em> tubos, actualmente se registraron bajones de 10 tubos. Hip&oacute;tesis no confirmadas plantean que el nombre original de este instrumento podr&iacute;a ser </em><em>&ldquo;</em><em>ippij&iacute;raseco&rdquo; aunque actualmente s&oacute;lo se emplea el nombre de Baj&oacute;n (Waisman 2002:534).</em></p>\n\n<hr />\n<p><em>[[Ver foto: Instrumentos musicales - Coro Musical]]</em></p>\n\n<hr />"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["a0e4f8bb-9310-4344-b025-2609c8a26ec2"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "0332f720-d1d8-4b5a-899a-984e609405fa"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del patrimonio cultural inmaterial, es esencial para su salvaguarda, los medios utilizados son: la tradici&oacute;n oral, historias, conocimientos transmitidos verbalmente de generaci&oacute;n en generaci&oacute;n; usos sociales, rituales y festivos; t&eacute;cnicas artesanales tradicionales, entre otros.&nbsp;</p>\n\n<p>En San Ignacio, la transmisi&oacute;n de la lengua moje&ntilde;a se ha efectuado de padres a hijos de forma oral. La cultura moje&ntilde;a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense&ntilde;an formalmente el idioma moje&ntilde;o, como medio de salvaguardar la cultura.</p>\n\n<p>Los conocimientos de m&uacute;sica y confecci&oacute;n de instrumentos, son inculcados de maestro a aprendiz, as&iacute; es como se forman los integrantes del Coro Musical del Cabildo Indigenal, quienes deben adem&aacute;s, realizar el &ldquo;juramento&rdquo; que los marca de por vida, es el compromiso solemne de interpretar un instrumento musical y pertenecer a un grupo de danza, &nbsp;esta responsabilidad se adquiere luego que los &ldquo;taytas&rdquo; m&uacute;sicos consideran que el aprendiz est&aacute; capacitado y cumple las expectativas de interpretaci&oacute;n. La ceremonia del &ldquo;juramento&rdquo;, se realiza en el templo en ocasi&oacute;n de la festividad de la Virgen de la Candelaria, recibiendo la bendici&oacute;n del Padre. &nbsp;</p>\n\n<p><em>Los m&uacute;sicos en San Ignacio de Mojos son muy respetados y reconocidos en la comunidad al grado incluso de los Caciques. Por un lado, este prestigio se eleva cuando el int&eacute;rprete adem&aacute;s de conocer detalladamente la construcci&oacute;n de su propio instrumento tambi&eacute;n realiza otros (como es el caso de Robin Cuellar pr&aacute;cticamente uno de los pocos m&uacute;sicos que adem&aacute;s de ser violinista fabrica e interpreta los bajones) y m&aacute;s a&uacute;n si compone sus m&uacute;sicas.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>La creaci&oacute;n de la nueva escuela de m&uacute;sica, se ha convertido en factor importante de reproducci&oacute;n de la tradici&oacute;n musical moje&ntilde;a, adem&aacute;s de proveer oportunidades de conseguir un t&iacute;tulo profesional. El objetivo no es solamente recuperar la m&uacute;sica legado de la &eacute;poca misional y prehisp&aacute;nica, sino de proponer nueva m&uacute;sica popular.</p>\n\n<p>La m&uacute;sica que los ancianos ense&ntilde;an es m&aacute;s que todo religiosa, en cambio en la escuela se abarca un amplio espectro de estilos. Actualmente la escuela acoge a m&aacute;s de 300 alumnos en diferentes especialidades instrumentales.</p>\n\n<p>La participaci&oacute;n activa de la poblaci&oacute;n en las festividades religiosas es un reflejo del valor que se les atribuye. Desde los ancianos hasta los ni&ntilde;os, la poblaci&oacute;n moje&ntilde;a se involucra, esto es crucial para la transmisi&oacute;n de valores y la preservaci&oacute;n de las tradiciones.</p>\n\n<p>La transmisi&oacute;n de saberes y costumbres tiene tambi&eacute;n una base material, la que es indispensable para el mantenimiento de la manifestaci&oacute;n, sin duda, el&nbsp;objeto material&nbsp;es un testigo valioso y un documento que refleja el sentimiento colectivo de una sociedad. Como receptor y transmisor de m&uacute;ltiples significados culturales, est&aacute; arraigado en un tiempo y un espacio espec&iacute;ficos, su existencia nos conecta con la historia, las tradiciones y las creencias de quienes lo crearon y utilizaron. La tradici&oacute;n del uso de estos objetos se pasa entre generaciones y es promovido especialmente por el Cabildo Indigenal.&nbsp; Entre estos objetos destacan: el tocado de plumas de los Macheteros, sus machetes de madera; las im&aacute;genes religiosas; los instrumentos musicales; la vestimenta del Cabildo, Memes, Angelitos y Sargentos Jud&iacute;os, entre otros.</p>\n\n<p>Las danzas en San Ignacio poseen elementos simb&oacute;licos y rituales que se relacionan con un pasado hist&oacute;rico m&aacute;s extenso, incluso anterior a la llegada de los jesuitas. Estas danzas son expresi&oacute;n de la identidad cultural, que se transfirie de modo informal mediante la pr&aacute;ctica, la observaci&oacute;n y la imitaci&oacute;n, dentro la comunidad, y se conserva casi sin modificaciones.</p>\n\n<p>En las ceremonias de la festividad, especialmente en las procesiones, los mayores hacen referencia a la importancia de la participaci&oacute;n de los j&oacute;venes y ni&ntilde;os, el objetivo es que puedan aprender y dar continuidad a sus tradiciones, para que pervivan en el tiempo. Existe un sentimiento muy importante de aprecio de los mayores por la participaci&oacute;n de los ni&ntilde;os.</p>\n\n<p>Los Santos Varones y los miembros del Cabildo son los encargados de transmitir la memoria viva, los conocimientos y procedimientos que son parte de la celebraci&oacute;n de Semana Santa.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento&rdquo; para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "002847a7-601b-4cca-9dc7-7a0d9db64eb9"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El patrimonio inmaterial est&aacute; expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici&oacute;n, por lo que est&aacute; sujeto a cambios y evoluciones.</p>\n\n<p>V&iacute;ctor Hugo limpias en su art&iacute;culo: Lo Infernal, lo Terrenal y lo Celestial en la Misi&oacute;n de Moxos<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a>, menciona las descripciones de Francisco J. Eder en 1772, sobre las ceremonias celebradas en Semana Santa:</p>\n\n<p><em>&ldquo;&hellip;Los d&iacute;as de la Semana Santa comienzan el Domingo de Ramos, con la procesi&oacute;n acostumbrada. Los d&iacute;as restantes todo se celebra con una exactitud tan grande, que no falta nada&hellip;Los tres d&iacute;as se entona el Oficio de Tinieblas; luego, la pasi&oacute;n en su lengua. Todos los indios visten de estricto negro desde el Mi&eacute;rcoles de Ceniza hasta el d&iacute;a de Pascua. Durante este periodo ni siquiera las mujeres utilizan el menor adorno. El Jueves Santo tiene lugar el tradicional lavatorio de los pies y la cena con doce indios. Pero nada dice tanto a favor de los indios como el silencio y la aplicaci&oacute;n en la procesi&oacute;n (del)&hellip; Viernes Santo, a los que contribuyen mucho la m&uacute;sica triste, la viveza de la escenograf&iacute;a con las estatuas&hellip; que representan los misterios del Se&ntilde;or&hellip; as&iacute; como los cantos que se repiten en cada parada...&rdquo; </em></p>\n\n<p>Francisco J. Eder, hace referencia tambi&eacute;n a las sangrientas flagelaciones que se infring&iacute;an los ind&iacute;genas tanto hombres como mujeres el d&iacute;a de Viernes Santo, si bien eran expresiones teatrales, estas eran exageradas e incluso implicaban a ni&ntilde;os, quienes llevaban sogas al cuello y coronas de espinas en la cabeza. &nbsp;As&iacute; mismo relata que la fiesta de Corpus Christi, era la de mayor alarde ornamental, donde los altares son adornados con hermosas palmas y flores, y que se hac&iacute;a explotar un peque&ntilde;o ca&ntilde;oncito delante de cada altar, los adornos del templo y la m&uacute;sica selecta, banderas de seda y los arcos triunfales le recordaban a Europa.</p>\n\n<p>Tomando como referencia estas descripciones se observa que, en la actualidad, la vestimenta de color negro se mantiene en los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo, las Mamitas Abadesas cambian los colores de su tipoi, utilizan el blanco o morado y el negro &uacute;nicamente el Viernes Santo, mientras que los miembros del Cabildo visten siempre de blanco.</p>\n\n<p>El Oficio de Tinieblas, se sigue celebrando durante tres d&iacute;as, en la misa se lee la segunda lectura en lengua moje&ntilde;a, la ceremonia del lavatorio de los pies y la Ultima Cena se realiza con la participaci&oacute;n del Cabildo Indigenal, tal como se hac&iacute;a &nbsp;en el siglo XVIII.</p>\n\n<p>Las costumbres de Corpus Christi descritas por el jesuita, son muy similares a las que observamos hoy en Semana Santa, la profusa ornamentaci&oacute;n de altares, con flores (en su mayor&iacute;a con flores artificiales), y la explosi&oacute;n de un peque&ntilde;o ca&ntilde;&oacute;n, seria hoy la explosi&oacute;n de la &ldquo;camareta&rdquo;, la m&uacute;sica solemne es interpretada por la&nbsp; banda y por la tamborita de los Sargentos Jud&iacute;os, aunque tambi&eacute;n se interpreta m&uacute;sica alegre en el alba del Domingo de Resurrecci&oacute;n cuando se celebra el encuentro del Se&ntilde;or Resucitado con su Madre, ese momento de alegr&iacute;a cuando la banda toca y la im&aacute;genes se saludan y bailan, es una de las escenas m&aacute;s conmovedoras de la festividad.</p>\n\n<p>Algunos cambios se han observado en relaci&oacute;n a lo registrado el a&ntilde;o 2010, por la Direcci&oacute;n General de Patrimonio Cultural del Ministerio de Culturas, estos se describen a continuaci&oacute;n:</p>\n\n<ul>\n\t<li>En el centro del Cabildo se colocan dos mesas largas, en una mesa se instalan las autoridades ediles y del consejo, (esto desde el 2023), y en la otra los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</li>\n\t<li>Se ha modificado tambi&eacute;n el d&iacute;a en que se instala el tel&oacute;n negro que cubre el altar y lleva una cruz roja al centro, que corresponde a &ldquo;Las Tinieblas&rdquo;, en 2010 se lo hac&iacute;a el Mi&eacute;rcoles Santo, en 2024 se coloca este tel&oacute;n el Lunes Santo.</li>\n\t<li>En el alba del Domingo de Resurrecci&oacute;n, cuando los Macheteros bailan en el atrio, en 2010 se registra que lo hacen acompa&ntilde;ados por los Toritos, mientras que, en 2024, los acompa&ntilde;an danzando los Angelitos.</li>\n</ul>\n\n<p>Se puede afirmar entonces, que las ceremonias celebradas en Semana Santa no han cambiado notoriamente desde el siglo XVIII hasta ahora, y se ha mantenido lo m&aacute;s significativo, que es la participaci&oacute;n de todos los miembros de la sociedad moje&ntilde;a, y el resguardo de su tradiciones, de la mano del Cabildo Indigenal.</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Memoria del V encuentro internacional del barroco. Visi&oacute;n Cultural. 2010.</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "36cff97a-e02d-490c-8949-508215406c8e"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El patrimonio inmaterial transmitido de generaci\u00f3n en generaci\u00f3n, por la memoria viva de la comunidad, esta expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici\u00f3n y son confirmadas y revitalizadas en el presente. En San Ignacio de Mojos, la transmisi\u00f3n de tradiciones y costumbres ha conseguido salvaguardar el Patrimonio Cultural Inmaterial. Los portadores de la tradici\u00f3n desempe\u00f1an un papel crucial al confirmar y revitalizar estas pr\u00e1cticas en el presente. El \u00e9xito de la preservaci\u00f3n se basa en: Participaci\u00f3n de Ni\u00f1os y J\u00f3venes. Al involucrar a ni\u00f1os y j\u00f3venes en las festividades, se asegura que adquieran habilidades y saberes ancestrales. Esto garantiza la continuidad de las costumbres al transferir conocimientos de una generaci\u00f3n a otra. Transmisi\u00f3n desde la Infancia. La transmisi\u00f3n comienza desde temprana edad, lo que permite que los ni\u00f1os internalicen las tradiciones y se conviertan en futuros portadores. La participaci\u00f3n activa en rituales y pr\u00e1cticas culturales refuerza su identidad cultural. Sostenibilidad y Adaptaci\u00f3n. La transmisi\u00f3n de tradiciones, no implica una mera repetici\u00f3n, sino tambi\u00e9n adaptaci\u00f3n. Los portadores de la tradici\u00f3n han mantenido la autenticidad, pero tambi\u00e9n han permitido que evolucione para seguir siendo relevante. Existe un esfuerzo organizado de la comunidad y el Plan Misiones para preservar el patrimonio cultural, con este objetivo se est\u00e1 efectuando la elaboraci\u00f3n de registros del patrimonio cultural, material e inmaterial, como instrumento de salvaguardia de estos acervos.  La comunidad se apoya en el Cabildo Indigenal como responsable del mantenimiento y perpetuaci\u00f3n del conjunto de c\u00f3digos relacionados con la celebraci\u00f3n de las festividades. Estas manifestaciones siguen uniendo a sus miembros y reforzando sus lazos identitarios, los cuales pueden verse debilitados por los procesos de transculturaci\u00f3n a los que todas las comunidades est\u00e1n expuestas en la actualidad. En San Ignacio, la transmisi\u00f3n de la lengua moje\u00f1a se ha efectuado de padres a hijos de forma oral. La cultura moje\u00f1a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense\u00f1an formalmente el idioma moje\u00f1o, como medio de salvaguardar la cultura.  La creaci\u00f3n de la nueva escuela de m\u00fasica, se ha convertido en factor importante de reproducci\u00f3n de la tradici\u00f3n musical moje\u00f1a, adem\u00e1s de proveer oportunidades de conseguir un t\u00edtulo profesional. El objetivo no es solamente recuperar la m\u00fasica legado de la \u00e9poca misional y prehisp\u00e1nica, sino de proponer nueva m\u00fasica popular.  La confecci\u00f3n de instrumentos, es tambi\u00e9n parte de los conocimientos que se han transmitido por generaciones, y se han ido mejorando con el tiempo. Aunque actualmente la mayor\u00eda de los instrumentos son importados.   La Semana Santa es proclive a preservarse y transmitirse, por su car\u00e1cter festivo e interactivo, con la realizaci\u00f3n de bailes, danzas, ceremonias religiosas, representaciones esc\u00e9nicas, m\u00fasica, etc. Es gracias a la relaci\u00f3n del Cabildo con la comunidad que estas manifestaciones se han adaptado con facilidad a los modos de vida actual, y se mantienen como escenarios de encuentro y convivencia, del pueblo moje\u00f1o."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "a6d6e1dd-cf25-4ce5-ac7d-8e7936d1b367"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El conocimiento de los riesgos que puede afrontar el patrimonio inmaterial es una herramienta fundamental para su prevenci&oacute;n.</p>\n\n<p>Con la creaci&oacute;n de la nueva escuela de m&uacute;sica, se est&aacute; salvaguardando la tradici&oacute;n musical, pero tambi&eacute;n existe una falta de integraci&oacute;n con los miembros del Coro Musical, que interpretan sus instrumentos de la forma &ldquo;t&iacute;pica&rdquo;, mientras que en la escuela se tocan los instrumentos de manera formal. Esta situaci&oacute;n genera una brecha entre las pr&aacute;cticas tradicionales y las ense&ntilde;anzas acad&eacute;micas, lo que podr&iacute;a afectar la cohesi&oacute;n y la transmisi&oacute;n aut&eacute;ntica de la herencia musical. Es fundamental encontrar un equilibrio que permita la coexistencia y el enriquecimiento mutuo de ambas formas de interpretaci&oacute;n, asegurando as&iacute; la preservaci&oacute;n y evoluci&oacute;n de la tradici&oacute;n musical en su totalidad.</p>\n\n<p>Son pocas ya las personas que saben fabricar instrumentos, m&aacute;scaras, sombreros, entre otros objetos tradicionales, por lo que se est&aacute;n perdiendo estos saberes. La disminuci&oacute;n de artesanos y la falta de transmisi&oacute;n de estos conocimientos a las nuevas generaciones ponen en riesgo la continuidad de estas pr&aacute;cticas culturales. Es crucial implementar iniciativas que fomenten el aprendizaje y la preservaci&oacute;n de estas habilidades, asegurando as&iacute; que estas valiosas tradiciones no se pierdan y puedan ser apreciadas por futuras generaciones.</p>\n\n<p>El uso de instrumentos industrializados, o la construcci&oacute;n de instrumentos con materiales no tradicionales, por la facilidad de su manufactura, supone un riesgo de perder las &ldquo;formas de hacer&rdquo; tradicionales que son transmitidas usualmente de maestro a aprendiz.</p>\n\n<p>La utilizaci&oacute;n de nuevas tecnolog&iacute;as, como es el caso de las procesiones en Semana Santa, que ahora son acompa&ntilde;adas por una grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os, ha reemplazado la interpretaci&oacute;n en vivo que antiguamente realizaban los m&uacute;sicos. Este cambio implica una p&eacute;rdida de una parte de la tradici&oacute;n moje&ntilde;a, ya que la m&uacute;sica en vivo era un elemento esencial de estas celebraciones.</p>\n\n<p>La declaraci&oacute;n como Patrimonio Cultural Inmaterial de la Humanidad a la Ichapekene Piesta, la fiesta mayor de San Ignacio de Moxos, es una forma de dar valor y gran visibilidad a la cultura moje&ntilde;a. Esta mayor atenci&oacute;n a todas sus expresiones culturales, como es la festividad de Semana Santa, puede conllevar una p&eacute;rdida de la esencia propia de las celebraciones, que est&aacute;n profundamente arraigadas en la poblaci&oacute;n, modificando las formas art&iacute;sticas tradicionales para convertirlas en &ldquo;productos tur&iacute;sticos&quot;.</p>\n\n<p>Otro riesgo probable, se presenta cuando instituciones dedicadas a la promoci&oacute;n del turismo difunden sin reservas una manifestaci&oacute;n que no cuenta con los recursos materiales ni humanos necesarios para satisfacer las demandas de los asistentes. La comunidad local carece de aforos adecuados y de procedimientos de organizaci&oacute;n interna necesarios para manejar una afluencia excesiva y no sostenible de visitantes. Adem&aacute;s, la comunidad no se beneficia de la presencia de estos p&uacute;blicos, ya que no se establece un contacto duradero, sino que se produce un impacto puntual y aislado que poco o nada contribuye a la perpetuaci&oacute;n del Patrimonio Cultural.</p>\n\n<p>Las amenazas para la transmisi&oacute;n del patrimonio cultural inmaterial provienen de diversos factores, entre ellos los cambios sociales y demogr&aacute;ficos que reducen el contacto intergeneracional, como ocurre con las migraciones y la urbanizaci&oacute;n. Adem&aacute;s, la imposici&oacute;n de sistemas educativos formales que subestiman los conocimientos y t&eacute;cnicas tradicionales, as&iacute; como la influencia de los medios de comunicaci&oacute;n masivos, tambi&eacute;n contribuyen a estos riesgos.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "d0a348c0-2594-4c9f-a0b0-2bfe20e00a82"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las&nbsp;tradiciones y expresiones orales, transmitidas de generaci&oacute;n en generaci&oacute;n como parte de la memoria colectiva de la comunidad, forman parte fundamental del&nbsp;patrimonio cultural inmaterial.</p>\n\n<p>Los pueblos aut&oacute;ctonos de la regi&oacute;n moje&ntilde;a, antes de pertenecer a las reducciones jesu&iacute;ticas, hac&iacute;an uso del canto y usaban sus propios instrumentos, en rituales de car&aacute;cter m&iacute;tico. Los misioneros adoptaron los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena, ense&ntilde;ando en su lugar m&uacute;sica y poemas sagrados estrictamente religiosos.</p>\n\n<p>Las tradiciones del antiguo pueblo misional de San Ignacio de Mojos se conservan hasta hoy, gracias a su gente, que mantiene con mucho orgullo y esfuerzo sus costumbres y ceremonias. Dentro de estas arraigadas tradiciones, est&aacute; la celebraci&oacute;n de Semana Santa, que como en otras latitudes, se festeja durante diez d&iacute;as, comenzando con el Viernes de Dolores, y concluyendo en el Domingo de Resurrecci&oacute;n. Las ceremonias de esta festividad, siguen pr&aacute;cticamente los mismos ritos establecidos por la religi&oacute;n cristiana, pero en sincretismo con la cultura del lugar, por medio de la inclusi&oacute;n del idioma moje&ntilde;o, que est&aacute; presente en ciertos momentos de las celebraciones, as&iacute; como la inserci&oacute;n de m&uacute;sica y bailes propios.</p>\n\n<p>La lengua que se habla en San Ignacio de Mojos, es el castellano, pero se conserva todav&iacute;a la lengua Moje&ntilde;a Ignaciana, que corresponde a la familia ling&uuml;&iacute;stica Arawak, y se hace presente especialmente en la celebraci&oacute;n de la misa cuando se hace la segunda lectura del evangelio.</p>\n\n<p>El canto del Coro Musical, es parte infaltable de la misa y las procesiones, interpretando canciones religiosas acompa&ntilde;ado por sus instrumentos, si bien las canciones son interpretadas en castellano ya forman parte de su tradici&oacute;n. El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor).</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momento se incluye dentro los ritos religiosos, la lengua moje&ntilde;a, y las canciones religiosas en castellano:</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, y cuando se hacen las lecturas en lengua moje&ntilde;a:</u></strong></p>\n\n<hr />\n<p><strong>DOMINGO DE RESURRECION </strong></p>\n\n<p><strong><em>La noche Blanca</em></strong></p>\n\n<p><em>A esta noche los j&oacute;venes la denominan la &ldquo;noche blanca&rdquo;, los j&oacute;venes esperan hasta las 4 de la madrugada del d&iacute;a domingo en medio de juegos que comparten mientras hacen la vigilia</em>.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<hr />\n<p><strong>Procesi&oacute;n del encuentro del Se&ntilde;or Resucitado con su Madre&nbsp; -&nbsp; 4:00&nbsp; </strong></p>\n\n<p>Se celebra el encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a.</p>\n\n<p><strong>Lugar: </strong>Se realiza la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>Salen en procesi&oacute;n en el siguiente orden: San Juan; Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, y finalmente la imagen de Cristo Resucitado.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, Angelitos, la tamborita de los Macheteros, alzadores varones que portan a Cristo Resucitado, San Juan y a la Virgen Dolorosa y alzadoras mujeres que portan a las im&aacute;genes femeninas, j&oacute;venes que flanquean la procesi&oacute;n, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana blanca.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo con camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p>Macheteros o Chiripier&uacute;ana, con camijeta, con franjas coloridas a los costados, sobre los hombros un pa&ntilde;uelo rojo, llevan en la mano derecha un machete de madera, y portan en la cabeza un tocado hecho de plumas de parabas, cuelga de este tocado un cuero que representa la piel de tigre, que llega hasta los talones, los que est&aacute;n cubiertos con semillas de paichach&iacute;s, que hacen las veces de cascabeles.</p>\n\n<p>Angelitos, llevan m&aacute;scara de &aacute;ngel sobre la frente, con pa&ntilde;oleta anaranjada sobre la cabeza, los que representan a la mujer tienen rasgos femeninos y usan tipoi anaranjado, los que representan a los hombres, con bigote, y usan pantal&oacute;n, todos usan chaleco generalmente oscuro, alas de cuero, cascabeles en las rodillas, en la mano derecha flores silvestres y en la derecha un l&aacute;tigo de colores.&nbsp;</p>\n\n<p>La tamborita, con pa&ntilde;oleta del mismo color que los angelitos.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz de plata, con faldilla blanca, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca con soporte de plata, la porta un miembro del Cabildo.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti, cajane, tampura.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, unos por la calle de la izquierda y el Cristo por la de la derecha de la plaza, para luego encontrarse en el medio de la calle al otro lado de la plaza. All&iacute; las im&aacute;genes se har&aacute;n venias y bailar&aacute;n demostrando la alegr&iacute;a de reencontrarse.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, la tamborita se ubica en la fila de en medio.</li>\n\t<li>Salen del templo las im&aacute;genes de San Juan: Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, luego los sacristanes cargando la Cruz de plata; el Cabildo portando una bandera blanca; el p&aacute;rroco y finalmente la imagen de Cristo Resucitado, sobre anda con porta velas. Todo esto en silencio.</li>\n\t<li>El Cristo Resucitado flanqueado por filas de j&oacute;venes, (hombres y mujeres), vestidos con pantal&oacute;n oscuro y camisa blanca, se va por la calle de la derecha de la plaza y las otras im&aacute;genes por la de la izquierda.</li>\n\t<li>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le quit&oacute; el manto negro).</li>\n\t<li>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer la venia para que la imagen baje y suba).</li>\n\t<li>Cuando est&aacute;n a unos 10 metros, se las inciensa y <strong><u>un miembro del Coro Musical canta Aleluya y hace una oraci&oacute;n (con libreto),</u></strong> luego el p&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y las im&aacute;genes comienzan a bailar al ritmo de la banda, la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo.</li>\n\t<li>Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita, en la esquina de la plaza para guiarlos al templo.</li>\n\t<li>Al acercarse al templo, ta&ntilde;en las campanas continuamente.</li>\n\t<li>En el atrio los Macheteros se colocan en dos filas una a cada lado de la puerta, contin&uacute;an bailando.</li>\n\t<li>Las im&aacute;genes de San Juan; la Virgen Mar&iacute;a; la Ver&oacute;nica, se quedan cerca de la plaza para dar paso a las principales.</li>\n\t<li>Ingresan en medio de los Macheteros, que permanecen en el atrio bailando: el Sacrist&aacute;n que porta la Cruz de plata, representantes del Cabildo con la bandera blanca, el p&aacute;rroco con sacristanes, la imagen de Cristo Resucitado, la imagen de la Virgen Mar&iacute;a y el resto de las im&aacute;genes.</li>\n\t<li>Se colocan en sus respectivos lugares y el p&aacute;rroco las inciensa, mientras en el atrio continua la m&uacute;sica.</li>\n\t<li>El P&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li><strong><u>Canta el coro musical en castellano, acompa&ntilde;ado con sivivire y caja.</u></strong></li>\n\t<li>Comienza la misa del D&iacute;a de la Aurora, el coro de j&oacute;venes del templo acompa&ntilde;a toda la ceremonia, antes de dar la Comuni&oacute;n, el p&aacute;rroco inciensa el altar y las im&aacute;genes de Cristo Resucitado y la Virgen Mar&iacute;a, el sacrist&aacute;n al padre, mientras el <strong><u>Coro Musical canta &ldquo;Hosanna&rdquo; acompa&ntilde;ado del sivivire y la caja.</u></strong></li>\n\t<li>Termina la misa y<strong><u> el sivivire y cajane acompa&ntilde;an al Coro musical &ldquo;Reina del cielo&hellip; aleluya&rdquo;</u></strong></li>\n</ul>\n\n<hr />\n<p><strong>Celebraci&oacute;n de la misa del Dia de Pascua o Misa del Gloria Aleluya &ndash; 9:00</strong></p>\n\n<p>Esta misa conmemora la Resurrecci&oacute;n de Cristo, con el Gloria Aleluya.</p>\n\n<p>El Cabildo Indigenal, los Santos Varones y las Mamitas Abadesas se re&uacute;nen para la adoraci&oacute;n de el Sagrario, que esta ubicado en el altar mayor.</p>\n\n<p>Este d&iacute;a el saludo de las personas cambia por el &ldquo;Pascua Aleluya&rdquo;.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Ibid., p.34.</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["d2a24278-85f8-422d-85c6-24e4009f191f", "b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "c42627a8-caf4-4c87-ac3c-7b8ce1709fb9"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La cosmovisi&oacute;n del pueblo moje&ntilde;o, sintetiza los dogmas de la religi&oacute;n cat&oacute;lica, con la noci&oacute;n de la presencia de los esp&iacute;ritus tutelares de la naturaleza, estas arraigadas creencias y su conexi&oacute;n con lo sagrado, proporcionan un sentido de comunidad e identidad, que se demuestra en la importancia que le confieren a la pr&aacute;ctica solemne de las ceremonias, en este caso en la Semana Santa.</p>\n\n<p>Las parcialidades de los valores espirituales del pueblo, que forman parte del Cabildo Indigenal, son actores fundamentales en las celebraciones de la festividad.</p>\n\n<p>El templo de San Ignacio es el lugar sagrado, centro de todas las manifestaciones rituales, y desde el cual salen las procesiones que tambi&eacute;n son parte vital de la conmemoraci&oacute;n cristiana.</p>\n\n<p>Los ritos cat&oacute;licos como la misa, la procesi&oacute;n, el lavado de pies, la Ultima Cena, el Desclavamiento de Cristo, el Encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a, entre otros, son acompa&ntilde;ados constantemente por el Cabildo Indigenal, y sus parcialidades como el Coro Musical, las Mamitas Abadesas, los Sargentos Jud&iacute;os, los Sacristanes y los Macheteros.&nbsp;</p>\n\n<p>La pr&aacute;ctica solemne de las ceremonias religiosas, se ve enriquecida por la inclusi&oacute;n de los ritos y danzas ancestrales, como la danza de los Macheteros que portan un vistoso tocado de plumas, la intervenci&oacute;n del Coro Musical con sus instrumentos aut&oacute;ctonos, o la alegr&iacute;a de la tamborita y la banda.</p>\n\n<p>A continuaci&oacute;n, se describen episodios que son parte de los ritos religiosos o est&aacute;n relacionados con ellos, y tienen lugar en Semana Santa:</p>\n\n<hr />\n<p>La devoci&oacute;n se ve reflejada en mucho aspectos, es el caso de los j&oacute;venes que cargan las im&aacute;genes, ellos se sit&uacute;an al lado del santo, d&iacute;as antes de comenzar las festividades, para cuidarlo. Otra particularidad, es que su gran fe cat&oacute;lica les compromete a participar alzando las pesadas im&aacute;genes y sus andas, como una forma de limpiar sus pecados, colaborar con la iglesia, o por el bienestar de sus familias y del pueblo en general. Este trabajo lo hacen por el lapso de cinco d&iacute;as hasta el Domingo de Resurrecci&oacute;n.</p>\n\n<p>En las procesiones, las mujeres cargan las im&aacute;genes femeninas y los varones las masculinas, excepto en el alba de la Resurrecci&oacute;n, momento en el que los varones alzan la imagen de La Virgen, por el peso significativo de la misma, y la hacen bailar, cuando se encuentra con Cristo Resucitado.</p>\n\n<hr />\n<p><strong>Procesi&oacute;n del encuentro del Se&ntilde;or Resucitado con su Madre&nbsp; </strong></p>\n\n<p>Esta ceremonia es una de las m&aacute;s extraordinarias, ya que se aprecia en la gente la fe religiosa y la alegr&iacute;a de ser parte de este momento tan significativo de la celebraci&oacute;n de Semana Santa. La banda, la tamborita, las danzas de los Macheteros y los Angelitos son el s&iacute;mbolo de la presencia permanente de las tradiciones del pueblo moje&ntilde;o.</p>\n\n<p>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, acompa&ntilde;ados de la tamborita que se ubica en la fila de en medio.</p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, la Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, las primeras por la calle de la izquierda y el Cristo por la de la derecha de la plaza, para luego encontrarse en el medio de la calle m&aacute;s cercana al templo. Todo esto en silencio.</p>\n\n<p>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le ha quitado el manto negro).</p>\n\n<p>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer tambi&eacute;n la venia para que la imagen baje y suba). La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y las im&aacute;genes comienzan a bailar al ritmo de la banda, demostrando la alegr&iacute;a de reencontrarse, finalmente la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo. Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita, en la esquina de la plaza para guiarlos al templo. Al acercarse al templo, ta&ntilde;en las campanas continuamente, anunciando la Resurrecci&oacute;n de Cristo.</p>\n\n<hr />\n<p><strong>DOMINGO DE RESURRECION </strong></p>\n\n<p><strong><em>La noche Blanca</em></strong></p>\n\n<p><em>A esta noche los j&oacute;venes la denominan la &ldquo;noche blanca&rdquo;, los j&oacute;venes esperan hasta las 4 de la madrugada del d&iacute;a domingo en medio de juegos que comparten mientras hacen la vigilia</em>.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<hr />\n<p><strong>Procesi&oacute;n del encuentro del Se&ntilde;or Resucitado con su Madre&nbsp; -&nbsp; 4:00&nbsp; </strong></p>\n\n<p>Se celebra el encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a.</p>\n\n<p><strong>Lugar: </strong>Se realiza la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>Salen en procesi&oacute;n en el siguiente orden: San Juan; Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, y finalmente la imagen de Cristo Resucitado.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, Angelitos, la tamborita de los Macheteros, alzadores varones que portan a Cristo Resucitado, San Juan y a la Virgen Dolorosa y alzadoras mujeres que portan a las im&aacute;genes femeninas, j&oacute;venes que flanquean la procesi&oacute;n, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana blanca.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo con camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p>Macheteros o Chiripier&uacute;ana, con camijeta, con franjas coloridas a los costados, sobre los hombros un pa&ntilde;uelo rojo, llevan en la mano derecha un machete de madera, y portan en la cabeza un tocado hecho de plumas de parabas, cuelga de este tocado un cuero que representa la piel de tigre, que llega hasta los talones, los que est&aacute;n cubiertos con semillas de paichach&iacute;s, que hacen las veces de cascabeles.</p>\n\n<p>Angelitos, llevan m&aacute;scara de &aacute;ngel sobre la frente, con pa&ntilde;oleta anaranjada sobre la cabeza, los que representan a la mujer tienen rasgos femeninos y usan tipoi anaranjado, los que representan a los hombres, con bigote, y usan pantal&oacute;n, todos usan chaleco generalmente oscuro, alas de cuero, cascabeles en las rodillas, en la mano derecha flores silvestres y en la derecha un l&aacute;tigo de colores.&nbsp;</p>\n\n<p>La tamborita, con pa&ntilde;oleta del mismo color que los angelitos.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz de plata, con faldilla blanca, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca con soporte de plata, la porta un miembro del Cabildo.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti, cajane, tampura.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, unos por la calle de la izquierda y el Cristo por la de la derecha de la plaza, para luego encontrarse en el medio de la calle al otro lado de la plaza. All&iacute; las im&aacute;genes se har&aacute;n venias y bailar&aacute;n demostrando la alegr&iacute;a de reencontrarse.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, la tamborita se ubica en la fila de en medio.</li>\n\t<li>Salen del templo las im&aacute;genes de San Juan: Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, luego los sacristanes cargando la Cruz de plata; el Cabildo portando una bandera blanca; el p&aacute;rroco y finalmente la imagen de Cristo Resucitado, sobre anda con porta velas. Todo esto en silencio.</li>\n\t<li>El Cristo Resucitado flanqueado por filas de j&oacute;venes, (hombres y mujeres), vestidos con pantal&oacute;n oscuro y camisa blanca, se va por la calle de la derecha de la plaza y las otras im&aacute;genes por la de la izquierda.</li>\n\t<li>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le quit&oacute; el manto negro).</li>\n\t<li>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer la venia para que la imagen baje y suba).</li>\n\t<li>Cuando est&aacute;n a unos 10 metros, se las inciensa y un miembro del Coro Musical canta Aleluya y hace una oraci&oacute;n (con libreto), luego el p&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y las im&aacute;genes comienzan a bailar al ritmo de la banda, la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo.</li>\n\t<li>Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita, en la esquina de la plaza para guiarlos al templo.</li>\n\t<li>Al acercarse al templo, ta&ntilde;en las campanas continuamente.</li>\n\t<li>En el atrio los Macheteros se colocan en dos filas una a cada lado de la puerta, contin&uacute;an bailando.</li>\n\t<li>Las im&aacute;genes de San Juan; la Virgen Mar&iacute;a; la Ver&oacute;nica, se quedan cerca de la plaza para dar paso a las principales.</li>\n\t<li>Ingresan en medio de los Macheteros, que permanecen en el atrio bailando: el Sacrist&aacute;n que porta la Cruz de plata, representantes del Cabildo con la bandera blanca, el p&aacute;rroco con sacristanes, la imagen de Cristo Resucitado, la imagen de la Virgen Mar&iacute;a y el resto de las im&aacute;genes.</li>\n\t<li>Se colocan en sus respectivos lugares y el p&aacute;rroco las inciensa, mientras en el atrio continua la m&uacute;sica.</li>\n\t<li>El P&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>Canta el coro musical en castellano, acompa&ntilde;ado con sivivire y caja.</li>\n\t<li>Comienza la misa del D&iacute;a de la Aurora, el coro de j&oacute;venes del templo acompa&ntilde;a toda la ceremonia, antes de dar la Comuni&oacute;n, el p&aacute;rroco inciensa el altar y las im&aacute;genes de Cristo Resucitado y la Virgen Mar&iacute;a, el sacrist&aacute;n al padre, mientras el Coro Musical canta &ldquo;Hosanna&rdquo; acompa&ntilde;ado del sivivire y la caja.</li>\n\t<li>Termina la misa y el sivivire y cajane acompa&ntilde;an al Coro musical &ldquo;Reina del cielo&hellip; aleluya&rdquo;</li>\n</ul>\n\n<p><strong>Celebraci&oacute;n de la misa del Dia de Pascua o Misa del Gloria Aleluya &ndash; 9:00</strong></p>\n\n<p>Esta misa conmemora la Resurrecci&oacute;n de Cristo, con el Gloria Aleluya.</p>\n\n<p>El Cabildo Indigenal, los Santos Varones y las Mamitas Abadesas se re&uacute;nen para la adoraci&oacute;n de el Sagrario, que esta ubicado en el altar mayor.</p>\n\n<p>Este d&iacute;a el saludo de las personas cambia por el &ldquo;Pascua Aleluya&rdquo;.</p>\n\n<hr />\n<p><strong><em>Video: Encuentro Cristo Resucitado y su madre</em></strong></p>\n\n<p><strong><em>https://www.facebook.com/100075644031143/videos/417811960871915</em></strong></p>\n\n<p><strong><em>https://www.facebook.com/watch/?v=324787261536713</em></strong></p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 34.</p>\n</div>\n</div>\n\n<p>&nbsp;</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c28a1ac9-d6d0-4f45-8e54-38109c55bc2e", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "7eb0ff10-00f4-4c45-a914-74eb0d619a89"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Viste t\u00fanica roja y manto color ciruela, con nimbo. 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"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de la virgen Mar\u00eda "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 9, "tileid": "384c304c-a181-4058-a4cd-2217570c1ce2"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Custodia - cop\u00f3n de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Custodia de caja cerrada, se eleva sobre una base cuadrada con bordes mixtil\u00edneos, guarnecido con filigrana, en el centro, la base del cop\u00f3n es circular con molduras biseladas y en bocel. Un pie hexagonal se eleva hasta el cop\u00f3n, y en su sector intermedio sobresale un cuerpo bulbiforme ornamentado con cuatro asas con decoraci\u00f3n vegetal. El cop\u00f3n que alberga las hostias, tiene forma agallonada, con cuatro asas de ornamentaci\u00f3n fitomorfa, que rematan en angelitos alados, cuelga de las asas la cadena con la llave que abre la custodia. La parte superior es la tapa de la custodia presenta una base redonda, de la que surge con cuerpo tronco piramidal, decorado con cuatro figuras de angelitos alados, rematando todo en la figura de un ave sobre la que un angelito alado de pie, sostiene la cruz. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Custodia de caja cerrada"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 20, "tileid": "08e11c9c-238d-4510-929b-56a2446ece2c"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruces de madera - Hermanos del Santo Sepulcro"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 10, "tileid": "09216f40-3c10-408d-8b32-b48bf74d7b10"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p><strong>PERSONAJES QUE PARTICIPAN</strong></p>\n\n<p><strong>CABILDO</strong></p>\n\n<p>La comunidad moje&ntilde;a est&aacute; guiada por el Cabildo Indigenal, sistema que fue introducido por los jesuitas, en el siglo XVIII. Actualmente, no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, y proteger el patrimonio cultural material e inmaterial, preservando las tradiciones culturales y religiosas.</p>\n\n<p>En San Ignacio el Cabildo, est&aacute; compuesto por: el Corregidor, Caciques, Capitanes, Alcaldes, Intendente, Alguacil, Fiscal, Comisarios y los Mayordomos que est&aacute;n subdivididos en parcialidades.</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>PERPETUOS</strong></p>\n\n<p>Son los se&ntilde;ores mayores que ayudan y apoyan al templo y al cabildo, deben su nombre al hecho de que solo son suplidos por vejez o muerte.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.<a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><em><strong>[4]</strong></em></a></p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERU</strong></p>\n\n<p>Su nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>Su danza es de forma marcial en dos filas, bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores.</p>\n\n<p>Sujeta del armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichach&iacute;es, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisito exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<hr />\n<p><u><strong>GLOSARIO</strong></u></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p>El tenebrario simboliza el d&iacute;a de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap&oacute;stoles, las tres Mar&iacute;as (Mar&iacute;a Salom&eacute;, Mar&iacute;a de Cleof&aacute;s y Mar&iacute;a Magdalena) y la Virgen Mar&iacute;a, es decir, aquellos que acompa&ntilde;aron a Jes&uacute;s ese d&iacute;a. La vela m&aacute;s alta representa a la Sant&iacute;sima Virgen, la &uacute;nica que crey&oacute; en la Resurrecci&oacute;n. El tri&aacute;ngulo mismo simboliza la Sant&iacute;sima Trinidad.&nbsp;</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p><strong>Camareta. </strong>Recipiente de fierro de 10 cm de altura y 10 cm de ancho, que contiene p&oacute;lvora, que&nbsp; ser&aacute; encendida y explota generando un atronador ruido.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><u><strong>BIBLIOGRAF&Iacute;A </strong></u></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. Pg. 8-9.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 21</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid,.pg. 11.</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> Ibid,.pg. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 0, "tileid": "f207d16c-8527-4abf-a6d2-eb510a2fe68e"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La lanzas est\u00e1n hechas de madera marayauy, la parte superior de madera jata."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Las lanzas que portan los Sargentos Jud\u00edos poseen una simbolog\u00eda especial, ya que algunas representan los s\u00edmbolos de la pasi\u00f3n de Cristo: El gallo, la lanza con la corona de espinas, escalera, la lanza con el pa\u00f1o en la punta, la columna, los clavos y el martillo, el ep\u00edgrafe de INRI, la escalera."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Lanzas de los Sargentos Jud\u00edos "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 11, "tileid": "6210780d-2f5c-477c-af3f-d60214623af7"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de plata,  con soporte de macolla de cuerpo circular y asta de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz latina, con crucero circular, que alberga el escudo de la compa\u00f1\u00eda de Jes\u00fas, (el monograma del nombre de Jes\u00fas, IHS (en este caso la S asemeja una I), los cuatro brazos ornamentados con cartelas, rematan en elementos bulbiformes con decoraci\u00f3n vegetal. La cruz se apoya en macolla circular de hierro fundido."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz procesional de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 13, "tileid": "948e9342-2569-4f0c-b020-21e27f2649aa"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera de color negro"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sobre  la cruz se observan seis c\u00edrculos plateados con delgadas tiras del color de la bandera nacional en forma de cruz, un c\u00edrculo en el crucero muestra el Sagrado coraz\u00f3n, y en la parte superior la tablilla de INRI"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera - Sargentos Judios"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 14, "tileid": "3f1165b7-024d-404e-81c5-aa7031aa8c9a"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Elemento con soporte reticulado de madera, con vanos vidriados."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Elemento de planta rectangular, con vanos vidriados, diez en los lados longitudinales y seis en el los lados cortos. Lo cubre una estructura vidriada en forma de prisma y descansa sobre anda de madera con doble fila de porta velas tallados con motivos fitoformes y con roleos. 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La parte posterior presenta el escudo de la Compa\u00f1\u00eda de Jes\u00fas, ejecutado en un sutil bajorrelieve policromado."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sagrario"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 19, "tileid": "6a1bf6c2-00f4-47f8-b9e7-60bb626c77fb"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera, revestida con plata repujada."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera revestida con plata repujada, ornamentada con roleos y figuras fitomorfas, la talla del Cristo crucificado est\u00e1 hecha en marfil policromado. En el crucero un c\u00edrculo a modo de nimbo, se rodea de piedras preciosas?, dentro del c\u00edrculo un sol con terminaciones de perlas de n\u00e1car."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Cruz para la Adoraci\u00f3n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 21, "tileid": "b23ca322-e643-4033-93bc-911fdff95acd"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Recipiente de barro cocido"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "C\u00e1ntaro de barro cocido con muescas en el borde de la boca del recipiente. Utilizado para guardar el agua bendita que luego los fieles podr\u00e1n llevar en recipientes propios."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "C\u00e1ntaro para agua bendita"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69641511-0312-42cd-886a-972b0f4c64a7", "provisionaledits": null, "resourceinstance_id": "37fee01b-1d75-4955-b284-66441079b3d0", "sortorder": 22, "tileid": "b333d684-c08c-4994-b17b-99d99a313e98"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Arcos hechos de tacuara, decorados con telas blancas y de colores."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "En cada esquina, donde se debe detener la procesi\u00f3n, se encuentran dos arcos m\u00f3viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit\u00faa la imagen principal de la procesi\u00f3n. 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Al ser una danza de participaci&oacute;n mayoritaria de mujeres, quien organiza es una mujer. Al ser cargos perpetuos, la &uacute;ltima mujer que tuvo este cargo, falleci&oacute; por enfermedad. Ella no designo a una nueva persona que sea responsable de la danza. Al momento no hay nadie en el cargo, sin embargo, es posible, a trav&eacute;s de las autoridades del Cabildo, designar a una responsable.&nbsp;</p>\n\n<p>Otro tema principal es la ausencia de la m&uacute;sica. Existen instituciones de fines culturales y medios de comunicaci&oacute;n que podr&iacute;an tener en inventario la grabaci&oacute;n de la m&uacute;sica de esta danza. Es necesario orientar a las autoridades del Cabildo para que ellos puedan solicitar que las instituciones puedan proporcionarles este elemento importante para volver a la pr&aacute;ctica cultural.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "20c629fe-9ccf-4041-a3cb-14586f544bf8", "provisionaledits": null, "resourceinstance_id": "c704cff2-d785-4fe1-a249-062d0189c7bf", "sortorder": 0, "tileid": "da08f847-20e6-4e45-a984-234f4d145827"}, {"data": {"d691d91e-d3e5-11ee-a8c9-b13f60624ac2": [{"inverseOntologyProperty": "", "ontologyProperty": "", "resourceId": "e78ca9b7-a961-4fe8-a101-b7586e69a275", "resourceXresourceId": "b437ab6b-7eee-419e-9bfd-05f38d64fa2d"}]}, "nodegroup_id": "2eef1f82-d3e5-11ee-a8c9-b13f60624ac2", "parenttile_id": "20c629fe-9ccf-4041-a3cb-14586f544bf8", "provisionaledits": null, "resourceinstance_id": "c704cff2-d785-4fe1-a249-062d0189c7bf", "sortorder": 0, "tileid": "8a390c71-995a-4962-b80f-212979d7dec9"}, {"data": {}, "nodegroup_id": "d691d91e-d3e5-11ee-a8c9-b13f60624ac2", "parenttile_id": "8a390c71-995a-4962-b80f-212979d7dec9", "provisionaledits": null, "resourceinstance_id": "c704cff2-d785-4fe1-a249-062d0189c7bf", "sortorder": 0, "tileid": "8135d132-35b8-496e-9ea3-9cc7b6e28f58"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>LAS BARBARAS </strong></p>\n\n<p><strong>HISTORIA</strong></p>\n\n<p>Esta danza ya no se practica, sin embargo, se pretende volver a representarla.</p>\n\n<p>Es la danza de los indios o b&aacute;rbaros, quienes llevan arcos y visten con elementos tradicionales, haciendo referencia a los yuracares. Esta danza es precolonial, antes de la llegada de los jesuitas. Se realiza en Navidad y representa a los cazadores y guardianes de la selva, encargados de contribuir con alimentos para las festividades. Se destaca su papel en la fiesta aportando alimentos obtenidos de la selva.</p>\n\n<p>Aunque las B&aacute;rbaras tienen creencias espirituales, lejos de las creencias cristianas de los trinitarios. Las B&aacute;rbaras buscan recibir la bendici&oacute;n del Se&ntilde;or, al llegar a la catedral bailan pero no entran a la iglesia.</p>\n\n<p>La danza se baila el 28 de diciembre, este grupo sale a la catedral muy temprano entre 6 y 7 de la ma&ntilde;ana, de ah&iacute; se dirigen a sus invitaciones.&nbsp;</p>\n\n<p>Actualmente ya no se baila esta danza. En aquellos d&iacute;as, tanto hombres como mujeres participaban juntos en las danzas, con las &quot;b&aacute;rbaras&quot; saliendo por la ma&ntilde;ana. Las mujeres j&oacute;venes, incluidas las ni&ntilde;as, formaban parte del coro, aprend&iacute;an canciones y las interpretaban en la iglesia para alabar al ni&ntilde;o.</p>\n\n<p>Si por alguna raz&oacute;n retrasaban la hora de su danza, ocurr&iacute;a una coincidencia con las danzas de los Graciosos y los Herodes. En la plaza central de Trinidad, se daba un encuentro que simula una guerra entre las tres danzas. Los Herodes, armados con espadas, intentan &quot;matar&quot; a los bailarines de otras danzas. Cuando las B&aacute;rbaras llegan a la plaza, evitan ser atrapadas dando vueltas, pero los encuentros son inevitables. Se simula una lucha, representando la defensa de las B&aacute;rbaras contra los Herodes. Las mujeres mayores protegen a las j&oacute;venes con flechas y palos. Despu&eacute;s del baile en la plaza, las B&aacute;rbaras visitaban hasta cuarenta invitaciones para adorar al ni&ntilde;o Jes&uacute;s.</p>\n\n<p>Antes, las alabanzas y canciones eran una parte esencial. Hab&iacute;a tres tipos: una en la que se representaba a los pastores orando por el nacimiento de Jes&uacute;s y otra donde las mujeres mayores ten&iacute;an sus propias formas de alabar con el idioma moxe&ntilde;o trinitario. La tercera, las m&aacute;s j&oacute;venes, cantaban alabanzas en idioma castellano. Las mayores ense&ntilde;aban a las j&oacute;venes a cantar en su idioma, que era diferente y m&aacute;s formal, y a veces se escrib&iacute;a para facilitar el aprendizaje. Despu&eacute;s de su presentaci&oacute;n, se retiraban, y los Herodes toman el escenario.</p>\n\n<p>La danza de las B&aacute;rbaras se dej&oacute; de bailar en 1986. Las mujeres, encabezadas por las mayores, sal&iacute;an del Cabildo a la Catedral, dando una vuelta a la plaza al llegar, no ingresaban a la iglesia, ya que representaban a una etnia que no fue bautizada durante las misiones religiosas. Actualmente, la danza no contin&uacute;a debido a la falta de organizadores, la p&eacute;rdida de conocimiento de la tradici&oacute;n por parte de los hijos, otros de mudaron, y otros fallecieron, pero el obst&aacute;culo principal es que no se conoce la m&uacute;sica para bailarla, pero todav&iacute;a se acuerdan de los pasos y la coreograf&iacute;a.</p>\n\n<p>Esta danza se consideraba tambi&eacute;n sagrada por representar la conversi&oacute;n de la personas a la creencia de Dios, Jes&uacute;s, la trinidad, que Dios est&aacute; en todos los seres humanos, por ello las invitaban a visitar los pesebres para adorar al ni&ntilde;o. La danza representa a los yuracares, ellos tienen creencias diferentes pero participan en busca de bendiciones.</p>\n\n<p><strong>ORGANIZACI&Oacute;N</strong></p>\n\n<p>Las B&aacute;rbaras es una agrupaci&oacute;n compuesta por mujeres que se denominan tambi&eacute;n Yuras, pero los hombres tambi&eacute;n bailan, detr&aacute;s de la fila de mujeres.</p>\n\n<p>Dos mujeres mayores encabezan la danza ya que se compone mayormente de mujeres j&oacute;venes, seguidas por los hombres. El corregidor anima y, aunque hay una mujer que puede dirigir como presidenta, el corregidor es el l&iacute;der principal.</p>\n\n<p>La madre de Susana Noe Muyba, ha estado organizando la danza durante muchos a&ntilde;os. Pas&oacute; la responsabilidad a otra se&ntilde;ora antes de perder la vista, se pensaba que ella, Susana por ser hija de la presidenta, podr&iacute;a dirigir la danza pero decidieron por otra persona. Esa se&ntilde;ora enferma al poco tiempo y no deja a nadie a cargo. La madre se Susana ten&iacute;a conocimiento de varias danzas, como la de los vaqueros, carpinteros, y <em>meleadores</em>, as&iacute; como la danza de las abadesas que bailan junto a los Reyes el 28 de diciembre en la tarde. Aunque hay inter&eacute;s en bailar, actualmente no hay nadie que pueda tocarla la m&uacute;sica, porque se desconoce el mismo.</p>\n\n<p><strong>VESTIMENTA</strong></p>\n\n<p>Esta danza est&aacute; compuesta por 12 mujeres visten a la forma de tiempos pasados con faldas y cubren el torso con tejido de fibra vegetal y las mejillas de la cara pintada de rojo de uruc&uacute;, tiene plumas en la cabeza y en los brazos, tambi&eacute;n tienen arcos y flechas&nbsp; para cazar animales, en el hombro cada una tienen animales distintos como loros, monos, p&aacute;jaros, otros animales de la selva.</p>\n\n<p>La vestimenta fue cambiando con los a&ntilde;os, pasaron a utilizar vestidos anchos con dise&ntilde;os floreados de flores grandes de colores que llama la atenci&oacute;n, el vestido era como una camiseta ancha. Otras hac&iacute;an la falda de ra&iacute;ces y se vest&iacute;an con una blusa ancha.</p>\n\n<p>Mantuvieron otros distintivos particulares, una corona con tres plumas de paraba en la cabeza y en los brazos. Otro distintivo eran las cintas rojas, las flechas ten&iacute;an cintas rojas, el cabello era adornado con cintas rojas, los animales vivos con los cuales bailaban como el loro o el mono tambi&eacute;n eran adornados con cintas rojas. El rostro, las mejillas tambi&eacute;n se pintaban de rojo.</p>\n\n<p>Si bien llevaban arcos y flechas, tambi&eacute;n llevaban en la mano varillas para hacerlas sonar al bailar.</p>\n\n<p>Los m&uacute;sicos tambi&eacute;n se distingu&iacute;an porque llevaban una corbata roja.</p>\n\n<p><strong>MUSICA</strong></p>\n\n<p>Tienen una m&uacute;sica distintiva, ahora no se baila porque se ha perdido la melod&iacute;a, los m&uacute;sicos actuales no saben tocarla.</p>\n\n<p><strong>INVITACIONES</strong></p>\n\n<p>Las B&aacute;rbaras, reciben invitaciones, mientras que Los Herodes, por ser malvados, no son invitados.</p>\n\n<p>Antes, se asist&iacute;a temprano a misa y luego se participaba en las invitaciones hasta la medianoche, bailando desde el amanecer hasta que se completaran todas. Recuerdan esos tiempos con nostalgia, destacando la intensidad de esa festividad que se realizaba el 28 de diciembre</p>\n\n<p>Cuando las Yuras llegaban a una casa de invitaci&oacute;n juntaban las varillas al medio de una ronda para disponerse a comer y beber refrescos que les invitaban. Los animales tambi&eacute;n com&iacute;an y beb&iacute;an.</p>\n\n<p><strong>COREOGRAFIA</strong></p>\n\n<p>Al bailar las varillas se hac&iacute;an sonar, eran varillas de cuatro o de cinco unidades, en el baile al dar la vuelta se hac&iacute;an sonar con un golpe con la palma de la mano, siguiendo el ritmo de la m&uacute;sica. La m&uacute;sica se interpretaba con bombo, caja y flauta</p>\n\n<p>Las mujeres mayores bailan delante, las mujeres j&oacute;venes baila detr&aacute;s de ellas y los hombres detr&aacute;s de todas las mujeres.</p>\n\n<p>Con las B&aacute;rbaras bailaban hombres que iban detr&aacute;s de todas las mujeres ellos llevaban los tapeques que era comida en bolsas hechas de ra&iacute;ces.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "20c629fe-9ccf-4041-a3cb-14586f544bf8", "provisionaledits": null, "resourceinstance_id": "c704cff2-d785-4fe1-a249-062d0189c7bf", "sortorder": 0, "tileid": "01bc4450-5a00-4afa-9e08-4878c127afab"}, {"data": {}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "20c629fe-9ccf-4041-a3cb-14586f544bf8", "provisionaledits": null, "resourceinstance_id": "c704cff2-d785-4fe1-a249-062d0189c7bf", "sortorder": 0, "tileid": "52922593-5fb8-4b9c-a248-ad6c829049f7"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el caso de la Danza de las B&aacute;rbaras tiene que ver con su pr&aacute;ctica. La pr&aacute;ctica de esta danza ya no se realiza porque se ha perdido la m&uacute;sica. La poblaci&oacute;n del Cabildo desconoce el ritmo de la m&uacute;sica con la cual se bailaba. Es posible volver a practicarla porque saben la coreograf&iacute;a, tienen la vestimenta y hay mujeres que pueden representarla.&nbsp;</p>\n\n<p>&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "20c629fe-9ccf-4041-a3cb-14586f544bf8", "provisionaledits": null, "resourceinstance_id": "c704cff2-d785-4fe1-a249-062d0189c7bf", "sortorder": 0, "tileid": "743b9ac5-0c98-4f71-b59a-ab36c7e7585d"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza es una agrupaci&oacute;n de personas que asumen la responsabilidad de participar continuamente. Asumir la responsabilidad de participar est&aacute; enmarcado en el Compromiso. El compromiso se conforma en dos principios, la fe del participante respecto del santo o santa y la responsabilidad con el Cabildo como lugar de residencia y vida cultural social.&nbsp;</p>\n\n<p>Las danzas son aprendidas en los ensayos por un organizador que es apoyado por los m&uacute;sicos y otras personas bailarines antiguos. La responsabilidad principal de la ense&ntilde;anza de la danza est&aacute; en el organizador que es un cargo asumido de por vida</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "20c629fe-9ccf-4041-a3cb-14586f544bf8", "provisionaledits": null, "resourceinstance_id": "c704cff2-d785-4fe1-a249-062d0189c7bf", "sortorder": 0, "tileid": "0a300734-1ee3-4fd9-b876-ffa44136f7ae"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:42.105", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-080000-00-00-000020, "}, "es": {"description": "Viernes Santo - Semana Santa, San Ignacio de Mojos", "map_popup": "Nacional", "name": "PI-080000-00-00-000020, Viernes Santo - Semana Santa, San Ignacio de Mojos"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080000-00-00-000020, Viernes Santo - Semana Santa, San Ignacio de Mojos", "principaluser_id": 26, "resourceinstanceid": "7badbd3d-d769-4528-95c0-f88e152d149a", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2dc47da8-3afe-47b0-a1f5-1cc7c7689499", "resourceXresourceId": "2262f0a1-cb6d-40b5-83df-fd4de82f7022"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "317eeb9d-b3c6-47c9-ae4a-6efd005769c3"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '00', 'codsA': '00', 'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Festividad"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080000-00-00-000020", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Viernes Santo - Semana Santa, San Ignacio de Mojos"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": null}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "b4e10510-616d-4361-b40f-c93b0165f5c9"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las t&eacute;cnicas tradicionales de fabricaci&oacute;n, en este caso de instrumentos musicales, constituyen la manifestaci&oacute;n m&aacute;s tangible del patrimonio cultural inmaterial, el conocimiento de estas pr&aacute;cticas manuales ha pasado de generaci&oacute;n en generaci&oacute;n, dentro la comunidad moje&ntilde;a conect&aacute;ndola con su pasado.</p>\n\n<p>La construcci&oacute;n y empleo de instrumentos en Mojos data de la &eacute;poca prehisp&aacute;nica, y adquiere un gran desarrollo con la llegada de los jesuitas. Este tema ha sido investigado ampliamente por el antrop&oacute;logo Richard Mujica Angulo, a continuaci&oacute;n, adjunto una breve introducci&oacute;n y la descripci&oacute;n de los instrumentos musicales utilizados en San Ignacio, temas desarrollados en su art&iacute;culo:&nbsp; <em>El &ldquo;Juramento</em><em>&rdquo; </em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos</em> que forma parte de la Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es), 2013:</p>\n\n<p><em>Una de las principales referencia a los instrumentos musicales de Mojos son las de Alcides D&rsquo;orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de &ldquo;acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a 13 tubos, actualmente se registraron bajones de 10 tubos. Gran parte de los instrumentos de Mojos son precolombinos. Estos pueblos, adem&aacute;s de contar con estos instrumentos, hac&iacute;an uso del canto. Los misioneros decidieron adoptar los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena apoyando en su lugar m&uacute;sica concertada y poemas sagrados estrictamente religiosos.</em></p>\n\n<p><strong>Descripci&oacute;n de los instrumentos</strong></p>\n\n<p><strong><em>Sivivire.</em></strong><em> El Sivivire es un instrumento aer&oacute;fono&hellip; Es una flauta de tubo con embocadura lateral 0 (clasificado como 411.2 seg&uacute;n Hornbostel-Sachs) caracter&iacute;stico en la interpretaci&oacute;n de la m&uacute;sica, emple&aacute;ndose en diferentes g&eacute;neros musicales y danzas de San Ignacio de Mojos. El instrumento tiene siete orificios: seis digitables y uno que hace de embocadura&hellip;, el extremo base presenta el orificio de salida completo, y en el otro extremo se rellena la parte frontal con cera de abeja (lado embocadura). </em></p>\n\n<p><em>Esta flauta (se toma como base de descripci&oacute;n el Sivivire de los Macheteros) es interpretada pr&aacute;cticamente en todo el calendario anual festivo del lugar. En un conjunto de m&uacute;sicos se interpreta s&oacute;lo un Sivivire y generalmente est&aacute; acompa&ntilde;ado de membran&oacute;fonos: tampura, sankuti y caja... El ejecutante por lo general es var&oacute;n, lo denominan (flautero) y es &eacute;l mismo quien construye su flauta&hellip; </em></p>\n\n<p><em>Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;. Por ello cada danza tiene diferentes &ldquo;toques&rdquo; de acuerdo a la situaci&oacute;n ritual o festiva en la cual se ejecuta. </em><em>De forma general el repertorio musical de cada danza est&aacute; conformado por la marcha (de uso ritual especialmente en procesiones), el tayr&rsquo;imarapi (taquirari &ldquo;especial&rdquo;) primera pieza interpretada luego de la marcha; y finalmente, el v&rsquo;irimarapi (taquirari &ldquo;festivo&rdquo;) que se interpreta como parte de la fiesta misma. Existe una melod&iacute;a espec&iacute;fica para cada santo o virgen, el cual se marca espec&iacute;ficamente en la marcha. Respecto de esto Cirilo Yaca afirma: &ldquo;tiene que acompa&ntilde;ar a las im&aacute;genes, a los santos. Para acompa&ntilde;ar y visitar a estos ocupan la Marcha&rdquo;; por ello nos habla de un principal elemento del repertorio musical &ldquo;la marcha&rdquo; m&uacute;sica de car&aacute;cter sagrado y ritual. Otro elemento que conforma este repertorio es el &ldquo;taquirari&rdquo; (v&rsquo;irimarapi): &ldquo;el que vale m&aacute;s es el taquirari (...) se cambia el toque y se toca el taquirari en la fiesta, es m&aacute;s bonito, m&aacute;s entrador (...) la Marcha tiene un s&oacute;lo paso (...) Cada conjunto tiene su entrada [la marcha] y tiene su taquirari&rdquo;. Este el papel del instrumento, la danza y el repertorio musical de las m&uacute;sicas y danzas de Mojos.</em></p>\n\n<p><em>Los materiales empleados en la realizaci&oacute;n de instrumentos de basa en la tsakana (takuara fina o &ldquo;castilla&rdquo;), ca&ntilde;a-bamb&uacute; empleada para construirlo. Este material antiguamente se encontraba en las regiones extensas del monte; posteriormente, por causa de la expansi&oacute;n de las tierras de pastoreo que los ganaderos deciden ampliar, se reducen los lugares donde se encontraba este material. La inexistencia del material obliga a utilizar tubos pl&aacute;sticos de ca&ntilde;er&iacute;a y otros materiales como el aluminio. Por otro lado, el M&aacute;paji (Cera de Abeja), empleado para tapar el extremo de la flauta. Luego, tambi&eacute;n se presentan flautas de pl&aacute;stico de </em><em>&ldquo;</em><em>ca&ntilde;er&iacute;a&rdquo;, empleadas por la falta de la takuara tradicional. </em></p>\n\n<p><em>La elaboraci&oacute;n de este instrumento es de dominio de todo flautero y est&aacute; muy vinculado al individuo. Las t&eacute;cnicas empleadas para su elaboraci&oacute;n iniciar&iacute;an con la recolecci&oacute;n de la ca&ntilde;a: se limpia el orificio central. Se inicia la medida desde la base (cola) marcando el primer orificio digitable (dista el ancho de tres dedos). Luego, desde esta marca, se toma la medida de </em><em>&ldquo;</em><em>mi cuarta&rdquo; (distancia entre los dedos me&ntilde;ique y pulgar de la palma abierta); y se marca el orificio central digitable. Se emplea la misma medida (&ldquo;mi cuarta&rdquo;) para marcar el orificio de la embocadura o boquilla. Realizadas estas tres primeras marcas se se&ntilde;ala equidistantemente los lugares donde se realizar&aacute;n las cuatro perforaciones necesarias para la digitaci&oacute;n de la flauta&hellip; Los orificios se hacen con el tumare, un cuchillo en punta; y la emisi&oacute;n del sonido se ajusta moviendo (hacia adentro o afuera) la cera de abeja que tapa el extremo de la embocadura, s&oacute;lo la correcta posici&oacute;n permitir&aacute; la emisi&oacute;n de octavas. Por tanto, las dimensiones del Sivivire depende de dos factores: (1) la danza o </em><em>&ldquo;</em><em>toque&rdquo; que se interpretar&aacute;; y (2) las caracter&iacute;sticas corporales (la mano) del instrumentista, ya que cada qui&eacute;n busca el tama&ntilde;o m&aacute;s c&oacute;modo para su interpretaci&oacute;n.</em></p>\n\n<p><strong><em>Sankuti. </em></strong><em>Instrumento musical membran&oacute;fono elaborado en base al </em><em>&ldquo;</em><em>coraz&oacute;n</em><em> </em><em>&ldquo;del tronco de &aacute;rboles como la mara y el juchi, considerados como </em><em>&ldquo;</em><em>finos</em><em>&rdquo;</em><em> &hellip; Las membranas del sankuti (Cavour, 2010:246-247) son hechas de </em><em>&ldquo;</em><em>cuero de res&rdquo; el cual tiene mucho grosor y es cambiado eventualmente. Las correas que sujetan las membranas as&iacute; como las empleadas para colgar el instrumento en el hombro tambi&eacute;n est&aacute;n hechas del mismo cuero&hellip;</em></p>\n\n<p><em>Para ta&ntilde;er este instrumento se emplea una baqueta denominada </em><em>&ldquo;</em><em>palitoke&rdquo; que los lugare&ntilde;os traducen como </em><em>&ldquo;</em><em>Palito que se toca</em><em>&rdquo;</em><em>. Este material le otorga gran durabilidad lo que hace que sea&rdquo; heredado</em><em> </em><em>&ldquo;de un m&uacute;sico a otro, y por otro lado, se le otorga el sentido de </em><em>&ldquo;</em><em>antiguo&rdquo; ya que se afirma que </em><em>&ldquo;</em><em>el antiguo lo hicieron</em><em>&rdquo;.</em><em> </em></p>\n\n<p><em>(foto)</em></p>\n\n<p><strong><em>Kajane o Caja (Tambor). </em></strong><em>Otro instrumento membran&oacute;fono muy empleado en las danzas es la caja o tambor. Sus dimensiones promedio son de 38 cm. de di&aacute;metro por 23 cm. de altura&hellip; La caja de resonancia est&aacute; hecha en base a corteza de &aacute;rbol de toco; para su obtenci&oacute;n es perforada y luego &ldquo;cavada&rdquo; con ayuda de cinceles artesanales. El cuero utilizado en las membranas es de sullu de vaca, vale decir de la cr&iacute;a del ganado bovino10 el cual es envuelto en un aro de bejuco que le da la forma circular. Y cuenta con un sobrearo o y&rsquo;ana de casi 5 cm. de ancho hecho de madera v&rsquo;i (jianaki). En la membrana posterior se sujeta una cuerda de algod&oacute;n a manera de </em><em>&ldquo;</em><em>charlera&rdquo; para que el instrumento aumente su vibraci&oacute;n. </em></p>\n\n<p><em>Para su interpretaci&oacute;n la caja es colgada del cuerpo con ayuda de una correa hecha de cuero de res; y se hace uso del palitoki tambi&eacute;n denominado cajaneraki,11 un par de baquetas de unos 34 cm. de largo hechos de madera de gabetillo, chonta y de cuchi. En algunas ocasiones a la buena interpretaci&oacute;n de los instrumentos musicales, en especial a los membran&oacute;fonos se hace menci&oacute;n a que &quot;Se tesa con una cuerda&hellip; ya lo hace rezar</em><em>&rdquo;</em></p>\n\n<p><strong><em>Tampura (bombo).</em></strong><em> La Tampura, es el membran&oacute;fono asemejado al bombo, el cual tiene mayores dimensiones que los otros, con un di&aacute;metro de 46 cm. y 22 cm. de alto (Fotograf&iacute;a N&ordm; 7). La caja de resonancia est&aacute; hecha en base a madera blanca de toco o jocho&rsquo;o. Las membranas generalmente son de cuero de res y en algunos casos presenta inscripciones pintadas; por otro lado, indican que este cuero es del cuello de la res, el cual es curtido lav&aacute;ndolo con ceniza para </em><em>&ldquo;</em><em>que no lo cambie el sereno</em><em>&rdquo;</em><em> o sea para que no cambie el sonido. El instrumento que ayuda a su interpretaci&oacute;n es una baqueta de madera de v&rsquo;idenominadata&rsquo;earaki o tampuraraki (&ldquo;toca bombo&rdquo;), el cual mide 26,5 cm. de largo, el mango tiene 3 cm. de grosor y tiene una especie de mazo de 6 cm. de di&aacute;metro.</em></p>\n\n<p><strong><em>Chonono o cascabelana.</em></strong><em> En un idi&oacute;fono empleado por los danzantes, especialmente hombres, de cada danza&hellip; Consiste en una trozo rectangular de cuero (de 10 por 64 cm.) al cual van sujetas semillas o cascabeles; la base rectangular tiene dos tiras laterales utilizadas para amarrarlas a las piernas justo en la articulaci&oacute;n de la rodilla. En el caso de las danzas del machetero las semillas utilizadas en el chonono son de chakai y para otras danzas se emplea el naviri. Y para danzas como los toritos y ciervos se emplean cascabeles de bronce. </em></p>\n\n<p><em>Estos instrumentos acompa&ntilde;an a la m&uacute;sica d&aacute;ndole un comp&aacute;s r&iacute;tmico a partir de la danza de sus int&eacute;rpretes, esto hace referencia a que los danzantes tambi&eacute;n tienen un papel importante como interpretes del chonono.</em></p>\n\n<p><strong><em>El Baj&oacute;n.</em></strong><em> Es uno de los instrumentos musicales m&aacute;s difundidos de la regi&oacute;n, por lo cual ampliar&eacute; su descripci&oacute;n&hellip; Este instrumento aer&oacute;fono, conformado por pares (machohembra) a primera vista se parece a una especie de flauta de pan pero con boquillas de madera en cada uno de los tubos; sin embargo, se trata de unas &ldquo;trompetas m&uacute;ltiples</em><em>&rdquo;</em><em>construidas a base de varios tubos de hojas enrolladas atadas en </em><em>&ldquo;</em><em>forma de balsa o ala&rdquo;, donde cada tubo es acomodado en una sola hilera (Waisman 2002:533). </em></p>\n\n<p><em>El Baj&oacute;n est&aacute; elaborado con los siguientes materiales: Hoja de Cusi, varas de cogollo que estructuran la parte interna de cada tubo; hilo de algod&oacute;n o hilo </em><em>&ldquo;</em><em>camba</em><em>&rdquo; (</em><em>itsepite cajare) mezclada con cera (M&aacute;paji) de abeja &ldquo;se&ntilde;orita&rdquo;. Las boquillas torneadas de madera de cedro para cada tubo; donde una </em><em>&lsquo;</em><em>peineta&rdquo; </em><em>(</em><em>de 56.5 x4 cm) hecha de madera sujeta a todos los tubos (de 56.5 x 4 cm). Cada uno de los tubos tiene asignado una sigla del alfabeto grabada en la </em><em>&ldquo;</em><em>peineta&rdquo; que hace referencia a la afinaci&oacute;n de cada uno de ellos. El tubo de mayor tama&ntilde;o tiene una base de goma sujetado en la parte inferior para facilitar su apoyo en el suelo. </em></p>\n\n<p><em>Los pasos empleados para la elaboraci&oacute;n del baj&oacute;n son el armado del soporte o estructura de cogollo; enrollado o superposici&oacute;n de hojas de Cusi, atado (liado) con cordel (pita) de algod&oacute;n hilado, embadurnado con cera de abeja para fortificar el hilo y apoyar el agarre. Y se emplean herramientas como el Tumare (cuchillo) y la Capotera (aguja). </em></p>\n\n<p><em>Este instrumento musical se interpreta de mediante la </em><em>&ldquo;</em><em>t&eacute;cnica dialogada&rdquo; entre el Baj&oacute;n macho y Baj&oacute;n hembra. Vale decir que la melod&iacute;a se entreteje de forma dialogada entre los dos int&eacute;rpretes del instrumento. El sonido que emite este instrumento es grave. La forma de interpretaci&oacute;n de los bajones se basa en el soplido. Cada int&eacute;rprete sujeta el baj&oacute;n horizontalmente con ambas manos apretando los labios en la boquilla para tocarlos de forma similar a una trompeta. Sin embargo, por el tama&ntilde;o del instrumento el ejecutante no puede sujetar solo el baj&oacute;n, por ello, requiere de la ayuda de otra persona que sostenga el instrumento desde el extremo inferior.</em></p>\n\n<p><em>El baj&oacute;n tiene un rol muy reconocido como parte de la orquesta t&iacute;pica de San Ignacio, orient&aacute;ndose su interpretaci&oacute;n para acompa&ntilde;ar los c&aacute;nticos sagrados de misas, procesiones religiosas y </em><em>&ldquo;</em><em>velorios</em><em>&rdquo;</em><em> de santos y v&iacute;rgenes. Los instrumentistas o ejecutantes del baj&oacute;n son especialistas y gozan de alto prestigio en la comunidad. Los bajones actualmente son acompa&ntilde;ados por un viol&iacute;n, dos flautas, caja y tampura.</em></p>\n\n<p><em>Una de las principales referencia son las de Alcides D</em><em>&rsquo;</em><em>orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de </em><em>&ldquo;</em><em>acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a </em><em>13</em><em> tubos, actualmente se registraron bajones de 10 tubos. Hip&oacute;tesis no confirmadas plantean que el nombre original de este instrumento podr&iacute;a ser </em><em>&ldquo;</em><em>ippij&iacute;raseco&rdquo; aunque actualmente s&oacute;lo se emplea el nombre de Baj&oacute;n (Waisman 2002:534).</em></p>\n\n<hr />\n<p><em>[[Ver foto: Instrumentos musicales - Coro Musical]]</em></p>\n\n<hr />\n<p>&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["a0e4f8bb-9310-4344-b025-2609c8a26ec2"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "aef859a9-0d7b-4df0-91d6-805b69ec925c"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del patrimonio cultural inmaterial, es esencial para su salvaguarda, los medios utilizados son: la tradici&oacute;n oral, historias, conocimientos transmitidos verbalmente de generaci&oacute;n en generaci&oacute;n; usos sociales, rituales y festivos; t&eacute;cnicas artesanales tradicionales, entre otros.&nbsp;</p>\n\n<p>En San Ignacio, la transmisi&oacute;n de la lengua moje&ntilde;a se ha efectuado de padres a hijos de forma oral. La cultura moje&ntilde;a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense&ntilde;an formalmente el idioma moje&ntilde;o, como medio de salvaguardar la cultura.</p>\n\n<p>Los conocimientos de m&uacute;sica y confecci&oacute;n de instrumentos, son inculcados de maestro a aprendiz, as&iacute; es como se forman los integrantes del Coro Musical del Cabildo Indigenal, quienes deben adem&aacute;s, realizar el &ldquo;juramento&rdquo; que los marca de por vida, es el compromiso solemne de interpretar un instrumento musical y pertenecer a un grupo de danza, &nbsp;esta responsabilidad se adquiere luego que los &ldquo;taytas&rdquo; m&uacute;sicos consideran que el aprendiz est&aacute; capacitado y cumple las expectativas de interpretaci&oacute;n. La ceremonia del &ldquo;juramento&rdquo;, se realiza en el templo en ocasi&oacute;n de la festividad de la Virgen de la Candelaria, recibiendo la bendici&oacute;n del Padre. &nbsp;</p>\n\n<p><em>Los m&uacute;sicos en San Ignacio de Mojos son muy respetados y reconocidos en la comunidad al grado incluso de los Caciques. Por un lado, este prestigio se eleva cuando el int&eacute;rprete adem&aacute;s de conocer detalladamente la construcci&oacute;n de su propio instrumento tambi&eacute;n realiza otros (como es el caso de Robin Cuellar pr&aacute;cticamente uno de los pocos m&uacute;sicos que adem&aacute;s de ser violinista fabrica e interpreta los bajones) y m&aacute;s a&uacute;n si compone sus m&uacute;sicas.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>La creaci&oacute;n de la nueva escuela de m&uacute;sica, se ha convertido en factor importante de reproducci&oacute;n de la tradici&oacute;n musical moje&ntilde;a, adem&aacute;s de proveer oportunidades de conseguir un t&iacute;tulo profesional. El objetivo no es solamente recuperar la m&uacute;sica legado de la &eacute;poca misional y prehisp&aacute;nica, sino de proponer nueva m&uacute;sica popular.</p>\n\n<p>La m&uacute;sica que los ancianos ense&ntilde;an es m&aacute;s que todo religiosa, en cambio en la escuela se abarca un amplio espectro de estilos. Actualmente la escuela acoge a m&aacute;s de 300 alumnos en diferentes especialidades instrumentales.</p>\n\n<p>La participaci&oacute;n activa de la poblaci&oacute;n en las festividades religiosas es un reflejo del valor que se les atribuye. Desde los ancianos hasta los ni&ntilde;os, la poblaci&oacute;n moje&ntilde;a se involucra, esto es crucial para la transmisi&oacute;n de valores y la preservaci&oacute;n de las tradiciones.</p>\n\n<p>La transmisi&oacute;n de saberes y costumbres tiene tambi&eacute;n una base material, la que es indispensable para el mantenimiento de la manifestaci&oacute;n, sin duda, el&nbsp;objeto material&nbsp;es un testigo valioso y un documento que refleja el sentimiento colectivo de una sociedad. Como receptor y transmisor de m&uacute;ltiples significados culturales, est&aacute; arraigado en un tiempo y un espacio espec&iacute;ficos, su existencia nos conecta con la historia, las tradiciones y las creencias de quienes lo crearon y utilizaron. La tradici&oacute;n del uso de estos objetos se pasa entre generaciones y es promovido especialmente por el Cabildo Indigenal.&nbsp; Entre estos objetos destacan: el tocado de plumas de los Macheteros, sus machetes de madera; las im&aacute;genes religiosas; los instrumentos musicales; la vestimenta del Cabildo, Memes, Angelitos y Sargentos Jud&iacute;os, entre otros.</p>\n\n<p>Las danzas en San Ignacio poseen elementos simb&oacute;licos y rituales que se relacionan con un pasado hist&oacute;rico m&aacute;s extenso, incluso anterior a la llegada de los jesuitas. Estas danzas son expresi&oacute;n de la identidad cultural, que se transfirie de modo informal mediante la pr&aacute;ctica, la observaci&oacute;n y la imitaci&oacute;n, dentro la comunidad, y se conserva casi sin modificaciones.</p>\n\n<p>En las ceremonias de la festividad, especialmente en las procesiones, los mayores hacen referencia a la importancia de la participaci&oacute;n de los j&oacute;venes y ni&ntilde;os, el objetivo es que puedan aprender y dar continuidad a sus tradiciones, para que pervivan en el tiempo. Existe un sentimiento muy importante de aprecio de los mayores por la participaci&oacute;n de los ni&ntilde;os.</p>\n\n<p>Los Santos Varones y los miembros del Cabildo son los encargados de transmitir la memoria viva, los conocimientos y procedimientos que son parte de la celebraci&oacute;n de Semana Santa.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento&rdquo; para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "c360f474-e791-49e9-8e7a-c3a236706668"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El patrimonio inmaterial est&aacute; expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici&oacute;n, por lo que est&aacute; sujeto a cambios y evoluciones.</p>\n\n<p>V&iacute;ctor Hugo limpias en su art&iacute;culo: Lo Infernal, lo Terrenal y lo Celestial en la Misi&oacute;n de Moxos<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a>, menciona las descripciones de Francisco J. Eder en 1772, sobre las ceremonias celebradas en Semana Santa:</p>\n\n<p><em>&ldquo;&hellip;Los d&iacute;as de la Semana Santa comienzan el Domingo de Ramos, con la procesi&oacute;n acostumbrada. Los d&iacute;as restantes todo se celebra con una exactitud tan grande, que no falta nada&hellip;Los tres d&iacute;as se entona el Oficio de Tinieblas; luego, la pasi&oacute;n en su lengua. Todos los indios visten de estricto negro desde el Mi&eacute;rcoles de Ceniza hasta el d&iacute;a de Pascua. Durante este periodo ni siquiera las mujeres utilizan el menor adorno. El Jueves Santo tiene lugar el tradicional lavatorio de los pies y la cena con doce indios. Pero nada dice tanto a favor de los indios como el silencio y la aplicaci&oacute;n en la procesi&oacute;n (del)&hellip; Viernes Santo, a los que contribuyen mucho la m&uacute;sica triste, la viveza de la escenograf&iacute;a con las estatuas&hellip; que representan los misterios del Se&ntilde;or&hellip; as&iacute; como los cantos que se repiten en cada parada...&rdquo; </em></p>\n\n<p>Francisco J. Eder, hace referencia tambi&eacute;n a las sangrientas flagelaciones que se infring&iacute;an los ind&iacute;genas tanto hombres como mujeres el d&iacute;a de Viernes Santo, si bien eran expresiones teatrales, estas eran exageradas e incluso implicaban a ni&ntilde;os, quienes llevaban sogas al cuello y coronas de espinas en la cabeza. &nbsp;As&iacute; mismo relata que la fiesta de Corpus Christi, era la de mayor alarde ornamental, donde los altares son adornados con hermosas palmas y flores, y que se hac&iacute;a explotar un peque&ntilde;o ca&ntilde;oncito delante de cada altar, los adornos del templo y la m&uacute;sica selecta, banderas de seda y los arcos triunfales le recordaban a Europa.</p>\n\n<p>Tomando como referencia estas descripciones se observa que, en la actualidad, la vestimenta de color negro se mantiene en los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo, las Mamitas Abadesas cambian los colores de su tipoi, utilizan el blanco o morado y el negro &uacute;nicamente el Viernes Santo, mientras que los miembros del Cabildo visten siempre de blanco.</p>\n\n<p>El Oficio de Tinieblas, se sigue celebrando durante tres d&iacute;as, en la misa se lee la segunda lectura en lengua moje&ntilde;a, la ceremonia del lavatorio de los pies y la Ultima Cena se realiza con la participaci&oacute;n del Cabildo Indigenal, tal como se hac&iacute;a &nbsp;en el siglo XVIII.</p>\n\n<p>Las costumbres de Corpus Christi descritas por el jesuita, son muy similares a las que observamos hoy en Semana Santa, la profusa ornamentaci&oacute;n de altares, con flores (en su mayor&iacute;a con flores artificiales), y la explosi&oacute;n de un peque&ntilde;o ca&ntilde;&oacute;n, seria hoy la explosi&oacute;n de la &ldquo;camareta&rdquo;, la m&uacute;sica solemne es interpretada por la&nbsp; banda y por la tamborita de los Sargentos Jud&iacute;os, aunque tambi&eacute;n se interpreta m&uacute;sica alegre en el alba del Domingo de Resurrecci&oacute;n cuando se celebra el encuentro del Se&ntilde;or Resucitado con su Madre, ese momento de alegr&iacute;a cuando la banda toca y la im&aacute;genes se saludan y bailan, es una de las escenas m&aacute;s conmovedoras de la festividad.</p>\n\n<p>Algunos cambios se han observado en relaci&oacute;n a lo registrado el a&ntilde;o 2010, por la Direcci&oacute;n General de Patrimonio Cultural del Ministerio de Culturas, estos se describen a continuaci&oacute;n:</p>\n\n<ul>\n\t<li>En el centro del Cabildo se colocan dos mesas largas, en una mesa se instalan las autoridades ediles y del consejo, (esto desde el 2023), y en la otra los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</li>\n\t<li>Se ha modificado tambi&eacute;n el d&iacute;a en que se instala el tel&oacute;n negro que cubre el altar y lleva una cruz roja al centro, que corresponde a &ldquo;Las Tinieblas&rdquo;, en 2010 se lo hac&iacute;a el Mi&eacute;rcoles Santo, en 2024 se coloca este tel&oacute;n el Lunes Santo.</li>\n\t<li>En el alba del Domingo de Resurrecci&oacute;n, cuando los Macheteros bailan en el atrio, en 2010 se registra que lo hacen acompa&ntilde;ados por los Toritos, mientras que, en 2024, los acompa&ntilde;an danzando los Angelitos.</li>\n</ul>\n\n<p>Se puede afirmar entonces, que las ceremonias celebradas en Semana Santa no han cambiado notoriamente desde el siglo XVIII hasta ahora, y se ha mantenido lo m&aacute;s significativo, que es la participaci&oacute;n de todos los miembros de la sociedad moje&ntilde;a, y el resguardo de su tradiciones, de la mano del Cabildo Indigenal.</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Memoria del V encuentro internacional del barroco. Visi&oacute;n Cultural. 2010.</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "e2b825bd-e87f-4ea6-9ad1-87bedcf4fa77"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El patrimonio inmaterial transmitido de generaci\u00f3n en generaci\u00f3n, por la memoria viva de la comunidad, esta expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici\u00f3n y son confirmadas y revitalizadas en el presente. En San Ignacio de Mojos, la transmisi\u00f3n de tradiciones y costumbres ha conseguido salvaguardar el Patrimonio Cultural Inmaterial. Los portadores de la tradici\u00f3n desempe\u00f1an un papel crucial al confirmar y revitalizar estas pr\u00e1cticas en el presente. El \u00e9xito de la preservaci\u00f3n se basa en: Participaci\u00f3n de Ni\u00f1os y J\u00f3venes. Al involucrar a ni\u00f1os y j\u00f3venes en las festividades, se asegura que adquieran habilidades y saberes ancestrales. Esto garantiza la continuidad de las costumbres al transferir conocimientos de una generaci\u00f3n a otra. Transmisi\u00f3n desde la Infancia. La transmisi\u00f3n comienza desde temprana edad, lo que permite que los ni\u00f1os internalicen las tradiciones y se conviertan en futuros portadores. La participaci\u00f3n activa en rituales y pr\u00e1cticas culturales refuerza su identidad cultural. Sostenibilidad y Adaptaci\u00f3n. La transmisi\u00f3n de tradiciones, no implica una mera repetici\u00f3n, sino tambi\u00e9n adaptaci\u00f3n. Los portadores de la tradici\u00f3n han mantenido la autenticidad, pero tambi\u00e9n han permitido que evolucione para seguir siendo relevante. Existe un esfuerzo organizado de la comunidad y el Plan Misiones para preservar el patrimonio cultural, con este objetivo se est\u00e1 efectuando la elaboraci\u00f3n de registros del patrimonio cultural, material e inmaterial, como instrumento de salvaguardia de estos acervos.  La comunidad se apoya en el Cabildo Indigenal como responsable del mantenimiento y perpetuaci\u00f3n del conjunto de c\u00f3digos relacionados con la celebraci\u00f3n de las festividades. Estas manifestaciones siguen uniendo a sus miembros y reforzando sus lazos identitarios, los cuales pueden verse debilitados por los procesos de transculturaci\u00f3n a los que todas las comunidades est\u00e1n expuestas en la actualidad. En San Ignacio, la transmisi\u00f3n de la lengua moje\u00f1a se ha efectuado de padres a hijos de forma oral. La cultura moje\u00f1a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense\u00f1an formalmente el idioma moje\u00f1o, como medio de salvaguardar la cultura.  La creaci\u00f3n de la nueva escuela de m\u00fasica, se ha convertido en factor importante de reproducci\u00f3n de la tradici\u00f3n musical moje\u00f1a, adem\u00e1s de proveer oportunidades de conseguir un t\u00edtulo profesional. El objetivo no es solamente recuperar la m\u00fasica legado de la \u00e9poca misional y prehisp\u00e1nica, sino de proponer nueva m\u00fasica popular.  La confecci\u00f3n de instrumentos, es tambi\u00e9n parte de los conocimientos que se han transmitido por generaciones, y se han ido mejorando con el tiempo. Aunque actualmente la mayor\u00eda de los instrumentos son importados.   La Semana Santa es proclive a preservarse y transmitirse, por su car\u00e1cter festivo e interactivo, con la realizaci\u00f3n de bailes, danzas, ceremonias religiosas, representaciones esc\u00e9nicas, m\u00fasica, etc. Es gracias a la relaci\u00f3n del Cabildo con la comunidad que estas manifestaciones se han adaptado con facilidad a los modos de vida actual, y se mantienen como escenarios de encuentro y convivencia, del pueblo moje\u00f1o."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "6d84c38d-6d47-4317-b7e1-e5949a6975c5"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": 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{"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El conocimiento de los riesgos que puede afrontar el patrimonio inmaterial es una herramienta fundamental para su prevenci&oacute;n.</p>\n\n<p>Con la creaci&oacute;n de la nueva escuela de m&uacute;sica, se est&aacute; salvaguardando la tradici&oacute;n musical, pero tambi&eacute;n existe una falta de integraci&oacute;n con los miembros del Coro Musical, que interpretan sus instrumentos de la forma &ldquo;t&iacute;pica&rdquo;, mientras que en la escuela se tocan los instrumentos de manera formal. Esta situaci&oacute;n genera una brecha entre las pr&aacute;cticas tradicionales y las ense&ntilde;anzas acad&eacute;micas, lo que podr&iacute;a afectar la cohesi&oacute;n y la transmisi&oacute;n aut&eacute;ntica de la herencia musical. Es fundamental encontrar un equilibrio que permita la coexistencia y el enriquecimiento mutuo de ambas formas de interpretaci&oacute;n, asegurando as&iacute; la preservaci&oacute;n y evoluci&oacute;n de la tradici&oacute;n musical en su totalidad.</p>\n\n<p>Son pocas ya las personas que saben fabricar instrumentos, m&aacute;scaras, sombreros, entre otros objetos tradicionales, por lo que se est&aacute;n perdiendo estos saberes. La disminuci&oacute;n de artesanos y la falta de transmisi&oacute;n de estos conocimientos a las nuevas generaciones ponen en riesgo la continuidad de estas pr&aacute;cticas culturales. Es crucial implementar iniciativas que fomenten el aprendizaje y la preservaci&oacute;n de estas habilidades, asegurando as&iacute; que estas valiosas tradiciones no se pierdan y puedan ser apreciadas por futuras generaciones.</p>\n\n<p>El uso de instrumentos industrializados, o la construcci&oacute;n de instrumentos con materiales no tradicionales, por la facilidad de su manufactura, supone un riesgo de perder las &ldquo;formas de hacer&rdquo; tradicionales que son transmitidas usualmente de maestro a aprendiz.</p>\n\n<p>La utilizaci&oacute;n de nuevas tecnolog&iacute;as, como es el caso de las procesiones en Semana Santa, que ahora son acompa&ntilde;adas por una grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os, ha reemplazado la interpretaci&oacute;n en vivo que antiguamente realizaban los m&uacute;sicos. Este cambio implica una p&eacute;rdida de una parte de la tradici&oacute;n moje&ntilde;a, ya que la m&uacute;sica en vivo era un elemento esencial de estas celebraciones.</p>\n\n<p>La declaraci&oacute;n como Patrimonio Cultural Inmaterial de la Humanidad a la Ichapekene Piesta, la fiesta mayor de San Ignacio de Moxos, es una forma de dar valor y gran visibilidad a la cultura moje&ntilde;a. Esta mayor atenci&oacute;n a todas sus expresiones culturales, como es la festividad de Semana Santa, puede conllevar una p&eacute;rdida de la esencia propia de las celebraciones, que est&aacute;n profundamente arraigadas en la poblaci&oacute;n, modificando las formas art&iacute;sticas tradicionales para convertirlas en &ldquo;productos tur&iacute;sticos&quot;.</p>\n\n<p>Otro riesgo probable, se presenta cuando instituciones dedicadas a la promoci&oacute;n del turismo difunden sin reservas una manifestaci&oacute;n que no cuenta con los recursos materiales ni humanos necesarios para satisfacer las demandas de los asistentes. La comunidad local carece de aforos adecuados y de procedimientos de organizaci&oacute;n interna necesarios para manejar una afluencia excesiva y no sostenible de visitantes. Adem&aacute;s, la comunidad no se beneficia de la presencia de estos p&uacute;blicos, ya que no se establece un contacto duradero, sino que se produce un impacto puntual y aislado que poco o nada contribuye a la perpetuaci&oacute;n del Patrimonio Cultural.</p>\n\n<p>Las amenazas para la transmisi&oacute;n del patrimonio cultural inmaterial provienen de diversos factores, entre ellos los cambios sociales y demogr&aacute;ficos que reducen el contacto intergeneracional, como ocurre con las migraciones y la urbanizaci&oacute;n. Adem&aacute;s, la imposici&oacute;n de sistemas educativos formales que subestiman los conocimientos y t&eacute;cnicas tradicionales, as&iacute; como la influencia de los medios de comunicaci&oacute;n masivos, tambi&eacute;n contribuyen a estos riesgos.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "c28525ba-acdf-4ed9-a20e-1d81deb45ea9"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La m&uacute;sica es un medio que permite expresar emociones y transmitir conocimientos o experiencias. Las comunidades ind&iacute;genas la han utilizado como instrumento de preservaci&oacute;n de su cultura, trasmitiendo sus saberes de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>En la &eacute;poca prehisp&aacute;nica Mojos era una regi&oacute;n poblada por diversos grupos &eacute;tnicos de habla Arawak, con la llegada de los jesuitas a finales del siglo XVII, estos grupos son reducidos y se establecen la misiones, una de ellas es San Ignacio.</p>\n\n<p>Los sacerdotes jesuitas, recurrieron a la afici&oacute;n de los ind&iacute;genas por la m&uacute;sica y la danza, para inculcarles la religi&oacute;n cristiana y sus valores. Los moje&ntilde;os, demostraron tener gran aptitud para el aprendizaje musical, tocaban con destreza todos los instrumentos que eran tra&iacute;dos de Europa, ya fuesen de cuerda o viento, y con el tiempo tambi&eacute;n fueron capaces de construirlos.</p>\n\n<p><em>Los jesuitas ense&ntilde;aron m&uacute;sica a, los indios y pronto &eacute;stos ocuparon sus lugares en el coro, como solistas, instrumentistas, copistas, constructores de instrumentos y hasta de maestros de capilla.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Los documentos que registran la presencia de las pr&aacute;cticas musicales y las danzas en el periodo jesuita, muestran la coexistencia de la m&uacute;sica sacra con la m&uacute;sica y danzas aut&oacute;ctonas.</p>\n\n<p>En sus escritos Alcide D&rsquo;Orbigny relata:</p>\n\n<p><em>...me sorprendi&oacute; la m&uacute;sica instrumental, plena de armon&iacute;a, en la que admir&eacute; sobre todo los bajos formados por un instrumento propio de los ind&iacute;genas, especie de flauta de Pan de uno a dos metros de largo, construida con hojas de palmeras unidas unas con otras, &hellip;</em></p>\n\n<p><em>Despu&eacute;s de la misa, los indios, tocados con una especie de aureola de plumas, y llevando cascabeles en las pantorrillas y un gran sable de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mis agudas hasta las mis graves, y acompa&ntilde;ados de flautas y tambores, salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a m&aacute;s que un n&uacute;mero muy limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas. <a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<hr />\n<p>[[Ver foto: Misa cantada Mojos]]</p>\n\n<p>Keller, Franz. &ldquo;Misa Cantada en la Antigua misi&oacute;n de Trinidad (Mamor&eacute;)&rdquo;The Amazon and Madeira Rivers. Sketches <em>and descriptions from the Note-Book of an Explorer. </em><em>London, 1874.</em></p>\n\n<hr />\n<p><em>Las danzas aut&oacute;ctonas fueron aceptadas por los misioneros como expresi&oacute;n genuina de los pueblos a su cargo, e incorporadas oficialmente al culto religioso, especialmente en las procesiones de Corpus, fiesta de la Sant&iacute;sima Trinidad o la conmemoraci&oacute;n del d&iacute;a del Santo bajo cuya advocaci&oacute;n se hallaban las diferentes misiones. El P. Eder informa que &quot;en ciertas horas se re&uacute;nen en casa del misionero, y bailan all&iacute; y dentro del Templo&quot;, y describe los atav&iacute;os de los bailarines: &quot;Para dar m&aacute;s gracia a sus bailes, hay algunos que se ponen pieles de monos y de aves; otros llevan escudos de plumas ingeridas (cosidas) en una tela; y en ellos hay dibujadas varias figuras de animales&quot;.</em></p>\n\n<p><em>&hellip;</em></p>\n\n<p><em>Las procesiones que se originaron en festividades religiosas tales como Corpus, Epifan&iacute;a, Trinidad, Navidad, etc., ocasionaban el despliegue de intensa actividad musical, donde se daban cita cantantes, bailarines e instrumentistas y donde interven&iacute;an todos los integrantes del pueblo. <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El pueblo moje&ntilde;o mantiene viva su cultura, salvaguardando: la m&uacute;sica prehisp&aacute;nica, que hace eco y uso de la naturaleza; y la m&uacute;sica eclesial, como forma de preservar la religiosidad heredada del periodo misional.</p>\n\n<p>Las partituras que dejaron los jesuitas luego de la expulsi&oacute;n fueron celosa y cuidadosamente conservadas por el Cabildo y el pueblo mismo, la importancia de estos documentos reside en su devoci&oacute;n ya que no se concibe la adoraci&oacute;n a Dios separada de la m&uacute;sica.</p>\n\n<p>El Cabildo Indigenal, como representante de la comunidad, cuyo rol principal es difundir el patrimonio cultural moje&ntilde;o, organiza y participa con las parcialidades de los Valores Espirituales del Pueblo, en las actividades festivas donde la m&uacute;sica y la danza son el elemento fundamental.</p>\n\n<p>Los integrantes de los conjuntos musicales, tiene la responsabilidad de mostrar y transmitir estos saberes, para preservarlos a trav&eacute;s del tiempo.</p>\n\n<p>Coro Musical. Conjunto de personas que cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio, tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el cajane o caja (tambor).</p>\n\n<p>Tamborita. Grupo musical que toca el sivivire, el sankuti, y la tampura, interpretando ritmos alegres t&iacute;picos de la zona.</p>\n\n<p>Banda. &nbsp;&nbsp;Grupo que toca la caja y la trompeta.</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momentos se incluye dentro los ritos religiosos de Semana Santa, las canciones, la m&uacute;sica interpretadas por el Coro Musical, la tamborita y la banda; y las danzas ejecutadas por los Macheteros y los Angelitos.</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, la tamborita y la banda, y cuando se ejecutan las danzas.</u></strong></p>\n\n<hr />\n<p><strong>VIERNES SANTO</strong></p>\n\n<p>Ni&ntilde;os y j&oacute;venes, desde las seis de la ma&ntilde;ana realizan un <strong>V&iacute;a Crucis juvenil</strong> que pr&aacute;cticamente rodea el pueblo, este es sin lugar a dudas uno de los d&iacute;as m&aacute;s emotivos y especiales de la celebraci&oacute;n, tanto por su riqueza de tradiciones como por su importancia religiosa.</p>\n\n<p>Tambi&eacute;n durante la ma&ntilde;ana en el atrio del templo se construye la estructura de soporte del altar donde se situar&aacute; al Cristo Crucificado, para esto se utilizan vigas y rollizos de madera, que luego son cubiertas con ramas de sauce llor&oacute;n</p>\n\n<p>Por la tarde se efect&uacute;a la solemne ceremonia de la Desclavaci&oacute;n del Se&ntilde;or.</p>\n\n<p>Finalmente se realiza la procesi&oacute;n del Santo Sepulcro.</p>\n\n<hr />\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que el d&iacute;a anterior.</p>\n\n<hr />\n<p><strong>Serm&oacute;n de las Siete Palabras - 12:00 </strong></p>\n\n<p>En la ceremonia de la misa se recuerdan las siete frases que Jes&uacute;s pronunci&oacute; durante su crucifixi&oacute;n.</p>\n\n<hr />\n<p><strong>Celebraci&oacute;n de la Pasi&oacute;n y muerte de Nuestro Se&ntilde;or, y Adoraci&oacute;n de la Cruz - 15: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, est&aacute; sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>Cruz de madera con la imagen de Cristo crucificado, con base de madera, se ubica delante del altar, en la nave.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro del templo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas,</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La cruz para la Adoraci&oacute;n, ingresa al templo con una casulla morada, ricamente bordada con dorado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa, y antes de la comuni&oacute;n, se hace la Adoraci&oacute;n, que consiste en ingresar la Cruz por la puerta principal, &eacute;sta es llevada por el p&aacute;rroco y lo acompa&ntilde;a un sacrist&aacute;n, que sostiene el micr&oacute;fono mientras el padre hace la oraci&oacute;n cantada.</p>\n\n<p>Se le rinde respeto a la cruz, arrodill&aacute;ndose y dando un beso a la imagen de Cristo y se hace una ofrenda de dinero.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza<strong><u> la segunda lectura en moje&ntilde;o, por parte del Cabildo.</u></strong></li>\n\t<li>La misa se interrumpe antes de la comuni&oacute;n.</li>\n\t<li>El p&aacute;rroco sale del templo para nuevamente ingresar con la cruz y hacer la Adoraci&oacute;n.</li>\n\t<li>A su paso por el centro de la nave, el padre hace la oraci&oacute;n cantada y se detiene dos veces para ir descubriendo parcialmente la cruz que est&aacute; cubierta por un pa&ntilde;o blanco.</li>\n\t<li>El padre quita el pa&ntilde;o, como se&ntilde;al de que Cristo ha muerto y presenta la cruz a los asistentes, nuevamente hace la oraci&oacute;n cantada.</li>\n\t<li>Coloca la cruz en la base de madera que esta al pie del altar, se arrodilla y luego besa los pies de la imagen del Cristo crucificado, los sacristanes hacen lo mismo.</li>\n\t<li>Los asistentes tambi&eacute;n se arrodillan y besan la imagen, comenzando por el Cabildo indigenal, las Memes, los Sargentos Jud&iacute;os, y el pueblo en general. Esta ceremonia es acompa&ntilde;ada por el coro del templo.</li>\n\t<li>Continua la misa, con la comuni&oacute;n y al final el padre y tres sacristanes se arrodillan frente a la cruz y se retiran.</li>\n</ul>\n\n<hr />\n<p><strong>Solemne desclavaci&oacute;n del Se&ntilde;or - 20: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, ha sido colocada en el atrio debajo de la cubierta, en una especie de altar en forma de U, construido con madera y cubierto con ramas de sauce llor&oacute;n.</p>\n\n<p>Las otras im&aacute;genes: La Virgen Dolorosa, la Ver&oacute;nica, Virgen Mar&iacute;a y San Juan, est&aacute;n dispuestas a la derecha de la imagen de Cristo, no est&aacute;n bajo la cubierta del templo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Ni&ntilde;os que representan a los &aacute;ngeles, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana negra y sobrepelliz blanca; los ni&ntilde;os que reciben los objetos sagrados llevan una corona de flores blancas, rebozo que cae sobre la espalda, collares dorados, y t&uacute;nica blanca adornada con cintas de color turquesa, a manera de c&iacute;ngulo de dos ca&iacute;das; los Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos, los Caciques Mayores de los Santos Varones llevan en la cintura un c&iacute;ngulo dorado de dos ca&iacute;das y el resto la llevan en blanco. Sobre el hombro izquierdo cruza una estola blanca que sirve para manipular las piezas sagradas y no tocarlas con las manos; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: Sivivire (2); viol&iacute;n (1); baj&oacute;n (2).</p>\n\n<p>Coro de j&oacute;venes: Con violines</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>El atrio del templo y su entorno, se convierten en el escenario del desclavamiento de Cristo, toda la Comunidad de San Ignacio, se da cita en torno al altar construido por el Cabildo en el atrio del templo, en el que se muestra la imagen del Cristo Crucificado.</p>\n\n<p>El P&aacute;rroco da las indicaciones para la desclavaci&oacute;n de la imagen de Cristo, tarea que realizan los Santos Varones.</p>\n\n<p>El cuerpo de Cristo es bajado con mucho cuidado, lo presentan a la Virgen Dolorosa, lo visten, le colocan la corona y enseguida es trasladado al Santo Sepulcro.</p>\n\n<p>Las autoridades del Cabildo Indigenal, y los Hermanos del Santo Sepulcro, desmontan por partes el altar erigido, las personas que han acompa&ntilde;ado la ceremonia se aproximan y comienzan a quitar los ramos del sauce llor&oacute;n, estas plantas se utilizar&aacute;n para curar enfermedades f&iacute;sicas y espirituales.</p>\n\n<p>En reemplazo del cuerpo de Cristo se deja una estola blanca que atraviesa los dos brazos de la Cruz.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li><strong><u>El Coro Musical entona cantos (con libreto) en castellano</u></strong>, se ubican al lado derecho de la imagen de Cristo Crucificado.</li>\n\t<li>El Coro de j&oacute;venes interpreta una canci&oacute;n acompa&ntilde;ada de sus instrumentos, se ubican a la izquierda de la imagen de Cristo Crucificado.</li>\n\t<li>El p&aacute;rroco parado sobre una tarima anuncia que los Santos Varones proceder&aacute;n a desclavar el cuerpo de Cristo.</li>\n\t<li>Los Sargentos jud&iacute;os preceden la entrada de los Santos Varones.</li>\n\t<li>Los Santos Varones presentan primero sus respetos a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco va guiando a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento retirado es llevado por uno de los Santos Varones, primero son presentados a la Virgen Mar&iacute;a, la Dolorosa y luego se colocan, en unas bandejas sostenidas por tres ni&ntilde;os que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</li>\n\t<li>Cuando se han quitado todos los elementos, se baja la imagen de Cristo con sumo cuidado, y se la presenta a la Virgen Mar&iacute;a la Dolorosa, tocan las matracas, y el coro de j&oacute;venes interpreta m&uacute;sica sacra.</li>\n\t<li>Los Santos Varones, llevan el cuerpo de Cristo al Sepulcro y lo colocan en su interior, lo acomodan y cubren su cuerpo con un manto de color negro, mientras lo colocan van encendiendo las velas alrededor del Sepulcro, aseguran la puerta, y terminan de encender todas las velas. M&uacute;sica del coro de j&oacute;venes contin&uacute;a.</li>\n\t<li>Para la m&uacute;sica y <strong><u>toca la retreta de trompeta de la banda,</u></strong> los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro y los sacristanes se ubican delante del Santo Sepulcro</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, para iniciar la procesi&oacute;n.</li>\n</ul>\n\n<hr />\n<p><strong>Procesi&oacute;n del Santo Sepulcro - 21: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza alrededor de la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo Crucificado, ha sido colocada en el Santo Sepulcro.</p>\n\n<p>Las im&aacute;genes, salen en el siguiente orden en la procesi&oacute;n: San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, el Santo Sepulcro, la Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas, y cubierto por un manto negro.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Autoridades, Sargentos Jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, Alzadores, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos.</p>\n\n<p>P&aacute;rroco, con alba y estola de color morada.</p>\n\n<p>Sacristanes, con sotana negra y sobrepelliz blanca.</p>\n\n<p>Cabildo indigenal, con camijetas.</p>\n\n<p>Mamitas abadesas con tipoi blanco o negro.</p>\n\n<p>Autoridades, con banda que los identifica.</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p>El Coro, con camijetas.</p>\n\n<p>Los Hermanos de la Pasi&oacute;n de Cristo, con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p>Las mujeres alzadoras de las im&aacute;genes femeninas, con pantal&oacute;n negro y solera negra o blanca; los varones alzadores del Santo Sepulcro, con pantal&oacute;n negro, camisa blanca y corbata negra.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera negra con Cruz roja en el centro, ubicada delante del altar mayor, para cubrirlo.</p>\n\n<p>Santo Sepulcro</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Imagen de San Juan</p>\n\n<p>Imagen de la Ver&oacute;nica</p>\n\n<p>Imagen de la Virgen Maria</p>\n\n<p>Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas.</p>\n\n<p>Autoridades con la Bandera negra</p>\n\n<p>Cabildo con sombreros</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco</p>\n\n<p>Sacristanes y Hermanos de la Pasi&oacute;n de Cristo,</p>\n\n<p>Santo Sepulcro</p>\n\n<p>Pueblo en general</p>\n\n<p>Cruz de Cristo, de madera con pa&ntilde;o blanco en anda</p>\n\n<p>Penitentes con sus acompa&ntilde;antes</p>\n\n<p>Ni&ntilde;os con los elementos de la pasi&oacute;n</p>\n\n<p>Santos varones (los que hicieron la desclavaci&oacute;n de Cristo), llevando cruces con floreas blancas.</p>\n\n<p>Memes</p>\n\n<p>Virgen Dolorosa (alzada por mujeres con vestido negro)</p>\n\n<p>Pueblo en general</p>\n\n<p>Flanqueando el Santo Sepulcro est&aacute;n los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo</p>\n\n<p>Las Memes, tambi&eacute;n caminan a ambos lados de la procesi&oacute;n portando velas.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Concluida la ceremonia de la Desclavaci&oacute;n de Cristo, se realiza la procesi&oacute;n del Santo Sepulcro, alrededor de la plaza, acompa&ntilde;ada de una numerosa comitiva y del pueblo en general.</p>\n\n<p><em>Este recorrido tiene especial significaci&oacute;n para las personas, ya que el ser tocado por la mano de uno de los Santos Varones significa haber sido sanado de la dolencia que ten&iacute;a la persona, as&iacute; que, en determinados momentos, lo Santos Varones van curando a las personas mientras caminan</em>.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[4]</a></p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Una vez dispuesta la imagen de Cristo dentro el Santo Sepulcro, para la m&uacute;sica y <strong><u>comienza la retreta de trompeta de la banda</u></strong>, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro musical con sus instrumentos y los sacristanes cargando la cruz de plata, cubierta por un pa&ntilde;o negro, se ubican delante del Santo Sepulcro.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas.</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, acompa&ntilde;an tambi&eacute;n portadores de faroles, dos adelante y dos atr&aacute;s.</li>\n\t<li><strong><u>Comienza la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</u></strong></li>\n\t<li>Antes de la salida del Santo Sepulcro, se han ubicado precediendo la procesi&oacute;n:</li>\n</ul>\n\n<p style=\"margin-left:48px\">San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas, Autoridades con la Bandera negra, Cabildo, Coro Musical, P&aacute;rroco, Sacristanes y Hermanos de la Pasi&oacute;n de Cristo.</p>\n\n<ul>\n\t<li>En las esquinas se detiene el Santo Sepulcro, bajo el dosel de tela morada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, <strong><u>ser&aacute; el turno del Coro Musical, </u></strong>y as&iacute; alternadamente.</li>\n\t<li>Se hace la lectura del evangelio</li>\n\t<li><strong><u>El Coro Musical canta en castellano de memoria</u></strong></li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n.</li>\n\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo;</u></strong></li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las matracas.</li>\n\t<li>Dos personas del Cabildo colocan delante del Santo Sepulcro un pa&ntilde;o grande blanco.</li>\n\t<li>Se adelanta una persona, (primero un Santo var&oacute;n del Cabildo y en las otras paradas lo hacen las autoridades), hace una reverencia, y blande la bandera negra de frente al Santo Sepulcro, sobre el pa&ntilde;o que esta en el piso, nuevamente hace una reverencia, retorna a su sitio y le hace entrega de la bandera a la persona que la blandir&aacute; en la pr&oacute;xima parada.</li>\n\t<li><strong><u>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita y la banda.</u></strong></li>\n\t<li>Se repite esto en todas las esquinas.</li>\n\t<li>Para ingresar al templo, las im&aacute;genes de San Juan, La Ver&oacute;nica y la Virgen Mar&iacute;a, se quedan cerca de la plaza y dan lugar para que pasen: primero los Penitentes, y el resto de la comitiva que acompa&ntilde;a al Santo Sepulcro.</li>\n\t<li>A medida que las cruces van llegando con los Penitentes, se van colocando en los ambientes del templo. La Cruz Virgen, de color verde, la vuelven a colocar en el lado izquierdo del Altar Mayor, esto es realizado con mucho cuidado y solemnidad utilizando bastones y cuerdas para asegurarla.</li>\n\t<li>Ingresa el Santo Sepulcro y la comitiva al templo, y se dirigen por el lado de la ep&iacute;stola hacia el altar, asentando el Santo Sepulcro en el sector izquierdo de la nave, cerca del altar, la Cruz de madera se la coloca delante del altar mayor, muy cerca del pa&ntilde;o negro que lo cubre, y la Virgen Dolorosa se coloca sobre la nave de la ep&iacute;stola, en su lugar habitual.</li>\n\t<li>El p&aacute;rroco, procede a incensar el Santo Sepulcro, a la Dolorosa y a la Cruz de madera.</li>\n\t<li>Palabras del p&aacute;rroco.</li>\n\t<li>&ldquo;<em>En la sacrist&iacute;a los Santos Varones inician la curaci&oacute;n a las Autoridades del Cabildo y posteriormente a todas las personas que se aproximan a ellos, la curaci&oacute;n consiste en jalarles la cabeza hacia arriba, lo cual deben hacer todos los Santos Varones con las personas, esto a partir de la cualidad personal de curaci&oacute;n de cada uno de ellos.</em></li>\n\t<li><em>Mientras esto sucede se inicia otra procesi&oacute;n en la que llevan el Santo Sepulcro acompa&ntilde;ado por las Mamitas Abadesas, Hermanos, los Sargentos Jud&iacute;os, Sacristanes y las ceremonias oficiadas por el Coro de la Iglesia, el cual recorre las cuatro esquinas de la plaza central.&rdquo;</em> <a href=\"#_ftn2\" name=\"_ftnref2\">[5]</a></li>\n</ul>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p>&nbsp;</p>\n</div>\n</div>\n\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Claro Samuel, La M&uacute;sica en las Misiones Jesuitas de Moxos.&nbsp; Revista Musical Chilena. Santiago, 1969. pg. 11. Ss.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV. pg. 1309 ss.</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Claro Samuel, op. cit., pp. 13-16</p>\n\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\">[4]</a> https://www.incarnationweb.org/Semana-Santa-en-la-Parroquia-de.html?lang=es</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\">[5]</a>Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 28.</p>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "e6323cbf-1077-4730-847e-7aa0919f202d"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["6734af3e-4791-4d75-82c4-3fb2b73aed20"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": null, "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": null}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "b08c4198-cd9f-4624-87df-5f3cb4fdf186"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400", "b6e4eb16-e3e1-4187-833b-327068bbbeaa", "f6149104-3d2f-4c31-8b0f-f58f7e19e8e1"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El&nbsp;patrimonio cultural inmaterial&nbsp;incluye pr&aacute;cticas y expresiones vivas heredadas de nuestros antepasados, transmitidas de generaci&oacute;n en generaci&oacute;n.&nbsp;Estas pr&aacute;cticas incluyen las tradiciones orales, artes esc&eacute;nicas, usos sociales, rituales, actos festivos, entre otros.</p>\n\n<p>A principios del siglo XVIII en las misiones de mojos, los bailes y danzas se efectuaban con atuendos de plumajes, hechos con materiales locales, estas pr&aacute;cticas eran conservadas por el Cabildo, como encargado de transmitir su significado y simbolog&iacute;a.</p>\n\n<hr />\n<p>Ver imagen :[[Semana Santa - Dibujo D&#39;Orbigny]]&nbsp;</p>\n\n<p>M&uacute;sica y danza religiosa en Moxos, (Bolivia.) <a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<hr />&nbsp;\n<p>Un grabado hecho por Alcide D&rsquo;Orbigny en 1832, muestra como se realizaban las celebraciones religiosas, con la participaci&oacute;n de danzantes (Macheteros), y m&uacute;sicos (tocando los bajones), as&iacute; los describe: &ldquo;<em>Despu&eacute;s de la misa los indios tocados con una especie de aureola de plumas y llevando cascabeles en las pantorrillas y un grandes sables de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mas agudas hasta las m&aacute;s graves y acompa&ntilde;ados de flautas y tambores , salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica muy singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a mas que un numero limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas.</em> &ldquo;<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></p>\n\n<p>Al observar esta imagen se evidencia que las danzas, los rituales, la vestimenta, y los instrumentos, han sufrido escasas modificaciones hasta nuestro d&iacute;as.</p>\n\n<p>D&rsquo;Orbigny, presenci&oacute; en San Pedro de Mojos la noche del Domingo de Ramos que es el comienzo de las celebraciones tradicionales de la Semana Santa. En el templo, le llam&oacute; la atenci&oacute;n el tama&ntilde;o y la cantidad de im&aacute;genes ubicadas al medio de la iglesia, que representaban la Pasi&oacute;n de Cristo: la flagelaci&oacute;n, la coronacion de espinas, el v&iacute;a crucis y, finalmente, la crucifixi&oacute;n. Describe tambi&eacute;n que en las v&iacute;speras, indios disfrazados de rojo u otros colores vivos desempe&ntilde;an el papel de jud&iacute;os, que recorren la misi&oacute;n muy despacio buscando a Jes&uacute;s, luego por la noche, la banda se re&uacute;ne y marcha acompa&ntilde;ada de m&uacute;sica triste, que proviene de los tambores, flautas y bajones.</p>\n\n<p>En el caso particular de la festividad de Semana Santa en San Ignacio de Mojos, los rituales relacionados a la misa, las procesiones, las representaciones de escenas religiosas, y las danzas como la de los Macheteros o Chiripier&uacute;ana, y Angelitos, se han mantenido casi inmutables a trav&eacute;s del tiempo.</p>\n\n<p>La representaci&oacute;n de escenas religiosas es parte vital de la festividad, destac&aacute;ndose particularmente: la Desclavaci&oacute;n de Cristo, y&nbsp; la procesi&oacute;n de los Penitentes.&nbsp;Estas ceremonias, se describen a continuaci&oacute;n:</p>\n\n<hr />\n<p><strong>VIERNES SANTO</strong></p>\n\n<p>Ni&ntilde;os y j&oacute;venes, desde las seis de la ma&ntilde;ana realizan un <strong>V&iacute;a Crucis juvenil</strong> que pr&aacute;cticamente rodea el pueblo, este es sin lugar a dudas uno de los d&iacute;as m&aacute;s emotivos y especiales de la celebraci&oacute;n, tanto por su riqueza de tradiciones como por su importancia religiosa.</p>\n\n<p>Tambi&eacute;n durante la ma&ntilde;ana en el atrio del templo se construye la estructura de soporte del altar donde se situar&aacute; al Cristo Crucificado, para esto se utilizan vigas y rollizos de madera, que luego son cubiertas con ramas de sauce llor&oacute;n</p>\n\n<p>Por la tarde se efect&uacute;a la solemne ceremonia de la Desclavaci&oacute;n del Se&ntilde;or.</p>\n\n<p>Finalmente se realiza la procesi&oacute;n del Santo Sepulcro.</p>\n\n<hr />\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que el d&iacute;a anterior.</p>\n\n<hr />\n<p><strong>Serm&oacute;n de las Siete Palabras - 12:00 </strong></p>\n\n<p>En la ceremonia de la misa se recuerdan las siete frases que Jes&uacute;s pronunci&oacute; durante su crucifixi&oacute;n.</p>\n\n<hr />\n<p><strong>Celebraci&oacute;n de la Pasi&oacute;n y muerte de Nuestro Se&ntilde;or, y Adoraci&oacute;n de la Cruz - 15: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, est&aacute; sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>Cruz de madera con la imagen de Cristo crucificado, con base de madera, se ubica delante del altar, en la nave.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro del templo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas,</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La cruz para la Adoraci&oacute;n, ingresa al templo con una casulla morada, ricamente bordada con dorado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa, y antes de la comuni&oacute;n, se hace la Adoraci&oacute;n, que consiste en ingresar la Cruz por la puerta principal, &eacute;sta es llevada por el p&aacute;rroco y lo acompa&ntilde;a un sacrist&aacute;n, que sostiene el micr&oacute;fono mientras el padre hace la oraci&oacute;n cantada.</p>\n\n<p>Se le rinde respeto a la cruz, arrodill&aacute;ndose y dando un beso a la imagen de Cristo y se hace una ofrenda de dinero.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</li>\n\t<li>La misa se interrumpe antes de la comuni&oacute;n.</li>\n\t<li>El p&aacute;rroco sale del templo para nuevamente ingresar con la cruz y hacer la Adoraci&oacute;n.</li>\n\t<li>A su paso por el centro de la nave, el padre hace la oraci&oacute;n cantada y se detiene dos veces para ir descubriendo parcialmente la cruz que est&aacute; cubierta por un pa&ntilde;o blanco.</li>\n\t<li>El padre quita el pa&ntilde;o, como se&ntilde;al de que Cristo ha muerto y presenta la cruz a los asistentes, nuevamente hace la oraci&oacute;n cantada.</li>\n\t<li>Coloca la cruz en la base de madera que esta al pie del altar, se arrodilla y luego besa los pies de la imagen del Cristo crucificado, los sacristanes hacen lo mismo.</li>\n\t<li>Los asistentes tambi&eacute;n se arrodillan y besan la imagen, comenzando por el Cabildo indigenal, las Memes, los Sargentos Jud&iacute;os, y el pueblo en general. Esta ceremonia es acompa&ntilde;ada por el coro del templo.</li>\n\t<li>Continua la misa, con la comuni&oacute;n y al final el padre y tres sacristanes se arrodillan frente a la cruz y se retiran.</li>\n</ul>\n\n<hr />\n<p><strong>Solemne desclavaci&oacute;n del Se&ntilde;or - 20: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, ha sido colocada en el atrio debajo de la cubierta, en una especie de altar en forma de U, construido con madera y cubierto con ramas de sauce llor&oacute;n.</p>\n\n<p>Las otras im&aacute;genes: La Virgen Dolorosa, la Ver&oacute;nica, Virgen Mar&iacute;a y San Juan, est&aacute;n dispuestas a la derecha de la imagen de Cristo, no est&aacute;n bajo la cubierta del templo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Ni&ntilde;os que representan a los &aacute;ngeles, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana negra y sobrepelliz blanca; los ni&ntilde;os que reciben los objetos sagrados llevan una corona de flores blancas, rebozo que cae sobre la espalda, collares dorados, y t&uacute;nica blanca adornada con cintas de color turquesa, a manera de c&iacute;ngulo de dos ca&iacute;das; los Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos, los Caciques Mayores de los Santos Varones llevan en la cintura un c&iacute;ngulo dorado de dos ca&iacute;das y el resto la llevan en blanco. Sobre el hombro izquierdo cruza una estola blanca que sirve para manipular las piezas sagradas y no tocarlas con las manos; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: Sivivire (2); viol&iacute;n (1); baj&oacute;n (2).</p>\n\n<p>Coro de j&oacute;venes: Con violines</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>El atrio del templo y su entorno, se convierten en el escenario del desclavamiento de Cristo, toda la Comunidad de San Ignacio, se da cita en torno al altar construido por el Cabildo en el atrio del templo, en el que se muestra la imagen del Cristo Crucificado.</p>\n\n<p>El P&aacute;rroco da las indicaciones para la desclavaci&oacute;n de la imagen de Cristo, tarea que realizan los Santos Varones.</p>\n\n<p>El cuerpo de Cristo es bajado con mucho cuidado, lo presentan a la Virgen Dolorosa, lo visten, le colocan la corona y enseguida es trasladado al Santo Sepulcro.</p>\n\n<p>Las autoridades del Cabildo Indigenal, y los Hermanos del Santo Sepulcro, desmontan por partes el altar erigido, las personas que han acompa&ntilde;ado la ceremonia se aproximan y comienzan a quitar los ramos del sauce llor&oacute;n, estas plantas se utilizar&aacute;n para curar enfermedades f&iacute;sicas y espirituales.</p>\n\n<p>En reemplazo del cuerpo de Cristo se deja una estola blanca que atraviesa los dos brazos de la Cruz.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>El Coro Musical entona cantos (con libreto) en castellano, se ubican al lado derecho de la imagen de Cristo Crucificado.</li>\n\t<li>El Coro de j&oacute;venes interpreta una canci&oacute;n acompa&ntilde;ada de sus instrumentos, se ubican a la izquierda de la imagen de Cristo Crucificado.</li>\n\t<li>El p&aacute;rroco parado sobre una tarima anuncia que los Santos Varones proceder&aacute;n a desclavar el cuerpo de Cristo.</li>\n\t<li>Los Sargentos jud&iacute;os preceden la entrada de los Santos Varones.</li>\n\t<li>Los Santos Varones presentan primero sus respetos a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco va guiando a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento retirado es llevado por uno de los Santos Varones, primero son presentados a la Virgen Mar&iacute;a, la Dolorosa y luego se colocan, en unas bandejas sostenidas por tres ni&ntilde;os que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</li>\n\t<li>Cuando se han quitado todos los elementos, se baja la imagen de Cristo con sumo cuidado, y se la presenta a la Virgen Mar&iacute;a la Dolorosa, tocan las matracas, y el coro de j&oacute;venes interpreta m&uacute;sica sacra.</li>\n\t<li>Los Santos Varones, llevan el cuerpo de Cristo al Sepulcro y lo colocan en su interior, lo acomodan y cubren su cuerpo con un manto de color negro, mientras lo colocan van encendiendo las velas alrededor del Sepulcro, aseguran la puerta, y terminan de encender todas las velas. M&uacute;sica del coro de j&oacute;venes contin&uacute;a.</li>\n\t<li>Para la m&uacute;sica y toca la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro y los sacristanes se ubican delante del Santo Sepulcro</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, para iniciar la procesi&oacute;n.</li>\n</ul>\n\n<hr />\n<p><strong>Procesi&oacute;n del Santo Sepulcro - 21: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza alrededor de la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo Crucificado, ha sido colocada en el Santo Sepulcro.</p>\n\n<p>Las im&aacute;genes, salen en el siguiente orden en la procesi&oacute;n: San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, el Santo Sepulcro, la Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas, y cubierto por un manto negro.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Autoridades, Sargentos Jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, Alzadores, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos.</p>\n\n<p>P&aacute;rroco, con alba y estola de color morada.</p>\n\n<p>Sacristanes, con sotana negra y sobrepelliz blanca.</p>\n\n<p>Cabildo indigenal, con camijetas.</p>\n\n<p>Mamitas abadesas con tipoi blanco o negro.</p>\n\n<p>Autoridades, con banda que los identifica.</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p>El Coro, con camijetas.</p>\n\n<p>Los Hermanos de la Pasi&oacute;n de Cristo, con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p>Las mujeres alzadoras de las im&aacute;genes femeninas, con pantal&oacute;n negro y solera negra o blanca; los varones alzadores del Santo Sepulcro, con pantal&oacute;n negro, camisa blanca y corbata negra.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera negra con Cruz roja en el centro, ubicada delante del altar mayor, para cubrirlo.</p>\n\n<p>Santo Sepulcro</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Imagen de San Juan</p>\n\n<p>Imagen de la Ver&oacute;nica</p>\n\n<p>Imagen de la Virgen Maria</p>\n\n<p>Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas.</p>\n\n<p>Autoridades con la Bandera negra</p>\n\n<p>Cabildo con sombreros</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco</p>\n\n<p>Sacristanes y Hermanos de la Pasi&oacute;n de Cristo,</p>\n\n<p>Santo Sepulcro</p>\n\n<p>Pueblo en general</p>\n\n<p>Cruz de Cristo, de madera con pa&ntilde;o blanco en anda</p>\n\n<p>Penitentes con sus acompa&ntilde;antes</p>\n\n<p>Ni&ntilde;os con los elementos de la pasi&oacute;n</p>\n\n<p>Santos varones (los que hicieron la desclavaci&oacute;n de Cristo), llevando cruces con floreas blancas.</p>\n\n<p>Memes</p>\n\n<p>Virgen Dolorosa (alzada por mujeres con vestido negro)</p>\n\n<p>Pueblo en general</p>\n\n<p>Flanqueando el Santo Sepulcro est&aacute;n los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo</p>\n\n<p>Las Memes, tambi&eacute;n caminan a ambos lados de la procesi&oacute;n portando velas.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Concluida la ceremonia de la Desclavaci&oacute;n de Cristo, se realiza la procesi&oacute;n del Santo Sepulcro, alrededor de la plaza, acompa&ntilde;ada de una numerosa comitiva y del pueblo en general.</p>\n\n<p><em>Este recorrido tiene especial significaci&oacute;n para las personas, ya que el ser tocado por la mano de uno de los Santos Varones significa haber sido sanado de la dolencia que ten&iacute;a la persona, as&iacute; que, en determinados momentos, lo Santos Varones van curando a las personas mientras caminan</em>.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Una vez dispuesta la imagen de Cristo dentro el Santo Sepulcro, para la m&uacute;sica y comienza la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro musical con sus instrumentos y los sacristanes cargando la cruz de plata, cubierta por un pa&ntilde;o negro, se ubican delante del Santo Sepulcro.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas.</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, acompa&ntilde;an tambi&eacute;n portadores de faroles, dos adelante y dos atr&aacute;s.</li>\n\t<li>Comienza la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t<li>Antes de la salida del Santo Sepulcro, se han ubicado precediendo la procesi&oacute;n:</li>\n</ul>\n\n<p style=\"margin-left:48px\">San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas, Autoridades con la Bandera negra, Cabildo, Coro Musical, P&aacute;rroco, Sacristanes y Hermanos de la Pasi&oacute;n de Cristo.</p>\n\n<ul>\n\t<li>En las esquinas se detiene el Santo Sepulcro, bajo el dosel de tela morada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</li>\n\t<li>Se hace la lectura del evangelio</li>\n\t<li>El Coro Musical canta en castellano de memoria</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n.</li>\n\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo;</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las matracas.</li>\n\t<li>Dos personas del Cabildo colocan delante del Santo Sepulcro un pa&ntilde;o grande blanco.</li>\n\t<li>Se adelanta una persona, (primero un Santo var&oacute;n del Cabildo y en las otras paradas lo hacen las autoridades), hace una reverencia, y blande la bandera negra de frente al Santo Sepulcro, sobre el pa&ntilde;o que esta en el piso, nuevamente hace una reverencia, retorna a su sitio y le hace entrega de la bandera a la persona que la blandir&aacute; en la pr&oacute;xima parada.</li>\n\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita y la banda.</li>\n\t<li>Se repite esto en todas las esquinas.</li>\n\t<li>Para ingresar al templo, las im&aacute;genes de San Juan, La Ver&oacute;nica y la Virgen Mar&iacute;a, se quedan cerca de la plaza y dan lugar para que pasen: primero los Penitentes, y el resto de la comitiva que acompa&ntilde;a al Santo Sepulcro.</li>\n\t<li>A medida que las cruces van llegando con los Penitentes, se van colocando en los ambientes del templo. La Cruz Virgen, de color verde, la vuelven a colocar en el lado izquierdo del Altar Mayor, esto es realizado con mucho cuidado y solemnidad utilizando bastones y cuerdas para asegurarla.</li>\n\t<li>Ingresa el Santo Sepulcro y la comitiva al templo, y se dirigen por el lado de la ep&iacute;stola hacia el altar, asentando el Santo Sepulcro en el sector izquierdo de la nave, cerca del altar, la Cruz de madera se la coloca delante del altar mayor, muy cerca del pa&ntilde;o negro que lo cubre, y la Virgen Dolorosa se coloca sobre la nave de la ep&iacute;stola, en su lugar habitual.</li>\n\t<li>El p&aacute;rroco, procede a incensar el Santo Sepulcro, a la Dolorosa y a la Cruz de madera.</li>\n\t<li>Palabras del p&aacute;rroco.</li>\n\t<li>&ldquo;<em>En la sacrist&iacute;a los Santos Varones inician la curaci&oacute;n a las Autoridades del Cabildo y posteriormente a todas las personas que se aproximan a ellos, la curaci&oacute;n consiste en jalarles la cabeza hacia arriba, lo cual deben hacer todos los Santos Varones con las personas, esto a partir de la cualidad personal de curaci&oacute;n de cada uno de ellos.</em></li>\n\t<li><em>Mientras esto sucede se inicia otra procesi&oacute;n en la que llevan el Santo Sepulcro acompa&ntilde;ado por las Mamitas Abadesas, Hermanos, los Sargentos Jud&iacute;os, Sacristanes y las ceremonias oficiadas por el Coro de la Iglesia, el cual recorre las cuatro esquinas de la plaza central.&rdquo;</em> <a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></li>\n</ul>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> https://www.incarnationweb.org/Semana-Santa-en-la-Parroquia-de.html?lang=es</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a>Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 28.</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "5c490197-a82a-400a-bbc7-b06c5457877d"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La cosmovisi&oacute;n del pueblo moje&ntilde;o, sintetiza los dogmas de la religi&oacute;n cat&oacute;lica, con la noci&oacute;n de la presencia de los esp&iacute;ritus tutelares de la naturaleza, estas arraigadas creencias y su conexi&oacute;n con lo sagrado, proporcionan un sentido de comunidad e identidad, que se demuestra en la importancia que le confieren a la pr&aacute;ctica solemne de las ceremonias, en este caso en la Semana Santa.</p>\n\n<p>Las parcialidades de los valores espirituales del pueblo, que forman parte del Cabildo Indigenal, son actores fundamentales en las celebraciones de la festividad.</p>\n\n<p>El templo de San Ignacio es el lugar sagrado, centro de todas las manifestaciones rituales, y desde el cual salen las procesiones que tambi&eacute;n son parte vital de la conmemoraci&oacute;n cristiana.</p>\n\n<p>Los ritos cat&oacute;licos como la misa, la procesi&oacute;n, el lavado de pies, la Ultima Cena, el Desclavamiento de Cristo, el Encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a, entre otros, son acompa&ntilde;ados constantemente por el Cabildo Indigenal, y sus parcialidades como el Coro Musical, las Mamitas Abadesas, los Sargentos Jud&iacute;os, los Sacristanes y los Macheteros.&nbsp;</p>\n\n<p>La pr&aacute;ctica solemne de las ceremonias religiosas, se ve enriquecida por la inclusi&oacute;n de los ritos y danzas ancestrales, como la danza de los Macheteros que portan un vistoso tocado de plumas, la intervenci&oacute;n del Coro Musical con sus instrumentos aut&oacute;ctonos, o la alegr&iacute;a de la tamborita y la banda.</p>\n\n<p>A continuaci&oacute;n, se describen episodios que son parte de los ritos religiosos o est&aacute;n relacionados con ellos, y tienen lugar en Semana Santa:</p>\n\n<p>La devoci&oacute;n se ve reflejada en mucho aspectos, es el caso de los j&oacute;venes que cargan las im&aacute;genes, ellos se sit&uacute;an al lado del santo, d&iacute;as antes de comenzar las festividades, para cuidarlo. Otra particularidad, es que su gran fe cat&oacute;lica les compromete a participar alzando las pesadas im&aacute;genes y sus andas, como una forma de limpiar sus pecados, colaborar con la iglesia, o por el bienestar de sus familias y del pueblo en general. Este trabajo lo hacen por el lapso de cinco d&iacute;as hasta el Domingo de Resurrecci&oacute;n.</p>\n\n<p>En las procesiones, las mujeres cargan las im&aacute;genes femeninas y los varones las masculinas, excepto en el alba de la Resurrecci&oacute;n, momento en el que los varones alzan la imagen de La Virgen, por el peso significativo de la misma, y la hacen bailar, cuando se encuentra con Cristo Resucitado</p>\n\n<p><strong>Los Penitentes, en las procesiones</strong> son los que representan la expiaci&oacute;n de los pecados, estas personas hacen la promesa de cargar la Cruz, y se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p><strong>Las Tinieblas</strong></p>\n\n<p>Se celebra en el templo, en las ma&ntilde;anas de los d&iacute;as: Jueves, Viernes y S&aacute;bado Santo.</p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p>A las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo. Se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por el Coro Musical, con oraciones y cantos en castellano, la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican, unos detr&aacute;s de la imagen de Cristo crucificado, y otros, detr&aacute;s de la imagen de la Dolorosa, un Sargento porta la cruz que los representa, y la sujeta con un chal blanco teniendo cuidado de no tocarla con las manos por el respeto que le tienen. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminando por la iglesia y se golpean los asientos para que se siente, tambi&eacute;n los Sargentos jud&iacute;os golpean sus lanzas.</p>\n\n<p><strong>Preparaci&oacute;n del Monte Calvario y Desclavaci&oacute;n de Cristo</strong></p>\n\n<p>El Viernes Santo, el atrio del templo se transforma en un espacio sagrado, donde se erige el altar que va a constituir el sitio de la Crucifixi&oacute;n y Desclavamiento de Cristo, para ello se utiliza una estructura de madera cubierta con ramas de sauce llor&oacute;n.</p>\n\n<p>Posteriormente inicia la ceremonia de la desclavaci&oacute;n de cristo. La imagen del Cristo Crucificado, ha sido colocada en el atrio, en el altar en forma de U, construido con madera.</p>\n\n<p>Las otras im&aacute;genes: La Virgen Dolorosa, la Ver&oacute;nica, Virgen Mar&iacute;a y San Juan, est&aacute;n dispuestas a la derecha de la imagen de Cristo, y el Santo Sepulcro se ubica en el lado izquierdo.</p>\n\n<p>El p&aacute;rroco gu&iacute;a a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento removido es llevado por uno de los Santos Varones, primero son presentados a la Virgen Dolorosa y luego se colocan en bandejas sostenidas por ni&ntilde;os, que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</p>\n\n<p>El cuerpo de Cristo es bajado con mucho cuidado, lo presentan a la Virgen Dolorosa, lo visten, le colocan la corona y enseguida es trasladado al Santo Sepulcro, para efectuar la procesi&oacute;n.</p>\n\n<p>Finalmente, las autoridades del Cabildo Indigenal, y los Hermanos del Santo Sepulcro, desmontan por partes el altar erigido, las personas que han acompa&ntilde;ado la ceremonia se aproximan y comienzan a quitar los ramos del sauce llor&oacute;n, estas plantas se utilizar&aacute;n para curar enfermedades f&iacute;sicas y espirituales.</p>\n\n<p>En reemplazo del cuerpo de Cristo, que estaba en la Cruz, se deja una estola blanca que atraviesa los dos brazos de la misma.</p>\n\n<p>Tambi&eacute;n este d&iacute;a se realiza la ceremonia de las &ldquo;Siete Palabras&rdquo; en esta misa las Autoridades del Cabildo Indigenal entregan a los Sacristanes sus bastones, con este acto se les quita el poder temporalmente.</p>\n\n<hr />\n<p><strong>VIERNES SANTO</strong></p>\n\n<p>Ni&ntilde;os y j&oacute;venes, desde las seis de la ma&ntilde;ana realizan un <strong>V&iacute;a Crucis juvenil</strong> que pr&aacute;cticamente rodea el pueblo, este es sin lugar a dudas uno de los d&iacute;as m&aacute;s emotivos y especiales de la celebraci&oacute;n, tanto por su riqueza de tradiciones como por su importancia religiosa.</p>\n\n<p>Tambi&eacute;n durante la ma&ntilde;ana en el atrio del templo se construye la estructura de soporte del altar donde se situar&aacute; al Cristo Crucificado, para esto se utilizan vigas y rollizos de madera, que luego son cubiertas con ramas de sauce llor&oacute;n</p>\n\n<p>Por la tarde se efect&uacute;a la solemne ceremonia de la Desclavaci&oacute;n del Se&ntilde;or.</p>\n\n<p>Finalmente se realiza la procesi&oacute;n del Santo Sepulcro.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que el d&iacute;a anterior.</p>\n\n<p><strong>Serm&oacute;n de las Siete Palabras - 12:00 </strong></p>\n\n<p>En la ceremonia de la misa se recuerdan las siete frases que Jes&uacute;s pronunci&oacute; durante su crucifixi&oacute;n.</p>\n\n<p><strong>Celebraci&oacute;n de la Pasi&oacute;n y muerte de Nuestro Se&ntilde;or, y Adoraci&oacute;n de la Cruz - 15: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, est&aacute; sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>Cruz de madera con la imagen de Cristo crucificado, con base de madera, se ubica delante del altar, en la nave.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro del templo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas,</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La cruz para la Adoraci&oacute;n, ingresa al templo con una casulla morada, ricamente bordada con dorado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa, y antes de la comuni&oacute;n, se hace la Adoraci&oacute;n, que consiste en ingresar la Cruz por la puerta principal, &eacute;sta es llevada por el p&aacute;rroco y lo acompa&ntilde;a un sacrist&aacute;n, que sostiene el micr&oacute;fono mientras el padre hace la oraci&oacute;n cantada.</p>\n\n<p>Se le rinde respeto a la cruz, arrodill&aacute;ndose y dando un beso a la imagen de Cristo y se hace una ofrenda de dinero.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</li>\n\t<li>La misa se interrumpe antes de la comuni&oacute;n.</li>\n\t<li>El p&aacute;rroco sale del templo para nuevamente ingresar con la cruz y hacer la Adoraci&oacute;n.</li>\n\t<li>A su paso por el centro de la nave, el padre hace la oraci&oacute;n cantada y se detiene dos veces para ir descubriendo parcialmente la cruz que est&aacute; cubierta por un pa&ntilde;o blanco.</li>\n\t<li>El padre quita el pa&ntilde;o, como se&ntilde;al de que Cristo ha muerto y presenta la cruz a los asistentes, nuevamente hace la oraci&oacute;n cantada.</li>\n\t<li>Coloca la cruz en la base de madera que esta al pie del altar, se arrodilla y luego besa los pies de la imagen del Cristo crucificado, los sacristanes hacen lo mismo.</li>\n\t<li>Los asistentes tambi&eacute;n se arrodillan y besan la imagen, comenzando por el Cabildo indigenal, las Memes, los Sargentos Jud&iacute;os, y el pueblo en general. Esta ceremonia es acompa&ntilde;ada por el coro del templo.</li>\n\t<li>Continua la misa, con la comuni&oacute;n y al final el padre y tres sacristanes se arrodillan frente a la cruz y se retiran.</li>\n</ul>\n\n<hr />\n<p><strong>Solemne desclavaci&oacute;n del Se&ntilde;or - 20: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, ha sido colocada en el atrio debajo de la cubierta, en una especie de altar en forma de U, construido con madera y cubierto con ramas de sauce llor&oacute;n.</p>\n\n<p>Las otras im&aacute;genes: La Virgen Dolorosa, la Ver&oacute;nica, Virgen Mar&iacute;a y San Juan, est&aacute;n dispuestas a la derecha de la imagen de Cristo, no est&aacute;n bajo la cubierta del templo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Ni&ntilde;os que representan a los &aacute;ngeles, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana negra y sobrepelliz blanca; los ni&ntilde;os que reciben los objetos sagrados llevan una corona de flores blancas, rebozo que cae sobre la espalda, collares dorados, y t&uacute;nica blanca adornada con cintas de color turquesa, a manera de c&iacute;ngulo de dos ca&iacute;das; los Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos, los Caciques Mayores de los Santos Varones llevan en la cintura un c&iacute;ngulo dorado de dos ca&iacute;das y el resto la llevan en blanco. Sobre el hombro izquierdo cruza una estola blanca que sirve para manipular las piezas sagradas y no tocarlas con las manos; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: Sivivire (2); viol&iacute;n (1); baj&oacute;n (2).</p>\n\n<p>Coro de j&oacute;venes: Con violines</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>El atrio del templo y su entorno, se convierten en el escenario del desclavamiento de Cristo, toda la Comunidad de San Ignacio, se da cita en torno al altar construido por el Cabildo en el atrio del templo, en el que se muestra la imagen del Cristo Crucificado.</p>\n\n<p>El P&aacute;rroco da las indicaciones para la desclavaci&oacute;n de la imagen de Cristo, tarea que realizan los Santos Varones.</p>\n\n<p>El cuerpo de Cristo es bajado con mucho cuidado, lo presentan a la Virgen Dolorosa, lo visten, le colocan la corona y enseguida es trasladado al Santo Sepulcro.</p>\n\n<p>Las autoridades del Cabildo Indigenal, y los Hermanos del Santo Sepulcro, desmontan por partes el altar erigido, las personas que han acompa&ntilde;ado la ceremonia se aproximan y comienzan a quitar los ramos del sauce llor&oacute;n, estas plantas se utilizar&aacute;n para curar enfermedades f&iacute;sicas y espirituales.</p>\n\n<p>En reemplazo del cuerpo de Cristo se deja una estola blanca que atraviesa los dos brazos de la Cruz.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>El Coro Musical entona cantos (con libreto) en castellano, se ubican al lado derecho de la imagen de Cristo Crucificado.</li>\n\t<li>El Coro de j&oacute;venes interpreta una canci&oacute;n acompa&ntilde;ada de sus instrumentos, se ubican a la izquierda de la imagen de Cristo Crucificado.</li>\n\t<li>El p&aacute;rroco parado sobre una tarima anuncia que los Santos Varones proceder&aacute;n a desclavar el cuerpo de Cristo.</li>\n\t<li>Los Sargentos jud&iacute;os preceden la entrada de los Santos Varones.</li>\n\t<li>Los Santos Varones presentan primero sus respetos a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco va guiando a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento retirado es llevado por uno de los Santos Varones, primero son presentados a la Virgen Mar&iacute;a, la Dolorosa y luego se colocan, en unas bandejas sostenidas por tres ni&ntilde;os que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</li>\n\t<li>Cuando se han quitado todos los elementos, se baja la imagen de Cristo con sumo cuidado, y se la presenta a la Virgen Mar&iacute;a la Dolorosa, tocan las matracas, y el coro de j&oacute;venes interpreta m&uacute;sica sacra.</li>\n\t<li>Los Santos Varones, llevan el cuerpo de Cristo al Sepulcro y lo colocan en su interior, lo acomodan y cubren su cuerpo con un manto de color negro, mientras lo colocan van encendiendo las velas alrededor del Sepulcro, aseguran la puerta, y terminan de encender todas las velas. M&uacute;sica del coro de j&oacute;venes contin&uacute;a.</li>\n\t<li>Para la m&uacute;sica y toca la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro y los sacristanes se ubican delante del Santo Sepulcro</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, para iniciar la procesi&oacute;n.</li>\n</ul>\n\n<hr />\n<p><strong>Procesi&oacute;n del Santo Sepulcro - 21: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza alrededor de la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo Crucificado, ha sido colocada en el Santo Sepulcro.</p>\n\n<p>Las im&aacute;genes, salen en el siguiente orden en la procesi&oacute;n: San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, el Santo Sepulcro, la Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas, y cubierto por un manto negro.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Autoridades, Sargentos Jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, Alzadores, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos.</p>\n\n<p>P&aacute;rroco, con alba y estola de color morada.</p>\n\n<p>Sacristanes, con sotana negra y sobrepelliz blanca.</p>\n\n<p>Cabildo indigenal, con camijetas.</p>\n\n<p>Mamitas abadesas con tipoi blanco o negro.</p>\n\n<p>Autoridades, con banda que los identifica.</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p>El Coro, con camijetas.</p>\n\n<p>Los Hermanos de la Pasi&oacute;n de Cristo, con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p>Las mujeres alzadoras de las im&aacute;genes femeninas, con pantal&oacute;n negro y solera negra o blanca; los varones alzadores del Santo Sepulcro, con pantal&oacute;n negro, camisa blanca y corbata negra.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera negra con Cruz roja en el centro, ubicada delante del altar mayor, para cubrirlo.</p>\n\n<p>Santo Sepulcro</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Imagen de San Juan</p>\n\n<p>Imagen de la Ver&oacute;nica</p>\n\n<p>Imagen de la Virgen Maria</p>\n\n<p>Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas.</p>\n\n<p>Autoridades con la Bandera negra</p>\n\n<p>Cabildo con sombreros</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco</p>\n\n<p>Sacristanes y Hermanos de la Pasi&oacute;n de Cristo,</p>\n\n<p>Santo Sepulcro</p>\n\n<p>Pueblo en general</p>\n\n<p>Cruz de Cristo, de madera con pa&ntilde;o blanco en anda</p>\n\n<p>Penitentes con sus acompa&ntilde;antes</p>\n\n<p>Ni&ntilde;os con los elementos de la pasi&oacute;n</p>\n\n<p>Santos varones (los que hicieron la desclavaci&oacute;n de Cristo), llevando cruces con floreas blancas.</p>\n\n<p>Memes</p>\n\n<p>Virgen Dolorosa (alzada por mujeres con vestido negro)</p>\n\n<p>Pueblo en general</p>\n\n<p>Flanqueando el Santo Sepulcro est&aacute;n los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo</p>\n\n<p>Las Memes, tambi&eacute;n caminan a ambos lados de la procesi&oacute;n portando velas.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Concluida la ceremonia de la Desclavaci&oacute;n de Cristo, se realiza la procesi&oacute;n del Santo Sepulcro, alrededor de la plaza, acompa&ntilde;ada de una numerosa comitiva y del pueblo en general.</p>\n\n<p><em>Este recorrido tiene especial significaci&oacute;n para las personas, ya que el ser tocado por la mano de uno de los Santos Varones significa haber sido sanado de la dolencia que ten&iacute;a la persona, as&iacute; que, en determinados momentos, lo Santos Varones van curando a las personas mientras caminan</em>.<a href=\"#_ftn1\" id=\"_ftnref2\" name=\"_ftnref2\">[2]</a></p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Una vez dispuesta la imagen de Cristo dentro el Santo Sepulcro, para la m&uacute;sica y comienza la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro musical con sus instrumentos y los sacristanes cargando la cruz de plata, cubierta por un pa&ntilde;o negro, se ubican delante del Santo Sepulcro.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas.</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, acompa&ntilde;an tambi&eacute;n portadores de faroles, dos adelante y dos atr&aacute;s.</li>\n\t<li>Comienza la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t<li>Antes de la salida del Santo Sepulcro, se han ubicado precediendo la procesi&oacute;n:</li>\n</ul>\n\n<p style=\"margin-left:48px\">San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas, Autoridades con la Bandera negra, Cabildo, Coro Musical, P&aacute;rroco, Sacristanes y Hermanos de la Pasi&oacute;n de Cristo.</p>\n\n<ul>\n\t<li>En las esquinas se detiene el Santo Sepulcro, bajo el dosel de tela morada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</li>\n\t<li>Se hace la lectura del evangelio</li>\n\t<li>El Coro Musical canta en castellano de memoria</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n.</li>\n\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo;</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las matracas.</li>\n\t<li>Dos personas del Cabildo colocan delante del Santo Sepulcro un pa&ntilde;o grande blanco.</li>\n\t<li>Se adelanta una persona, (primero un Santo var&oacute;n del Cabildo y en las otras paradas lo hacen las autoridades), hace una reverencia, y blande la bandera negra de frente al Santo Sepulcro, sobre el pa&ntilde;o que esta en el piso, nuevamente hace una reverencia, retorna a su sitio y le hace entrega de la bandera a la persona que la blandir&aacute; en la pr&oacute;xima parada.</li>\n\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita y la banda.</li>\n\t<li>Se repite esto en todas las esquinas.</li>\n\t<li>Para ingresar al templo, las im&aacute;genes de San Juan, La Ver&oacute;nica y la Virgen Mar&iacute;a, se quedan cerca de la plaza y dan lugar para que pasen: primero los Penitentes, y el resto de la comitiva que acompa&ntilde;a al Santo Sepulcro.</li>\n\t<li>A medida que las cruces van llegando con los Penitentes, se van colocando en los ambientes del templo. La Cruz Virgen, de color verde, la vuelven a colocar en el lado izquierdo del Altar Mayor, esto es realizado con mucho cuidado y solemnidad utilizando bastones y cuerdas para asegurarla.</li>\n\t<li>Ingresa el Santo Sepulcro y la comitiva al templo, y se dirigen por el lado de la ep&iacute;stola hacia el altar, asentando el Santo Sepulcro en el sector izquierdo de la nave, cerca del altar, la Cruz de madera se la coloca delante del altar mayor, muy cerca del pa&ntilde;o negro que lo cubre, y la Virgen Dolorosa se coloca sobre la nave de la ep&iacute;stola, en su lugar habitual.</li>\n\t<li>El p&aacute;rroco, procede a incensar el Santo Sepulcro, a la Dolorosa y a la Cruz de madera.</li>\n\t<li>Palabras del p&aacute;rroco.</li>\n\t<li>&ldquo;<em>En la sacrist&iacute;a los Santos Varones inician la curaci&oacute;n a las Autoridades del Cabildo y posteriormente a todas las personas que se aproximan a ellos, la curaci&oacute;n consiste en jalarles la cabeza hacia arriba, lo cual deben hacer todos los Santos Varones con las personas, esto a partir de la cualidad personal de curaci&oacute;n de cada uno de ellos.</em></li>\n\t<li><em>Mientras esto sucede se inicia otra procesi&oacute;n en la que llevan el Santo Sepulcro acompa&ntilde;ado por las Mamitas Abadesas, Hermanos, los Sargentos Jud&iacute;os, Sacristanes y las ceremonias oficiadas por el Coro de la Iglesia, el cual recorre las cuatro esquinas de la plaza central.&rdquo;</em> <a href=\"#_ftn2\" name=\"_ftnref2\">[3]</a></li>\n</ul>\n\n<hr />\n<p><strong><em>Video: Desclavaci&oacute;n de Cristo y Procesi&oacute;n del Santo Sepulcro.</em></strong></p>\n\n<p><strong><em>https://www.facebook.com/100075644031143/videos/934433671686848</em></strong></p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a>Direcci&oacute;n General De Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em> pg. 21</p>\n\n<p><a href=\"#_ftnref1\">[2]</a>https://www.incarnationweb.org/Semana-Santa-en-la-Parroquia-de.html?lang=es</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\">[3]</a>Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 28.</p>\n</div>\n</div>\n\n<div>&nbsp;\n<hr />\n<div>\n<p>&nbsp;</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c28a1ac9-d6d0-4f45-8e54-38109c55bc2e", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "232f3a7d-ade4-4f48-9bdb-137e4616c1fe"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Escultura de bulto redondo hecho de madera de maguey, con brazos articulados."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La imagen est\u00e1 sujeta a la cruz por tres clavos de metal, dos para las manos y uno para los pies, en la cabeza lleva la corona de espinas. Viste faldilla negra con decoraciones doradas. La cruz de madera tallada que lo soporta, lleva en el crucero el escudo de la compa\u00f1\u00eda de Jes\u00fas, y en la parte superior el acr\u00f3nimo INRI, tallado en madera con ornamentaci\u00f3n de rocallas."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen del Cristo crucificado"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 18, "tileid": "a80f975b-e3d1-4034-9d8e-b4edad272e66"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Arcos hechos de tacuara, decorados con telas blancas y de colores."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "En cada esquina, donde se debe detener la procesi\u00f3n, se encuentran dos arcos m\u00f3viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit\u00faa la imagen principal de la procesi\u00f3n. Se fabrican dos \u201cjuegos\u201d de estos arcos, porque se van moviendo a medida que la procesi\u00f3n avanza."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Arcos m\u00f3viles "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 23, "tileid": "176179f3-d65e-4f19-bf9a-3e4d30e94f7b"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["9c539c14-ff65-4565-85a2-2268e4fe36ed", "bf356c16-8705-42f9-8947-6abf28e51a73", "ac9bf7d5-5ebe-428c-b88f-bb7b2f644a87"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las formas tradicionales de organizaci&oacute;n socio cultural se sustentan en valores comunes establecidos y creencias compartidas, apoyadas por estructuras jer&aacute;rquicas, donde la transmisi&oacute;n oral de conocimientos se realiza de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>El Cabildo Indigenal es la organizaci&oacute;n m&aacute;s representativa y reconocida de la sociedad moje&ntilde;a, desde sus inicios hasta la actualidad.</p>\n\n<p>El origen del Cabildo se remonta a los reinos hisp&aacute;nicos del siglo XV, que luego de establecerse en Am&eacute;rica cumplieron un rol importante en las reducciones jesu&iacute;ticas de Mojos desde principios del siglo XVIII, con el fin de reforzar los puntos d&eacute;biles en las misiones jesu&iacute;ticas, que albergaban a miles de ind&iacute;genas de diferentes etnias, agrupados en una sola doctrina.</p>\n\n<p>Los cabildos fueron una parte esencial en los antiguos pueblos misionales, cumpliendo roles de gobierno local y manteniendo una estrecha relaci&oacute;n con la iglesia. Aquellos que formaban parte de esta instituci&oacute;n no solo administraban justicia y gestionaban los recursos de la comunidad, sino que tambi&eacute;n se encargaban de transmitir a las generaciones futuras sus conocimientos y responsabilidades. Esta transmisi&oacute;n de saberes y pr&aacute;cticas era fundamental para preservar la cohesi&oacute;n social y cultural, y se compart&iacute;a ampliamente con la comunidad, asegurando as&iacute; la continuidad de las tradiciones y valores que sustentaban la vida en los pueblos misionales. Los oficios y cargos que eran parte de su estructura estaban ocupados por m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes y otros, que se constituyeron en las diversas parcialidades que conformaban el Cabildo.</p>\n\n<p><em>La religi&oacute;n era la esencia en las poblaciones, la iglesia o templo era el edificio central de instrucci&oacute;n cristiana, junto con la casa del cabildo, donde se reun&iacute;an las autoridades elegidas, cargo que desempe&ntilde;aban por el periodo de un a&ntilde;o, &ldquo;quien el a&ntilde;o anterior hab&iacute;a cumplido con diligencia su cargo, era ascendido, quien no, deb&iacute;a hacer m&eacute;ritos para permanecer o llegar ejercer otro cargo (Eder, 1985: 362).<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>En el siglo XVIII, exist&iacute;an 21 reducciones, cada una estaba representada por un Cabildo con oficios como m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes, entre otros, los que constituyeron las parcialidades del pueblo. Estos representantes gracias a su trabajo y dedicaci&oacute;n llegaron a gozar de gran prestigio, conformando una especie de &eacute;lite ind&iacute;gena, lo que deriv&oacute; en que la sociedad reduccional se dividiera en dos: la Familia, (miembros del Cabildo, los asistentes religiosos y los que ejerc&iacute;an alg&uacute;n oficio en las parcialidades y el templo, la escuela o los talleres), y el Pueblo, (los dem&aacute;s habitantes de la reducci&oacute;n).</p>\n\n<p>Los cargos del Cabildo estaban especificados en las <em>Leyes de las Reducciones y Pueblo de Indios</em>, que ordenaban la existencia de un indio Sacrist&aacute;n y dos o tres cantores, para la atenci&oacute;n del templo, y las ceremonias religiosas: &ldquo;<em>En todos los pueblos que pasaren de cien indios, haya dos o tres cantores, y en cada reducci&oacute;n un Sacrist&aacute;n, que tenga cuidado de guardar los ornamentos, y barrer la iglesia (Ley VI, Libro VI, Ti. III).&rdquo;</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><em><strong>[2]</strong></em></a></p>\n\n<p>Tambi&eacute;n estas Leyes mencionan la necesidad que los ind&iacute;genas cumplan funciones de gobierno pol&iacute;tico, como alcaldes y regidores, que son las autoridades m&aacute;s importantes&nbsp; del pueblo:<em> &ldquo;Ordenamos que, en cada pueblo y reducci&oacute;n, haya un alcalde indio de la misma reducci&oacute;n, y si pasare de ochenta casas, dos alcaldes, y dos regidores, tambi&eacute;n indios, y aunque el pueblo sea muy grande, no haya m&aacute;s que dos alcaldes y cuatro regidores, los cuales han de elegir por a&ntilde;o nuevo otros, como se practica en los pueblos de espa&ntilde;oles en indios, en presencia de los curas (Libro VI, T&iacute;tulo III, Ley XV).&rdquo;</em><em> <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El cabildo ya no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas de los siglos XVII y XVIII, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, preservar las tradiciones culturales y religiosas, y proteger el patrimonio cultural. Adem&aacute;s, han tomado medidas para defender el territorio frente a la explotaci&oacute;n de empresas madereras y ganaderas.</p>\n\n<p><em>&nbsp;&ldquo;&hellip;Actualmente, siguiendo los criterios jesu&iacute;ticos el Cabildo Indigenal est&aacute; compuesto por &ldquo;un Capital Grande, dos caciques, dos intendentes, cuatro alf&eacute;reces, dos fiscales, dos polic&iacute;as, once comisarios, un camaretero y un secretario (Eyzaguirre 2012:55) cada uno lleva sus propias funciones en sus distintas &aacute;reas. Al Corregidor tradicionalmente se le denomina Tayta&oacute;Tata(persona sabia), quien integra a los sectores, organizaciones, instituciones y familias, el que encierra el respeto y educaci&oacute;n heredada por la cultura de los abuelos. El Cabildo no percibe ning&uacute;n ingreso, el Corregidor no tiene sueldo, por lo que muchas no todas las personas asumen la responsabilidad de este cargo, y por otro lado, el Corregidor debe ser una persona mayor de entre 40 a 50 a&ntilde;os, como garant&iacute;a de su responsabilidad (Parroquias de Mojos 1988:32). La autoridad del Corregidor es elegida en una gran reuni&oacute;n del Cabildo Indigenal incluyendo la participaci&oacute;n de las agrupaciones de las Danzas e incluso personas de las comunidades; esta es una pr&aacute;ctica que la realiza el cabildo sin ninguna intromisi&oacute;n de la junta la prefectura, subprefectura, Comit&eacute;s C&iacute;vicos u otros.&rdquo;<a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><strong>[4]</strong></a></em></p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo de San Ignacio de Mojos, actualmente cuenta con un espacio o centro de reuniones para la poblaci&oacute;n, &eacute;sta edificaci&oacute;n se ubica detr&aacute;s del templo misional: <em>La distribuci&oacute;n espacial del cabildo expresa el rol importante que tienen sus representantes en las sillas principales se sientan las Autoridades principales del Cabildo: Corregidor, Representante, Capit&aacute;n Grande, Cacique e Intendente, detr&aacute;s es las autoridades se ubica el Coro Musical de la Iglesia, al lado izquierdo de las sillas de las autoridades, se encuentran los Pasados que son los ex-caciques y Ex-Corregidores, al lado derecho se ubican el Polic&iacute;a, Comisario, Alf&eacute;rez y el Camaretero; m&aacute;s all&aacute;, sobre el mismo lado derecho, se sientan los Perpetuos y, en el mismo lado, las Mamitas Abadesas. </em></p>\n\n<hr />\n<p>[[Ver foto: Distribuci&oacute;n espacial - Cabildo indigenal]]</p>\n\n<hr />\n<p><em>De frente a las Autoridades del Cabildo se encuentra el altar donde se encuentran las im&aacute;genes de los Santos; al lado derecho del altar se colocan los bastones de mando que llevan las autoridades, luego se ubican otro grupo de Mamitas Abadesas y al continuaci&oacute;n los Chiripier&uacute;ana(macheteros).<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"><strong>[5]</strong></a></em></p>\n\n<p>El Cabildo de San Ignacio de Mojos posee personer&iacute;a jur&iacute;dica como organizaci&oacute;n, su rol principal es mantener sus tradiciones y dar continuidad a la cultura moje&ntilde;a, organizar todas las actividades festivas, y tienen competencia sobre diversos asuntos del pueblo.</p>\n\n<p>La composici&oacute;n del Cabildo es la siguiente:</p>\n\n<hr />\n<p>[[ Ver foto: Composicion del Cabildo]].</p>\n\n<hr />&nbsp;\n<p>El Cabildo est&aacute; presente y es parte de la organizaci&oacute;n de las festividades, gracias a su pervivencia se ha logrado conservar el patrimonio cultural material e inmaterial, ya que son celosos guardianes de su acervo, evitando adem&aacute;s las influencias for&aacute;neas o renovaciones culturales.</p>\n\n<p>Las agrupaciones que participan en la festividad de Semana Santa, que son parte inherente al Cabildo son:</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"><strong>[6]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p>Las Mamitas Abadesas o Memes, forman parte de la parcialidad de los valores espirituales del pueblo.</p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.<a href=\"#_ftn7\" name=\"_ftnref7\" title=\"\"><strong>[7]</strong></a></em></p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;, este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisitos exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERUANA </strong></p>\n\n<p>El nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>La danza se ejecuta de forma marcial, en dos filas. Bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores, sujeta al armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichachies, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> <em>&nbsp;</em>Plan Mojos, Historia Cabildos. 2024. pg. 45.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid, pg. 50.</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid., pg. 51</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em> </em><em>&ldquo;para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Fuente: Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg..20.</p>\n\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" title=\"\">[6]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pp. 8-9.</p>\n\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" title=\"\">[7]</a> Ibid. p. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "2c9d8a23-803d-4580-87bf-5b9e733ece33"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las&nbsp;tradiciones y expresiones orales, transmitidas de generaci&oacute;n en generaci&oacute;n como parte de la memoria colectiva de la comunidad, forman parte fundamental del&nbsp;patrimonio cultural inmaterial.</p>\n\n<p>Los pueblos aut&oacute;ctonos de la regi&oacute;n moje&ntilde;a, antes de pertenecer a las reducciones jesu&iacute;ticas, hac&iacute;an uso del canto y usaban sus propios instrumentos, en rituales de car&aacute;cter m&iacute;tico. Los misioneros adoptaron los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena, ense&ntilde;ando en su lugar m&uacute;sica y poemas sagrados estrictamente religiosos.</p>\n\n<p>Las tradiciones del antiguo pueblo misional de San Ignacio de Mojos se conservan hasta hoy, gracias a su gente, que mantiene con mucho orgullo y esfuerzo sus costumbres y ceremonias. Dentro de estas arraigadas tradiciones, est&aacute; la celebraci&oacute;n de Semana Santa, que como en otras latitudes, se festeja durante diez d&iacute;as, comenzando con el Viernes de Dolores, y concluyendo en el Domingo de Resurrecci&oacute;n. Las ceremonias de esta festividad, siguen pr&aacute;cticamente los mismos ritos establecidos por la religi&oacute;n cristiana, pero en sincretismo con la cultura del lugar, por medio de la inclusi&oacute;n del idioma moje&ntilde;o, que est&aacute; presente en ciertos momentos de las celebraciones, as&iacute; como la inserci&oacute;n de m&uacute;sica y bailes propios.</p>\n\n<p>La lengua que se habla en San Ignacio de Mojos, es el castellano, pero se conserva todav&iacute;a la lengua Moje&ntilde;a Ignaciana, que corresponde a la familia ling&uuml;&iacute;stica Arawak, y se hace presente especialmente en la celebraci&oacute;n de la misa cuando se hace la segunda lectura del evangelio.</p>\n\n<p>El canto del Coro Musical, es parte infaltable de la misa y las procesiones, interpretando canciones religiosas acompa&ntilde;ado por sus instrumentos, si bien las canciones son interpretadas en castellano ya forman parte de su tradici&oacute;n. El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor).</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momento se incluye dentro los ritos religiosos, la lengua moje&ntilde;a, y las canciones religiosas en castellano:</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, y cuando se hacen las lecturas en lengua moje&ntilde;a:</u></strong></p>\n\n<hr />\n<p><strong>VIERNES SANTO</strong></p>\n\n<p>Ni&ntilde;os y j&oacute;venes, desde las seis de la ma&ntilde;ana realizan un <strong>V&iacute;a Crucis juvenil</strong> que pr&aacute;cticamente rodea el pueblo, este es sin lugar a dudas uno de los d&iacute;as m&aacute;s emotivos y especiales de la celebraci&oacute;n, tanto por su riqueza de tradiciones como por su importancia religiosa.</p>\n\n<p>Tambi&eacute;n durante la ma&ntilde;ana en el atrio del templo se construye la estructura de soporte del altar donde se situar&aacute; al Cristo Crucificado, para esto se utilizan vigas y rollizos de madera, que luego son cubiertas con ramas de sauce llor&oacute;n</p>\n\n<p>Por la tarde se efect&uacute;a la solemne ceremonia de la Desclavaci&oacute;n del Se&ntilde;or.</p>\n\n<p>Finalmente se realiza la procesi&oacute;n del Santo Sepulcro.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que el d&iacute;a anterior.</p>\n\n<p><strong>Serm&oacute;n de las Siete Palabras - 12:00 </strong></p>\n\n<p>En la ceremonia de la misa se recuerdan las siete frases que Jes&uacute;s pronunci&oacute; durante su crucifixi&oacute;n.</p>\n\n<p><strong>Celebraci&oacute;n de la Pasi&oacute;n y muerte de Nuestro Se&ntilde;or, y Adoraci&oacute;n de la Cruz - 15: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, est&aacute; sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>Cruz de madera con la imagen de Cristo crucificado, con base de madera, se ubica delante del altar, en la nave.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro del templo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas,</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La cruz para la Adoraci&oacute;n, ingresa al templo con una casulla morada, ricamente bordada con dorado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa, y antes de la comuni&oacute;n, se hace la Adoraci&oacute;n, que consiste en ingresar la Cruz por la puerta principal, &eacute;sta es llevada por el p&aacute;rroco y lo acompa&ntilde;a un sacrist&aacute;n, que sostiene el micr&oacute;fono mientras el padre hace la oraci&oacute;n cantada.</p>\n\n<p>Se le rinde respeto a la cruz, arrodill&aacute;ndose y dando un beso a la imagen de Cristo y se hace una ofrenda de dinero.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y <strong><u>se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</u></strong></li>\n\t<li>La misa se interrumpe antes de la comuni&oacute;n.</li>\n\t<li>El p&aacute;rroco sale del templo para nuevamente ingresar con la cruz y hacer la Adoraci&oacute;n.</li>\n\t<li>A su paso por el centro de la nave, el padre hace la oraci&oacute;n cantada y se detiene dos veces para ir descubriendo parcialmente la cruz que est&aacute; cubierta por un pa&ntilde;o blanco.</li>\n\t<li>El padre quita el pa&ntilde;o, como se&ntilde;al de que Cristo ha muerto y presenta la cruz a los asistentes, nuevamente hace la oraci&oacute;n cantada.</li>\n\t<li>Coloca la cruz en la base de madera que esta al pie del altar, se arrodilla y luego besa los pies de la imagen del Cristo crucificado, los sacristanes hacen lo mismo.</li>\n\t<li>Los asistentes tambi&eacute;n se arrodillan y besan la imagen, comenzando por el Cabildo indigenal, las Memes, los Sargentos Jud&iacute;os, y el pueblo en general. Esta ceremonia es acompa&ntilde;ada por el coro del templo.</li>\n\t<li>Continua la misa, con la comuni&oacute;n y al final el padre y tres sacristanes se arrodillan frente a la cruz y se retiran.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Solemne desclavaci&oacute;n del Se&ntilde;or - 20: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, ha sido colocada en el atrio debajo de la cubierta, en una especie de altar en forma de U, construido con madera y cubierto con ramas de sauce llor&oacute;n.</p>\n\n<p>Las otras im&aacute;genes: La Virgen Dolorosa, la Ver&oacute;nica, Virgen Mar&iacute;a y San Juan, est&aacute;n dispuestas a la derecha de la imagen de Cristo, no est&aacute;n bajo la cubierta del templo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Ni&ntilde;os que representan a los &aacute;ngeles, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana negra y sobrepelliz blanca; los ni&ntilde;os que reciben los objetos sagrados llevan una corona de flores blancas, rebozo que cae sobre la espalda, collares dorados, y t&uacute;nica blanca adornada con cintas de color turquesa, a manera de c&iacute;ngulo de dos ca&iacute;das; los Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos, los Caciques Mayores de los Santos Varones llevan en la cintura un c&iacute;ngulo dorado de dos ca&iacute;das y el resto la llevan en blanco, sobre el hombro izquierdo cruza una estola blanca que sirve para manipular las piezas sagradas y no tocarlas con las manos; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: Sivivire (2); viol&iacute;n (1); baj&oacute;n (2).</p>\n\n<p>Coro de j&oacute;venes: Con violines</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>El atrio del templo y su entorno, se convierten en el escenario del desclavamiento de Cristo, toda la Comunidad de San Ignacio, se da cita en torno al altar construido por el Cabildo en el atrio del templo, en el que se muestra la imagen del Cristo Crucificado.</p>\n\n<p>El P&aacute;rroco da las indicaciones para la desclavaci&oacute;n de la imagen de Cristo, tarea que realizan los Santos Varones.</p>\n\n<p>El cuerpo de Cristo es bajado con mucho cuidado, lo presentan a la Virgen Dolorosa, lo visten, le colocan la corona y enseguida es trasladado al Santo Sepulcro.</p>\n\n<p>Las autoridades del Cabildo Indigenal, y los Hermanos del Santo Sepulcro, desmontan por partes el altar erigido, las personas que han acompa&ntilde;ado la ceremonia se aproximan y comienzan a quitar los ramos del sauce llor&oacute;n, estas plantas se utilizar&aacute;n para curar enfermedades f&iacute;sicas y espirituales.</p>\n\n<p>En reemplazo del cuerpo de Cristo se deja una estola blanca que atraviesa los dos brazos de la Cruz.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li><strong><u>El Coro Musical entona cantos (con libreto) en castellano</u></strong>, se ubican al lado derecho de la imagen de Cristo Crucificado.</li>\n\t<li>El Coro de j&oacute;venes interpreta una canci&oacute;n acompa&ntilde;ada de sus instrumentos, se ubican a la izquierda de la imagen de Cristo Crucificado.</li>\n\t<li>El p&aacute;rroco parado sobre una tarima anuncia que los Santos Varones proceder&aacute;n a desclavar el cuerpo de Cristo.</li>\n\t<li>Los Sargentos jud&iacute;os preceden la entrada de los Santos Varones.</li>\n\t<li>Los Santos Varones presentan primero sus respetos a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco va guiando a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento retirado es llevado por uno de los Santos Varones, primero son presentados a la Virgen Mar&iacute;a, la Dolorosa y luego se colocan, en unas bandejas sostenidas por tres ni&ntilde;os que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</li>\n\t<li>Cuando se han quitado todos los elementos, se baja la imagen de Cristo con sumo cuidado, y se la presenta a la Virgen Mar&iacute;a la Dolorosa, tocan las matracas, y el coro de j&oacute;venes interpreta m&uacute;sica sacra.</li>\n\t<li>Los Santos Varones, llevan el cuerpo de Cristo al Sepulcro y lo colocan en su interior, lo acomodan y cubren su cuerpo con un manto de color negro, mientras lo colocan van encendiendo las velas alrededor del Sepulcro, aseguran la puerta, y terminan de encender todas las velas. M&uacute;sica del coro de j&oacute;venes contin&uacute;a.</li>\n\t<li>Para la m&uacute;sica y toca la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro y los sacristanes se ubican delante del Santo Sepulcro</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, para iniciar la procesi&oacute;n.</li>\n</ul>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Santo Sepulcro - 21: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza alrededor de la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo Crucificado, ha sido colocada en el Santo Sepulcro.</p>\n\n<p>Las im&aacute;genes, salen en el siguiente orden en la procesi&oacute;n: San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, el Santo Sepulcro, la Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas, y cubierto por un manto negro.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Autoridades, Sargentos Jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, Alzadores, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos.</p>\n\n<p>P&aacute;rroco, con alba y estola de color morada.</p>\n\n<p>Sacristanes, con sotana negra y sobrepelliz blanca.</p>\n\n<p>Cabildo indigenal, con camijetas.</p>\n\n<p>Mamitas abadesas con tipoi blanco o negro.</p>\n\n<p>Autoridades, con banda que los identifica.</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p>El Coro, con camijetas.</p>\n\n<p>Los Hermanos de la Pasi&oacute;n de Cristo, con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p>Las mujeres alzadoras de las im&aacute;genes femeninas, con pantal&oacute;n negro y solera negra o blanca; los varones alzadores del Santo Sepulcro, con pantal&oacute;n negro, camisa blanca y corbata negra.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera negra con Cruz roja en el centro, ubicada delante del altar mayor, para cubrirlo.</p>\n\n<p>Santo Sepulcro</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Imagen de San Juan</p>\n\n<p>Imagen de la Ver&oacute;nica</p>\n\n<p>Imagen de la Virgen Maria</p>\n\n<p>Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas.</p>\n\n<p>Autoridades con la Bandera negra</p>\n\n<p>Cabildo con sombreros</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco</p>\n\n<p>Sacristanes y Hermanos de la Pasi&oacute;n de Cristo,</p>\n\n<p>Santo Sepulcro</p>\n\n<p>Pueblo en general</p>\n\n<p>Cruz de Cristo, de madera con pa&ntilde;o blanco en anda</p>\n\n<p>Penitentes con sus acompa&ntilde;antes</p>\n\n<p>Ni&ntilde;os con los elementos de la pasi&oacute;n</p>\n\n<p>Santos varones (los que hicieron la desclavaci&oacute;n de Cristo), llevando cruces con floreas blancas.</p>\n\n<p>Memes</p>\n\n<p>Virgen Dolorosa (alzada por mujeres con vestido negro)</p>\n\n<p>Pueblo en general</p>\n\n<p>Flanqueando el Santo Sepulcro est&aacute;n los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo</p>\n\n<p>Las Memes, tambi&eacute;n caminan a ambos lados de la procesi&oacute;n portando velas.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Concluida la ceremonia de la Desclavaci&oacute;n de Cristo, se realiza la procesi&oacute;n del Santo Sepulcro, alrededor de la plaza, acompa&ntilde;ada de una numerosa comitiva y del pueblo en general.</p>\n\n<p><em>Este recorrido tiene especial significaci&oacute;n para las personas, ya que el ser tocado por la mano de uno de los Santos Varones significa haber sido sanado de la dolencia que ten&iacute;a la persona, as&iacute; que, en determinados momentos, lo Santos Varones van curando a las personas mientras caminan</em>.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Una vez dispuesta la imagen de Cristo dentro el Santo Sepulcro, para la m&uacute;sica y comienza la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro musical con sus instrumentos y los sacristanes cargando la cruz de plata, cubierta por un pa&ntilde;o negro, se ubican delante del Santo Sepulcro.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas.</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, acompa&ntilde;an tambi&eacute;n portadores de faroles, dos adelante y dos atr&aacute;s.</li>\n\t<li>Comienza la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t<li>Antes de la salida del Santo Sepulcro, se han ubicado precediendo la procesi&oacute;n:</li>\n</ul>\n\n<p style=\"margin-left:48px\">San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas, Autoridades con la Bandera negra, Cabildo, Coro Musical, P&aacute;rroco, Sacristanes y Hermanos de la Pasi&oacute;n de Cristo.</p>\n\n<ul>\n\t<li>En las esquinas se detiene el Santo Sepulcro, bajo el dosel de tela morada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, <strong><u>en la siguiente parada, ser&aacute; el turno del Coro Musical,</u></strong> y as&iacute; alternadamente.</li>\n\t<li>Se hace la lectura del evangelio</li>\n\t<li><strong><u>E<u>l </u>Coro Musical canta en castellano de memoria</u></strong></li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n.</li>\n\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo;</u></strong></li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las matracas.</li>\n\t<li>Dos personas del Cabildo colocan delante del Santo Sepulcro un pa&ntilde;o grande blanco.</li>\n\t<li>Se adelanta una persona, (primero un Santo var&oacute;n del Cabildo y en las otras paradas lo hacen las autoridades), hace una reverencia, y blande la bandera negra de frente al Santo Sepulcro, sobre el pa&ntilde;o que esta en el piso, nuevamente hace una reverencia, retorna a su sitio y le hace entrega de la bandera a la persona que la blandir&aacute; en la pr&oacute;xima parada.</li>\n\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita y la banda.</li>\n\t<li>Se repite esto en todas las esquinas.</li>\n\t<li>Para ingresar al templo, las im&aacute;genes de San Juan, La Ver&oacute;nica y la Virgen Mar&iacute;a, se quedan cerca de la plaza y dan lugar para que pasen: primero los Penitentes, y el resto de la comitiva que acompa&ntilde;a al Santo Sepulcro.</li>\n\t<li>A medida que las cruces van llegando con los Penitentes, se van colocando en los ambientes del templo. La Cruz Virgen, de color verde, la vuelven a colocar en el lado izquierdo del Altar Mayor, esto es realizado con mucho cuidado y solemnidad utilizando bastones y cuerdas para asegurarla.</li>\n\t<li>Ingresa el Santo Sepulcro y la comitiva al templo, y se dirigen por el lado de la ep&iacute;stola hacia el altar, asentando el Santo Sepulcro en el sector izquierdo de la nave, cerca del altar, la Cruz de madera se la coloca delante del altar mayor, muy cerca del pa&ntilde;o negro que lo cubre, y la Virgen Dolorosa se coloca sobre la nave de la ep&iacute;stola, en su lugar habitual.</li>\n\t<li>El p&aacute;rroco, procede a incensar el Santo Sepulcro, a la Dolorosa y a la Cruz de madera.</li>\n\t<li>Palabras del p&aacute;rroco.</li>\n\t<li>&ldquo;<em>En la sacrist&iacute;a los Santos Varones inician la curaci&oacute;n a las Autoridades del Cabildo y posteriormente a todas las personas que se aproximan a ellos, la curaci&oacute;n consiste en jalarles la cabeza hacia arriba, lo cual deben hacer todos los Santos Varones con las personas, esto a partir de la cualidad personal de curaci&oacute;n de cada uno de ellos.</em></li>\n\t<li><em>Mientras esto sucede se inicia otra procesi&oacute;n en la que llevan el Santo Sepulcro acompa&ntilde;ado por las Mamitas Abadesas, Hermanos, los Sargentos Jud&iacute;os, Sacristanes y las ceremonias oficiadas por el Coro de la Iglesia, el cual recorre las cuatro esquinas de la plaza central.&rdquo;</em> <a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></li>\n</ul>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> https://www.incarnationweb.org/Semana-Santa-en-la-Parroquia-de.html?lang=es</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a>Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 28.</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["d2a24278-85f8-422d-85c6-24e4009f191f", "b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "d107c498-b100-4b2e-b32a-fcc7aec2d519"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Viste t\u00fanica roja y manto color ciruela, con nimbo. 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Un pie hexagonal se eleva hasta el cop\u00f3n, y en su sector intermedio sobresale un cuerpo bulbiforme ornamentado con cuatro asas con decoraci\u00f3n vegetal. El cop\u00f3n que alberga las hostias, tiene forma agallonada, con cuatro asas de ornamentaci\u00f3n fitomorfa, que rematan en angelitos alados, cuelga de las asas la cadena con la llave que abre la custodia. La parte superior es la tapa de la custodia presenta una base redonda, de la que surge con cuerpo tronco piramidal, decorado con cuatro figuras de angelitos alados, rematando todo en la figura de un ave sobre la que un angelito alado de pie, sostiene la cruz. 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La parte posterior presenta el escudo de la Compa\u00f1\u00eda de Jes\u00fas, ejecutado en un sutil bajorrelieve policromado."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sagrario"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 19, "tileid": "470f54b5-cfde-4b05-bd18-e4c82d609796"}, {"data": 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Simboliza el d\u00eda de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap\u00f3stoles, las tres Mar\u00edas (Mar\u00eda Salom\u00e9, Mar\u00eda de Cleof\u00e1s y Mar\u00eda Magdalena) y la Virgen Mar\u00eda, es decir, aquellos que acompa\u00f1aron a Jes\u00fas ese d\u00eda. La vela m\u00e1s alta representa a la Sant\u00edsima Virgen, la \u00fanica que crey\u00f3 en la Resurrecci\u00f3n. El tri\u00e1ngulo mismo simboliza la Sant\u00edsima Trinidad. 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En el crucero un c\u00edrculo a modo de nimbo, se rodea de piedras preciosas?, dentro del c\u00edrculo un sol con terminaciones de perlas de n\u00e1car."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Cruz para la Adoraci\u00f3n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 21, "tileid": "cca4e916-a44c-4153-8be6-d62b65f30ff1"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La lanzas est\u00e1n hechas de madera marayauy, la parte superior de madera jata."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Las lanzas que portan los Sargentos Jud\u00edos poseen una simbolog\u00eda especial, ya que algunas representan los s\u00edmbolos de la pasi\u00f3n de Cristo: El gallo, la lanza con la corona de espinas, escalera, la lanza con el pa\u00f1o en la punta, la columna, los clavos y el martillo, el ep\u00edgrafe de INRI, la escalera."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Lanzas de los Sargentos Jud\u00edos "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 11, "tileid": "ab07c30b-27a6-45d4-998e-20473458a2e7"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de plata,  con soporte de macolla de cuerpo circular y asta de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz latina, con crucero circular, que alberga el escudo de la compa\u00f1\u00eda de Jes\u00fas, (el monograma del nombre de Jes\u00fas, IHS (en este caso la S asemeja una I), los cuatro brazos ornamentados con cartelas, rematan en elementos bulbiformes con decoraci\u00f3n vegetal. La cruz se apoya en macolla circular de hierro fundido."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz procesional de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 13, "tileid": "6cba62bc-d777-487a-8db6-01d3ef0ed00c"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera de color negro"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sobre  la cruz se observan seis c\u00edrculos plateados con delgadas tiras del color de la bandera nacional en forma de cruz, un c\u00edrculo en el crucero muestra el Sagrado coraz\u00f3n, y en la parte superior la tablilla de INRI"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera - Sargentos Judios"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 14, "tileid": "83117e61-4968-4489-a622-bc75e3a0756e"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Elemento con soporte reticulado de madera, con vanos vidriados."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Elemento de planta rectangular, con vanos vidriados, diez en los lados longitudinales y seis en el los lados cortos. Lo cubre una estructura vidriada en forma de prisma y descansa sobre anda de madera con doble fila de porta velas tallados con motivos fitoformes y con roleos. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Santo Sepulcro"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 16, "tileid": "0165e923-a626-4e6a-895d-7562b5353d9a"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Recipiente de barro cocido"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "C\u00e1ntaro de barro cocido con muescas en el borde de la boca del recipiente. Utilizado para guardar el agua bendita que luego los fieles podr\u00e1n llevar en recipientes propios."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "C\u00e1ntaro para agua bendita"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3823739a-6b23-4318-8406-eaa44ad3810f", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 22, "tileid": "c7111336-b2aa-48cc-ac37-f85877610cb4"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": null, "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "e2247e94-1fde-11f0-a8a9-b3355d3a2630": null}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "358338d1-f520-4743-90e4-1738c93bcf71"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2881376c-5ddf-42d1-89ca-a207b006c108", "resourceXresourceId": "cf93e55c-824a-42ad-88cd-b2ae648989ce"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2024-07-01"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "317eeb9d-b3c6-47c9-ae4a-6efd005769c3", "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "1eafc418-d149-4476-9783-047324fa6b30"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p><strong>PERSONAJES QUE PARTICIPAN</strong></p>\n\n<p><strong>CABILDO</strong></p>\n\n<p>La comunidad moje&ntilde;a est&aacute; guiada por el Cabildo Indigenal, sistema que fue introducido por los jesuitas, en el siglo XVIII. Actualmente, no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, y proteger el patrimonio cultural material e inmaterial, preservando las tradiciones culturales y religiosas.</p>\n\n<p>En San Ignacio el Cabildo, est&aacute; compuesto por: el Corregidor, Caciques, Capitanes, Alcaldes, Intendente, Alguacil, Fiscal, Comisarios y los Mayordomos que est&aacute;n subdivididos en parcialidades.</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>PERPETUOS</strong></p>\n\n<p>Son los se&ntilde;ores mayores que ayudan y apoyan al templo y al cabildo, deben su nombre al hecho de que solo son suplidos por vejez o muerte.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.<a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><em><strong>[4]</strong></em></a></p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERU</strong></p>\n\n<p>Su nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>Su danza es de forma marcial en dos filas, bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores.</p>\n\n<p>Sujeta del armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichach&iacute;es, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisito exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<hr />\n<p><u><strong>GLOSARIO</strong></u></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p>El tenebrario simboliza el d&iacute;a de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap&oacute;stoles, las tres Mar&iacute;as (Mar&iacute;a Salom&eacute;, Mar&iacute;a de Cleof&aacute;s y Mar&iacute;a Magdalena) y la Virgen Mar&iacute;a, es decir, aquellos que acompa&ntilde;aron a Jes&uacute;s ese d&iacute;a. La vela m&aacute;s alta representa a la Sant&iacute;sima Virgen, la &uacute;nica que crey&oacute; en la Resurrecci&oacute;n. El tri&aacute;ngulo mismo simboliza la Sant&iacute;sima Trinidad.&nbsp;</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p><strong>Camareta. </strong>Recipiente de fierro de 10 cm de altura y 10 cm de ancho, que contiene p&oacute;lvora, que&nbsp; ser&aacute; encendida y explota generando un atronador ruido.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><u><strong>BIBLIOGRAF&Iacute;A </strong></u></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. Pg. 8-9.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 21</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid,.pg. 11.</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> Ibid,.pg. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": "c536c9d5-193d-44c1-9894-32c71d55c4f7"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7badbd3d-d769-4528-95c0-f88e152d149a", "sortorder": 0, "tileid": 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Cantos y plegarias a la Virgen de Loreto</strong></p>\n\n<p>&nbsp;</p>\n\n<p>Las plegarias y canciones dedicadas a la Virgen de Loreto son una manifestaci&oacute;n religiosa profundamente propias de la comunidad. Entre ellas se encuentran las plegarias tituladas &ldquo;Milagrosa de Loreto&rdquo;, as&iacute; como los cantos &ldquo;Canci&oacute;n a Loreto&rdquo; y &ldquo;Madre de Loreto&rdquo;, que son expresiones de fe y amor a la Virgen.</p>\n\n<p>&nbsp;</p>\n\n<p>El Lloro de la Virgen de Loreto</p>\n\n<p>Estas plegarias y c&aacute;nticos surgen en conmemoraci&oacute;n de un evento milagroso. El lloro de la Virgen de Loreto, ocurri&oacute; entre el 4 y el 7 de octubre. Este hecho ha marcado la espiritualidad del pueblo y ha fortalecido la devoci&oacute;n hacia su santa patrona.</p>\n\n<p>&nbsp;</p>\n\n<p>La manifestaci&oacute;n religiosa tiene lugar en la &eacute;poca seca, octubre cuando la comunidad se re&uacute;ne para rendir homenaje a la Virgen a trav&eacute;s de oraciones y cantos que expresan promesas, gratitud y s&uacute;plica.</p>\n\n<p>&nbsp;</p>\n\n<p>Aunque de origen moderno, estas expresiones de fe han sido adoptadas con fervor por los devotos, consolid&aacute;ndose como parte de la identidad religiosa y cultural de Loreto.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado social del verso/canci&oacute;n</strong></p>\n\n<p>El verso y la canci&oacute;n dedicados a la Virgen de Loreto adquieren un profundo significado social al recordar el suceso de las l&aacute;grimas de la Virgen, ocurrido en 1959. Este evento, que conmovi&oacute; a los habitantes de Loreto, se conmemora cada a&ntilde;o en un periodo de cuatro d&iacute;as, durante los cuales se revive el lloro de la Virgen. Esta tradici&oacute;n, aunque es conocida como la Fiesta de las L&aacute;grimas, para los pobladores no se considera una fiesta, sino un momento de reflexi&oacute;n y espiritualidad profunda, un tiempo sagrado para la reconciliaci&oacute;n y la oraci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participantes en la conmemoraci&oacute;n</strong></p>\n\n<p>La participaci&oacute;n en el evento es amplia y diversa, abarcando a feligreses devotos, pobladores de Loreto, peregrinos provenientes de diferentes localidades del departamento de Beni, e incluso aquellos que llegan de fuera del departamento. Adem&aacute;s, sacerdotes y representantes de la iglesia cat&oacute;lica, junto con autoridades administrativas del departamento.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Historia del suceso de las l&aacute;grimas de la Virgen de Loreto</strong></p>\n\n<p>En el a&ntilde;o 1959, un acontecimiento que marcar&iacute;a profundamente la historia de Loreto y que trascender&iacute;a en el territorio boliviano. En ese entonces, Loreto contaba con una iglesia que hab&iacute;a sido construida entre 1675 y 1767. Esta iglesia, que fue construida con adobes, ten&iacute;a una longitud de aproximadamente 180 pies (50.4 metros) y un ancho de 60 pies (16.8 metros). Adem&aacute;s, contaba con tres naves y estaba ensamblada con madera de cedro y cinco altares (Barthelemy, 1992, p&aacute;g. 169).</p>\n\n<p>&nbsp;</p>\n\n<p>Con el paso del tiempo, la devoci&oacute;n a la Virgen de Loreto y el mantenimiento de la iglesia comenzaron a decaer. La falta de un sacerdote que oficiara misa de manera regular hizo que el templo y su estructura comenzaran a deteriorarse. A pesar de que un sacerdote visitaba anualmente para la fiesta patronal en diciembre, la iglesia comenz&oacute; a caer, y una pared ya se hab&iacute;a derrumbado antes de que ocurrieran los hechos extraordinarios de las l&aacute;grimas de la Virgen.</p>\n\n<p>&nbsp;</p>\n\n<p>El 4 de octubre de 1959, un grupo de mujeres, tambi&eacute;n mencionadas en otros relatos como jovencitas, se dirigieron a la iglesia para limpiarla. Durante la limpieza, observaron que el cabello de la imagen de la Virgen ca&iacute;a sobre su rostro, por lo que llamaron a unos ni&ntilde;os para que subieran y la arreglaran. Al subir, los ni&ntilde;os notaron que el rostro de la Virgen estaba mojado, y creyeron que estaba llorando. Sorprendidas, las mujeres acudieron al templo, donde confirmaron que efectivamente la Virgen parec&iacute;a estar llorando. Al principio los pobladores, no les creyeron, pero la noticia r&aacute;pidamente se extendi&oacute; por el pueblo.</p>\n\n<p>&nbsp;</p>\n\n<p>El nombre de las mujeres que presenciaron el hecho ha quedado registrado en la S&iacute;ntesis monogr&aacute;fica de la Provincia Marb&aacute;n de Carolina Barthelemy Vidal. Ellas fueron Filomena Barthelemy Vda. de Gomez, Benajmina de Hurtado, Rosa Vda. de Soliz, Esther Canido Rodr&iacute;guez, y dos ni&ntilde;os.</p>\n\n<p>&nbsp;</p>\n\n<p>El 5 de octubre, las mujeres regresaron a la iglesia junto con otras personas y constataron nuevamente que la Virgen lloraba. Tocaron las campanas para avisar al pueblo, y la noticia se dispers&oacute; r&aacute;pidamente. Cuando la gente lleg&oacute; al templo, se arrodillaron en oraci&oacute;n, y la Virgen dej&oacute; de llorar. Debido a esto, se organiz&oacute; a personas para custodiar la imagen.</p>\n\n<p>&nbsp;</p>\n\n<p>El 6 de octubre, en la ma&ntilde;ana, las campanas volvieron a sonar y la Virgen llor&oacute; una vez m&aacute;s. Algunos feligreses recogieron las l&aacute;grimas con algod&oacute;n, que hoy se dice tienen propiedades curativas. El 7 de octubre, las l&aacute;grimas continuaron, y la noticia lleg&oacute; a un centenar de personas que acudieron de las localidades cercanas.</p>\n\n<p>&nbsp;</p>\n\n<p>El evento lleg&oacute; a conocimiento de las autoridades del departamento, y la Virgen fue llevada en peregrinaci&oacute;n a Trinidad. En Trinidad, fue recibida con fervor y llevada a la catedral, donde tambi&eacute;n se realizaron romer&iacute;as. Sin embargo, algunas personas no creyeron en el milagro. Se cuenta que durante la noche, las luces de la catedral se apagaron misteriosamente, y no se pudo encontrar la causa hasta que se ilumin&oacute; el rostro de la Virgen, quien segu&iacute;a llorando. Al encenderse las luces, la multitud se arrodill&oacute; en se&ntilde;al de respeto y asombro.</p>\n\n<p>&nbsp;</p>\n\n<p>Cuando la Virgen regres&oacute; a Loreto, fue acompa&ntilde;ada por centenares de personas. En su paso, se arrojaron flores y aviones de la Aviaci&oacute;n Boliviana LAB sobrevolaron la comitiva.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El Testimonio de Betty Barthelemy</strong></p>\n\n<p>Betty Barthelemy, quien era ni&ntilde;a cuando estos sucesos ocurrieron, recuerda con detalle los eventos de aquel entonces. Su padre, quien estaba enfermo, les pidi&oacute; a ella y a sus hermanas que fueran a ver qu&eacute; suced&iacute;a. Ellas tocaron las campanas y acompa&ntilde;aron a su padre a la iglesia. La madre de Betty, quien estaba de viaje, regres&oacute; cuando la Virgen se encontraba en romer&iacute;a hacia Trinidad. A pesar de la distancia, las ni&ntilde;as quer&iacute;an acompa&ntilde;arla, pero debido a la larga caminata, no pudieron hacerlo. Betty Barthelemy es la &uacute;nica persona que a&uacute;n vive para dar testimonio de estos extraordinarios eventos, ya que las dem&aacute;s personas involucradas han fallecido.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Cronolog&iacute;a de la organizaci&oacute;n de los versos y cantos</strong></p>\n\n<p>Antes de la enunciaci&oacute;n de los versos y cantos, las mujeres adultas y de la tercera edad se encargan de llevar las canciones impresas para repartirlas durante la fiesta. Estos cantos se inician el 5 de octubre durante el velorio y contin&uacute;an hasta la procesi&oacute;n del 7 de octubre. Los versos, que son interpretados con devoci&oacute;n, forman una parte importante de las celebraciones que conmemoran el milagro de las l&aacute;grimas de la Virgen de Loreto.</p>\n\n<p>&nbsp;</p>\n\n<p>Los versos son:</p>\n\n<p><strong>PLEGARIAS A LA VIRGENCITA &ldquo;MILAGROSA DE LORETO&rdquo; </strong></p>\n\n<p><strong>EN SUS&nbsp; ANIVERSARIO E N LOS DIAS 4, 5, 6, 7 DE OCTUBRE</strong></p>\n\n<p>&nbsp;</p>\n\n<p>Cuatro, cinco, seis y siete</p>\n\n<p>Son fechas inolvidables</p>\n\n<p>Del a&ntilde;o cincuenta y nueve</p>\n\n<p>De tu santo milagro Madre</p>\n\n<p>&nbsp;</p>\n\n<p>Virgen Madre de Loreto</p>\n\n<p>Pasabas tu amargura</p>\n\n<p>Sollozando en silencio</p>\n\n<p>Tu tristeza y ternura</p>\n\n<p>&nbsp;</p>\n\n<p>En su humilde templo,</p>\n\n<p>Silenciosa y taciturno</p>\n\n<p>All&iacute; la Virgen de Loreto</p>\n\n<p>Fue olvidada por completo</p>\n\n<p>&nbsp;</p>\n\n<p>El cuatro de octubre</p>\n\n<p>Le alzaron tu manto</p>\n\n<p>Sorprendidos los hombres</p>\n\n<p>Por tu amargo llanto</p>\n\n<p>&nbsp;</p>\n\n<p>Presentaste tus l&aacute;grimas</p>\n\n<p>A cuatro se&ntilde;ores</p>\n\n<p>Que rezando el rosario</p>\n\n<p>Se recogen y lloran</p>\n\n<p>&nbsp;</p>\n\n<p>Se extiende por tu pueblo</p>\n\n<p>Tu milagro, Se&ntilde;ora</p>\n\n<p>Que tus hijos incr&eacute;dulos</p>\n\n<p>Se afanan lo que a&ntilde;oran</p>\n\n<p>&nbsp;</p>\n\n<p>El cinco de octubre</p>\n\n<p>Demuestra de nuevo</p>\n\n<p>Te secaron el rostro</p>\n\n<p>Tus hijos del pueblo</p>\n\n<p>&nbsp;</p>\n\n<p>Te bajaron de tu trono</p>\n\n<p>Pecadores afligidos</p>\n\n<p>Alz&aacute;ndote con sus manos</p>\n\n<p>Y llorando arrepentido</p>\n\n<p>&nbsp;</p>\n\n<p>El seis de octubre</p>\n\n<p>Repiten tus l&aacute;grimas</p>\n\n<p>Ni&ntilde;os, mujeres y hombres</p>\n\n<p>Se acojan hasta el alma</p>\n\n<p>&nbsp;</p>\n\n<p>Y sonaron las campanas</p>\n\n<p>En se&ntilde;al del milagro</p>\n\n<p>Con l&aacute;grimas y dolor</p>\n\n<p>Piden clemencia, Se&ntilde;or</p>\n\n<p>&nbsp;</p>\n\n<p>El siete de octubre</p>\n\n<p>Te ba&ntilde;aste en l&aacute;grimas</p>\n\n<p>Cubri&eacute;ndose tu rostro</p>\n\n<p>Con tu llanto por nosotros</p>\n\n<p>&nbsp;</p>\n\n<p>Las campanas alarman al pueblo</p>\n\n<p>Todos corren p&aacute;lidos y mudos</p>\n\n<p>De rodillas se nota un duelo</p>\n\n<p>Y un silencio profundo</p>\n\n<p>&nbsp;</p>\n\n<p>Ayes&hellip;ayes profundos del alma</p>\n\n<p>Y con brazos en cruz</p>\n\n<p>Tus hijos piden perd&oacute;n</p>\n\n<p>Y clemencia de coraz&oacute;n</p>\n\n<p>&nbsp;</p>\n\n<p>En tus 63 a&ntilde;os aniversario</p>\n\n<p>A tus pies, Madre m&iacute;a,</p>\n\n<p>Hoy rezamos el rosario</p>\n\n<p>Madre virgen, Mar&iacute;a</p>\n\n<p>&nbsp;</p>\n\n<p>Madre, nuestra de Loreto</p>\n\n<p>Con tus l&aacute;grimas bendice</p>\n\n<p>Reviviste a tu pueblo</p>\n\n<p>S&aacute;lvanos, Madre bendita</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p><strong>PLEGARIAS A LA VIRGENCITA &ldquo;MILAGROSA DE LORETO&rdquo; </strong></p>\n\n<p>&nbsp;</p>\n\n<p>Buenas noches, Madre</p>\n\n<p>A saludarte he venido</p>\n\n<p>Bella como la aurora</p>\n\n<p>Te has aparecido (2)</p>\n\n<p>&nbsp;</p>\n\n<p>Saludemos a nuestra Madre</p>\n\n<p>Que es Madre del Se&ntilde;or</p>\n\n<p>Y todos recibamos</p>\n\n<p>Su santa bendici&oacute;n (2)</p>\n\n<p>&nbsp;</p>\n\n<p>Llegaste a tu pueblo oh Virgen Mar&iacute;a</p>\n\n<p>Gloriosa y triunfante</p>\n\n<p>De tu romer&iacute;a (2)</p>\n\n<p>La Virgen milagrosa</p>\n\n<p>Viene en romer&iacute;a</p>\n\n<p>Sus hijos la encuentran</p>\n\n<p>Con grande alegr&iacute;a (2)</p>\n\n<p>&nbsp;</p>\n\n<p>Con su ni&ntilde;o en sus brazos</p>\n\n<p>Con un ramo florido</p>\n\n<p>Mirando a sus hijos</p>\n\n<p>A sus pies arrepentidos (2)</p>\n\n<p>&nbsp;</p>\n\n<p>Vamos todos vamos</p>\n\n<p>Con grande alegr&iacute;a</p>\n\n<p>A cantarle Madre</p>\n\n<p>Oh dulce Mar&iacute;a (2)</p>\n\n<p>&nbsp;</p>\n\n<p>Madre Loreto</p>\n\n<p>Mar&iacute;a Virgen Madre</p>\n\n<p>Madre de Loreto</p>\n\n<p>Tus l&aacute;grimas piden</p>\n\n<p>Arrepentimiento</p>\n\n<p>&nbsp;</p>\n\n<p>1. A los pecadores</p>\n\n<p>Danos el perd&oacute;n</p>\n\n<p>T&uacute; eres la Madre</p>\n\n<p>Del Hijo de Dios</p>\n\n<p>&nbsp;</p>\n\n<p>2. Fuiste concebida</p>\n\n<p>Sin pecado y mancha</p>\n\n<p>S&aacute;lvanos oh Madre</p>\n\n<p>De todas las penas.</p>\n\n<p>&nbsp;</p>\n\n<p>3. Madre de Loreto</p>\n\n<p>Flor de Jeric&oacute;</p>\n\n<p>A tu pueblo, Madre&nbsp;</p>\n\n<p>De la salvaci&oacute;n</p>\n\n<p>&nbsp;</p>\n\n<p>4. Por tus hijos, Madre</p>\n\n<p>Lloras&nbsp; sin consuelo</p>\n\n<p>Para&nbsp; alcanzar perd&oacute;n</p>\n\n<p>Del Rey de los Cielos</p>\n\n<p>&nbsp;</p>\n\n<p>5. Para subir al Cielo</p>\n\n<p>Al Santo Sagrario</p>\n\n<p>Recen pecadores</p>\n\n<p>El Santo Rosario</p>\n\n<p>&nbsp;</p>\n\n<p>6. Vamos todos, vamos</p>\n\n<p>A la salvaci&oacute;n</p>\n\n<p>A la vida eterna</p>\n\n<p>Por tu intercesi&oacute;n</p>\n\n<p>&nbsp;</p>\n\n<p>7. Me despido Madre</p>\n\n<p>Con reverencia</p>\n\n<p>A Dios yo le pido</p>\n\n<p>Perd&oacute;n y clemencia</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "139e38e8-fc7c-4744-9d38-5d2462bf036b", "provisionaledits": null, "resourceinstance_id": "e8feb6fb-f7c2-495c-aa9f-8d76b0a33976", "sortorder": 0, "tileid": "0e0f3231-b6d3-421b-9502-bb5462b7cd2c"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de las L\u00e1grimas de Loreto"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080601-00-00-000022", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto. Cantos y plegarias a la Virgen de Loreto"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e8feb6fb-f7c2-495c-aa9f-8d76b0a33976", "sortorder": 0, "tileid": "ce2b6415-29fb-48e2-9299-0ea01d79a6a4"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Aunque la pr&aacute;ctica religiosa y cultural en Loreto se ha mantenido viva durante generaciones, uno de los riesgos m&aacute;s evidentes es la posible p&eacute;rdida de la autenticidad y el significado original de las tradiciones debido a la modernizaci&oacute;n y la creciente visibilidad del evento fuera de la comunidad local. Con la expansi&oacute;n de la fiesta y su difusi&oacute;n a trav&eacute;s de medios de comunicaci&oacute;n, existe el peligro de que la festividad se transforme en una celebraci&oacute;n m&aacute;s comercial o tur&iacute;stica, perdiendo as&iacute; el componente profundamente espiritual y de identidad comunitaria.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo importante es el deterioro de los recursos materiales que acompa&ntilde;an estas tradiciones, como la iglesia de Loreto. La falta de mantenimiento adecuado de la infraestructura religiosa, que ha sido testigo de los eventos milagrosos, podr&iacute;a poner en peligro la preservaci&oacute;n de este patrimonio hist&oacute;rico y cultural.</p>\n\n<p>&nbsp;</p>\n\n<p>El deterioro de estos elementos tangibles, junto con los desaf&iacute;os de adaptar las tradiciones a las nuevas generaciones, podr&iacute;a poner en peligro la perpetuaci&oacute;n de una pr&aacute;ctica que ha sido fundamental para la cohesi&oacute;n y la identidad de la comunidad de Loreto.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s de los riesgos mencionados, otro factor que amenaza la continuidad de la pr&aacute;ctica religiosa y cultural en Loreto es la indiferencia de la poblaci&oacute;n por ejemplo, mantener limpio el &aacute;rea de la antigua iglesia, de la cual solo queda el frontis. Este descuido afecta tanto la preservaci&oacute;n del espacio sagrado como la percepci&oacute;n de la comunidad sobre la importancia de conservar este patrimonio hist&oacute;rico. La falta de inter&eacute;s por parte de la poblaci&oacute;n local en mantener este sitio en condiciones adecuadas puede llevar a un mayor deterioro de la estructura, lo que no solo perjudica la est&eacute;tica del lugar, sino tambi&eacute;n el valor simb&oacute;lico que tiene para los habitantes de Loreto. La indiferencia tambi&eacute;n refleja una amenaza para la transmisi&oacute;n de la tradici&oacute;n a las nuevas generaciones, quienes podr&iacute;an perder el v&iacute;nculo tangible con el pasado si el espacio contin&uacute;a deterior&aacute;ndose.</p>\n\n<p>&nbsp;</p>\n\n<p>Poner atenci&oacute;n a la administraci&oacute;n del ganado de la Virgen se convierte en una necesidad, lo contrario se convierte en un riesgo. El ganado de la Virgen, que hist&oacute;ricamente ha sido una fuente importante de ingresos para el mantenimiento de la iglesia y el &aacute;rea hist&oacute;rica. Este ganado, utilizado como parte de la tradici&oacute;n para financiar las actividades religiosas y de conservaci&oacute;n, requiere de un manejo adecuado para garantizar su sostenibilidad.</p>\n\n<p>Adem&aacute;s, la falta de recursos para el mantenimiento de la iglesia y la conservaci&oacute;n de la antigua estructura puede llevar al deterioro acelerado del sitio, afectando tanto la pr&aacute;ctica religiosa como la identidad cultural de la comunidad.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "139e38e8-fc7c-4744-9d38-5d2462bf036b", "provisionaledits": null, "resourceinstance_id": "e8feb6fb-f7c2-495c-aa9f-8d76b0a33976", "sortorder": 0, "tileid": "4db65a38-42b4-48a5-a348-2066075ae260"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Oralidad colectiva"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos sobre la devoci&oacute;n a la Virgen de Loreto se transmiten principalmente a trav&eacute;s de la tradici&oacute;n oral y las pr&aacute;cticas comunitarias. Las plegarias y los cantos dedicados a la Virgen, como &quot;Milagrosa de Loreto&quot; y &quot;Canci&oacute;n a Loreto&quot;, son expresiones de fe que han sido preservadas y compartidas de generaci&oacute;n en generaci&oacute;n. En este contexto, las mujeres adultas y de la tercera edad juegan un papel fundamental al distribuir las canciones impresas durante la Fiesta de las L&aacute;grimas, facilitando que las nuevas generaciones participen activamente en la conmemoraci&oacute;n. La transmisi&oacute;n de estos conocimientos no solo se realiza en un contexto formal, sino tambi&eacute;n en momentos informales, donde la comunidad se re&uacute;ne en la iglesia para rendir homenaje a la Virgen, y a trav&eacute;s de las oraciones colectivas que expresan gratitud, promesas y s&uacute;plica.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, el evento milagroso del Lloro de la Virgen, ocurrido en 1959, ha servido como un catalizador para consolidar esta tradici&oacute;n religiosa en la identidad cultural de Loreto. La conmemoraci&oacute;n de las L&aacute;grimas de la Virgen ha generado un espacio de reflexi&oacute;n espiritual y uni&oacute;n comunitaria, donde los relatos orales sobre los eventos son vitales para mantener viva la memoria colectiva del suceso. Las canciones y plegarias que se entonan durante estos d&iacute;as de conmemoraci&oacute;n no solo son un medio para expresar devoci&oacute;n, sino tambi&eacute;n una forma de fortalecer los lazos sociales dentro de la comunidad, permitiendo que el conocimiento sobre este milagro se pase de boca en boca, creando un fuerte sentido de pertenencia y continuidad en la tradici&oacute;n.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "139e38e8-fc7c-4744-9d38-5d2462bf036b", "provisionaledits": null, "resourceinstance_id": "e8feb6fb-f7c2-495c-aa9f-8d76b0a33976", "sortorder": 0, "tileid": "37834a9d-019a-4d43-bdcc-e37c39a7a70f"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las transformaciones de la pr&aacute;ctica religiosa y cultural en Loreto, relacionadas con la devoci&oacute;n a la Virgen de Loreto, pueden observarse principalmente en la adaptaci&oacute;n de las tradiciones a nuevas generaciones y la incorporaci&oacute;n de elementos contempor&aacute;neos. Aunque las plegarias y los cantos dedicados a la Virgen han sido transmitidos de manera tradicional, en la actualidad, el uso de impresos y la participaci&oacute;n activa de mujeres de diferentes edades en la distribuci&oacute;n de las canciones durante la Fiesta de las L&aacute;grimas refleja una modernizaci&oacute;n en la forma de compartir estas expresiones de fe. Este cambio tambi&eacute;n puede ser observado en la influencia de las tecnolog&iacute;as y los medios de comunicaci&oacute;n, los cuales podr&iacute;an estar facilitando la difusi&oacute;n de la festividad m&aacute;s all&aacute; de la comunidad local, extendiendo la devoci&oacute;n a personas de otros lugares.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra transformaci&oacute;n significativa ha sido la consolidaci&oacute;n de este evento como una manifestaci&oacute;n religiosa que va m&aacute;s all&aacute; de un acto exclusivamente religioso, convirti&eacute;ndose en una celebraci&oacute;n de identidad cultural. Si bien la Fiesta de las L&aacute;grimas comenz&oacute; como un acto profundamente espiritual, hoy en d&iacute;a la conmemoraci&oacute;n tambi&eacute;n incluye aspectos festivos, con peregrinos que llegan de diferentes localidades, lo que puede alterar su car&aacute;cter tradicional de reflexi&oacute;n y sobriedad. El evento ha ganado una mayor visibilidad, lo que ha llevado a la participaci&oacute;n de autoridades civiles y religiosas, y a la incorporaci&oacute;n de actos como la romer&iacute;a hacia Trinidad, que profundizan el sentimiento de comuni&oacute;n religiosa.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "139e38e8-fc7c-4744-9d38-5d2462bf036b", "provisionaledits": null, "resourceinstance_id": "e8feb6fb-f7c2-495c-aa9f-8d76b0a33976", "sortorder": 0, "tileid": "d5f2c5d6-a668-4d76-a52d-2b6dac5484ec"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica religiosa en Loreto es la profunda conexi\u00f3n espiritual que genera en la comunidad, particularmente a trav\u00e9s del evento milagroso del Lloro de la Virgen de Loreto. Este acontecimiento ha fortalecido la devoci\u00f3n local y ha consolidado una tradici\u00f3n que trasciende lo meramente religioso, involucrando tanto a feligreses devotos como a personas de otras localidades. Las plegarias y cantos, como \"Milagrosa de Loreto\" y \"Madre de Loreto\", han logrado mantenerse vivos en el coraz\u00f3n de la comunidad, siendo cantados con gran fervor por generaciones. Esta continuidad de la tradici\u00f3n asegura no solo la preservaci\u00f3n de la fe, sino tambi\u00e9n una fuerte identidad cultural, donde las nuevas generaciones siguen participando activamente en las celebraciones y en la transmisi\u00f3n de estos conocimientos.  Otra fortaleza clave de esta pr\u00e1ctica es su capacidad para unir a la comunidad y fomentar un sentido de pertenencia. La participaci\u00f3n de diversos actores, como feligreses, peregrinos, autoridades eclesi\u00e1sticas y civiles, en la Fiesta de las L\u00e1grimas, ha creado un espacio de encuentro y colaboraci\u00f3n entre diferentes sectores de la sociedad. Este evento ha trascendido su dimensi\u00f3n religiosa, convirti\u00e9ndose en un momento de reflexi\u00f3n colectiva, de reconciliaci\u00f3n y de solidaridad. La forma en que la comunidad se organiza para rendir homenaje a la Virgen de Loreto, no solo a trav\u00e9s de las oraciones, sino tambi\u00e9n mediante actos simb\u00f3licos como la romer\u00eda o la distribuci\u00f3n de canciones, refuerza los lazos sociales y perpet\u00faa la tradici\u00f3n como un componente esencial de la identidad de Loreto."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "139e38e8-fc7c-4744-9d38-5d2462bf036b", "provisionaledits": null, "resourceinstance_id": "e8feb6fb-f7c2-495c-aa9f-8d76b0a33976", "sortorder": 0, "tileid": "1da4ffed-4ebc-4887-b2d7-04ef20a5c917"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Escultura"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Virgen de Loreto Materiales Yeso T\u00e9cnica de elaboraci\u00f3n La imagen fue elaborada de forma manual, moldeada en yeso, representando a la Virgen Mar\u00eda bajo la advocaci\u00f3n de Nuestra Se\u00f1ora de Loreto.  Descripci\u00f3n de la pieza Se trata de una escultura religiosa que representa a la Virgen Mar\u00eda, conocida como la Virgen de Loreto. Su imagen es s\u00edmbolo de profunda fe y memoria colectiva en la poblaci\u00f3n loretana, ligada a un hecho considerado milagroso por los pobladores: el lloro de la Virgen en octubre de 1959. Descripci\u00f3n del contexto Esta imagen es el recordatorio material del suceso conocido como el llanto de la Virgen, ocurrido entre el 4 y el 7 de octubre de 1959. Aunque popularmente se le ha denominado \u201cla Fiesta de las L\u00e1grimas\u201d, los habitantes de Loreto no la consideran una festividad alegre. Para ellos, se trata de un tiempo de reconciliaci\u00f3n, oraci\u00f3n y reflexi\u00f3n, al que se refieren como \u201cel Lloro de la Virgen\u201d. Durante estos d\u00edas no se permite el consumo de bebidas alcoh\u00f3licas, y se da paso a una serie de actos religiosos profundamente emotivos y ordenados por una estructura organizativa comunitaria. Descripci\u00f3n de la funci\u00f3n/uso La imagen es un elemento central en las celebraciones religiosas del \u201cLloro de la Virgen\u201d, que comienzan en agosto con las romer\u00edas dominicales de delegaciones de parroquias y capillas vecinas hacia Loreto. La conmemoraci\u00f3n central inicia la noche del 4 de octubre, con una misa y el rezo del rosario. El 5 de octubre se lleva a cabo el velorio reservado a los pobladores del pueblo. En esta noche se realizan rezos, cantos y danzas tradicionales como la de los macheteros que llegan desde Camiaco. El 6 de octubre es el d\u00eda dedicado a los peregrinos. Desde la madrugada, a las cuatro de la ma\u00f1ana, se entonan cantos para recibir a quienes llegaron caminando desde Trinidad \u2014una traves\u00eda de dos d\u00edas\u2014 o en buses desde otros departamentos. Durante la jornada se celebran bautizos de aproximadamente 40 personas en tres misas distintas debido a la gran concurrencia. Este d\u00eda es considerado feriado departamental. Finalmente, el 7 de octubre se realiza la procesi\u00f3n con el recibimiento de la aurora, seguida de una misa y la procesi\u00f3n solemne que es acompa\u00f1ada por macheteros y toritos. Referencias hist\u00f3ricos El suceso del llanto de la Virgen en 1959 marc\u00f3 profundamente la historia espiritual de Loreto y de gran parte del Beni. La iglesia donde se encontraba la imagen fue elaborada entre 1675 y 1767, seg\u00fan registros de la \u00e9poca, con una longitud de aproximadamente 50 metros y tres naves, levantada con adobes, cedro y una techumbre cuidadosamente ensamblada. Contaba con cinco altares (Barthelemy, 1992, p. 169). Con el paso del tiempo, la devoci\u00f3n y el estado del templo se deterioraron. La iglesia estuvo sin sacerdote residente, y solo se oficiaba misa una vez al a\u00f1o, durante la festividad patronal en diciembre. Antes del suceso milagroso, una de las paredes del templo ya se hab\u00eda derrumbado. El 4 de octubre de 1959, un grupo de mujeres \u2014seg\u00fan algunas versiones, jovencitas\u2014 fue a limpiar la iglesia. Al ver que no pod\u00edan alcanzar el rostro de la Virgen, que estaba parcialmente cubierto por su cabello, llamaron a dos ni\u00f1os para que subieran a acomodarla. Al acercarse, los ni\u00f1os notaron que el rostro estaba mojado, como si llorara. Avisaron a las mujeres, quienes incr\u00e9dulas acudieron al templo y comprobaron lo que parec\u00eda imposible: la Virgen lloraba. A pesar de que inicialmente no fueron cre\u00eddas por el resto del pueblo, la noticia se propag\u00f3 r\u00e1pidamente. Las mujeres testigos del hecho fueron Filomena Barthelemy viuda de G\u00f3mez, Benajmina de Hurtado, Rosa viuda de Soliz, Esther Canido Rodr\u00edguez, y dos ni\u00f1os, cuyos nombres no se registran, pero cuya participaci\u00f3n fue clave. (Barthelemy Vidal, s/f). El 5 de octubre, la imagen volvi\u00f3 a llorar ante decenas de personas. Se tocaron las campanas para convocar a los fieles, quienes al ver el fen\u00f3meno se arrodillaron a rezar. Se organiz\u00f3 entonces una guardia para custodiar la imagen. El 6 de octubre la Virgen llor\u00f3 nuevamente por la ma\u00f1ana. Algunos testigos utilizaron algod\u00f3n para recoger las l\u00e1grimas, que hasta el d\u00eda de hoy conservan como reliquias curativas. El 7 de octubre, las l\u00e1grimas volvieron a brotar del rostro de la Virgen. Esta vez, las campanas anunciaron el hecho a un n\u00famero a\u00fan mayor de personas, muchas de ellas provenientes de localidades cercanas. Conmovidas por la magnitud del suceso, las autoridades departamentales ordenaron llevar la imagen en procesi\u00f3n a Trinidad, donde fue recibida con fervor. En la catedral de esa ciudad se organizaron romer\u00edas. Aunque algunos incr\u00e9dulos dudaban del milagro, una noche las luces de la catedral se apagaron inexplicablemente. Al iluminar el rostro de la imagen, se descubri\u00f3 que nuevamente estaba llorando. Cuando las luces volvieron, todos los presentes se arrodillaron en se\u00f1al de reverencia. En el regreso a Loreto, la Virgen fue acompa\u00f1ada por una multitud. A su paso se esparcieron flores y, en un hecho sin precedentes, aviones de la L\u00ednea A\u00e9rea Boliviana (LAB) sobrevolaron la comitiva en se\u00f1al de homenaje. Entre los testimonios orales m\u00e1s significativos se encuentra el de la se\u00f1ora Betty Barthelemy, quien era una ni\u00f1a cuando ocurrieron los hechos. Su padre, enfermo, le pidi\u00f3 a ella y a sus hermanas que fueran a ver qu\u00e9 suced\u00eda en la iglesia tras o\u00edr las campanas. Cuando \u00e9l se levant\u00f3 para dirigirse al templo, ellas lo siguieron. Betty recuerda tambi\u00e9n que su madre, al regresar de viaje, se uni\u00f3 a la procesi\u00f3n hacia Trinidad, mientras que las ni\u00f1as no pudieron acompa\u00f1arla por la distancia del camino. Hoy, Betty es la \u00fanica persona viva que presenci\u00f3 el movimiento espiritual y social que gener\u00f3 este fen\u00f3meno. Todas las dem\u00e1s personas han fallecido. La Virgen de Loreto, desde entonces, es el s\u00edmbolo de la fe, del llanto divino y del llamado a la reconciliaci\u00f3n de todo un pueblo."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Virgen Loreto"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "139e38e8-fc7c-4744-9d38-5d2462bf036b", "provisionaledits": null, "resourceinstance_id": "e8feb6fb-f7c2-495c-aa9f-8d76b0a33976", "sortorder": 0, "tileid": "fa0cc5cc-4b3d-4c91-9de3-710d9a0ad197"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:51.754", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000023, "}, "es": {"description": "Loreto. 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Este \u00faltimo se obtiene tras el proceso de calcinado, y es un componente esencial que fortalece la estructura de la pieza una vez cocida, aportando resistencia y durabilidad. T\u00e9cnica de elaboraci\u00f3n La elaboraci\u00f3n es completamente manual, mediante t\u00e9cnicas de moldeado tradicional. Este proceso demanda fuerza f\u00edsica, dedicaci\u00f3n y precisi\u00f3n. La arcilla se trabaja cuidadosamente, incorporando el hueso molido hasta obtener una mezcla homog\u00e9nea, que luego se moldea y da forma con las manos, sin el uso de torno. Descripci\u00f3n de la pieza La tinaja posee una forma ovalada con boca y base estrechas. Su dise\u00f1o facilita la conservaci\u00f3n del contenido y su manipulaci\u00f3n. Se distingue por su funcionalidad, simplicidad formal y origen artesanal, convirti\u00e9ndola en una pieza de valor utilitario y cultural. Descripci\u00f3n de la funci\u00f3n/uso La tinaja se utiliza tradicionalmente para almacenar productos como az\u00facar barreno (tambi\u00e9n conocida como az\u00facar morena), chicha y agua. Es especialmente valorada por su capacidad para mantener el agua fresca, una cualidad indispensable en las regiones de clima c\u00e1lido como Loreto. Referencias hist\u00f3ricas La producci\u00f3n de tinajas fue, en su tiempo, una pr\u00e1ctica conocida entre las mujeres del pueblo de Loreto. Con el paso de los a\u00f1os, muchas de estas mujeres han fallecido o han abandonado la pr\u00e1ctica debido a la edad avanzada, ya que el proceso de elaboraci\u00f3n requiere esfuerzo f\u00edsico y dedicaci\u00f3n prolongada. En la actualidad, solamente Elva Conorio conserva este conocimiento, aunque hace a\u00f1os que no elabora una pieza nueva. A pesar de ello, mantiene la habilidad y la disposici\u00f3n para continuar, si las condiciones se lo permiten. Existe una referencia bibliogr\u00e1fica valiosa que remonta este arte a tiempos coloniales. En un libro antiguo, sin portada y fechado alrededor de la d\u00e9cada de 1760, se menciona a una mujer llamada Ignacia L\u00f3pez de Mej\u00eda, quien elaboraba cer\u00e1mica siguiendo una tradici\u00f3n familiar. En el texto se describe:  \u201c\u2026vasijas de barro, como hac\u00edan los antiguos moje\u00f1os, prepara arcilla blanca con tacup\u00e9 (harina de hueso quemado) y estos objetos duran much\u00edsimos a\u00f1os. En Loreto hoy todav\u00eda existen de aquella \u00e9poca tinas, hormas y chipenos (c\u00e1ntaros de boca ancha)\u201d (s/t. 1992, p. 99). Este testimonio permite rastrear una continuidad cultural en la alfarer\u00eda de Loreto, desde los tiempos misionales hasta el presente, consolidando a la tinaja como una pieza que no solo cumple funciones pr\u00e1cticas, sino que representa una herencia viva del conocimiento ancestral moje\u00f1o."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tinaja 1"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "6a60c34d-e36d-408f-a74f-12b384d23601", "provisionaledits": null, "resourceinstance_id": "075ee345-d1dc-4583-b83f-af90908b3b56", "sortorder": 0, "tileid": "cc6899e9-9bcc-48bd-8461-716d56830b37"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tinaja de agua 2 Propietario / Custodio Fausta Menacho Materiales La tinaja est\u00e1 elaborada con arcilla y hueso molido. Este \u00faltimo se obtiene tras el proceso de calcinado, y es un componente esencial que fortalece la estructura de la pieza una vez cocida, aportando resistencia y durabilidad. T\u00e9cnica de elaboraci\u00f3n La elaboraci\u00f3n es completamente manual, mediante t\u00e9cnicas de moldeado tradicional. Este proceso demanda fuerza f\u00edsica, dedicaci\u00f3n y precisi\u00f3n. La arcilla se trabaja cuidadosamente, incorporando el hueso molido hasta obtener una mezcla homog\u00e9nea, que luego se moldea y da forma con las manos, sin el uso de torno. Descripci\u00f3n de la pieza La tinaja posee una forma ovalada con boca y base estrechas. Su dise\u00f1o facilita la conservaci\u00f3n del contenido y su manipulaci\u00f3n. Se distingue por su funcionalidad, simplicidad formal y origen artesanal, convirti\u00e9ndola en una pieza de valor utilitario y cultural. Descripci\u00f3n de la funci\u00f3n/uso La tinaja se utiliza tradicionalmente para almacenar productos como az\u00facar barreno (tambi\u00e9n conocida como az\u00facar morena), chicha y agua. Es especialmente valorada por su capacidad para mantener el agua fresca, una cualidad indispensable en las regiones de clima c\u00e1lido como Loreto. Referencias hist\u00f3ricas La producci\u00f3n de tinajas fue, en su tiempo, una pr\u00e1ctica conocida entre las mujeres del pueblo de Loreto. Con el paso de los a\u00f1os, muchas de estas mujeres han fallecido o han abandonado la pr\u00e1ctica debido a la edad avanzada, ya que el proceso de elaboraci\u00f3n requiere esfuerzo f\u00edsico y dedicaci\u00f3n prolongada. En la actualidad, solamente Elva Conorio conserva este conocimiento, aunque hace a\u00f1os que no elabora una pieza nueva. A pesar de ello, mantiene la habilidad y la disposici\u00f3n para continuar, si las condiciones se lo permiten. Existe una referencia bibliogr\u00e1fica valiosa que remonta este arte a tiempos coloniales. En un libro antiguo, sin portada y fechado alrededor de la d\u00e9cada de 1760, se menciona a una mujer llamada Ignacia L\u00f3pez de Mej\u00eda, quien elaboraba cer\u00e1mica siguiendo una tradici\u00f3n familiar. En el texto se describe:  \u201c\u2026vasijas de barro, como hac\u00edan los antiguos moje\u00f1os, prepara arcilla blanca con tacup\u00e9 (harina de hueso quemado) y estos objetos duran much\u00edsimos a\u00f1os. En Loreto hoy todav\u00eda existen de aquella \u00e9poca tinas, hormas y chipenos (c\u00e1ntaros de boca ancha)\u201d (s/t. 1992, p. 99). Este testimonio permite rastrear una continuidad cultural en la alfarer\u00eda de Loreto, desde los tiempos misionales hasta el presente, consolidando a la tinaja como una pieza que no solo cumple funciones pr\u00e1cticas, sino que representa una herencia viva del conocimiento ancestral moje\u00f1o."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tinaja 2"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "6a60c34d-e36d-408f-a74f-12b384d23601", "provisionaledits": null, "resourceinstance_id": "075ee345-d1dc-4583-b83f-af90908b3b56", "sortorder": 1, "tileid": "a8f926db-b58f-4a5b-8386-ab355d440ac1"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Loreto. Artesana Ceramista Elva Conorio</strong></p>\n\n<p>La artesana Elva Conorio ha dedicado su vida a la creaci&oacute;n de piezas de cer&aacute;mica. Se distingue por la elaboraci&oacute;n de piezas tanto para <strong>uso diario</strong> como para fines <strong>ornamentales</strong>, manteniendo t&eacute;cnicas y dise&ntilde;os que han sido transmitidos de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>Elva Conorio, emplea materiales de origen natural y herramientas tradicionales para la elaboraci&oacute;n de sus piezas.</p>\n\n<p><strong>Materiales y Procedencia</strong></p>\n\n<p>Para la creaci&oacute;n de sus piezas, utiliza arcilla negra y gris, recolectada del r&iacute;o Tico. La selecci&oacute;n de la arcilla es un proceso meticuloso, pues no en todas las zonas del r&iacute;o se encuentra la calidad adecuada para el trabajo cer&aacute;mico. Junto con la arcilla, emplea trozos de cer&aacute;mica reciclada y hueso de res quemado, los cuales se incorporan en la mezcla para otorgar mayor resistencia a las piezas.</p>\n\n<p><strong>Herramientas de Trabajo</strong></p>\n\n<p>El proceso de elaboraci&oacute;n requiere herramientas espec&iacute;ficas, como el tac&uacute;, utilizado para moler los trozos de cer&aacute;mica y el hueso quemado hasta obtener un polvo fino. Adem&aacute;s, se emplean moldes de ollas de aluminio o ba&ntilde;adores para dar forma a las bases de las piezas, permitiendo una estructura s&oacute;lida y uniforme.</p>\n\n<p><strong>T&eacute;cnicas de Elaboraci&oacute;n</strong></p>\n\n<p>La producci&oacute;n de cada pieza comienza con la recolecci&oacute;n de la arcilla, transportada en baldes y carretillas hasta el hogar de la artesana, donde se deja secar al sol sobre cuero de vaca. Posteriormente, el hueso de res quemado y la cer&aacute;mica reciclada se muelen en el tac&uacute;, aplicando presi&oacute;n con un mazo sostenido con ambas manos.</p>\n\n<p>Una vez obtenidos los materiales pulverizados, se mezclan y amasan con la arcilla remojada, logrando una consistencia similar a la masa de pan. La base de la pieza se moldea con ayuda de moldes y a partir de all&iacute; se construyen las formas deseadas mediante la t&eacute;cnica de cordones de arcilla, los cuales se van uniendo con agua y presi&oacute;n manual.</p>\n\n<p>Cuando la serie de objetos est&aacute; lista, se procede a la cocci&oacute;n en un horno al aire libre, construido directamente en la tierra o en el patio trasero. Las piezas son cubiertas con troncos que se encienden despu&eacute;s, y el proceso se supervisa hasta que adquieren un tono rojizo, se&ntilde;al de que han alcanzado el punto de cocci&oacute;n ideal.</p>\n\n<p><strong>Tipos de Artesan&iacute;a y Usos</strong></p>\n\n<p>Elva Conorio se especializa en la creaci&oacute;n de tinajas grandes y medianas, as&iacute; como vasijas, dise&ntilde;adas principalmente para el almacenamiento de agua, az&uacute;car y otros productos secos. Gracias a las propiedades de la cer&aacute;mica, el agua se mantiene fresca por m&aacute;s tiempo, haciendo de estas piezas elementos funcionales en los hogares de la regi&oacute;n.</p>\n\n<p><strong>Destino y Comercializaci&oacute;n</strong></p>\n\n<p>Las obras de Elva Conorio son adquiridas por los habitantes de Loreto, as&iacute; como por personas de localidades vecinas que encargan sus piezas con antelaci&oacute;n. Durante octubre y diciembre, coincidiendo con la celebraci&oacute;n de Las L&aacute;grimas de Loreto y la fiesta patronal.</p>\n\n<p><strong>Historia de la artesana</strong></p>\n\n<p>Su infancia estuvo marcada por la responsabilidad de trabajar en el chaco, el terreno de sembrad&iacute;o de su familia, lo que le impidi&oacute; aprender directamente el oficio de su madre, quien elaboraba tinajas.</p>\n\n<p>El destino le brind&oacute; una nueva oportunidad cuando C&aacute;ritas, bajo la direcci&oacute;n del Padre Miguel Iraeta, ofreci&oacute; cursos en Trinidad, entre ellos, cer&aacute;mica artesanal. Elva decidi&oacute; inscribirse, aprovechando que la organizaci&oacute;n tambi&eacute;n repart&iacute;a v&iacute;veres a las participantes. Su compromiso con el aprendizaje fue tan fuerte que, a pesar de tener nueve hijos, organiz&oacute; su hogar para poder asistir a las clases. Mientras su esposo atend&iacute;a el chaco, sus hijas mayores deb&iacute;an turnarse para faltar a la escuela y cuidar a su hermana menor.</p>\n\n<p>Adem&aacute;s de la cer&aacute;mica, Elva mostr&oacute; un gran inter&eacute;s por la medicina natural, siguiendo cursos de auxiliar de enfermer&iacute;a donde aprendi&oacute; a tratar fracturas y enfermedades con plantas medicinales. Sin embargo, sus responsabilidades familiares no le permitieron continuar con su formaci&oacute;n profesional.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["da719d9d-e927-4281-aeef-d551a1da07ff"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "6a60c34d-e36d-408f-a74f-12b384d23601", "provisionaledits": null, "resourceinstance_id": "075ee345-d1dc-4583-b83f-af90908b3b56", "sortorder": 0, "tileid": "9848e291-efff-4a65-b32b-9a665ed443a6"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El mecanismo de transmisi&oacute;n de conocimientos de Elva Conorio se basa en la ense&ntilde;anza directa, especialmente a trav&eacute;s de la pr&aacute;ctica y la observaci&oacute;n. Aunque no tuvo la oportunidad de aprender directamente de su madre debido a las responsabilidades familiares, Elva aprovech&oacute; los cursos organizados por C&aacute;ritas para adquirir las habilidades necesarias en la cer&aacute;mica. A lo largo de los a&ntilde;os, su compromiso con la ense&ntilde;anza del oficio ha sido continuo, y aunque sus propios hijos no se interesaron en seguir su camino, ella sigue manteniendo la esperanza de que otras personas, especialmente de su comunidad, puedan aprender de su experiencia. Esta transmisi&oacute;n, por lo tanto, depende de la disposici&oacute;n de Elva para compartir lo aprendido y su deseo de que la tradici&oacute;n de la cer&aacute;mica no se pierda.</p>\nAdem&aacute;s, el mecanismo de transmisi&oacute;n de conocimientos se fortalece por la pr&aacute;ctica individual que Elva realiza y las demostraciones que podr&iacute;a hacer a quienes se acercan a su taller. El hecho de que sus piezas sean adquiridas por los habitantes de Loreto y otras localidades cercanas, y que su arte sea reconocido en festividades como Las L&aacute;grimas de Loreto, sugiere que Elva tiene un espacio para interactuar con otros y posiblemente ense&ntilde;ar, aunque de manera informal, a quienes est&eacute;n dispuestos a aprender"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "6a60c34d-e36d-408f-a74f-12b384d23601", "provisionaledits": null, "resourceinstance_id": "075ee345-d1dc-4583-b83f-af90908b3b56", "sortorder": 0, "tileid": "cd1cb71a-ac73-4495-a99e-070f355a94c7"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A medida que Elva ha adquirido mayor edad, las piezas que sol&iacute;a elaborar, como las grandes tinajas y vasijas, requieren un esfuerzo f&iacute;sico considerable que ya no puede soportar. Esto podr&iacute;a llevarla a replantear su producci&oacute;n, tal vez concentr&aacute;ndose en piezas m&aacute;s peque&ntilde;as o menos exigentes f&iacute;sicamente, o incluso en colaboraciones con otros artesanos que contin&uacute;en su legado. Adem&aacute;s, el uso de la cer&aacute;mica reciclada y el hueso de res quemado podr&iacute;a ser una innovaci&oacute;n que se expanda en la pr&aacute;ctica de otros ceramistas, transformando la t&eacute;cnica tradicional en algo m&aacute;s sostenible y contempor&aacute;neo.</p>\n\n<p>Otra transformaci&oacute;n potencial en su pr&aacute;ctica artesanal est&aacute; relacionada con la transmisi&oacute;n de sus conocimientos. Dado que sus hijos no han continuado con el oficio, el riesgo de que la t&eacute;cnica se pierda con el tiempo aumenta. Esto podr&iacute;a impulsar a Elva a buscar nuevas formas de ense&ntilde;anza, como cursos formales, talleres comunitarios o la creaci&oacute;n de contenidos digitales que documenten su proceso y t&eacute;cnicas. De este modo, el conocimiento no solo se preservar&iacute;a en su comunidad local, sino que podr&iacute;a ser accesible a un p&uacute;blico m&aacute;s amplio, incluso fuera de su regi&oacute;n, transformando su pr&aacute;ctica de un oficio familiar a una potencial fuente de ense&ntilde;anza para nuevas generaciones de ceramistas.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "6a60c34d-e36d-408f-a74f-12b384d23601", "provisionaledits": null, "resourceinstance_id": "075ee345-d1dc-4583-b83f-af90908b3b56", "sortorder": 0, "tileid": "39e483f7-c455-4da4-8013-0d381c76241c"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Riesgos y amenazas</p>\n\n<p>Con el paso de los a&ntilde;os, y ahora en la tercera edad, Elva ya no elabora tinajas ni vasijas, pues este arte exige un esfuerzo f&iacute;sico considerable. Sus hijos no aprendieron el oficio, pero ella mantiene la esperanza de que otras personas se interesen en la cer&aacute;mica y deseen aprender de su experiencia.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "6a60c34d-e36d-408f-a74f-12b384d23601", "provisionaledits": null, "resourceinstance_id": "075ee345-d1dc-4583-b83f-af90908b3b56", "sortorder": 0, "tileid": "bd253da4-5b07-4fb8-a8b5-f56e7b2354cb"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Elva Conorio es una artesana ha dedicado su vida a la preservaci\u00f3n y transmisi\u00f3n de t\u00e9cnicas tradicionales de cer\u00e1mica. Utiliza materiales locales como arcilla y herramientas tradicionales y elementos propios como la cer\u00e1mica reciclada y el hueso quemado para aumentar la resistencia de sus piezas. Adem\u00e1s de su habilidad t\u00e9cnica, Elva Conorio es un referente cultural en su comunidad, manteniendo viva la tradici\u00f3n de la cer\u00e1mica artesanal. Aunque la edad y el esfuerzo f\u00edsico le impiden seguir creando las grandes tinajas y vasijas que la caracterizaron, sigue siendo una figura clave en la preservaci\u00f3n de esta tradici\u00f3n. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "6a60c34d-e36d-408f-a74f-12b384d23601", "provisionaledits": null, "resourceinstance_id": "075ee345-d1dc-4583-b83f-af90908b3b56", "sortorder": 0, "tileid": "8afecfcf-1926-413a-919e-8cb9269e941f"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:52.579", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000024, "}, "es": {"description": "Loreto. Versos Manasirichu la Virgen Peregrina", "map_popup": "Beni", "name": "PI-080601-00-00-000024, Loreto. Versos Manasirichu la Virgen Peregrina"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080601-00-00-000024, Loreto. Versos Manasirichu la Virgen Peregrina", "principaluser_id": 26, "resourceinstanceid": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2dc47da8-3afe-47b0-a1f5-1cc7c7689499", "resourceXresourceId": "3355bd2f-f658-432f-a852-83d67977b4a3"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "7909cfff-3140-4d3b-8ac0-57017da517ae"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Versos Manasirichu la Virgen Peregrina"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080601-00-00-000024", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto. Versos Manasirichu la Virgen Peregrina"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "b8ea00d4-4910-4bcd-8b93-da2839e51376"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.76017134263955, -15.193619400219248], "type": "Point"}, "id": "d2cf3d0cab976782ce1df6da38423ccc", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "230359b9-1b01-4cea-881d-e54daf949019", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080601', 'num': '000008'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "0cac8c86-e485-429b-9fcf-0c3bff707bc2"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica de los Versos Manasirichu radica en su capacidad para preservar y fortalecer la identidad cultural y religiosa de la comunidad de Loreto. La entonaci\u00f3n de estos versos, en el idioma loretano, no solo mantiene viva la lengua ind\u00edgena. Adem\u00e1s, el car\u00e1cter comunitario de la festividad, donde existen personas designadas  en la organizaci\u00f3n, fomenta un sentido de pertenencia y colaboraci\u00f3n que refuerza los v\u00ednculos sociales."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "81ae7302-5dfd-48d7-8480-dc9847013a3b", "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "1aa58e5c-efc6-4ed8-9caf-0e191a2d8d79"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "dbbe1018-a8cc-4d89-81fe-74d0d7d2d08c"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2025-02-26"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "7909cfff-3140-4d3b-8ac0-57017da517ae", "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "a666981d-0112-498c-8c69-433d78c2a503"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "81ae7302-5dfd-48d7-8480-dc9847013a3b"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos de la pr&aacute;ctica de los Versos Manasirichu es la p&eacute;rdida del significado original de los versos debido a la transmisi&oacute;n exclusivamente oral, lo que puede llevar al olvido de su contexto cultural y ling&uuml;&iacute;stico. A medida que las generaciones m&aacute;s j&oacute;venes se alejan de las tradiciones y la lengua loretana, el entendimiento profundo de los versos y su conexi&oacute;n con las creencias ind&iacute;genas podr&iacute;a reducir la pr&aacute;ctica a un acto meramente ritual o festivo, sin el valor espiritual y cultural que originalmente representaba, dejando a la comunidad vulnerable a la p&eacute;rdida de una parte esencial de su patrimonio.</p>\n\n<p>&nbsp;</p>\n\n<p>La reducci&oacute;n de la participaci&oacute;n activa de los habitantes en los eventos religiosos, especialmente entre los j&oacute;venes, amenaza la continuidad de estas tradiciones, lo que podr&iacute;a llevar a una disminuci&oacute;n de la cohesi&oacute;n social y religiosa en la regi&oacute;n.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "81ae7302-5dfd-48d7-8480-dc9847013a3b", "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "b3154571-8dda-4d12-869e-5af73157a848"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Loreto. Versos Manasirichu la Virgen Peregrina</strong></p>\n\n<p>Los Versos Manasirichu son una manifestaci&oacute;n religiosa que se enmarca dentro de las tradiciones culturales de la regi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>La forma de expresi&oacute;n de los Versos Manasirichu es eminentemente religiosa, pues su prop&oacute;sito es rendir homenaje a la Virgen, reflejando la conexi&oacute;n espiritual de los creyentes con la figura de la madre divina. Este acto de devoci&oacute;n se expresa a trav&eacute;s de la entonaci&oacute;n y la repetici&oacute;n de los versos, los cuales suelen ser cantados o recitados durante las festividades.</p>\n\n<p>&nbsp;</p>\n\n<p>En cuanto a la &eacute;poca en que se presenta, los Versos Manasirichu suelen entonarse durante la temporada seca en mayo, momento en que las celebraciones y actividades religiosas toman mayor relevancia en las comunidades, especialmente en relaci&oacute;n con las festividades dedicadas a la Virgen.</p>\n\n<p>&nbsp;</p>\n\n<p>El origen de esta manifestaci&oacute;n se remonta a tiempos coloniales, cuando las influencias tanto ind&iacute;genas como europeas se fusionaron para dar lugar a tradiciones religiosas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado social de los versos Manasirichu</strong></p>\n\n<p>Los Versos Manasirichu tienen un significado social y religioso dentro de la comunidad de Loreto. Su enunciaci&oacute;n se realiza el 3 de mayo, durante la Fiesta de la Cruz, una celebraci&oacute;n de gran relevancia para los fieles. En esta festividad, la Virgen Peregrina sale en procesi&oacute;n y visita los hogares que han preparado altares en su honor, reforzando el sentido de comunidad y devoci&oacute;n entre los creyentes.</p>\n\n<p>&nbsp;</p>\n\n<p>Esta tradici&oacute;n no solo fortalece la fe cat&oacute;lica en la regi&oacute;n, sino que tambi&eacute;n fomenta la unidad y la colaboraci&oacute;n entre los pobladores, quienes participan activamente en la organizaci&oacute;n de la festividad. Los versos constituyen una forma de oraci&oacute;n cantada que acompa&ntilde;a la peregrinaci&oacute;n de la Virgen, enalteciendo su figura y renovando el compromiso espiritual de los devotos.</p>\n\n<p>&nbsp;</p>\n\n<p>Los Versos Manasirichu son expresados en el idioma loretano, una lengua perteneciente a la familia ling&uuml;&iacute;stica arawak, lo que evidencia la fusi&oacute;n de las tradiciones ind&iacute;genas con la influencia cat&oacute;lica introducida durante la &eacute;poca colonial. Esta manifestaci&oacute;n es un ejemplo de la pervivencia cultural de los pueblos amaz&oacute;nicos y su capacidad de integrar nuevas formas de expresi&oacute;n sin perder sus ra&iacute;ces ling&uuml;&iacute;sticas y espirituales.</p>\n\n<p>&nbsp;</p>\n\n<p>Los principales participantes en la entonaci&oacute;n de los versos Manasirichu y en la celebraci&oacute;n de la Fiesta de la Cruz son:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Feligreses de la Virgen de Loreto, quienes acompa&ntilde;an la procesi&oacute;n y rezan durante la visita de la Virgen a los hogares.</li>\n\t<li>Pobladores de Loreto, encargados de organizar los altares y recibir la imagen peregrina en sus casas.</li>\n\t<li>Sacerdotes y representantes de la Iglesia Cat&oacute;lica, quienes gu&iacute;an la celebraci&oacute;n lit&uacute;rgica y fortalecen el mensaje de fe entre la comunidad.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Historia del Manasirichu</strong></p>\n\n<p>El Manasirichu es un canto tradicional entonado cada 3 de mayo, durante la Fiesta de la Cruz, en el pueblo de Loreto. Su interpretaci&oacute;n est&aacute; estrechamente ligada a la devoci&oacute;n mariana y al peregrinaje de la Virgen Peregrina, quien es reconocida como la Virgen de Loreto. Esta imagen, de tez morena, guarda una notable similitud con la Virgen de Loreto en Italia y es considerada la representante espiritual de la comunidad loretana.</p>\n\n<p>&nbsp;</p>\n\n<p>Se desconoce la fecha exacta en la que esta imagen lleg&oacute; a Loreto; sin embargo, se reconoce al Padre Tori Bravo, el fundador del peregrinaje en la localidad. La Virgen Peregrina recibe este nombre porque cada 3 de mayo recorre el pueblo, visitando los hogares donde se han preparado altares en su honor.</p>\n\n<p>&nbsp;</p>\n\n<p>El Manasirichu es un canto en el idioma loretano, perteneciente a la familia ling&uuml;&iacute;stica arawak. Aunque los pobladores lo contin&uacute;an interpretando, su significado exacto ha sido olvidado con el tiempo. Los versos fueron transmitidos por generaciones y ense&ntilde;ados por el profesor Miguel Calzadilla, quien, cuando la se&ntilde;ora Elva Conorio ten&iacute;a 12 a&ntilde;os, la instruy&oacute; en su interpretaci&oacute;n junto a otros estudiantes.</p>\n\n<p>&nbsp;</p>\n\n<p>La entonaci&oacute;n del Manasirichu en el pasado estaba acompa&ntilde;ada de un vestuario especial que recuerda Elva Conorio. El profesor Calzadilla vest&iacute;a una camisa blanca de cuello ajustado. Los varones usaban camisas similares y pantalones cortos hasta la rodilla. Se habla de un antiguo traje con una m&aacute;scara de nariz larga, que evocaba un tiempo anterior a la llegada de los jesuitas, cuando, seg&uacute;n relatos, las personas pod&iacute;an transformarse en animales.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s de la Fiesta de la Cruz, estos cantos tambi&eacute;n se interpretan en Semana Santa, reforzando su v&iacute;nculo con la espiritualidad y las tradiciones religiosas de Loreto.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Cronolog&iacute;a de la organizaci&oacute;n del Manasirichu</strong></p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Antes de la Enunciaci&oacute;n de los Cantos. </strong>La se&ntilde;ora Elva Conorio, actual abadesa de la Virgen Peregrina, es la encargada de organizar la interpretaci&oacute;n del Manasirichu. Ella re&uacute;ne a un grupo de mujeres devotas, quienes preparan los rezos y cantos que acompa&ntilde;ar&aacute;n la procesi&oacute;n.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Durante la Enunciaci&oacute;n del Canto. </strong>El Manasirichu se canta a lo largo de toda la ruta de peregrinaje, mientras la Virgen Peregrina visita los hogares del pueblo. Al finalizar el recorrido, la imagen retorna a la Iglesia de Loreto, donde se celebra una misa en su honor.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Despu&eacute;s de la Enunciaci&oacute;n del Canto</strong>. Una vez concluida la festividad, los cantos son resguardados como parte del patrimonio cultural de Loreto. Existe un registro en audio, identificado en la carpeta AUDIOS 22 de 13082205, donde la se&ntilde;ora Elva Conorio entona el Manasirichu.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>El Manasirichu se canta en dos escenarios principales: La Iglesia de Loreto, donde inicia y concluye la peregrinaci&oacute;n. Otro escenario son los hogares de Loreto, durante el recorrido de la Virgen Peregrina.</p>\n\n<p>&nbsp;</p>\n\n<p>La pr&aacute;ctica del Manasirichu es un testimonio vivo de la identidad cultural y religiosa de Loreto. Su transmisi&oacute;n oral ha permitido que se conserve a lo largo de los a&ntilde;os, aunque el desconocimiento de su significado original plantea un desaf&iacute;o para la preservaci&oacute;n de la lengua loretana.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "81ae7302-5dfd-48d7-8480-dc9847013a3b", "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "1d0e8750-dc7d-4e78-9f8d-82871e3f7006"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Oralidad y pr\u00e1ctica colectiva"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos de los Versos Manasirichu, como manifestaci&oacute;n religiosa y cultural de Loreto, se transmiten principalmente a trav&eacute;s de la oralidad y ense&ntilde;anza generacional. Esta tradici&oacute;n ha sido preservada por generaciones, con personas como el profesor Miguel Calzadilla desempe&ntilde;ando un papel importante en la instrucci&oacute;n de los versos. La transmisi&oacute;n se realiza en un contexto comunitario, donde cada a&ntilde;o se re&uacute;nen feligreses y devotos, especialmente mujeres, para organizar y preparar la interpretaci&oacute;n de los cantos. A trav&eacute;s de estas pr&aacute;cticas, los conocimientos no solo se conservan, sino que se transmiten activamente, fortaleciendo el v&iacute;nculo entre los miembros de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>La transmisi&oacute;n de los Versos Manasirichu tambi&eacute;n est&aacute; marcada por una fuerte conexi&oacute;n espiritual y cultural, que integra la lengua loretana en la pr&aacute;ctica religiosa. Al ser cantados en idioma loretano, un idioma ind&iacute;gena, los versos refuerzan la identidad cultural y la herencia ling&uuml;&iacute;stica de la regi&oacute;n. Esta transmisi&oacute;n oral, aunque efectiva en la conservaci&oacute;n de la tradici&oacute;n, tambi&eacute;n enfrenta desaf&iacute;os debido al olvido del significado original de los versos, lo que subraya la necesidad de preservar no solo la pr&aacute;ctica, sino tambi&eacute;n el conocimiento profundo de sus ra&iacute;ces y contexto cultural.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "81ae7302-5dfd-48d7-8480-dc9847013a3b", "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "5b81a7f0-c262-4c09-8237-10500755840e"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las transformaciones del contexto cultural y social de los Versos Manasirichu reflejan el impacto de la modernizaci&oacute;n y la globalizaci&oacute;n sobre las pr&aacute;cticas tradicionales. A pesar de que la tradici&oacute;n sigue viva en Loreto, el desconocimiento del significado original de los versos, combinado con la influencia de las nuevas generaciones y los cambios en las formas de comunicaci&oacute;n, ha provocado una desconexi&oacute;n entre la pr&aacute;ctica y la comprensi&oacute;n profunda de los versos. La oralidad, aunque preserva la tradici&oacute;n, enfrenta el riesgo de perder matices esenciales de la lengua loretana y de la tradici&oacute;n, lo que podr&iacute;a llevar a la desvalorizaci&oacute;n de su significado original.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro factor que ha influido en las transformaciones del contexto cultural y social es la evoluci&oacute;n de la identidad religiosa en la regi&oacute;n. Si bien los Versos Manasirichu siguen siendo una forma de devoci&oacute;n mariana, el cambio en las creencias y pr&aacute;cticas religiosas ha afectado la participaci&oacute;n activa en las festividades. La juventud, por ejemplo, podr&iacute;a estar menos interesada en involucrarse en esta tradici&oacute;n, ya sea por la secularizaci&oacute;n o por el acceso a otras influencias culturales externas. A nivel social, la estructura comunitaria que facilitaba la organizaci&oacute;n de estas festividades ha cambiado, lo que podr&iacute;a dificultar la coordinaci&oacute;n y la cohesi&oacute;n social necesaria para llevar a cabo eventos como la Fiesta de la Cruz y la peregrinaci&oacute;n de la Virgen Peregrina, que antes reforzaban el sentido de unidad y colaboraci&oacute;n entre los pobladores.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "81ae7302-5dfd-48d7-8480-dc9847013a3b", "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "6b646622-3eb2-49da-b604-18e49c459d23"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Escultura"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Virgen Peregrina Materiales Yeso T\u00e9cnica de elaboraci\u00f3n La imagen ha sido realizada de manera manual, esculpida en yeso con gran dedicaci\u00f3n. Su elaboraci\u00f3n responde a una tradici\u00f3n devocional arraigada en la comunidad de Loreto. Descripci\u00f3n de la pieza Se trata de una imagen de la Virgen Mar\u00eda, conocida como la Virgen Peregrina. Representa una figura de profunda significaci\u00f3n espiritual para los fieles de Loreto. Su aspecto presenta una tez morena, similar a la Virgen de Loreto venerada en Italia, fortaleciendo as\u00ed los lazos simb\u00f3licos entre ambas devociones. Descripci\u00f3n del contexto La Virgen Peregrina es venerada especialmente durante la festividad del 3 de mayo, d\u00eda de la Cruz. En esta fecha, se organiza una procesi\u00f3n singular: la Virgen sale a recorrer los hogares del pueblo, visitando cada domicilio donde se ha preparado un altar para recibirla. Este acto se realiza con respeto y devoci\u00f3n, constituy\u00e9ndose en un momento de renovaci\u00f3n espiritual para las familias que la acogen. La imagen representa a Loreto entero, convirti\u00e9ndose en un s\u00edmbolo de unidad y fe colectiva. Descripci\u00f3n de la funci\u00f3n/uso La Virgen Peregrina se utiliza exclusivamente en actos religiosos. Su presencia en los hogares durante la festividad de la Cruz es acompa\u00f1ada por rezos del rosario y cantos devocionales, los cuales son entonados principalmente por mujeres creyentes que reconocen en ella la misma esencia de la Virgen de Loreto. Para ellas, no hay distinci\u00f3n entre ambas: son una sola, manifestaci\u00f3n de la misma protecci\u00f3n y gu\u00eda espiritual. Estos cantos no solo se entonan durante el peregrinaje del 3 de mayo, sino tambi\u00e9n durante la Semana Santa y en la conmemoraci\u00f3n del Lloro de la Virgen. Referencias hist\u00f3ricas Aunque se desconoce la fecha exacta en la que la imagen lleg\u00f3 a Loreto, se atribuye al Padre Tori Bravo la instauraci\u00f3n de la tradici\u00f3n del peregrinaje. Fue \u00e9l quien impuls\u00f3 que esta imagen saliera cada 3 de mayo a visitar los hogares de los devotos. La Virgen Peregrina se convirti\u00f3 desde entonces en una presencia sagrada itinerante, que estrecha los lazos comunitarios y fortalece la religiosidad popular. Su similitud con la Virgen de Loreto italiana \u2013particularmente en su tez morena\u2013 subraya el v\u00ednculo espiritual entre ambas representaciones, siendo la Peregrina considerada la embajadora de Loreto en los hogares de sus fieles. La devoci\u00f3n se ha mantenido viva gracias al compromiso de las mujeres del pueblo, quienes conservan y transmiten los rezos y cantos que acompa\u00f1an su andar, manteniendo as\u00ed la tradici\u00f3n a trav\u00e9s del tiempo."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Virgen Peregrina"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "81ae7302-5dfd-48d7-8480-dc9847013a3b", "provisionaledits": null, "resourceinstance_id": "e87018c4-9e3c-4cdf-8f9e-2390c33b5f62", "sortorder": 0, "tileid": "eb9bf430-e4d0-49b4-b3c2-a950d3729758"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:54.594", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000026, "}, "es": {"description": "Conocimientos y saberes \u201cLa observaci\u00f3n de la luna para la siembra\u201d", "map_popup": "Beni", "name": "PI-080601-00-00-000026, Conocimientos y saberes \u201cLa observaci\u00f3n de la luna para la siembra\u201d"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080601-00-00-000026, Conocimientos y saberes \u201cLa observaci\u00f3n de la luna para la siembra\u201d", "principaluser_id": 26, "resourceinstanceid": "210ef106-1df1-4001-8380-6aa2c4a432eb", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2dc47da8-3afe-47b0-a1f5-1cc7c7689499", "resourceXresourceId": "1ad64b12-09d9-4044-86aa-fcd71156e0c7"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "210ef106-1df1-4001-8380-6aa2c4a432eb", "sortorder": 0, "tileid": "e165f559-65e9-4d39-8ce0-b93ee92e0eec"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '00', 'codsA': '00', 'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto. 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Fiesta de la llegada del Primer Hato Ganadero"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": null}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 0, "tileid": "de5f1f4f-798a-416f-af5e-bd744b291e59"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.75903331606244, -15.1932140943875], "type": "Point"}, "id": "b07f8a8ccbc75fd7abb3e933ab390fd9", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "230359b9-1b01-4cea-881d-e54daf949019", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080601', 'num': '000011'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 0, "tileid": "9a132e67-f23d-4c57-a4f1-2c120b50b005"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "1aa75117-1b39-4e23-9536-729d58bc8f76"}], "2984c167-857c-11ee-a653-53ebd0470963": "bc9095da-c024-42d5-a9f5-41606dd36ef8", "2984c168-857c-11ee-a653-53ebd0470963": null}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "98e810da-c3a6-4edb-a9b8-03b8d69eb0bc", "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 0, "tileid": "35bd1c65-f3fc-4f4f-a015-1f581a4dc895"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 0, "tileid": "3bcc5233-2d94-4343-b679-2dd272255d5c"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["f6149104-3d2f-4c31-8b0f-f58f7e19e8e1", "322b3277-4cda-4519-a47e-74db25067384"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La celebraci&oacute;n es de car&aacute;cter festivo, evocando un acontecimiento hist&oacute;rico relevante para Loreto. Se conmemora la introducci&oacute;n de la ganader&iacute;a en la regi&oacute;n, un evento que marc&oacute; el desarrollo econ&oacute;mico y social del lugar.</p>\n\n<p>Cada 28 de junio, la comunidad se re&uacute;ne para recordar y celebrar este hito en su historia, reafirmando la importancia de la ganader&iacute;a en su identidad cultural.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Forma de expresi&oacute;n</strong></p>\n\n<p>La fiesta se desarrolla con actividades festivas, donde se realizan representaciones simb&oacute;licas de la llegada del primer hato ganadero.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Elemento evocado</strong></p>\n\n<p>El ganado es el protagonista de la celebraci&oacute;n, ya que su llegada represent&oacute; un cambio significativo en las costumbres y el sustento de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>&Eacute;poca de la celebraci&oacute;n</strong></p>\n\n<p>Se lleva a cabo durante la &eacute;poca seca en junio.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Origen de la manifestaci&oacute;n</strong></p>\n\n<p>Su origen se remonta a la &eacute;poca colonial, cuando la introducci&oacute;n del ganado trajo consigo nuevas formas de producci&oacute;n y organizaci&oacute;n social en la regi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado de la fiesta</strong></p>\n\n<p>La celebraci&oacute;n de la llegada del Primer Hato Ganadero en Loreto tiene un profundo significado hist&oacute;rico y econ&oacute;mico. Simboliza el inicio de la actividad ganadera en la regi&oacute;n y su posterior expansi&oacute;n a todo el departamento del Beni. Hoy en d&iacute;a, la ganader&iacute;a es la principal fuente de ingresos de la Provincia Marb&aacute;n, consolidando a Loreto como una zona importante en la producci&oacute;n de ganado vacuno.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Despu&eacute;s de la fundaci&oacute;n de Loreto en 1682, los jesuitas Pedro Marb&aacute;n, Cipriano Barace y Jos&eacute; del Castillo establecieron la primera misi&oacute;n jesu&iacute;tica en la regi&oacute;n. Para reunir a los ind&iacute;genas marimonos, quienes viv&iacute;an de la caza y la pesca, se requirieron siete a&ntilde;os de convencimiento. Este grupo, compuesto por unas trescientas personas, construy&oacute; terraplenes y lomas en el asentamiento cercano a la laguna Azere, tambi&eacute;n conocida como Anteojos, ubicada cerca del r&iacute;o Mamor&eacute;.</p>\n\n<p>&nbsp;</p>\n\n<p>En octubre de 1682, el padre Cipriano Barace viaj&oacute; a Santa Cruz en busca de ganado, trayendo de regreso 84 cabezas de ganado vacuno tras un arduo viaje de 54 d&iacute;as. Aunque partieron con 200 cabezas, muchas perecieron en el camino. As&iacute; se estableci&oacute; la primera estancia ganadera en Azere, marcando el inicio de la ganader&iacute;a en Loreto.</p>\n\n<p>&nbsp;</p>\n\n<p>Sin embargo, las constantes inundaciones en la zona dificultaron la agricultura y la cr&iacute;a de animales, lo que llev&oacute; al padre Pedro Marb&aacute;n a trasladar la misi&oacute;n en 1687 a un nuevo asentamiento cerca de la laguna de Sachojere (Hartas Conchas, en idioma loretano). Seg&uacute;n documentos hist&oacute;ricos, en este lugar se construy&oacute; una iglesia ornamentada con tallados de madera, plata y otros metales tra&iacute;dos del Alto y Bajo Per&uacute; (PTDI: 2016-2020, p&aacute;g. 06).</p>\n\n<p>&nbsp;</p>\n\n<p>Tiempo despu&eacute;s, la misi&oacute;n fue nuevamente relocalizada debido a la presencia de murci&eacute;lagos hemat&oacute;fagos que atacaban a humanos y animales. En busca de mejores tierras, llegaron al actual territorio de Loreto, asent&aacute;ndose primero en Piraquinaje, cerca del r&iacute;o Tico, y luego en una zona que originalmente era un palmar. De ah&iacute; proviene el antiguo nombre del pueblo, Palmar de Vista Alegre o Bella Brisa del Palmar.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra versi&oacute;n indica que, tras epidemias y desbordes del r&iacute;o Mamor&eacute; en la d&eacute;cada de 1770, el padre Pedro de Venegas y el Cabildo Ind&iacute;gena buscaron un nuevo asentamiento. Lo encontraron en una elevada planicie a orillas del r&iacute;o Tico, rodeada de pastizales, lagunas y arroyos, ideales para la crianza de ganado. Seg&uacute;n el relato, el Cacique Mayor clav&oacute; su bast&oacute;n de mando en la tierra y, junto con el padre Venegas, elev&oacute; oraciones a Dios y a la Virgen de Loreto (PTDI: 2016-2020, p&aacute;g. 06).</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participantes de la celebraci&oacute;n</strong></p>\n\n<p>La festividad re&uacute;ne a diversos sectores de la comunidad:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Ganaderos de la Asociaci&oacute;n ASOGALO, quienes representan la actividad ganadera local.</li>\n\t<li>Estudiantes y docentes del Colegio Perpetua Vda. de Vejarano, que participan con actividades educativas y culturales.</li>\n\t<li>Panaderas, organizadas o no en la Asociaci&oacute;n de Panaderas, quienes aportan con la elaboraci&oacute;n de productos t&iacute;picos.</li>\n\t<li>Funcionarios de la Alcald&iacute;a de Loreto, quienes organizan y apoyan el evento.</li>\n\t<li>Peque&ntilde;os productores de leche y derivados, reflejando la importancia de la ganader&iacute;a en la econom&iacute;a local.</li>\n\t<li>Poblaci&oacute;n en general, que se une a la celebraci&oacute;n en reconocimiento de su historia y tradici&oacute;n.</li>\n</ul>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "3bcc5233-2d94-4343-b679-2dd272255d5c", "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 0, "tileid": "4d1d1ba7-3ed1-4505-9669-d2a9e54099a8"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Camijeta Materiales Esta prenda est\u00e1 confeccionada con tela lienzo, un material resistente y de uso com\u00fan en vestimentas tradicionales. T\u00e9cnica de elaboraci\u00f3n La camijeta se elabora mediante costura manual, lo que evidencia un trabajo cuidadoso y artesanal transmitido de generaci\u00f3n en generaci\u00f3n. Descripci\u00f3n de la pieza Se trata de una especie de t\u00fanica, con una abertura en la parte superior que permite introducir la cabeza y los brazos. Su principal elemento decorativo es una cruz ubicada en el centro, que ocupa gran parte del frente y cuya forma es caracter\u00edstica de la regi\u00f3n de Loreto. Descripci\u00f3n del contexto Esta prenda est\u00e1 destinada al uso masculino durante festividades religiosas. Su dise\u00f1o, austero pero simb\u00f3lico, refleja la identidad de los pueblos que la portan. La camijeta registrada posee una cruz particular que remite directamente a la tradici\u00f3n de Loreto, diferenci\u00e1ndola de otras variantes. Descripci\u00f3n de la funci\u00f3n/uso Se utiliza principalmente en actos festivos y ceremonias religiosas, como las misas dominicales. A trav\u00e9s de su uso ritual, cumple una funci\u00f3n que va m\u00e1s all\u00e1 de lo est\u00e9tico, reafirmando la pertenencia a la comunidad y el respeto por las costumbres. Referencias hist\u00f3ricas En \u00e9pocas anteriores, la camijeta se usaba con mangas cortas y era vestida exclusivamente por hombres adultos mayores. Algunos de los portadores m\u00e1s recordados fueron Ignacio Castro e Ignacio Arias. Durante las misas del domingo, ellos luc\u00edan esta t\u00fanica blanca con una cruz al frente, del mismo color, y un borde rojo que la destacaba. Mientras tanto, los j\u00f3venes usaban pantal\u00f3n azul y camisa blanca; las mujeres, por su parte, vest\u00edan falda azul y blusa blanca. Las mujeres mayores no llevaban una indumentaria uniforme, vest\u00edan seg\u00fan su preferencia y no utilizaban tipoy. Quienes s\u00ed portaban tipoy eran las abadesas, mujeres adultas mayores encargadas de la limpieza del templo y de brindar ayuda en los hogares con tareas ligeras, apropiadas para su edad. Adem\u00e1s, hilaban o cern\u00edan el tacupe antes de dirigirse a la iglesia. Entre las abadesas m\u00e1s recordadas se encuentran Felicia Cuevas, Manuela Mayasa y Gabina Cuevas. El tipoy que llevaban ten\u00eda un ponchillo de un solo corte, adornado con encaje en los bordes, y debajo usaban una prenda interior delgada conocida como centro, hecha de tela popelina. Estas mujeres, al igual que los hombres con la camijeta, transmit\u00edan costumbres mediante su ejemplo y presencia en la vida comunitaria."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Camijeta"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3bcc5233-2d94-4343-b679-2dd272255d5c", "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 0, "tileid": "8e3449d9-fc60-47f9-a737-2bc475b69483"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Grabado en piedra"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "L\u00e1pida de Marb\u00e1n Materiales La pieza est\u00e1 elaborada en m\u00e1rmol, material duradero y de uso com\u00fan en elementos funerarios, por su resistencia y capacidad de conservar inscripciones con el paso del tiempo. T\u00e9cnica de elaboraci\u00f3n Fue realizada mediante la t\u00e9cnica de tallado, lo que permiti\u00f3 grabar con precisi\u00f3n la inscripci\u00f3n que identifica el lugar de sepultura. Descripci\u00f3n de la pieza Se trata de una pieza rectangular y plana, cuya funci\u00f3n principal es se\u00f1alar el sitio donde fue enterrado Pedro Marb\u00e1n. La inscripci\u00f3n grabada cumple un doble prop\u00f3sito: marcar el espacio f\u00fanebre y perpetuar la memoria de quien est\u00e1 all\u00ed sepultado. Descripci\u00f3n del contexto Esta l\u00e1pida corresponde a Pedro Marb\u00e1n, uno de los padres jesuitas que encabezaron la evangelizaci\u00f3n de los pueblos ind\u00edgenas en la regi\u00f3n de Mojos. Es recordado no solo por sus labores religiosas, sino tambi\u00e9n por haber fundado el pueblo de Loreto y por introducir el primer hato ganadero en la zona. La misi\u00f3n de Loreto fue establecida el 25 de marzo de 1682 por Pedro Marb\u00e1n, Cipriano Barace y Jos\u00e9 del Castillo, quienes luego de siete a\u00f1os de contacto y convencimiento lograron reunir a unos 300 ind\u00edgenas marimonos, dedicados a la caza y la pesca, en un nuevo asentamiento. Este grupo fue el responsable de levantar terraplenes y lomas en las cercan\u00edas de la laguna Azere, tambi\u00e9n conocida como Anteojos, un espacio de agua dulce pr\u00f3ximo al r\u00edo Mamor\u00e9. Durante la permanencia en ese primer asentamiento, el padre Cipriano Barace emprendi\u00f3 un viaje a Santa Cruz en octubre de 1682, con el objetivo de traer ganado. Luego de 54 d\u00edas de trayecto, regres\u00f3 con 84 cabezas de ganado vacuno, aunque hab\u00edan salido de Santa Cruz con 200. La primera estancia ganadera se instal\u00f3 en Azere. Sin embargo, en 1687, debido a las constantes inundaciones que imped\u00edan el cultivo y afectaban la cr\u00eda de animales, el padre Marb\u00e1n tom\u00f3 la decisi\u00f3n de trasladar el asentamiento a un nuevo sitio, cerca de la laguna Sachojere, palabra que en lengua local significa \u201cHartas Conchas\u201d. Seg\u00fan el Plan Territorial de Desarrollo Integral (PTDI) de Loreto 2016\u20132020, en ese lugar se erigi\u00f3 una iglesia adornada con tallados de madera cubiertos en plata y otros metales tra\u00eddos desde el Alto y Bajo Per\u00fa. Sachojere, cercano al actual pueblo de Camiaco, fue abandonado nuevamente por causa de los murci\u00e9lagos hemat\u00f3fagos que atacaban tanto a los pobladores como al ganado. Tras seguir a los animales que hu\u00edan, los habitantes se trasladaron a la zona del r\u00edo Tico, al sitio conocido como Piraquinaje. La actual localidad de Loreto se asent\u00f3 sobre una loma artificial; su plaza central, en ese entonces, era un palmar. Por ello, el lugar fue nombrado inicialmente como Palmar de Vista Alegre o Bella Brisa del Palmar. No obstante, existe otra versi\u00f3n recogida tambi\u00e9n en el PTDI, que indica que tras la expulsi\u00f3n de los jesuitas en la d\u00e9cada de 1770, el pueblo fue azotado por epidemias y crecidas del r\u00edo Mamor\u00e9. Esto oblig\u00f3 al padre Pedro de Venegas, junto al Cabildo Ind\u00edgena, a buscar nuevas tierras. Encontraron una planicie elevada a orillas del r\u00edo Tico, afluente del Ibare, en un sitio llamado Palmar de Vista Alegre. Rodeados de palmeras, pampas y lagunetas, el cacique mayor clav\u00f3 all\u00ed su bast\u00f3n de mando mientras, junto al padre Venegas, se postraban para elevar oraciones a Dios y a la Virgen de Loreto. Descripci\u00f3n de la funci\u00f3n/uso La l\u00e1pida cumple la funci\u00f3n de se\u00f1alar y conmemorar el lugar donde fue sepultado el padre Pedro Marb\u00e1n, figura central en la historia fundacional de Loreto. Referencias hist\u00f3ricas Pedro Marb\u00e1n es considerado uno de los principales impulsores de la primera misi\u00f3n jesu\u00edtica en Mojos y un personaje clave en la configuraci\u00f3n territorial, religiosa y productiva del pueblo de Loreto. Su legado se recuerda no solo por la evangelizaci\u00f3n, sino tambi\u00e9n por haber iniciado la introducci\u00f3n del ganado y por su papel decisivo en la reubicaci\u00f3n de la comunidad ante los desaf\u00edos del entorno. La l\u00e1pida se presenta como testimonio material de su relevancia hist\u00f3rica."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "L\u00e1pida de Marb\u00e1n"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3bcc5233-2d94-4343-b679-2dd272255d5c", "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 1, "tileid": "cf70f289-4d22-4046-8df0-7b8f2a415488"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Este sombrero est\u00e1 confeccionado con cogollo de palma, fibra vegetal extra\u00edda de la parte m\u00e1s tierna del coraz\u00f3n de la palma, cuya flexibilidad y resistencia la hacen id\u00f3nea para el trenzado fino y duradero. T\u00e9cnica de elaboraci\u00f3n Elaborado completamente a mano, el sombrero emplea las t\u00e9cnicas tradicionales de tejido y trenzado. Estos procesos requieren destreza y paciencia, y reflejan conocimientos transmitidos generacionalmente en las comunidades loretanas. Descripci\u00f3n de la pieza Presenta una forma redonda con una parte central c\u00f3nica o casco que se adapta a la cabeza, y un borde o ala que brinda sombra. Como elemento decorativo, lleva cintas de colores, lo que le aporta un car\u00e1cter festivo y cultural. Su dise\u00f1o responde a necesidades funcionales frente al sol, pero tambi\u00e9n tiene un alto valor simb\u00f3lico en el atuendo tradicional. Descripci\u00f3n del contexto El sombrero est\u00e1 estrechamente ligado a la identidad regional de Loreto, una comunidad hist\u00f3ricamente vinculada con la actividad ganadera. En esta zona de la provincia Marb\u00e1n, la crianza de ganado vacuno constituye hasta hoy la principal fuente de ingresos y producci\u00f3n. Esta tradici\u00f3n ganadera se remonta a finales del siglo XVII, cuando, despu\u00e9s de la fundaci\u00f3n del pueblo de Loreto en 1682, se introdujo el primer hato ganadero en la regi\u00f3n. Desde entonces, esta actividad se expandi\u00f3 por todo el departamento del Beni, convirti\u00e9ndose en un motor econ\u00f3mico y cultural que moldea no solo la econom\u00eda, sino tambi\u00e9n las expresiones materiales como el sombrero. Descripci\u00f3n de la funci\u00f3n/uso Actualmente, el sombrero forma parte del atuendo festivo de las mujeres loretanas, acompa\u00f1ando al tipoy en celebraciones tradicionales. Su uso diario ha disminuido con el tiempo, y hoy tambi\u00e9n se considera una pieza ornamental que representa la herencia cultural de Loreto. Referencias hist\u00f3ricas La historia del sombrero se entrelaza con los procesos fundacionales de Loreto. La llegada del ganado a esta regi\u00f3n ocurri\u00f3 poco despu\u00e9s de que los padres jesuitas Pedro Marb\u00e1n, Cipriano Barace y Jos\u00e9 del Castillo fundaran la primera misi\u00f3n jesu\u00edtica el 25 de marzo de 1682. Tras a\u00f1os de persuasi\u00f3n, lograron reunir en una misi\u00f3n a unos 300 ind\u00edgenas marimonos, dedicados principalmente a la caza y la pesca. Este primer asentamiento se situ\u00f3 cerca de la laguna Azere \u2014tambi\u00e9n conocida como pueblo viejo o Anteojos\u2014 una laguna de agua dulce pr\u00f3xima al r\u00edo Mamor\u00e9. Durante su estad\u00eda en ese asentamiento, en octubre de 1682, el padre Cipriano Barace emprendi\u00f3 un viaje a Santa Cruz para traer ganado. Regres\u00f3 tras 54 d\u00edas con 84 cabezas de ganado vacuno, aunque originalmente hab\u00edan partido con 200. La primera estancia ganadera se estableci\u00f3 en Azere. En 1687, las constantes inundaciones obligaron a los jesuitas a trasladar el asentamiento a las cercan\u00edas de la laguna Sachojere (Hartas Conchas, en idioma loretano). Seg\u00fan el Plan Territorial de Desarrollo Integral de Loreto (2016-2020), en ese nuevo sitio se construy\u00f3 una iglesia \u201c\u2026recubierta de tallados de madera ornamentados de plata y otros metales que los jesuitas trajeron del Alto y Bajo Per\u00fa\u201d (PTDI: 2016-2020, p\u00e1g. 06). Sin embargo, las condiciones en Sachojere tampoco fueron favorables: la presencia de murci\u00e9lagos hemat\u00f3fagos que atacaban a personas y animales oblig\u00f3 a otro traslado. Los pobladores siguieron a sus animales y se asentaron cerca del r\u00edo Tico, en el lugar llamado Piraquinaje. Loreto fue fundado finalmente sobre una loma artificial; el sitio donde se encuentra hoy la plaza central era antes un palmar, lo que dio origen a nombres como Palmar de Vista Alegre o Bella Brisa del Palmar. Otra versi\u00f3n, tambi\u00e9n registrada en el PTDI, se\u00f1ala que tras la expulsi\u00f3n de los jesuitas en la d\u00e9cada de 1770, el pueblo fue nuevamente afectado por epidemias y crecidas del Mamor\u00e9. El padre Pedro de Venegas, junto con el Cabildo Ind\u00edgena, condujo a la poblaci\u00f3n hacia una elevada planicie a orillas del r\u00edo Tico. All\u00ed, en una zona de grandes palmeras, pastizales, lagunetas y arroyos propicios para la ganader\u00eda, el cacique mayor clav\u00f3 su bast\u00f3n de mando en la tierra, y junto al padre Venegas, se postraron para orar a Dios y a la Virgen de Loreto (PTDI: 2016-2020, p\u00e1g. 06). Adem\u00e1s del uso ceremonial y cultural actual, el sombrero tiene antecedentes hist\u00f3ricos como objeto de comercio. Se conserva el dato en un antiguo libro sin tapa, que menciona que en la d\u00e9cada de 1760 exist\u00eda un activo intercambio de artesan\u00edas, incluyendo sombreros de jipijapa y motac\u00fa, los cuales eran comercializados en Santa Cruz, el Alto Per\u00fa, Oruro, La Paz, Potos\u00ed e incluso Argentina. En este contexto, el prefecto Aguilar impuls\u00f3 el mercado mediante la introducci\u00f3n de diez mil sombreros en Guayaquil (s/t. 1992, p\u00e1g. 99). Este sombrero, m\u00e1s que un simple accesorio, constituye un s\u00edmbolo material de la continuidad cultural y econ\u00f3mica de Loreto y la provincia Marb\u00e1n, expresando a trav\u00e9s de sus fibras entretejidas siglos de historia, adaptaci\u00f3n y resiliencia."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sombrero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3bcc5233-2d94-4343-b679-2dd272255d5c", "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 2, "tileid": "3ed19984-1069-43a1-bfa9-fde90c3f9ac0"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Oralidad y pr\u00e1ctica colectiva"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de los conocimientos sobre la llegada del primer hato ganadero en Loreto se realiza principalmente a trav&eacute;s de la celebraci&oacute;n anual del 28 de junio. Esta festividad, de car&aacute;cter festivo y simb&oacute;lico, permite recordar el evento que marc&oacute; el inicio de la ganader&iacute;a en la regi&oacute;n. Las actividades como las representaciones simb&oacute;licas de la llegada del ganado son una forma viva de transmitir la importancia hist&oacute;rica y econ&oacute;mica de este hito de los jesuitas que introdujeron el ganado a la regi&oacute;n en la &eacute;poca colonial.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, la participaci&oacute;n activa de diversos sectores de la comunidad en la celebraci&oacute;n contribuye a la transmisi&oacute;n intergeneracional de conocimientos. Ganaderos, estudiantes, docentes, panaderas, funcionarios municipales y peque&ntilde;os productores de leche se involucran en actividades educativas, culturales y productivas que mantienen vivo el recuerdo del primer hato ganadero. La fiesta se convierte en un espacio donde las nuevas generaciones pueden aprender sobre la historia local, no solo desde la perspectiva de los hechos, sino tambi&eacute;n a trav&eacute;s de las pr&aacute;cticas cotidianas.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "3bcc5233-2d94-4343-b679-2dd272255d5c", "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 0, "tileid": "c511e409-d8ae-49f1-ad0d-34e1797f5309"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, la pr&aacute;ctica de conmemorar la llegada del primer hato ganadero en Loreto ha experimentado diversas transformaciones, tanto en su organizaci&oacute;n como en los elementos simb&oacute;licos que la componen. Originalmente, la fiesta estaba vinculada directamente con la necesidad de rememorar un acontecimiento hist&oacute;rico en un contexto colonial, cuando la introducci&oacute;n del ganado represent&oacute; un cambio profundo en la estructura econ&oacute;mica y social de la regi&oacute;n. Sin embargo, con el paso de los a&ntilde;os, la celebraci&oacute;n se ha ido adaptando a nuevas realidades, donde la inclusi&oacute;n de actores como los ganaderos, estudiantes, panaderas y peque&ntilde;os productores ha a&ntilde;adido nuevas dimensiones a la festividad. Este enfoque m&aacute;s inclusivo refleja la evoluci&oacute;n de la econom&iacute;a local, centrada ahora no solo en la cr&iacute;a de ganado vacuno, sino tambi&eacute;n en la producci&oacute;n de leche y derivados. Asimismo, la pr&aacute;ctica ha incorporando elementos m&aacute;s contempor&aacute;neos como actividades educativas y culturales que antes no formaban parte de la celebraci&oacute;n.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "3bcc5233-2d94-4343-b679-2dd272255d5c", "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 0, "tileid": "8f7330c1-2718-43a3-a876-89418bb75691"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica de la fiesta en Loreto es su capacidad para mantener viva la memoria hist\u00f3rica y cultural de la comunidad, a trav\u00e9s de la celebraci\u00f3n de un evento que marc\u00f3 un hito importante en el desarrollo econ\u00f3mico y social de la regi\u00f3n.    Otra fortaleza clave de la pr\u00e1ctica es la participaci\u00f3n activa de m\u00faltiples sectores de la comunidad, lo que refuerza la idea de que la ganader\u00eda y la celebraci\u00f3n no son solo responsabilidad de un grupo espec\u00edfico, sino una parte integral de la vida de toda la poblaci\u00f3n. Al involucrar a ganaderos, peque\u00f1os productores, docentes y estudiantes, la festividad promueve la inclusi\u00f3n y el sentido de pertenencia, permitiendo que cada participante aporte su perspectiva y conocimiento. Esta diversidad de actores fomenta un intercambio intergeneracional y cultural que contribuye a la sostenibilidad y perpetuaci\u00f3n de la tradici\u00f3n, adapt\u00e1ndola a las demandas contempor\u00e1neas de la comunidad y asegurando que el evento contin\u00fae siendo relevante y significativo para todos los involucrados."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "3bcc5233-2d94-4343-b679-2dd272255d5c", "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 0, "tileid": "2c63f0cb-3d2b-4e5a-bd71-7035b5c2ea00"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos y amenazas m&aacute;s destacados para la pr&aacute;ctica de la fiesta de la llegada del primer hato ganadero en Loreto es la posible p&eacute;rdida de conexi&oacute;n con los elementos hist&oacute;ricos originales que la fundamentan. A medida que la festividad se adapta a nuevas realidades y se incorpora a un p&uacute;blico m&aacute;s amplio, podr&iacute;a haber una diluci&oacute;n de los aspectos tradicionales que le dieron origen, como las representaciones hist&oacute;ricas precisas de la llegada del ganado y su impacto en la comunidad.</p>\n\n<p>&nbsp;</p>\nUn riesgo importante para la pr&aacute;ctica de la fiesta de la llegada del primer hato ganadero en Loreto es la separaci&oacute;n de la celebraci&oacute;n central del hato ganadero y el evento de los ganaderos mayoristas, quienes realizan su propio encuentro, que incluye un remate de cabezas de ganado y caballos, adem&aacute;s de una velada nocturna. Esta divisi&oacute;n podr&iacute;a generar una desconexi&oacute;n entre los actores clave del sector ganadero, dificultando la creaci&oacute;n de una visi&oacute;n compartida sobre la importancia hist&oacute;rica y cultural de la ganader&iacute;a en la regi&oacute;n. El hecho de que los ganaderos mayoristas no participen directamente en la celebraci&oacute;n del hato ganadero el 28 de junio podr&iacute;a disminuir la cohesi&oacute;n entre los diferentes grupos, limitando la integraci&oacute;n de todos los actores involucrados en la actividad ganadera."}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "3bcc5233-2d94-4343-b679-2dd272255d5c", "provisionaledits": null, "resourceinstance_id": "b613a1ba-7c29-4214-9d6f-512d030ab6d9", "sortorder": 0, "tileid": "ae374d51-b977-4f92-b9fb-a618a7f64e3a"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:06.370", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000028, "}, "es": {"description": "Loreto. Medicina tradicional \u2013 M\u00e9dico tradicional Elva Conorio", "map_popup": "Beni", "name": "PI-080601-00-00-000028, Loreto. 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La pr\u00e1ctica de Elva Conorio demuestra que este saber no solo es efectivo en el tratamiento de diversas enfermedades, sino que tambi\u00e9n es accesible para la comunidad. A diferencia de la medicina convencional, que a menudo depende de medicamentos costosos y dif\u00edciles de conseguir en zonas rurales, la medicina tradicional utiliza recursos locales, garantizando un acceso inmediato a tratamientos naturales. Adem\u00e1s, esta pr\u00e1ctica fomenta una conexi\u00f3n con la naturaleza y el respeto por el medioambiente, promoviendo el uso sostenible de los recursos medicinales.  Otra fortaleza significativa es la dimensi\u00f3n hol\u00edstica de la medicina tradicional, que no solo trata los s\u00edntomas f\u00edsicos, sino que tambi\u00e9n aborda el bienestar emocional y espiritual de los pacientes. Las t\u00e9cnicas como los masajes terap\u00e9uticos, las infusiones y los parches medicinales est\u00e1n dise\u00f1adas para equilibrar el cuerpo y la mente, permitiendo una recuperaci\u00f3n integral. Adem\u00e1s, la pr\u00e1ctica comunitaria de esta medicina fortalece los lazos sociales y la identidad cultural, ya que el conocimiento se transmite de generaci\u00f3n en generaci\u00f3n a trav\u00e9s de la ense\u00f1anza oral y la experiencia pr\u00e1ctica. Este modelo de atenci\u00f3n personalizada y basada en la sabidur\u00eda ancestral contribuye a preservar las tradiciones locales."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "df5697b6-93bd-4957-9bb3-dc7a35d5b96f", "provisionaledits": null, "resourceinstance_id": "4cba24e5-a661-4e12-9bf9-45f6d176cff0", "sortorder": 0, "tileid": "1b6ca412-e4c1-4c69-bc7a-4530429bfe08"}, {"data": {"38fdf22a-d2ad-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Loreto. Medicina tradicional &ndash; M&eacute;dico tradicional Elva Conorio</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La medicina tradicional en Loreto es una pr&aacute;ctica ancestral. Elva Conorio, reconocida por su conocimiento en esta especialidad, utiliza plantas medicinales para tratar diversas enfermedades y dolencias, recurriendo a t&eacute;cnicas naturales de sanaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Materiales y procedimientos</strong></p>\n\n<p>Las plantas medicinales utilizadas provienen de plantas que ella misma plant&oacute; en su hogar y otros provienen del monte, dependiendo de la enfermedad a tratar ella busca las m&aacute;s adecuadas. Algunas de las m&aacute;s empleadas son:</p>\n\n<ul>\n\t<li>Paja cedr&oacute;n</li>\n\t<li>Guayabo</li>\n\t<li>Cuidado</li>\n\t<li>Miel de abeja</li>\n\t<li>Planta golondrina</li>\n\t<li>Matico</li>\n\t<li>Juron</li>\n\t<li>Cuatro cantos</li>\n\t<li>Pi&ntilde;&oacute;n</li>\n\t<li>Flor de papaya macho</li>\n\t<li>Mentisan , entre otras.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Las plantas deben usarse frescas para ello se recolectan seg&uacute;n la necesidad de la persona o la enfermedad. No se almacenan secas, sino que debe realizarse un procedimiento de secado.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>T&eacute;cnicas y aplicaciones</strong></p>\n\n<p>Las t&eacute;cnicas de curaci&oacute;n incluyen:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Infusiones y mates.</strong> Se hierven las plantas medicinales, juntas o separadas, dependiendo de la enfermedad, y el paciente debe tomarlas durante un tiempo espec&iacute;fico.</li>\n\t<li><strong>Parches medicinales.</strong> Se aplican directamente sobre la zona afectada para aliviar los dolores y acelerar la sanaci&oacute;n.</li>\n\t<li><strong>Masajes terap&eacute;uticos.</strong> Se realizan con alcohol quemado y mentisan para aliviar molestias musculares o problemas circulatorios.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Enfermedades y afecciones tratadas</strong></p>\n\n<p>La medicina tradicional practicada por Elva Conorio es utilizada para tratar una variedad de padecimientos, entre ellos:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Tos</li>\n\t<li>Granos y abscesos (puchichi y apostema)</li>\n\t<li>Susto en ni&ntilde;os</li>\n\t<li>Bocio</li>\n\t<li>Luxaciones</li>\n\t<li>Problemas cardiacos</li>\n\t<li>Asma</li>\n\t<li>Presi&oacute;n alta</li>\n\t<li>S&iacute;ntomas de c&aacute;ncer</li>\n\t<li>Diabetes</li>\n\t<li>Arrebato</li>\n\t<li>Hemorragia</li>\n\t<li>Piojos de gallina</li>\n\t<li>Gonorrea</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Historia de vida de la artesana</strong></p>\n\n<p>Elva Conorio es una mujer de esp&iacute;ritu inquieto y deseo constante de aprender. Su incursi&oacute;n en la medicina tradicional comenz&oacute; a trav&eacute;s de un curso impartido por C&aacute;ritas en Trinidad. Cada vez que se anunciaba un nuevo curso, ella se inscrib&iacute;a con entusiasmo, buscando adquirir nuevos conocimientos que pudieran ser &uacute;tiles para su comunidad y su familia.</p>\n\n<p>&nbsp;</p>\n\n<p>A pesar de las dificultades, nunca dej&oacute; de aprender. Para asistir a las clases, deb&iacute;a dejar a sus hijos al cuidado de su esposo, quien, al tener que atender el chaco, delegaba la responsabilidad a las hijas mayores. Entre los distintos cursos que tom&oacute;, la cer&aacute;mica fue una de sus opciones, pero su verdadera vocaci&oacute;n estaba en la medicina tradicional y el auxilio a los enfermos. Aprendi&oacute; a tratar fracturas y a curar diversas enfermedades con plantas medicinales. Sin embargo, no pudo continuar sus estudios de auxiliar de enfermer&iacute;a, ya que deb&iacute;a atender a sus nueve hijos.</p>\n"}}, "ba96b762-840c-11ee-8c86-0f5288d73f98": ["4603fe23-52a1-4d9b-87ac-78ae74298742"]}, "nodegroup_id": "ba96b762-840c-11ee-8c86-0f5288d73f98", "parenttile_id": "df5697b6-93bd-4957-9bb3-dc7a35d5b96f", "provisionaledits": null, "resourceinstance_id": "4cba24e5-a661-4e12-9bf9-45f6d176cff0", "sortorder": 0, "tileid": "3ba31a1f-b488-41b8-baa4-a4e44bf41811"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Hoy en d&iacute;a, siendo una persona de la tercera edad, Elva sigue dedic&aacute;ndose a la medicina tradicional. Su conocimiento y experiencia la han convertido en una persona de confianza para quienes buscan curaciones naturales. Esta labor representa no solo un medio de sustento, sino tambi&eacute;n la satisfacci&oacute;n de poder ayudar a los dem&aacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p>Aunque sus hijos no han seguido su camino en la medicina tradicional, se sienten orgullosos de su esfuerzo y agradecen los sacrificios que hizo por su educaci&oacute;n y bienestar. Su esposo tambi&eacute;n reconoce y valora su dedicaci&oacute;n. Con la esperanza de que su conocimiento no se pierda, Elva estar&iacute;a dispuesta a ense&ntilde;ar a otras personas que se interesen en su oficio, asegurando que su legado en la medicina tradicional contin&uacute;e en las generaciones venideras.</p>\n\n<p>&nbsp;</p>\n\n<p>El conocimiento de la medicina tradicional es parte fundamental de la identidad de Loreto. Sin embargo, la transmisi&oacute;n depende de la tradici&oacute;n oral, lo que representa un desaf&iacute;o para su conservaci&oacute;n, m&aacute;s a&uacute;n cuando no hay personas que quieran aprender. Adem&aacute;s Elva Conorio atiende a pocas personas, personas que ella elije o acepta atender.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, el conocimiento sobre las plantas medicinales y sus aplicaciones se transmite en gran medida a trav&eacute;s de la observaci&oacute;n y la pr&aacute;ctica en el entorno familiar. En el caso de Elva Conorio, la recolecci&oacute;n de plantas, el conocimiento sobre sus propiedades y el proceso de preparaci&oacute;n de infusiones, parches y masajes terap&eacute;uticos son habilidades que ella practica y comparte con su familia y comunidad. La cercan&iacute;a con la naturaleza y la experiencia vivencial son conocimientos importantes en este proceso de transmisi&oacute;n.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "df5697b6-93bd-4957-9bb3-dc7a35d5b96f", "provisionaledits": null, "resourceinstance_id": "4cba24e5-a661-4e12-9bf9-45f6d176cff0", "sortorder": 0, "tileid": "e6e52419-626b-4e93-a8f4-3fe59051bdf2"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, la pr&aacute;ctica de la medicina tradicional en Loreto, como la que ejerce Elva Conorio, ha experimentado diversas transformaciones, principalmente influenciadas por los avances en la medicina moderna y la globalizaci&oacute;n de los conocimientos sobre salud. Aunque la medicina tradicional sigue siendo ampliamente valorada y utilizada. &nbsp;</p>\n\n<p>La transmisi&oacute;n de conocimientos sobre la medicina tradicional est&aacute; cambiando debido a la migraci&oacute;n y la urbanizaci&oacute;n. En muchas comunidades, las generaciones m&aacute;s j&oacute;venes ya no est&aacute;n tan involucradas en las pr&aacute;cticas de recolecci&oacute;n de plantas ni en el aprendizaje de t&eacute;cnicas tradicionales, debido a la creciente disponibilidad de atenci&oacute;n m&eacute;dica moderna. Esto puede llevar a una p&eacute;rdida de saberes ancestrales si no se encuentran formas efectivas de preservar y compartir este conocimiento. En este sentido, la medicina tradicional podr&iacute;a verse amenazada por el cambio en las prioridades culturales y educativas, lo que plantea el reto de encontrar m&eacute;todos para que la nueva generaci&oacute;n se interese y valore estas pr&aacute;cticas ancestrales, incluso en un contexto de avances cient&iacute;ficos y tecnol&oacute;gicos.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "df5697b6-93bd-4957-9bb3-dc7a35d5b96f", "provisionaledits": null, "resourceinstance_id": "4cba24e5-a661-4e12-9bf9-45f6d176cff0", "sortorder": 0, "tileid": "0f3b132b-e956-484f-9d61-0dd08ea0218b"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la medicina tradicional en Loreto es la progresiva p&eacute;rdida de conocimientos debido a la falta de inter&eacute;s de las nuevas generaciones y la influencia de la medicina moderna. La migraci&oacute;n, la urbanizaci&oacute;n han llevado a que muchas personas prefieran tratamientos farmacol&oacute;gicos en lugar de los remedios naturales. Si bien la combinaci&oacute;n de ambas pr&aacute;cticas puede ser beneficiosa, el desinter&eacute;s por aprender y transmitir las t&eacute;cnicas tradicionales puede provocar que este conocimiento ancestral se pierda con el tiempo. Adem&aacute;s, la falta de documentaci&oacute;n escrita de estas pr&aacute;cticas aumenta el riesgo de que se olviden, ya que dependen en gran medida de la transmisi&oacute;n oral y la experiencia directa.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza importante es la disponibilidad y conservaci&oacute;n de las plantas medicinales utilizadas en los tratamientos. La deforestaci&oacute;n, el cambio clim&aacute;tico y la sobreexplotaci&oacute;n de ciertos recursos naturales pueden reducir la accesibilidad a algunas especies esenciales en la medicina tradicional. Esto no solo dificulta la continuidad de los tratamientos, sino que tambi&eacute;n afecta la biodiversidad y el equilibrio ecol&oacute;gico de la regi&oacute;n. Estos factores hacen urgente la necesidad de estrategias de preservaci&oacute;n tanto del conocimiento como de los recursos naturales que sostienen esta pr&aacute;ctica ancestral.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "df5697b6-93bd-4957-9bb3-dc7a35d5b96f", "provisionaledits": null, "resourceinstance_id": "4cba24e5-a661-4e12-9bf9-45f6d176cff0", "sortorder": 0, "tileid": "29e4470c-444d-42b5-abc1-6c5b9c5a90a0"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:09.030", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000030, "}, "es": {"description": "Loreto. Panader\u00eda \u2013 Panadera Elva Conorio", "map_popup": "Beni", "name": "PI-080601-00-00-000030, Loreto. 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Panader\u00eda \u2013 Panadera Elva Conorio"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "6b1aead2-0292-4b6b-aeb8-ac3459a22530", "sortorder": 0, "tileid": "99138d31-baca-4375-ad04-6b28ae5193e8"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "6b1aead2-0292-4b6b-aeb8-ac3459a22530", "sortorder": 0, "tileid": "7803e3b5-5c55-4e16-b123-c6d536240c69"}, {"data": {"38fdf22a-d2ad-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Loreto. Panader&iacute;a &ndash; Panadera Elva Conorio</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La panader&iacute;a en Loreto es una pr&aacute;ctica artesanal que forma parte de la vida cotidiana de sus habitantes. Elva Conorio, con a&ntilde;os de experiencia en la elaboraci&oacute;n del pan, ha perfeccionado su t&eacute;cnica. Su panader&iacute;a no solo responde a las necesidades del consumo diario, sino que tambi&eacute;n representa la identidad loretana.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Ingredientes y materiales</strong></p>\n\n<p>Para la elaboraci&oacute;n del pan, Elva Conorio utiliza ingredientes naturales, muchos de los cuales son producidos localmente, como la leche de vaca y los huevos. Entre los insumos principales se encuentran:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Harina de trigo</li>\n\t<li>Manteca</li>\n\t<li>Levadura</li>\n\t<li>Leche de vaca</li>\n\t<li>Az&uacute;car</li>\n\t<li>Huevos</li>\n\t<li>Sal</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Para la preparaci&oacute;n del pan, emplea diversas herramientas esenciales en su oficio:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Ba&ntilde;ador, donde se mezcla la harina con los dem&aacute;s ingredientes.</li>\n\t<li>Ollas, para calentar agua y leche.</li>\n\t<li>Recipiente para la levadura.</li>\n\t<li>Balanza, utilizada para pesar las bolas de masa de un kilo.</li>\n\t<li>Bandejas de lata de alcohol, en las que se hornean los panes.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>El proceso de elaboraci&oacute;n</strong></p>\n\n<p>La preparaci&oacute;n del pan sigue una t&eacute;cnica que ha sido perfeccionada con el tiempo:</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Preparaci&oacute;n de las bandejas.</strong> Se limpian y se unta manteca derretida en ellas.</p>\n\n<p><strong>Preparaci&oacute;n de la levadura.</strong> Se mezcla con agua tibia y se deja reposar hasta que levante.</p>\n\n<p><strong>Mezcla de ingredientes.</strong> En un ba&ntilde;ador, se combinan la harina, az&uacute;car, sal, leche tibia y huevos.</p>\n\n<p><strong>Amasado. </strong>Una vez que la levadura ha fermentado, se incorpora a la mezcla y se amasa hasta lograr una textura uniforme. La manteca se a&ntilde;ade en dos partes, asegurando que la masa quede suave y el&aacute;stica. Se ajusta la cantidad de agua tibia seg&uacute;n sea necesario.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Formado de las piezas de pan</strong></p>\n\n<p>Se divide la masa en kilos, pes&aacute;ndola en la balanza.</p>\n\n<p>Se forman bolas de masa y se dejan reposar en una mesa con harina espolvoreada.</p>\n\n<p>Se alargan las bolas para formar ovillos, que luego se cortan en diez partes y se moldean en peque&ntilde;as bolitas cubiertas con un mantel.</p>\n\n<p><strong>Preparando el mollete</strong>. Para el mollete, una parte de la masa se aplana en la bandeja y otra se sumerge en agua con az&uacute;car antes de ser colocada encima. Algunos panes llevan queso rallado.</p>\n\n<p><strong>Reposo.</strong> Se deja que los panes fermenten hasta que dupliquen su tama&ntilde;o.</p>\n\n<p>&nbsp;</p>\n\n<p>El pan se hornea en un horno de barro, piedra y ladrillo, cuya preparaci&oacute;n es clave para obtener el sabor caracter&iacute;stico del pan loretano para ello se calienta el horno. Se enciende le&ntilde;a en su interior durante aproximadamente media hora. Al cabo del tiempo se saca por una peque&ntilde;a puerta posterior y se deja atemperar por otros 30 minutos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El horneado</strong></p>\n\n<p>Se introducen cuatro bandejas a la vez, y tras 10 minutos, los panes est&aacute;n listos. Al salir del horno, los panes se untan con mantequilla para darles brillo y realzar su sabor.</p>\n\n<p>&nbsp;</p>\n\n<p>Variedades de pan y destino</p>\n\n<p>Entre los productos elaborados por Elva Conorio se encuentran:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Pan tradicional</li>\n\t<li>Bizcochos</li>\n\t<li>Galletas</li>\n\t<li>El mollete, es una masa dulce en la que se superpone otra capa untada en agua con az&uacute;car.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Inicialmente, Elva llevaba sus panes a vender a Perot&oacute;n, donde ten&iacute;a un mercado seguro. Sin embargo, tras el matrimonio de su hija, quien le ayudaba a llevar el pan (ahora ya no se encuentra en Loreto), ha centrado su producci&oacute;n en Loreto, especialmente en &eacute;pocas festivas, cuando la demanda aumenta significativamente.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El Pan como identidad loretana</strong></p>\n\n<p>En Loreto, todas las mujeres saben hacer pan, pero cada una tiene una t&eacute;cnica particular que le da un sabor distinto. Sin embargo, el uso de leche y huevos locales es un elemento com&uacute;n que distingue al pan loretano, otorg&aacute;ndole una textura y un sabor &uacute;nicos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Historia de vida de la panadera</strong></p>\n\n<p>Hace varios a&ntilde;os, en Loreto, solo una mujer se dedicaba a la elaboraci&oacute;n del pan. Cuando falleci&oacute;, los hornos que utilizaba dejaron de funcionar y la producci&oacute;n de pan desapareci&oacute; de la comunidad. En aquel tiempo, no exist&iacute;a un transporte regular hacia Trinidad, lo que dificultaba el acceso a insumos y alimentos. Los carretones eran el &uacute;nico medio de transporte disponible, y los productos tra&iacute;dos a la regi&oacute;n ten&iacute;an un costo elevado.</p>\n\n<p>&nbsp;</p>\n\n<p>La &uacute;nica alternativa de conexi&oacute;n con el exterior era una pista para avionetas, pero solo quienes pod&iacute;an permit&iacute;rselo hac&iacute;an uso de este servicio. No fue hasta el gobierno de Hugo Banzer, con la gesti&oacute;n de Ernesto Su&aacute;rez, que se construy&oacute; la carretera a Trinidad. Con ello, se facilit&oacute; el traslado de los habitantes de Loreto y el acceso a insumos esenciales.</p>\n\n<p>&nbsp;</p>\n\n<p>Con la existencia de insumos&nbsp; y cuando una instituci&oacute;n ense&ntilde;&oacute; a las mujeres del pueblo a hacer pan, recuperando as&iacute; una tradici&oacute;n que se hab&iacute;a perdido, se aprendi&oacute; a elaborar pan.</p>\n\n<p>Elva Conorio aprendi&oacute; el oficio gracias a su madre, quien tambi&eacute;n se dedicaba a la panader&iacute;a.</p>\n\n<p>&nbsp;</p>\n\n<p>El pan, en Loreto, es conocido como &quot;horneado&quot;, y Elva Conorio lo elabora cada cuatro d&iacute;as. Las hijas de Elva aprendieron a hacer pan, pero actualmente viven en distintos lugares, como Trinidad, Cochabamba y Brasil. Aunque ellas no contin&uacute;an con la tradici&oacute;n en Loreto, la ense&ntilde;anza y el conocimiento que su madre les transmiti&oacute; son un legado que pueden preservar y compartir en otros espacios.</p>\n"}}, "ba96b762-840c-11ee-8c86-0f5288d73f98": ["bedc56ba-24f7-4000-b9ca-36e2b5e6ae18"]}, "nodegroup_id": "ba96b762-840c-11ee-8c86-0f5288d73f98", "parenttile_id": "7803e3b5-5c55-4e16-b123-c6d536240c69", "provisionaledits": null, "resourceinstance_id": "6b1aead2-0292-4b6b-aeb8-ac3459a22530", "sortorder": 0, "tileid": "c43d9123-f269-4998-a4eb-9368e6020edb"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En Loreto, los mecanismos de transmisi&oacute;n de los conocimientos relacionados con la panader&iacute;a artesanal han sido principalmente intergeneracionales, a trav&eacute;s de la pr&aacute;ctica directa y el aprendizaje en el hogar. Elva Conorio, como la panadera local, aprendi&oacute; el oficio de su madre, quien tambi&eacute;n se dedicaba a esta actividad. Esta transmisi&oacute;n de saberes se ha hecho principalmente por imitaci&oacute;n, con la madre ense&ntilde;ando a su hija los detalles del proceso, desde la preparaci&oacute;n de los ingredientes hasta el horneado. La pr&aacute;ctica se ha mantenido viva a trav&eacute;s de las generaciones, y aunque Elva ha transmitido sus conocimientos a sus hijas, el hecho de que ellas vivan en distintos lugares no ha borrado el legado. Este saber, basado en la repetici&oacute;n y la transmisi&oacute;n en el hogar, sigue siendo una parte fundamental de la vida cotidiana en la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro mecanismo importante de transmisi&oacute;n ha sido la intervenci&oacute;n de instituciones externas, que han logrado recuperar la tradici&oacute;n de la panader&iacute;a artesanal en Loreto. A trav&eacute;s de programas de formaci&oacute;n, las mujeres del pueblo aprendieron a hacer pan cuando esta pr&aacute;ctica estuvo a punto de desaparecer. Estas ense&ntilde;anzas institucionalizadas han servido no solo para recuperar el saber ancestral, sino tambi&eacute;n para reforzar la identidad cultural de Loreto, uniendo a la comunidad en torno a una pr&aacute;ctica que refleja su historia y valores. La panader&iacute;a, por lo tanto, se mantiene viva tanto por el legado familiar como por el apoyo institucional, fusionando la tradici&oacute;n con la ense&ntilde;anza formal y asegurando su continuidad a trav&eacute;s del tiempo.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "7803e3b5-5c55-4e16-b123-c6d536240c69", "provisionaledits": null, "resourceinstance_id": "6b1aead2-0292-4b6b-aeb8-ac3459a22530", "sortorder": 0, "tileid": "c93920e8-ac34-4ee0-a48e-e5d2006d0c83"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las transformaciones de la pr&aacute;ctica de la panader&iacute;a en Loreto han sido influenciadas principalmente por el acceso a insumos y la modernizaci&oacute;n de las infraestructuras. El hecho de que Loreto tuviera la falta de transporte regular hacia Trinidad, dificultaba la obtenci&oacute;n de los ingredientes y materiales necesarios para la panader&iacute;a. No fue hasta la construcci&oacute;n de la carretera durante la gesti&oacute;n de Hugo Banzer que se facilit&oacute; el acceso a estos recursos. Este cambio la pr&aacute;ctica de la panader&iacute;a se diversifique, ya que Elva Conorio y otras panaderas del lugar ahora pueden acceder a una mayor variedad de ingredientes y utensilios que antes eran m&aacute;s dif&iacute;ciles de obtener, lo que posiblemente ha influido en la evoluci&oacute;n de las recetas y m&eacute;todos empleados.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, la incorporaci&oacute;n de elementos externos, como el aprendizaje formal proporcionado por una instituci&oacute;n, tambi&eacute;n ha tra&iacute;do consigo una transformaci&oacute;n en la pr&aacute;ctica tradicional. Si bien las mujeres de Loreto siempre hab&iacute;an aprendido el oficio de manera oral y a trav&eacute;s de la observaci&oacute;n, el hecho de que una instituci&oacute;n ense&ntilde;ara a las habitantes del pueblo a hacer pan ha permitido una sistematizaci&oacute;n de los conocimientos. Esto ha generado un proceso de estandarizaci&oacute;n que puede haber alterado ligeramente las t&eacute;cnicas artesanales, adapt&aacute;ndolas a nuevas tendencias o m&eacute;todos m&aacute;s eficientes, pero al mismo tiempo ha contribuido a la preservaci&oacute;n de la tradici&oacute;n, al asegurar que las nuevas generaciones adquieran los conocimientos esenciales para mantener vivas estas pr&aacute;cticas. Sin embargo, esta transformaci&oacute;n tambi&eacute;n plantea un reto en t&eacute;rminos de la preservaci&oacute;n de las caracter&iacute;sticas del pan loretano, que depende de la calidad de los ingredientes locales y de la habilidad artesanal transmitida a lo largo de generaciones.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7803e3b5-5c55-4e16-b123-c6d536240c69", "provisionaledits": null, "resourceinstance_id": "6b1aead2-0292-4b6b-aeb8-ac3459a22530", "sortorder": 0, "tileid": "68e71d7b-28da-41d2-8119-22ae12bf32fc"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica artesanal de la panader\u00eda en Loreto es su conexi\u00f3n con la identidad local. El pan elaborado por Elva Conorio y otras panaderas de la regi\u00f3n no solo satisface una necesidad alimentaria, sino que representa un s\u00edmbolo de la comunidad loretana. La utilizaci\u00f3n de ingredientes locales, como la leche de vaca y los huevos, y la preservaci\u00f3n de m\u00e9todos tradicionales de preparaci\u00f3n y horneado, confiere a este pan un sabor y una textura \u00fanicos, que son altamente apreciados por los habitantes de Loreto. Este v\u00ednculo estrecho entre la producci\u00f3n del pan y la identidad cultural del lugar refuerza el sentido de pertenencia y orgullo entre los miembros de la comunidad.  Otra fortaleza importante es la sostenibilidad de la pr\u00e1ctica a nivel local. El hecho de que Elva Conorio y otras panaderas utilicen ingredientes producidos en la regi\u00f3n no solo apoya la econom\u00eda local, sino que tambi\u00e9n reduce la dependencia de productos importados. Adem\u00e1s, el m\u00e9todo de horneado en horno de barro, piedra y ladrillo, aunque es laborioso, tiene un bajo impacto ambiental en comparaci\u00f3n con tecnolog\u00edas m\u00e1s industriales, lo que resalta el car\u00e1cter ecol\u00f3gico de la tradici\u00f3n. La habilidad de Elva y otras mujeres para mantener esta pr\u00e1ctica viva a pesar de los desaf\u00edos log\u00edsticos y econ\u00f3micos demuestra la resiliencia de la comunidad y la capacidad de adaptarse sin perder la esencia de su oficio. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "7803e3b5-5c55-4e16-b123-c6d536240c69", "provisionaledits": null, "resourceinstance_id": "6b1aead2-0292-4b6b-aeb8-ac3459a22530", "sortorder": 0, "tileid": "cf34ee34-7e04-453d-8c0c-4a60e4d94f53"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la pr&aacute;ctica artesanal de la panader&iacute;a en Loreto es la dependencia de factores externos, como el acceso a insumos y la infraestructura. Aunque la construcci&oacute;n de la carretera a Trinidad facilit&oacute; el acceso a materiales esenciales, los costos de los insumos siguen siendo un desaf&iacute;o, especialmente en &eacute;pocas en las que la demanda de pan aumenta, como en las festividades. La escasez de recursos, o el aumento de sus precios, podr&iacute;a afectar la capacidad de las panaderas locales para mantener la calidad y la continuidad de la producci&oacute;n. Adem&aacute;s, el hecho de que el trabajo artesanal dependa en gran medida de la habilidad y el tiempo de las personas, como es el caso de Elva Conorio, tambi&eacute;n lo hace vulnerable a la falta de mano de obra disponible en la comunidad, especialmente si las nuevas generaciones se alejan de la pr&aacute;ctica por buscar otras oportunidades.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo importante est&aacute; relacionado con la preservaci&oacute;n de la t&eacute;cnica y las tradiciones. Si bien Elva Conorio ha logrado transmitir su conocimiento a sus hijas, el hecho de que ellas vivan en diferentes lugares, como Trinidad, Cochabamba y Brasil, representa una amenaza para la continuidad de la pr&aacute;ctica artesanal en Loreto. A pesar de que la panader&iacute;a sigue siendo una actividad valorada en la comunidad, la dispersi&oacute;n de las nuevas generaciones y la posible p&eacute;rdida de la transmisi&oacute;n directa del saber podr&iacute;a resultar en una disminuci&oacute;n de la calidad del pan y en la desaparici&oacute;n de ciertas tradiciones relacionadas con su elaboraci&oacute;n. Adem&aacute;s, la posible incursi&oacute;n de m&eacute;todos de producci&oacute;n m&aacute;s modernos o industriales podr&iacute;a generar una estandarizaci&oacute;n del producto que amenace la singularidad del pan loretano, haciendo que pierda su autenticidad y conexi&oacute;n con la identidad local.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7803e3b5-5c55-4e16-b123-c6d536240c69", "provisionaledits": null, "resourceinstance_id": "6b1aead2-0292-4b6b-aeb8-ac3459a22530", "sortorder": 0, "tileid": "239cc920-748c-4ae2-b859-90ee0d6096ff"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "17a35620-1dc4-45f9-b07f-c875cb33d6d0"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2025-02-26"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "cac7084c-e6f3-45dd-a606-3b11ff8d18c4", "provisionaledits": null, "resourceinstance_id": "6b1aead2-0292-4b6b-aeb8-ac3459a22530", "sortorder": 0, "tileid": "aff543c2-4eaa-4c78-9907-10b0e8bc2b41"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:09.370", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000031, "}, "es": {"description": "Loreto. Cuento \u201cEl Cristo de Oro\u201d", "map_popup": "Beni", "name": "PI-080601-00-00-000031, Loreto. Cuento \u201cEl Cristo de Oro\u201d"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080601-00-00-000031, Loreto. Cuento \u201cEl Cristo de Oro\u201d", "principaluser_id": 26, "resourceinstanceid": "e759694f-7825-4a3a-b98f-a2f9219df5a6", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2dc47da8-3afe-47b0-a1f5-1cc7c7689499", "resourceXresourceId": "2c306d64-8269-4718-8699-2382d8c44274"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e759694f-7825-4a3a-b98f-a2f9219df5a6", "sortorder": 0, "tileid": "f9df653c-797a-496d-9f43-b5e17c39adc4"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "b726fbaf-d01b-4841-b02c-4bcbe3856718", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Historia oral"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080601-00-00-000031", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto. Cuento \u201cEl Cristo de Oro\u201d"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e759694f-7825-4a3a-b98f-a2f9219df5a6", "sortorder": 0, "tileid": "a10d71d7-61e9-483d-945e-72608bd620d3"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e759694f-7825-4a3a-b98f-a2f9219df5a6", "sortorder": 0, "tileid": "b35accfe-b71a-4031-9fd3-e19d7925bdfd"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Loreto. Cuento &ldquo;El Cristo de Oro&rdquo;</strong></p>\n\n<p>&nbsp;</p>\n\n<p>Esta historia forma parte de la tradici&oacute;n oral de Loreto, transmitida de generaci&oacute;n en generaci&oacute;n es un relato sobre un tesoro oculto en el monte.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Portadores de la historia</strong></p>\n\n<p>El relato ha sido compartido por Orlando Vargas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la historia</strong></p>\n\n<p>Cuenta la leyenda que en el primer asentamiento de Loreto, en un lugar cercano a la laguna Azere, conocido como Torno Largo, se erigi&oacute; una plaza en cuyo centro se encontraba el Cristo de Oro.</p>\n\n<p>&nbsp;</p>\n\n<p>Con el tiempo, el pueblo sufri&oacute; enfermedades y sus habitantes decidieron trasladarse a otro lugar, dejando atr&aacute;s al Cristo en el antiguo asentamiento. Desde entonces, el Cristo qued&oacute; abandonado en medio del monte y, seg&uacute;n la historia, solo pueden encontrarlo las personas que se pierden en la selva.</p>\n\n<p>&nbsp;</p>\n\n<p>Uno de estos relatos habla de un cazador que, tras adentrarse en el bosque, perdi&oacute; el rumbo y camin&oacute; sin rumbo fijo en busca de una salida. Luego de mucho andar, se encontr&oacute; con una plaza antigua y en su centro, la imponente figura del Cristo de Oro.</p>\n\n<p>&nbsp;</p>\n\n<p>Desesperado por comprobar si realmente era de oro, decidi&oacute; cortarle un dedo para analizarlo m&aacute;s tarde. Luego de continuar su camino, finalmente encontr&oacute; el sendero de regreso al pueblo.</p>\n\n<p>&nbsp;</p>\n\n<p>Cuando lleg&oacute;, llev&oacute; el dedo dorado a un experto y confirm&oacute; que era oro puro. Decidido a recuperar la estatua completa, intent&oacute; volver al lugar, pero nunca logr&oacute; encontrarlo de nuevo.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde entonces, muchas personas han salido en su b&uacute;squeda, pero nadie ha logrado hallar el Cristo de Oro. La historia sigue viva en Loreto, entre relatos de cazadores y viajeros que a&uacute;n sue&ntilde;an con encontrarlo.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["29a2ed34-bbc1-4132-b95f-96d7b7013e10"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "b35accfe-b71a-4031-9fd3-e19d7925bdfd", "provisionaledits": null, "resourceinstance_id": "e759694f-7825-4a3a-b98f-a2f9219df5a6", "sortorder": 0, "tileid": "c1bd380d-9975-42b2-af86-02c2e8f82573"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Ooralidad colectiva"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de conocimientos en la historia del &quot;Cristo de Oro&quot; de Loreto se ha dado principalmente a trav&eacute;s de la tradici&oacute;n oral, un mecanismo fundamental en las comunidades ind&iacute;genas y rurales de Bolivia. A lo largo de los a&ntilde;os, esta leyenda ha sido compartida de generaci&oacute;n en generaci&oacute;n por los habitantes de Loreto, quienes mantienen vivas sus costumbres y creencias. A trav&eacute;s de narraciones como la de Orlando Vargas, los mayores de la comunidad ense&ntilde;an a los m&aacute;s j&oacute;venes sobre la importancia de su historia y la conexi&oacute;n espiritual con los elementos naturales que la rodean.</p>\n\n<p>Este mecanismo de transmisi&oacute;n oral se ve reforzado por el contexto local, en donde las personas que viven y se convierten en los portadores de la historia. Estos relatos, que se van contando a medida que las personas exploran lo transmiten, le otorgan a la leyenda una dimensi&oacute;n viva, cambiante y adaptada a las experiencias cotidianas. La historia del Cristo de Oro sigue siendo una tradici&oacute;n palpable en la comunidad, ya que sigue siendo compartida en reuniones, encuentros y celebraciones locales, sobre todo familiares.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "b35accfe-b71a-4031-9fd3-e19d7925bdfd", "provisionaledits": null, "resourceinstance_id": "e759694f-7825-4a3a-b98f-a2f9219df5a6", "sortorder": 0, "tileid": "00047b22-b586-4ce1-b6a7-30449cf03f05"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La pr\u00e1ctica artesanal en Loreto, representada a trav\u00e9s de relatos como el del \"Cristo de Oro\", demuestra una fortaleza vinculada a la preservaci\u00f3n de la identidad cultural de la comunidad. El hecho de que la historia se transmita de generaci\u00f3n en generaci\u00f3n refleja la capacidad de las personas de mantener vivas sus tradiciones. Esta conexi\u00f3n con el pasado no solo fortalece el sentido de pertenencia de los miembros de la comunidad para perpetuar las creencias y narrativas ancestrales.  Otra fortaleza de la pr\u00e1ctica artesanal radica en su capacidad para incorporar elementos del entorno natural, como en la historia del \"Cristo de Oro\", que hace referencia a un objeto simb\u00f3lico vinculado a la naturaleza y los recursos del entorno. Esta relaci\u00f3n estrecha con la tierra y la naturaleza subraya la importancia de la artesan\u00eda como una forma de respeto y revalorizaci\u00f3n del medio ambiente. Las pr\u00e1cticas artesanales, al estar profundamente ligadas a la tierra, permiten una conexi\u00f3n entre la comunidad y su entorno, lo que se traduce en un conocimiento de los recursos naturales locales"}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "b35accfe-b71a-4031-9fd3-e19d7925bdfd", "provisionaledits": null, "resourceinstance_id": "e759694f-7825-4a3a-b98f-a2f9219df5a6", "sortorder": 0, "tileid": "73f073c0-1917-42c4-8dcb-e38ff5145dfe"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos que enfrenta la pr&aacute;ctica artesanal en Loreto es la p&eacute;rdida de la tradici&oacute;n debido a la globalizaci&oacute;n y la modernizaci&oacute;n. A medida que las nuevas generaciones se distancian de las pr&aacute;cticas ancestrales, influenciadas por tecnolog&iacute;as y modos de vida urbanos, la transmisi&oacute;n de los conocimientos y relatos orales como el del &quot;Cristo de Oro&quot; corre el peligro de desvanecerse.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "b35accfe-b71a-4031-9fd3-e19d7925bdfd", "provisionaledits": null, "resourceinstance_id": "e759694f-7825-4a3a-b98f-a2f9219df5a6", "sortorder": 0, "tileid": "d96f223d-74cb-4e7b-8e0d-7b122a40bda4"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "211688ea-2d8d-4ae7-a474-099e6ff8ffd6"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2025-02-21"}, 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autoridades originarias y durante rituales.</p>\n\n<p>El Maskay Pacha es una prenda que cubre el rostro, empleada en contextos rituales relacionados con el tiempo de b&uacute;squeda, reflexi&oacute;n o tr&aacute;nsito espiritual.</p>\n\n<p>La Warkuntatha Una es una manta o cobija ritual, tejida con t&eacute;cnicas tradicionales, que simboliza protecci&oacute;n y conexi&oacute;n con los antepasados.</p>\n"}}, "ef13f396-0909-11f0-8147-0242ac120006": null}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "64854ced-d9f9-4c11-9436-4b1c65276d76", "provisionaledits": null, "resourceinstance_id": "c7e18cd0-a349-484b-9b3b-487e189eff70", "sortorder": 0, "tileid": "b5023989-9530-438d-8cbe-bb2565a3209a"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Expresan una profunda cosmovisi&oacute;n andina, donde cada prenda cumple una funci&oacute;n espiritual, simb&oacute;lica y social que conecta al portador con la Pachamama, los apus, los antepasados y los tres niveles del mundo andino: el Alax Pacha, Aka Pacha&nbsp;y Ukhu Pacha. Estas vestimentas no solo identifican roles y jerarqu&iacute;as dentro de la comunidad, sino que act&uacute;an como medios rituales de protecci&oacute;n, tr&aacute;nsito y comunicaci&oacute;n con lo sagrado."}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c533891f-d44c-4616-8130-81b87a070d65", "ff02bc82-4c0c-4b30-9b69-9795254ca91e"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "64854ced-d9f9-4c11-9436-4b1c65276d76", "provisionaledits": null, "resourceinstance_id": "c7e18cd0-a349-484b-9b3b-487e189eff70", "sortorder": 0, "tileid": "7e1933ce-ccf9-4860-b47d-8fbccbc2a510"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Estas prendas se confeccionan mediante t&eacute;cnicas de tejido en telar de cintura o de estacas, empleando fibras naturales como lana de alpaca, llama y oveja, que primero son esquiladas, lavadas, hiladas a mano con puska&nbsp;y luego te&ntilde;idas con tintes naturales extra&iacute;dos de plantas, minerales e insectos como la cochinilla. Los dise&ntilde;os se elaboran con una l&oacute;gica simb&oacute;lica y estructurada, donde cada figura, color y patr&oacute;n geom&eacute;trico representa conceptos relacionados con la cosmovisi&oacute;n andina.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["237ed805-e832-4979-80cb-8d2f6d646d28"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "64854ced-d9f9-4c11-9436-4b1c65276d76", "provisionaledits": null, "resourceinstance_id": "c7e18cd0-a349-484b-9b3b-487e189eff70", "sortorder": 0, "tileid": "629e3ffe-2345-4b8b-9ac9-0fe38ba9e042"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La transmisi&oacute;n de estos conocimientos son de manera oral, pr&aacute;ctico y comunitario, y se dan en el seno de la familia y la comunidad, especialmente entre mujeres. Las habilidades y conocimientos se transmiten de generaci&oacute;n en generaci&oacute;n mediante la observaci&oacute;n, la pr&aacute;ctica directa y la participaci&oacute;n activa desde temprana edad en actividades como el hilado, te&ntilde;ido, tejido y confecci&oacute;n."}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "64854ced-d9f9-4c11-9436-4b1c65276d76", "provisionaledits": null, "resourceinstance_id": "c7e18cd0-a349-484b-9b3b-487e189eff70", "sortorder": 0, "tileid": "5b90eb05-5a9b-4e46-aa69-b805c92e7edd"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Este patrimonio se encuentra en la Nominaci&oacute;n Nacional."}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c7e18cd0-a349-484b-9b3b-487e189eff70", "sortorder": 0, "tileid": "44695f1a-99dc-4a6a-a07a-93a1aa362c75"}, {"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2bcc4a60-38fd-4fe2-b662-1a9a38b43a90", "resourceXresourceId": "4a0ee005-4e2b-4493-b22d-c04ec67710ed"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c7e18cd0-a349-484b-9b3b-487e189eff70", "sortorder": 0, "tileid": "cbfa25b0-c03b-4752-b6ad-239e0dbeb6cc"}]}, {"resourceinstance": {"createdtime": "2025-07-14T08:21:50.908", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-000000-00-00-000025, "}, "es": {"description": "Danza \u201cLa Kullawada\u201d", "map_popup": "Nacional", "name": "PI-000000-00-00-000025, Danza \u201cLa Kullawada\u201d"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-000000-00-00-000025, Danza \u201cLa Kullawada\u201d", "principaluser_id": 16, "resourceinstanceid": "1e171b9a-fabe-4e61-93fd-f6e03821b6df", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "a9c65048-6928-4580-bd7b-b499e41a163d", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '000000', 'num': '000025'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["a9c65048-6928-4580-bd7b-b499e41a163d"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "1e171b9a-fabe-4e61-93fd-f6e03821b6df", "sortorder": 0, "tileid": "0d703990-4f4f-4ee6-96a4-2cd89a1ce862"}, {"data": {"833a0f0a-1fe0-11f0-a8a9-b3355d3a2630": "Coreograf\u00eda y vestimenta"}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "1e171b9a-fabe-4e61-93fd-f6e03821b6df", "sortorder": 0, "tileid": "ddd74124-7fad-4ab0-b071-77eb821f7fc9"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": null, "e2247e94-1fde-11f0-a8a9-b3355d3a2630": "Ley 134 / 14 de junio de 2011"}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "1e171b9a-fabe-4e61-93fd-f6e03821b6df", "sortorder": 0, "tileid": "84e3f5ec-191d-4459-b70e-200c395564c6"}, {"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Est&aacute; vinculada a los antiguos tejedores ind&iacute;genas o kullawas, quienes elaboraban textiles de lana de alpaca y llama. 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Los bailarines realizan pasos cortos, desplazamientos laterales y giros coordinados, manteniendo una postura erguida que resalta el car&aacute;cter ceremonial y noble de la danza.&nbsp;Los varones visten chaquetas bordadas, pantalones con aplicaciones y sombreros decorados, llevan&nbsp;husos, ruecas o madejas de lana, que giran mientras bailan. Las mujeres lucen polleras amplias de varias capas, mantas tejidas, blusas bordadas y grandes peinetones dorados o plateados, adornando su peinado con trenzas largas."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "ddd74124-7fad-4ab0-b071-77eb821f7fc9", "provisionaledits": null, "resourceinstance_id": "1e171b9a-fabe-4e61-93fd-f6e03821b6df", "sortorder": 0, "tileid": "6fddc4d7-a87e-4c58-9eb8-097c22a0c85c"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Esta es melodiosa, cadenciosa y solemne, interpretada principalmente por bandas de bronce que combinan instrumentos de viento como trompetas, trombones y saxofones, y percusi&oacute;n con bombos, platillos y tambores. 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Se inspira en el personaje del caporal, capataz afrodescendiente que en la &eacute;poca colonial vigilaba a los esclavizados en las haciendas. Aunque tiene elementos relacionados con la Saya afroboliviana, la danza de los Caporales es una creaci&oacute;n coreogr&aacute;fica moderna."}}, "ef13f396-0909-11f0-8147-0242ac120006": "c9800796-0606-4b2a-b362-8ff757a3ed09"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "9ab1e313-bbfe-4602-96d9-53a6ced24d49", "provisionaledits": null, "resourceinstance_id": "e0f0c993-ed4f-4d43-b5d3-ffb134932fd0", "sortorder": 0, "tileid": "b503dc47-bf7a-4b63-a800-1dab42d118fb"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Predominan los pasos firmes, saltos, zapateos y desplazamientos vigorosos, especialmente por parte de los varones, que representan al caporal dominante y elegante. Las mujeres, por su parte, exhiben movimientos estilizados y en&eacute;rgicos que resaltan la agilidad y gracia. Sobre la vestimenta de los hombres, estos llevan botas con cascabeles, sombrero de ala ancha, camisas ajustadas y bordados brillantes; las mujeres visten con minifaldas, sombreros peque&ntilde;os y trajes bordados con lentejuelas."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "9ab1e313-bbfe-4602-96d9-53a6ced24d49", "provisionaledits": null, "resourceinstance_id": "e0f0c993-ed4f-4d43-b5d3-ffb134932fd0", "sortorder": 0, "tileid": "4374cd44-3ae0-4342-bb37-f92b952ae005"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Es en&eacute;rgica, r&iacute;tmica y marcada por el uso de instrumentos de viento, percusi&oacute;n y bronce. La m&uacute;sica suele ser interpretada por bandas folkl&oacute;ricas o conjuntos modernos, con arreglos que combinan tradici&oacute;n y contemporaneidad. 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Mezclando elementos de su propia cosmovisi&oacute;n con una interpretaci&oacute;n teatral del mundo colonial."}}, "ef13f396-0909-11f0-8147-0242ac120006": "888be394-52ae-4a48-b470-838f915fb97a"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "5740bd2e-523c-4a4f-b0ca-ff60ecbd4b75", "provisionaledits": null, "resourceinstance_id": "3dc7d905-25b6-41d5-9365-8497b6fa1c36", "sortorder": 0, "tileid": "8e316da4-5626-4310-ac34-5da1a4d578a8"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los bailarines personifican distintos roles: el toro, el torero, los campesinos&nbsp;y en ocasiones otros personajes como el juez o el cura. Los movimientos de la danza son &aacute;giles, coordinados y expresivos, combinando pasos de baile andino con simulaciones de combate y persecuci&oacute;n. El toro suele moverse con fuerza y saltos, mientras que el torero y los dem&aacute;s personajes interact&uacute;an con &eacute;l. El vestuario es colorido y simb&oacute;lico: el &ldquo;toro&rdquo; usa un traje con cuernos y pieles, los danzantes llevan m&aacute;scaras, sombreros, trajes bordados, capas y pa&ntilde;uelos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "5740bd2e-523c-4a4f-b0ca-ff60ecbd4b75", "provisionaledits": null, "resourceinstance_id": "3dc7d905-25b6-41d5-9365-8497b6fa1c36", "sortorder": 0, "tileid": "c517e11c-0fbf-46e1-97da-4afd40ff04c0"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Utiliza instrumentos tradicionales como zampo&ntilde;as, quenas, bombos, platillos, trompetas y tambores, generando una sonoridad alegre y &aacute;gil, ideal para resaltar los movimientos r&aacute;pidos, c&oacute;micos y dram&aacute;ticos de la danza.&nbsp;"}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": 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"Espiritualidad"}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "3b725fde-c3d3-4ad6-8405-87410af64db6", "sortorder": 0, "tileid": "acb0a423-cf06-4cc3-848b-d08f75e63f74"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": null, "e2247e94-1fde-11f0-a8a9-b3355d3a2630": " Ley 1340 / 26 de octubre de 2020"}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "3b725fde-c3d3-4ad6-8405-87410af64db6", "sortorder": 0, "tileid": "7c22cc1c-8060-4caa-8890-5f4e46f35974"}, {"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Forma parte del calendario agroceremonial ancestral de los pueblos quechuas y aymaras. Es uno de los tiempos sagrados del a&ntilde;o que refleja la relaci&oacute;n c&iacute;clica entre el ser humano, la tierra y el cosmos. El t&eacute;rmino &quot;Awti Pacha&quot; puede traducirse como el &ldquo;tiempo del retorno&rdquo; o &ldquo;tiempo de la sabidur&iacute;a ancestral&rdquo;.</p>\n"}}, "ef13f396-0909-11f0-8147-0242ac120006": "f9edd130-c553-4c8f-ace9-f7c16ecc2ae6"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "acb0a423-cf06-4cc3-848b-d08f75e63f74", "provisionaledits": null, "resourceinstance_id": "3b725fde-c3d3-4ad6-8405-87410af64db6", "sortorder": 0, "tileid": "61e2a07a-3189-471e-bfd3-1ba272b7eb88"}, {"data": {"38fdf22a-d2ad-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se aplican saberes de astronom&iacute;a y bioindicadores para reconocer el cierre del ciclo agr&iacute;cola, mientras que la producci&oacute;n agr&iacute;cola y recolecci&oacute;n se integran con pr&aacute;cticas de ofrenda y reciprocidad."}}, "ba96b762-840c-11ee-8c86-0f5288d73f98": ["5ff1ca6d-803e-452c-9d44-429842a1175e", "f4dcacc3-9737-4848-ae0b-46458e12565c", "32e15ed7-1c69-4e79-9423-97c07bf1f9d3", "3efe8997-d087-4179-a2b8-bd868425aa7e", "035fa8fb-98dc-4473-8e1c-fae9d41fe44a"]}, "nodegroup_id": "ba96b762-840c-11ee-8c86-0f5288d73f98", "parenttile_id": "acb0a423-cf06-4cc3-848b-d08f75e63f74", "provisionaledits": null, "resourceinstance_id": "3b725fde-c3d3-4ad6-8405-87410af64db6", "sortorder": 0, "tileid": "6d0ce5f0-87e5-44cc-b7e6-93be0b88e195"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Este tiempo simboliza el retorno de la sabidur&iacute;a, la cosecha de los frutos y el reconocimiento a los mayores, quienes son vistos como gu&iacute;as del conocimiento ancestral. En este ciclo, la Pachamama es honrada por los dones recibidos, se refuerzan los principios de reciprocidad, complementariedad y comunidad. El Awti Pacha representa tambi&eacute;n el equilibrio entre los mundos andinos, el&nbsp;Alax Pacha, Aka Pacha y Ukhu Pacha, donde los humanos, la naturaleza y los seres espirituales coexisten en armon&iacute;a."}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["ff02bc82-4c0c-4b30-9b69-9795254ca91e"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "acb0a423-cf06-4cc3-848b-d08f75e63f74", "provisionaledits": null, "resourceinstance_id": "3b725fde-c3d3-4ad6-8405-87410af64db6", "sortorder": 0, "tileid": "4f71a612-1f0c-4680-8e1e-e2f781e46713"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Este patrimonio se encuentra en la Nominaci&oacute;n Nacional."}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": 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"261e8aaa-35b8-4538-a135-2bbf238be027", "sortorder": 0, "tileid": "d650f178-83a1-4bff-9964-1760190ee63f"}, {"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Se desarroll&oacute; en los llanos y valles del oriente boliviano, especialmente en los departamentos de Beni y Santa Cruz. Su nombre proviene del vocablo quechua &ldquo;taquiy&rdquo;, que significa tocar o golpear, haciendo referencia al ritmo, y con el tiempo se consolid&oacute; como un g&eacute;nero musical y una danza representativa de la identidad cultural oriental.</p>\n"}}, "ef13f396-0909-11f0-8147-0242ac120006": "1e6eebde-6030-4f7e-ab6b-4730bb3dee9a"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "d650f178-83a1-4bff-9964-1760190ee63f", "provisionaledits": null, "resourceinstance_id": "261e8aaa-35b8-4538-a135-2bbf238be027", "sortorder": 0, "tileid": "3a49377a-d5bc-473e-9c76-cf0c0b6d3fc0"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Se baila en pareja suelta y enfrentada, destacando el cortejo como elemento central. La coreograf&iacute;a se caracteriza por movimientos ligeros, giros r&aacute;pidos, zapateos suaves y desplazamientos fluidos, acompa&ntilde;ados del uso de pa&ntilde;uelos que se agitan con gracia para reforzar el juego de seducci&oacute;n entre el var&oacute;n y la mujer.&nbsp;El vestuario var&iacute;a seg&uacute;n la regi&oacute;n, pero suele resaltar la identidad oriental con elementos como sombreros de ala ancha, blusas coloridas y faldas amplias en las mujeres, camisas blancas o coloridas en los hombres.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "d650f178-83a1-4bff-9964-1760190ee63f", "provisionaledits": null, "resourceinstance_id": "261e8aaa-35b8-4538-a135-2bbf238be027", "sortorder": 0, "tileid": "0cce72f3-4592-4443-9849-8b3658af905e"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cuentan con un ritmo alegre y r&aacute;pido en comp&aacute;s binario (2/4). Su m&uacute;sica es interpretada con instrumentos como guitarra, charango, bombo, flauta, viol&iacute;n, acorde&oacute;n y, en versiones modernas, instrumentos de viento y percusi&oacute;n. Las letras son&nbsp;po&eacute;ticas, sencillas y emotivas, que abordan temas como el amor, la nostalgia por la tierra natal, la alegr&iacute;a de vivir, la naturaleza del oriente boliviano y el orgullo regional."}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["e82da632-a03e-4d22-be0d-53fb870c0e6c", "2b507e22-b2e4-4781-b7be-3b9b2ef3f631"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["b2b1587f-8eac-4bcd-81c0-16e0747fa991", "b34bf7f9-897a-4a02-9214-457ba3ed2bf4"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["c174350c-c06f-4baa-b786-a42a7075be64"], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": true}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "d650f178-83a1-4bff-9964-1760190ee63f", "provisionaledits": null, "resourceinstance_id": "261e8aaa-35b8-4538-a135-2bbf238be027", "sortorder": 0, "tileid": "4c708051-bdfb-4a53-ad50-dbe7bebc502f"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Este patrimonio se encuentra en la Nominaci&oacute;n Nacional."}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "261e8aaa-35b8-4538-a135-2bbf238be027", "sortorder": 0, "tileid": "d18a3167-1b4e-4ce8-9388-d1e9b1b07ade"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": null, "e2247e94-1fde-11f0-a8a9-b3355d3a2630": "Ley 210 / 15 de diciembre de 2011"}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "261e8aaa-35b8-4538-a135-2bbf238be027", "sortorder": 0, "tileid": "4a0bdb84-a1da-4866-9909-e9a67b9410cb"}]}, {"resourceinstance": {"createdtime": "2025-07-10T09:48:19.738", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-000000-00-00-000007, "}, "es": {"description": "Danza de los \u201cJalq\u2019as\u201d", "map_popup": "Nacional", "name": "PI-000000-00-00-000007, Danza de los \u201cJalq\u2019as\u201d"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-000000-00-00-000007, Danza de los \u201cJalq\u2019as\u201d", "principaluser_id": 16, "resourceinstanceid": "30a06f9c-70a2-4163-bb99-7d997f976306", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "a9c65048-6928-4580-bd7b-b499e41a163d", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '000000', 'num': '000007'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["a9c65048-6928-4580-bd7b-b499e41a163d"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "30a06f9c-70a2-4163-bb99-7d997f976306", "sortorder": 0, "tileid": "99fcd3f1-ff5c-4677-87fd-e1aa7490dd76"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La danza de los Jalkas incluyen su evoluci&oacute;n de una expresi&oacute;n agr&iacute;cola y de crianza de ganado a una representaci&oacute;n folkl&oacute;rica de la conexi&oacute;n con la tierra y la resistencia cultural, integrando vestimentas, estilos de danza y simbolismos que reflejan la alegr&iacute;a del campo y las labores tradicionales, y que actualmente se difunde y representa en otros contextos, mostrando la riqueza cultural boliviana.&nbsp;"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "a5260513-16a6-441d-838d-29a59bc6a661", "provisionaledits": null, "resourceinstance_id": "30a06f9c-70a2-4163-bb99-7d997f976306", "sortorder": 0, "tileid": "3c9dfb42-c349-4b88-93dc-d3ee348a191f"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Representa la vida agr\u00edcola y la conexi\u00f3n con la tierra, la representaci\u00f3n de la unidad y el amor puro entre el hombre y la mujer a trav\u00e9s del trabajo conjunto, la riqueza de su simbolismo cultural y de identidad propia de Potos\u00ed, as\u00ed como la belleza de su vestimenta, que combina elementos de tradici\u00f3n y funcionalidad para el trabajo agr\u00edcola. 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Esta danza surge como parte de un complejo sistema de rituales comunitarios agr&iacute;colas y espirituales, vinculados a la cosmovisi&oacute;n andina."}}, "ef13f396-0909-11f0-8147-0242ac120006": "3afc67a2-b79f-4648-bbec-bb0c7cfb39ff"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "a5260513-16a6-441d-838d-29a59bc6a661", "provisionaledits": null, "resourceinstance_id": "30a06f9c-70a2-4163-bb99-7d997f976306", "sortorder": 0, "tileid": "f036a1e3-9119-4ee7-a80c-edc9795bf343"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Caracterizada por movimientos intensos, r&iacute;tmicos y &aacute;giles. Los danzantes realizan saltos, giros bruscos, desplazamientos en zigzag y pasos marcados, simulando la fuerza de los cerros y los esp&iacute;ritus tutelares, con una postura corporal encorvada y din&aacute;mica que evoca lucha y resistencia. Llevan m&aacute;scaras y tocados, visten ponchos y prendas de lana tejidas con figuras abstractas en tonos oscuros.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "a5260513-16a6-441d-838d-29a59bc6a661", "provisionaledits": null, "resourceinstance_id": "30a06f9c-70a2-4163-bb99-7d997f976306", "sortorder": 0, "tileid": "30e3ec5e-3bff-4d29-9ad1-70ea38a02b30"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Est&aacute; profundamente enraizada en la visi&oacute;n andina del mundo, en la concepci&oacute;n de los tres niveles de existencia: el Alax Pacha, el Aka Pacha y el Ukhu Pacha. 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Suelen estar estructuradas en estrofas cortas y&nbsp;con un lenguaje sencillo."}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "b6439ded-fb7f-49c4-b44d-2ad9fad3f445", "provisionaledits": null, "resourceinstance_id": "65cdf479-909f-4104-b935-02301e4d5980", "sortorder": 0, "tileid": "9309b7bc-de02-4ca8-b251-baff237b1be4"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Este patrimonio se encuentra en la Nominaci&oacute;n Nacional."}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "65cdf479-909f-4104-b935-02301e4d5980", "sortorder": 0, "tileid": "5732383c-74db-4415-8486-caca5a61e3cd"}, {"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2bcc4a60-38fd-4fe2-b662-1a9a38b43a90", "resourceXresourceId": "99c7b934-b319-4a21-9a97-e7900e1580e5"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "65cdf479-909f-4104-b935-02301e4d5980", "sortorder": 0, "tileid": "7a82a019-82e7-4650-b88f-842f24a813df"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:46.040", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000037, "}, "es": {"description": "Historia de vida del Presidente de la danza el Santo Barco del barrio Pompeya. 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Daniel Yumo \u2013 Ciudad Trinidad Beni"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": null}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "9c4a310b-51c1-41c3-bc67-ba63ca97ce33", "sortorder": 0, "tileid": "6181af1b-3fb5-4a4e-9f0c-6aca1c0f5705"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "9c4a310b-51c1-41c3-bc67-ba63ca97ce33", "sortorder": 0, "tileid": "00935c7d-d3d0-4dc1-8c2a-0287cef97584"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["d0287987-aee9-4beb-b917-a8f28fbe721f"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>HISTORIA DE VIDA DEL PRESIDENTE DE LA DANZA EL SANTO BARCO DEL BARRIO POMPEYA. DANIEL YUMO</strong></p>\n\n<p>&nbsp;</p>\n\n<p>Cuando yo empec&eacute; ten&iacute;a 3 a&ntilde;itos ten&iacute;a. Comenc&eacute; a bailar los angelitos. Hasta 1970 y cuando yo me fui al cuartel ser&iacute;a el 71 [1971] ten&iacute;a un a&ntilde;o en el cuartel estaba con la guerrilla y todo eso. Dos a&ntilde;os estuve en el cuartel y dej&eacute;. Antes de eso estuve bailando con el conjunto de la hermandad cuando iban a Loreto y ah&iacute;&hellip; en Loreto. Yo bailaba era changuito ya y bail&eacute; muchos a&ntilde;os de ah&iacute; me sal&iacute; y me comenc&eacute; a dedicar a bailar en las mam&aacute;s y los toritos. De ah&iacute; estaba&hellip; ten&iacute;a el grupo de mamas y&hellip;&nbsp; yo dec&iacute;a yo tengo el grupo y me buscaban y ten&iacute;a las mam&aacute;s y era mi amigo. Como ten&iacute;a amigos uno se consigue, es dif&iacute;cil seguir como estamos ahora, pero les gustaba la danza y todo.</p>\n\n<p>&nbsp;</p>\n\n<p>Ten&iacute;a su oficina en la alcald&iacute;a [En Loreto] y me dec&iacute;a qu&eacute; quiere hacer, yo quiero reunir a las mam&aacute;s y los toritos le dec&iacute;a y e ir a Loreto. Ya me&hellip; ya me dieron la tela y otro para cascabeles y me dec&iacute;an cu&aacute;nto necesitas, vale tanto poner cascabeles. Pintar la tela y les dec&iacute;a a las mamas, hab&iacute;a solo cuatro mamas. Yo cos&iacute; la tela en un ratico, cos&iacute; cuatro, hicieron su tipoy ahora vamos a ir a Loreto les dec&iacute;a y viene el alcalde Loreto, m&aacute;s bien lo invit&eacute; en Yacuma, me fui y lo busqu&eacute; y reci&eacute;n. A qui&eacute;n busca ahora yo dec&iacute;a al alcalde de Loreto, est&aacute; sentado ah&iacute; y me dec&iacute;a entra me dec&iacute;an y unos d&iacute;as,&nbsp; habl&eacute; con el alcalde y &eacute;l me dijo ustedes tienen, hoy tus mamas, s&iacute; le dije y que yo pregunt&eacute;, si podemos ir a Loreto en la fiesta. C&oacute;mo no, pues me dice una maravilla me dijo que lleves tus toritos y tus mamas all&aacute;, te voy a dar comida y ya todo me dio alojamiento.</p>\n\n<p>&nbsp;</p>\n\n<p>Ah&iacute; estuve alojado con las mam&aacute;s y los toritos yo all&aacute;. Yo pago busca una camioneta y nos fuimos eran 15 personas que fuimos a Loreto y fuimos y&hellip;&nbsp; y este era el a&ntilde;o 1970&hellip;&nbsp; fue el a&ntilde;o 1966 fuimos a Loreto en la noche, a este tiempo hab&iacute;a. Los Loretanos nos llevaban caf&eacute; con empanada, cu&ntilde;apes, nos atend&iacute;an bien, ten&iacute;amos desayuno, almuerzo nos trataban bien en la tarde ya nos venimos en la misma camioneta y nos daban para la sodita.</p>\n\n<p>&nbsp;</p>\n\n<p>Al siguiente a&ntilde;o tuve cuatro m&aacute;s, ya ten&iacute;a ocho mamas y ocho toritos iba avanzando as&iacute;. A Loreto vamos todos los a&ntilde;os pero solo estos &uacute;ltimos dos a&ntilde;os ya no vamos. La verdad es que mucha preocupaci&oacute;n ten&iacute;a y no me dio tiempo para hablar con la alcaldesa. Era masista la alcaldesa y ya tomamos una camioneta y nos fuimos llegamos all&aacute; y le dije que quer&iacute;amos venir con los toritos y las mamas, y me dijo no tenemos plata para darle, as&iacute; me dijo la alcaldesa ni modo pues. Despu&eacute;s me fui con el sacerdote el Padre Tori, le dije que iba a venir y la esa se&ntilde;ora no quiere y le dije, vamos a buscarle c&oacute;mo hacer. En eso, no nos dio desayuno, almuerzo y escena ahora le est&aacute;n haciendo proceso por la carretera asfaltada no hizo y hay un tramo que se ha faltado del puente hasta Tajar&eacute; y ese pedazo no hay, es de tierra no es carretera asaltado de eso es.</p>\n\n<p>&nbsp;</p>\n\n<p>Eso es su proceso y el padre y lo mismo, eso fue el a&ntilde;o pasado, que estaban haciendo el proceso porque cada mes de octubre va la gente para las l&aacute;grimas y la gente pone ficha [dinero] a la alcanc&iacute;a 10 pesos, 20, 50, 100 pesos as&iacute; ponen se hace harto y si, nunca rindieron cuentas.</p>\n\n<p>&nbsp;</p>\n\n<p>Y el padre estaba preocupado porque iba a haber proceso se subi&oacute; a su cuarto se ech&oacute; y luego la gente no levantaba. Se muri&oacute; el Padre, yo creo que le dio ataque card&iacute;aco. Les iban a hacer proceso porque era hasta plata y la capilla igual segu&iacute;a. Igual no hab&iacute;a nada y no quer&iacute;a ayudar en nada, luego el comentario de la gente aqu&iacute; mis padres pues preso, toda la plata le da al hombre, yo nunca le di nada y Loreto tiene su estancia de ganado y ya le estaba acabando y ah&iacute; le pararon ya eran dos cosas que ten&iacute;a que arreglar en la carretera y de la estancia y era un proceso.</p>\n\n<p>&nbsp;</p>\n\n<p>Ya bailaba toritos con los Loretanos y dej&eacute; de bailar torito me junt&eacute; con ella [refiere a su esposa] y bailaba toritos, pero a ella no le gusta. [Interviene su esposa], pero yo [su esposa dice] yo estoy aprendiendo todas esas cosas que &eacute;l dice.</p>\n\n<p>&nbsp;</p>\n\n<p>Daniel dice, ah&iacute; se dice hasta que&hellip; hasta que le colaboraba el Cabildo, bailaba el Barco tambi&eacute;n y dej&eacute; de bailar. Antes de sacar el Barco yo viv&iacute;a en la calle Bol&iacute;var y hab&iacute;a una lluvia como esta ma&ntilde;anita, mi t&iacute;a me dice no quieres tomar un traguito, ya pues t&iacute;a, le dije y era calientito. Ya lleg&oacute; su marido me dice, ni&ntilde;o antes que tomemos trago te voy a entregar este libro [Es un cuaderno de la historia de&nbsp; la danza el Santo Barco] aqu&iacute; est&aacute; el canto de esa &eacute;poca, te lo doy me dijo y usted va sacar, a ti te gusta bailar. &Eacute;l era Casimiro Noe Yuco, me lo dio.</p>\n\n<p>&nbsp;</p>\n\n<p>Y empec&eacute; a sacar el barco hasta ahorita como tiene 34 a&ntilde;os y sigo todav&iacute;a. A m&iacute; no me la cuentan de los toritos, las mam&aacute;s, los macheteros, yo se&hellip; &nbsp;la s&eacute; todas de aqu&iacute; nom&aacute;s nunca he peleado con el Cabildo, nunca nada. Eran ellos el corregidor me dice me hizo llamar, para que no haya problemas, quer&iacute;a sacarme la multa de 300 bolivianos, y yo le dije c&oacute;mo es esto, por qu&eacute; tengo que pagar 300. Era Juan Noco y me dijo usted tiene porque pagar, igual Juan Noco dijo d&eacute;jalo ah&iacute;, me dijo.</p>\n\n<p>&nbsp;</p>\n\n<p>Y fui a la casa de la cultura y fui a la casa de la cultura, &eacute;l era mi amigo me dice, pas&aacute; a ver qu&eacute; hay y me dijo est&aacute;n mal estos taitas, &nbsp;y &eacute;l me dio en cuenta, eso vos vas a bailar aqu&iacute; en Trinidad. El que puede sacar el Barco y nada es prohibido y no es prohibido sacar, puede sacar, as&iacute; que estate tranquilo. Saqu&eacute; el Barco y se acab&oacute; y pues en el a&ntilde;o 2000, despu&eacute;s de los tres a&ntilde;os que saqu&eacute; ya ten&iacute;a delante el Barco. Luego pas&oacute; que se me dio, uno muri&oacute;, el otro y luego ya que eso, &nbsp;yo ya pod&iacute;a sacar el barco</p>\n\n<p>&nbsp;</p>\n\n<p>Ahora hay otro proyecto, [con al Alcald&iacute;a] me mostr&oacute; es mucha plata, para ella sola. Vamos a presentar, pod&iacute;a hablar con el primero dice, que tiene su casa al lado del aeropuerto. Yo le dije que quiero para m&iacute; galp&oacute;n, todo eso que presenta otro proyecto entregues mi un hijo, para 150 mil bolivianos. Se llev&oacute; con carta y hacer un tinglado por sus paredes de madera, de ladrillo no es una construcci&oacute;n le dije, es de la madera. Yo lo puedo hacer todo y me dijo ella, la licenciada de ah&iacute;, esto va, espera dice ella que pueda realizarse y despu&eacute;s ya con eso hay ajustes. Entonces lo van aprobar puede ser el siguiente a&ntilde;o para el 2025 ya van hacer el galp&oacute;n.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "00935c7d-d3d0-4dc1-8c2a-0287cef97584", "provisionaledits": null, "resourceinstance_id": "9c4a310b-51c1-41c3-bc67-ba63ca97ce33", "sortorder": 0, "tileid": "72589d52-25e5-430d-af51-1b65a43840e6"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El cargo de organizador o presidente de una danza es de por vida. Esta figura no ha cambiado. Se considera que las personas que asumen un cargo permanente, implica un conocimiento y la responsabilidad de velar por todos los aspectos para la realizaci&oacute;n de la pr&aacute;ctica.&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "00935c7d-d3d0-4dc1-8c2a-0287cef97584", "provisionaledits": null, "resourceinstance_id": "9c4a310b-51c1-41c3-bc67-ba63ca97ce33", "sortorder": 0, "tileid": "029b7a7a-cb53-4a60-b656-905d8580fb44"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El asignar cargos permanentes o heredarlos a los hijos, hace que la pr\u00e1ctica tambi\u00e9n sea permanente, de esta manera se conserva la tradici\u00f3n y garantiza la continuidad en el tiempo. Implica cierta estabilidad de la representaci\u00f3n cultural. Conduce a cohesionar a los integrantes de la pr\u00e1ctica, m\u00fasicos, bailarines, ayudantes, otras autoridades como los Alcaldes. Adem\u00e1s se coordinar de mejor manera la actividad con el Cabildo.  El asumir un cargo permanente asegura que no haya interrupciones en la organizaci\u00f3n ello ayuda a mantener la continuidad de las actividades.  Los organizadores se convierten en mentores para la ense\u00f1anza de la expresi\u00f3n. Son veh\u00edculos de ejemplo del ejercicio del compromiso, lo que motiva en el futuro que otras personas asuman los cargos. Ellos son respetados y se valora su presencia en la comunidad. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "00935c7d-d3d0-4dc1-8c2a-0287cef97584", "provisionaledits": null, "resourceinstance_id": "9c4a310b-51c1-41c3-bc67-ba63ca97ce33", "sortorder": 0, "tileid": "bff3e139-c0f7-4abf-bd7e-0d648015e0ea"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Al ser un cargo de por vida, cuando no se pasa a otra personas, se pierde los conocimientos y la transmisi&oacute;n de una vida de experiencia. Los organizadores no comunican a tiempo situaciones de enfermedad, o el Cabildo no ha previsto el cambio, por otro lado se puede dar que las personas vistas para reemplazar no quieran asumirlo.</p>\n\n<p>Es necesario trabajar en fortalecer el valor del Compromiso, obligaciones y derechos de los comunarios.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "00935c7d-d3d0-4dc1-8c2a-0287cef97584", "provisionaledits": null, "resourceinstance_id": "9c4a310b-51c1-41c3-bc67-ba63ca97ce33", "sortorder": 0, "tileid": "733075d1-8edc-4574-b873-1ec6b7af13c4"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de los conocimientos de la organizaci&oacute;n se realiza oralmente. No existen documentos escritos. Se aprende durante mediante dos fuentes, una en la reuni&oacute;n previa a los ensayos, y otra durante el periodo realizaci&oacute;n de la pr&aacute;ctica.</p>\n\n<p>Durante la reuni&oacute;n o reuniones para la organizaci&oacute;n se va desglosando uno a uno los elementos necesarios para ello. Los m&uacute;sicos, los bailarines, la ropa, las decisiones sobre la ruta de las invitaciones, quienes encabezan la tropa, entre otros.</p>\n\n<p>Durante la pr&aacute;ctica los significados de la vestimenta, la coreograf&iacute;a, el orden de los bailarines, entre otros.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "00935c7d-d3d0-4dc1-8c2a-0287cef97584", "provisionaledits": null, "resourceinstance_id": "9c4a310b-51c1-41c3-bc67-ba63ca97ce33", "sortorder": 1, "tileid": "6ba0551a-755b-409b-a1f6-803c1c9f0c76"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "9c4a310b-51c1-41c3-bc67-ba63ca97ce33", "sortorder": 0, "tileid": "4debfde6-70ba-489c-8ea2-5326acaefea6"}, {"data": 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"8749232b-ddd5-479f-91b5-5ec51ac8146f", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '06', 'codsA': '00', 'grp_eta': 10100, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Saya Afro boliviana"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-020000-00-00-000007", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "ee157c55-5693-47d3-aac8-1e1292aafe21", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Danza de la Saya Afro boliviana"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Danza de la Saya Afro boliviana"}}, "e49ce876-08de-11f0-bf5d-0242ac120006": ["f425392e-6399-4440-a432-f07a4f65e4d5"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "8749232b-ddd5-479f-91b5-5ec51ac8146f", "sortorder": 0, "tileid": "a445af4b-3721-47a2-91ef-7bb18edd7902"}, {"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La tradicional Saya Afro boliviana se caracteriza por ser una danza con fuerte arraigo de percusi&oacute;n y la interpretaci&oacute;n de coplas, que fusiona ritmos africanos con influencias espa&ntilde;olas y aymaras. Su vestimenta, que resalta el movimiento de las faldas o polleras de las mujeres en color blanco y vivos bordados en l&iacute;nea de colores fuertes, refleja la mezcla cultural. Se protagoniza por la participaci&oacute;n colectiva, los instrumentos como el tambor, el sobre tambor y el ganginco (tipo de tambor, el m&aacute;s peque&ntilde;o dentro de la secci&oacute;n de percusi&oacute;n de la Saya afro boliviana y se utiliza para marcar ritmos m&aacute;s agudos o espec&iacute;ficos dentro de la pieza.) narran historias y expresan la memoria colectiva, la s&aacute;tira, lo social, lo pol&iacute;tico y lo cotidiano de la comunidad afro boliviana.&nbsp;</p>\n\n<p>Tiene base de ritmos africanos combinados con elementos de la regi&oacute;n donde se origin&oacute;.</p>\n\n<p>Los instrumentos de percusi&oacute;n son el coraz&oacute;n de la m&uacute;sica de la saya y es el tambor, pero tambi&eacute;n se utilizan el sobre tambor, el requinto (El requinto es un tipo de tambor, es decir, un membran&oacute;fono, que se toca golpe&aacute;ndolo para crear su sonido).&nbsp; y el ganginco, con el tambor mayor marcando el ritmo.</p>\n\n<p>Las mujeres suelen utilizar cascabeles en sus pies, que suenan con sus movimientos y son un llamado a la reuni&oacute;n. Mientras los hombres y mujeres interpretan coplas que abordan una variedad de temas. Las letras podr&iacute;an ser sat&iacute;ricas, metaf&oacute;ricas, hist&oacute;ricas, sociales, pol&iacute;ticas o reflejar la vida cotidiana, las alegr&iacute;as y las penas de la comunidad.</p>\n\n<p>Los hombres usan sombrero, una pa&ntilde;oleta de seda al cuello, camisa de fiesta, una faja aymara, pantal&oacute;n blanco de bayeta con cintas y ojotas o abarcas en los pies.</p>\n\n<p>&nbsp;</p>\n"}}, "ef13f396-0909-11f0-8147-0242ac120006": "a445af4b-3721-47a2-91ef-7bb18edd7902"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "9a650cf6-91f3-433d-8da5-c70185f16bc4", "provisionaledits": null, "resourceinstance_id": "8749232b-ddd5-479f-91b5-5ec51ac8146f", "sortorder": 0, "tileid": "b76c5379-0843-442d-ac48-61708dab1142"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se protagoniza por la participaci&oacute;n colectiva, los instrumentos como el tambor, el sobre tambor y el ganginco (tipo de tambor, el m&aacute;s peque&ntilde;o dentro de la secci&oacute;n de percusi&oacute;n de la Saya afro boliviana y se utiliza para marcar ritmos m&aacute;s agudos o espec&iacute;ficos dentro de la pieza.) narran historias y expresan la memoria colectiva, la s&aacute;tira, lo social, lo pol&iacute;tico y lo cotidiano de la comunidad afro boliviana.&nbsp;"}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["c91e0e0a-a043-40c1-a39f-b6a78ede8eff"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": null, "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["c174350c-c06f-4baa-b786-a42a7075be64"], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": true}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "9a650cf6-91f3-433d-8da5-c70185f16bc4", "provisionaledits": null, "resourceinstance_id": "8749232b-ddd5-479f-91b5-5ec51ac8146f", "sortorder": 0, "tileid": "7a0cb214-39a8-4526-9ce4-716fe1cbeeaa"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Al haber sido declarada como Patrimonio Hist&oacute;rico Cultural e Inmaterial del Estado Plurinacional de Bolivia a la expresion art&iacute;stica cultural viva &quot;Saya Afro boliviana&quot;, tiene una alta responsabilidad estatal y de la poblaci&oacute;n en la difusi&oacute;n, y preservaci&oacute;n del patrimonio cultural. En ese entendido aun hace fal&ntilde;ta mucha acciones en su salvaguardia tanto del origen yy el sentido social hist&oacute;rico del la danza y la musica. La concientizaci&oacute;n de las expresiones caracteristicas de la saya deben ser claramente expuestos en cuanto a su significado historico y cultural."}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "8749232b-ddd5-479f-91b5-5ec51ac8146f", "sortorder": 0, "tileid": "27ec4f53-5022-493c-8905-14252ce543a4"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [[[-69.17415995951633, -15.388778759337441], [-67.97222346854478, -16.493888061239872], [-67.04937190604437, -16.40959580951271], [-65.86284846854477, -17.08289687104336], [-63.84136409354416, -16.998865013489805], [-63.78986739023395, -16.66236229042056], [-64.9587254358435, -16.600142252829784], [-65.86783724909445, -16.600142252829784], [-66.22498831858653, -16.101662209754068], [-67.03669529470403, -15.382907283525341], [-67.9133388289105, -14.787271092437024], [-68.46529957267012, -14.315871233577013], [-68.75751408407251, -14.158516063378329], [-69.34194310687727, -14.975546648746587], [-69.17415995951633, -15.388778759337441]]], "type": "Polygon"}, "id": "2d699157f88ae16ef0bb49faaca31cc2", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": "d7543d7f-abcb-41c7-9e10-594df904b8b7", "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "50d9a7aa-2c33-497e-bcf6-fb6be0ee3923", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '020000', 'num': '000030'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["50d9a7aa-2c33-497e-bcf6-fb6be0ee3923"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "8749232b-ddd5-479f-91b5-5ec51ac8146f", "sortorder": 0, "tileid": "952c3b72-2941-413b-aa4f-a764399f2f3b"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Saya Afroboliviana es una tradicion que se hereda de generacion en generacion."}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "9a650cf6-91f3-433d-8da5-c70185f16bc4", "provisionaledits": null, "resourceinstance_id": "8749232b-ddd5-479f-91b5-5ec51ac8146f", "sortorder": 0, "tileid": "055e2df8-0307-4e7b-a531-feae7cc17721"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "e2247e94-1fde-11f0-a8a9-b3355d3a2630": "ley 138 de 14 de junio de 2011"}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "8749232b-ddd5-479f-91b5-5ec51ac8146f", "sortorder": 0, "tileid": "8f590706-b4dd-4cd3-bb58-f52e54fa919d"}, {"data": {"833a0f0a-1fe0-11f0-a8a9-b3355d3a2630": "La tradicional Saya Afro boliviana se caracteriza por ser una danza con fuerte arraigo de percusi\u00f3n y la interpretaci\u00f3n de coplas, que fusiona ritmos africanos con influencias espa\u00f1olas y aymaras. 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Las letras podr&iacute;an ser sat&iacute;ricas, metaf&oacute;ricas, hist&oacute;ricas, sociales, pol&iacute;ticas o reflejar la vida cotidiana, las alegr&iacute;as y las penas de la comunidad."}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "9a650cf6-91f3-433d-8da5-c70185f16bc4", "provisionaledits": null, "resourceinstance_id": "8749232b-ddd5-479f-91b5-5ec51ac8146f", "sortorder": 0, "tileid": "c9433819-7b4c-4533-aff3-1e75f877f956"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Danza con fuerte arraigo de percusi&oacute;n y la interpretaci&oacute;n de coplas, que fusiona ritmos africanos con influencias espa&ntilde;olas y aymaras."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": 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"value": ""}, "es": {"direction": "ltr", "value": "P&eacute;rdida de su car&aacute;cter ritual y de cortejo debido a la incorporaci&oacute;n en desfiles folcl&oacute;ricos con acompa&ntilde;amiento de bandas modernas, la posible degradaci&oacute;n de sus elementos aut&eacute;nticos por la presi&oacute;n de la comercializaci&oacute;n tur&iacute;stica y la falta de investigaci&oacute;n para diferenciarla de variantes peruanas, dado que la danza peruana ya es Patrimonio de la Humanidad.&nbsp;"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "cb5338cf-f944-41e6-93c8-cc359da61283", "provisionaledits": null, "resourceinstance_id": "df10ce96-81c6-4fd9-bdbd-8614557fbc5f", "sortorder": 0, "tileid": "6ca582b0-8ab7-4f2e-8b24-11845b652250"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "df10ce96-81c6-4fd9-bdbd-8614557fbc5f", "sortorder": 0, "tileid": "2251cfd0-dc97-457a-b4ff-48ec3f2afe46"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '06', 'codsA': '00', 'grp_eta': 10100, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se basa en un ritual ind\u00edgena vinculado a la caza de perdices y la solicitud de lluvia"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-000000-06-00-000002", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "838a4b6b-068a-41db-9eed-3542659d4836", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Declara Patrimonio Cultural Inmaterial del Etsado Plurinacional de Bolivia a la ritualidad del \"Wititi\", expresada a trav\u00e9s  de su indumentaria, m\u00fasica, danza, coreograf\u00eda y vestuario."}}, 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Esta vinculada a un ritual de caza de la perdiz, y por su compleja vestimenta con mallkus (hombres vestidos de autoridades comunarias) y &quot;se&ntilde;oritas&quot; (hombres travestidos de mujeres con m&uacute;ltiples polleras).&nbsp;La danza se acompa&ntilde;a con m&uacute;sica de instrumentos andinos y bandas, y se distingue por el uso de l&aacute;tigos y caretas en los participantes, formando un ritual festivo de cortejo y celebraci&oacute;n.&nbsp;"}}, "ef13f396-0909-11f0-8147-0242ac120006": "b859afa0-966a-4ba9-9abe-0153c74a2d00"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "cb5338cf-f944-41e6-93c8-cc359da61283", "provisionaledits": null, "resourceinstance_id": "df10ce96-81c6-4fd9-bdbd-8614557fbc5f", "sortorder": 0, "tileid": "b7ecc41b-b34f-4dc4-bb40-9f3418c6cc7c"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<ul>\n\t<li>Se acompa&ntilde;a con instrumentos de viento como los&nbsp;<a href=\"https://www.google.com/search?rlz=1C1UUXU_esBO1043BO1043&amp;cs=0&amp;sca_esv=184b5e68f8bfca7f&amp;sxsrf=AE3TifMbRdF6CKmLthBGYfj6jtKIHUsKag%3A1758736692537&amp;q=pinkillos&amp;sa=X&amp;ved=2ahUKEwj4oqve_PGPAxV9RLgEHXj_C9EQxccNegQILRAB&amp;mstk=AUtExfDq6o69VTSGGV4AOLEdepwTSm7O_2qRgb0SDc26AiKR6-Wf-5qRO00WK4P_fYPxCjdO5hOEvIgycPFd38b7lPr1tWqNqlBIOOgDqKxVzAxzgkHsFJEuWFFWs4hjz7ftS6Ntdn7MbCssgkVcvrSVvORCNBhCWdAVxKi98u-kN9JVSXyadcXejhvE95qezZyxK4XRicpcdJwKgm7G3dK1CbevtpLDZPH8F17OoYKoTkDZQo4jIedgtLgcNr6B4bgER-YgPXyTngZEOUNHxyhZOuFs&amp;csui=3\" target=\"_blank\">pinkillos</a>.&nbsp;</li>\n</ul>\n"}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": null, "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["ca527379-d007-4fca-b2a9-eb49513e8dc6"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["c174350c-c06f-4baa-b786-a42a7075be64"], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": true}, "nodegroup_id": 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Por lo cual su transmision se realiza mediante generacion a generaci&oacute;n en las tradicionales festividades diversas del pais.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "356eca42-35ab-4dcb-b0cf-f520d053d55a", "provisionaledits": null, "resourceinstance_id": "8565f48d-d2e7-4049-83b2-a161fd068cc9", "sortorder": 0, "tileid": "1d5d2709-204a-4604-ac4b-07baf07ba39b"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Su evoluci&oacute;n de una recreaci&oacute;n callejera a un ballet de escenario formal, la incorporaci&oacute;n de elementos de la danza de los Chunchus de Tarija, y la evoluci&oacute;n musical con la transici&oacute;n de una banda de pinquillos a bandas de bronce.&nbsp;"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "356eca42-35ab-4dcb-b0cf-f520d053d55a", "provisionaledits": null, "resourceinstance_id": 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de m&uacute;sica vibrante.&nbsp;</p>\n"}}, "ef13f396-0909-11f0-8147-0242ac120006": "ec6720e0-7f1f-4b41-bdae-7dbba206d290"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "356eca42-35ab-4dcb-b0cf-f520d053d55a", "provisionaledits": null, "resourceinstance_id": "8565f48d-d2e7-4049-83b2-a161fd068cc9", "sortorder": 0, "tileid": "efe3295c-3d6c-43c9-bfbd-d96180a24701"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La din\u00e1mica de la danza y su capacidad para transmitir su rico mosaico socio cultural."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "356eca42-35ab-4dcb-b0cf-f520d053d55a", "provisionaledits": null, "resourceinstance_id": "8565f48d-d2e7-4049-83b2-a161fd068cc9", "sortorder": 0, "tileid": "2a5d2294-4321-42cc-91e0-0503c30fdbc2"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": null, 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"es": {"direction": "ltr", "value": "<p>Destaca por sus saltos espectaculares, giros r&aacute;pidos y movimientos de puntillas, reflejando la agilidad y destreza en la cacer&iacute;a y la batalla.&nbsp;</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "356eca42-35ab-4dcb-b0cf-f520d053d55a", "provisionaledits": null, "resourceinstance_id": "8565f48d-d2e7-4049-83b2-a161fd068cc9", "sortorder": 0, "tileid": "4975928e-d0a3-4a6c-b065-8a467e9fbef1"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "En un sentido m&aacute;s amplio, y aunque no se especifican amenazas culturales o sociales en los resultados, su riesgo est&aacute; en el desgaste de sus elementos esenciales si no se practica con la atenci&oacute;n debida, como ocurre con cualquier tradici&oacute;n cultural.&nbsp;"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": 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"3ebbe28c-9cc0-45bb-bd55-4ab8a4e9a80a"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<h2><strong>Descripcion por d&iacute;as de las actividades de Semana Santa</strong></h2>\n\n<hr />\n<p><strong>VIERNES DE DOLORES</strong></p>\n\n<p>Este d&iacute;a, se coloca la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, como se&ntilde;al de inicio de la Semana Santa, y se celebra la misa.</p>\n\n<p>Posteriormente a la celebraci&oacute;n de la misa se realiza la procesi&oacute;n de la Virgen Dolorosa.</p>\n\n<p><strong>Misa y Procesi&oacute;n de la Virgen Dolorosa - 20:00&nbsp; </strong></p>\n\n<p><strong>Lugar</strong><strong>:</strong> Se realiza en el templo y luego en la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar.</p>\n\n<p>A los pies de Cristo esta San Juan ap&oacute;stol.</p>\n\n<p>La imagen de la Dolorosa, sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos esta en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La imagen del Cristo de la Misericordia, con faldilla negra con decoraciones plateadas, protegido por un baldaquino, profusamente ornamentado con cintas de color azul, morado, negro y plateado.</p>\n\n<p>La Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino ornamentado con telas de todos los colores.</p>\n\n<p>San Juan, con t&uacute;nica roja y manto color ciruela, con nimbo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Mamitas abadesas, Coro Musical Sargentos jud&iacute;os, Hermanos de la Pasi&oacute;n de Cristo Coro del templo, alzadoras, pueblo en general.</p>\n\n<p><strong>Vestimenta de los participantes</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana morada y sobrepelliz blanco; monaguillos, de blanco, rojo y azul; el Cabildo indigenal, con camijetas, sombreros y bastones; las Mamitas abadesas de blanco y morado; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; el Coro Musical, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo, con pantal&oacute;n negro y camisa blanca.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera morada, la porta un representante del Cabildo Indigenal.</p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; morado, la porta un Sacrist&aacute;n.</p>\n\n<p>Cruz negra con flores blanca y pa&ntilde;o blanco, portada por un Sargento Jud&iacute;o.</p>\n\n<p>Cruz de madera con flores blancas, portada por un Hermano de la Pasi&oacute;n de Cristo.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a una grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetados a un palo de madera, llevado por el encargado, cerca de la imagen de la Virgen Dolorosa.</p>\n\n<p>La banda toca durante la procesi&oacute;n.</p>\n\n<p>El Coro Musical interpreta canciones religiosas</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa y luego la imagen de la Virgen Dolorosa sale en procesi&oacute;n por la plaza, alzada por mujeres.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Se celebra la misa, con la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, y la Virgen Dolorosa en la nave del lado de la ep&iacute;stola.</li>\n\t<li>El Cabildo se sienta en los primeros bancos, a la izquierda del altar</li>\n\t<li>Concluye la misa y se preparan las alzadoras para llevar a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco inciensa la imagen de la Virgen antes que sea alzada.</li>\n\t<li>Salen del templo por el medio de la nave principal, comienza a tocar la tamborita.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: Por delante salen los Sacristanes, uno con la Cruz de plata y dos con velas; el Cabildo ind&iacute;gena con la bandera morada; las Memes al centro y tambi&eacute;n flanqueando la procesi&oacute;n portando velas; el P&aacute;rroco con los Sacristanes; la imagen de la Virgen Dolorosa; publico en general y por &uacute;ltimo los Penitentes.</li>\n\t<li>Al salir del templo, los Sargentos Jud&iacute;os flanquean la imagen de la Virgen Dolorosa.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen de la Virgen Dolorosa.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:disc\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la banda y de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n</ul>\n\n<ul>\n\t<li>Cuando la procesi&oacute;n se acerca al templo, los Penitentes y sus acompa&ntilde;antes se adelantan e ingresan al templo primero. La banda se queda afuera del templo.</li>\n</ul>\n\n<ul>\n\t<li>Luego entra la comitiva en el orden mencionado, con m&uacute;sica de la tamborita (pregrabada).</li>\n\t<li>Se coloca la imagen en su lugar y el p&aacute;rroco la inciensa, tocan campanillas.</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n, para despedirse.</li>\n\t<li>Los fieles se acercan a tocar el vestido de la Virgen y presentar sus respetos.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>DOMINGO DE RAMOS</strong></p>\n\n<p>Inicia la Semana Santa, recordando la entrada de Jes&uacute;s a Jerusal&eacute;n.</p>\n\n<p><strong>Misa del Ni&ntilde;o de Ramos, con bendici&oacute;n de las palmas. - 8:00&nbsp; </strong></p>\n\n<p><strong>Lugar</strong><strong>:</strong> Se realiza en el templo y en el atrio.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen de la Dolorosa, sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>&nbsp;</p>\n\n<p>La imagen del Ni&ntilde;o Ramos est&aacute; en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Mamitas abadesas, Coro del templo, Coro Musical, alzadores, pueblo en general.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; monaguillos, de blanco, y rojo, el Cabildo y el Coro Musical con camijetas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino ornamentado con telas de todos los colores.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>El Cabildo porta bandera blanca, con asta de plata.</p>\n\n<p>Sacrist&aacute;n porta la Cruz de plata con &ldquo;faldilla&rdquo; blanca.</p>\n\n<p>Cruz Verde en el altar, apoyada en un horc&oacute;n.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Coro juvenil del templo interpreta cantos propios de la misa.</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>instrumentos</strong></p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivire, 3 cajas o kajanes.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la bendici&oacute;n de las palmas, la procesi&oacute;n sale hasta el atrio con la imagen del Ni&ntilde;o Ramos y luego inmediatamente retorna, para la celebraci&oacute;n de la misa.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Antes de las 8:00, las Memes rezan el rosario, paradas frente al altar, dirigidas por un Perpetuo, que porta una cruz de madera.</li>\n\t<li>El Cabildo indigenal se sienta en las primeras filas y detr&aacute;s se sit&uacute;an las Memes, en los asientos de las naves laterales los ni&ntilde;os.</li>\n\t<li>El P&aacute;rroco recorre el templo echando agua bendita a las palmas de motac&uacute;, (Cogollo, como llaman los moje&ntilde;os ignacianos), que portan las Memes, los ni&ntilde;os y la gente. El coro del templo acompa&ntilde;a esta ceremonia.</li>\n\t<li>P&aacute;rroco hace una lectura y da lugar a la procesi&oacute;n, incensando la imagen del Ni&ntilde;o Ramos y la Virgen Dolorosa.</li>\n\t<li>El orden de la procesi&oacute;n es: 3 personas que tocan las cajas o kajanes; Sacristanes con la Cruz de plata, Cabildo indigenal, P&aacute;rroco y Sacristanes, Memes con palmas, imagen del Ni&ntilde;o Ramos, los Sargentos Jud&iacute;os flanquean la imagen, y finalmente los ni&ntilde;os con palmas.</li>\n\t<li>La procesi&oacute;n sale por la nave del evangelio, precedida por el toque constante de cajas.</li>\n\t<li>La imagen cruza la puerta del templo y es incensada por el p&aacute;rroco, quien hace una oraci&oacute;n, se cierran las puertas del templo.</li>\n\t<li>El Coro Musical, con instrumentos canta el Hosanna, en castellano con libreto.</li>\n\t<li>El Sacrist&aacute;n golpea tres veces la puerta del templo, &eacute;sta se abre y entra el Cabildo indigenal, el P&aacute;rroco, Sacristanes y la imagen del Ni&ntilde;o Ramos se da la vuelta y vuelve a ingresar al templo, por el lado de la ep&iacute;stola, acompa&ntilde;ada con el sonido constante de las cajas.</li>\n\t<li>Se sit&uacute;a en su lugar a la imagen del Ni&ntilde;o Ramos, suena la campanilla, el P&aacute;rroco inciensa las im&aacute;genes.</li>\n\t<li>Inicia la celebraci&oacute;n de la misa.</li>\n\t<li>Antes de la consagraci&oacute;n del pan y el vino, el P&aacute;rroco nuevamente inciensa las im&aacute;genes, a los asistentes, mientras el Coro Musical canta el Hosanna, acompa&ntilde;ado de sivivire y caja.</li>\n\t<li>Concluye la misa y canta el Coro Musical acompa&ntilde;ado de sivivire y caja. (cantos eucar&iacute;sticos)</li>\n\t<li>&nbsp;</li>\n</ul>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<p>&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Ni&ntilde;o Ramos - 16:00&nbsp; </strong></p>\n\n<p>Esta procesi&oacute;n conmemora la entrada triunfal de Cristo a Jerusal&eacute;n.</p>\n\n<p><strong>Lugar</strong><strong>:</strong> Se realiza desde el Cabildo y termina en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Ni&ntilde;o Ramos<a href=\"#_ftn1\" name=\"_ftnref1\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[1]</a> se lleva al Cabildo Indigenal para la procesi&oacute;n. Se sit&uacute;a la imagen bajo los arcos m&oacute;viles.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco de madera, con campanas que cuelgan de su cuello, y carga frutas en la grupa, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino profusamente ornamentado con telas de todos los colores.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Perpetuos, Cabildo indigenal, Mamitas abadesas, Sargentos Jud&iacute;os, Coro Musical, alzadores, j&oacute;venes con palmas, pueblo en general.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; monaguillos, de blanco, y rojo, Perpetuos, Cabildo y el Coro Musical con camijetas y sombrero; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Arcos, construidos con tacuara, forrados con telas de colores.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; blanca, la cruz esta cubierta con pa&ntilde;o blanco.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>instrumentos</strong></p>\n\n<p>Tamborita: Caja redoblante, sivivire, tambor</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivires.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes portando la Cruz de plata y dos velas</p>\n\n<p>Cabildo indigenal</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco y sacristanes</p>\n\n<p>Imagen del Ni&ntilde;o Ramos</p>\n\n<p><strong>Actividades</strong></p>\n\n<p><em>Iniciada la tarde los miembros del Cabildo construyen un altar en la puerta del cabildo, al frente de la Cruz que significa la presencia misional en mojos.</em></p>\n\n<p><em>Este altar esta hecho de cuatro apoyos de bamb&uacute; forrados con telas blanco, amarillo y verde, entre los pilares se cuelga un techo blanco adornado con tela blanca, verde y naranja, en la parte de adelante se sit&uacute;a un arco movible y sostenido por los miembros del cabildo.</em><a href=\"#_ftn2\" name=\"_ftnref2\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[2]</a></p>\n\n<p>El Perpetuo reza el rosario, en frente de la imagen del Ni&ntilde;o Ramos, y luego se realiza la procesi&oacute;n que se dirige al templo.</p>\n\n<p>La procesi&oacute;n se detiene en todas las esquinas de la plaza, para realizar las ceremonias.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Fuera del Cabildo Indigenal, donde est&aacute; la imagen del Ni&ntilde;o Ramos, un Perpetuo reza el rosario con las Memes que llevan palmas.</li>\n\t<li>Un manto blanco se ha extendido frente a la imagen, sobre el que rezan algunas Memes de rodillas.</li>\n\t<li>Termina el rosario, el Perpetuo y las Memes empiezan a cantar en Moje&ntilde;o, mientras tanto llegan los Sargentos Jud&iacute;os y se colocan flanqueando la imagen.</li>\n\t<li>El p&aacute;rroco y sacristanes se acercan, se inciensa la imagen, y se bendicen los ramos con agua bendita.</li>\n\t<li>El p&aacute;rroco hace una oraci&oacute;n, el Coro Musical canta Hosanna en castellano, nuevamente hace una oraci&oacute;n.</li>\n\t<li>Suena la caja, se inciensa la imagen nuevamente, los alzadores cargan la imagen y comienza la procesi&oacute;n, acompa&ntilde;ada por el redoble de la caja y la m&uacute;sica de la tamborita pregrabada, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes.</li>\n\t<li>En todas las esquinas de la plaza se hace lo siguiente:</li>\n</ul>\n\n<p style=\"margin-left:48px\">Se detiene la imagen del Ni&ntilde;o Ramos, bajo el dosel de tela anaranjada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa la imagen, mientras suenan las matracas.</p>\n\n<p style=\"margin-left:48px\">Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</p>\n\n<p style=\"margin-left:48px\">Se hace la lectura del evangelio</p>\n\n<p style=\"margin-left:48px\">El Coro Musical canta en castellano de memoria</p>\n\n<p style=\"margin-left:48px\">P&aacute;rroco hace una oraci&oacute;n.</p>\n\n<p style=\"margin-left:48px\">El Coro Musical canta &ldquo;am&eacute;n&rdquo;</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las campanillas.</p>\n\n<ul>\n\t<li>Cuando est&aacute;n cerca del templo, empieza el redoble de campanas y se escucha a la banda buri, adem&aacute;s de la grabaci&oacute;n de la tamborita y el redoble de tambor.</li>\n\t<li>La imagen del Ni&ntilde;o Ramos, se gira y da la espalda a la puerta del templo, se lee el evangelio, el Coro Musical canta en castellano, nuevamente la imagen gira para ingresar al templo.</li>\n\t<li>La procesi&oacute;n ingresa al templo, por el lado de la ep&iacute;stola.</li>\n\t<li>Se coloca a la imagen en lado izquierdo del altar.</li>\n\t<li>Suenan las campanillas, redoble de tambor, se inciensa la imagen del Ni&ntilde;o Ramos y de la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco, da comienzo a la celebraci&oacute;n de la misa, el Cabildo Indigenal se sit&uacute;a en las primeras bancas, detr&aacute;s est&aacute;n las memes y luego el pueblo en general.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>LUNES SANTO</strong></p>\n\n<p>El lunes se coloca delante el altar mayor un gran tel&oacute;n negro, que lleva una cruz roja en el centro, simbolizando la oscuridad que se cierne sobre nosotros.</p>\n\n<p><strong>MIERCOLES SANTO</strong></p>\n\n<p>El Mi&eacute;rcoles Santo da inicio a los cuatro d&iacute;as principales que preceden a la Resurrecci&oacute;n, por lo que se construye y ornamenta un altar donde se colocar&aacute; el Sagrario.</p>\n\n<p>Se celebran la misa y la procesi&oacute;n del Nazareno.</p>\n\n<p><strong>Misa y Procesi&oacute;n del Nazareno - 20:00</strong></p>\n\n<p>En el templo se sientan en los primeros asientos el Cabildo Indigenal, detr&aacute;s las Mamitas Abadesas y luego el pueblo en general.</p>\n\n<p><strong>Lugar: </strong>Se realiza en el templo y en la plaza principal.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Nazareno sobre el anda, se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar). Las velas prendidas a su alrededor.</p>\n\n<p>La imagen de la Virgen Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm;; La Ver&oacute;nica; 6&ordm; el Nazareno; y 7&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo redondo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>&nbsp;</p>\n\n<p>Jes&uacute;s en el huerto de Getseman&iacute;, la imagen esta de rodillas con los brazos doblados, las manos con las palmas hacia arriba. Viste t&uacute;nica blanca, con manto rojo y bordados de color plata, sobre la cabeza un pa&ntilde;uelo blanco. Delante de la imagen de Jes&uacute;s, se ha colocado un arco del que cuelga la imagen de un &aacute;ngel alado.</p>\n\n<p>Se&ntilde;or de la columna, la imagen esta de pie, con una columna a la que est&aacute; atada por una cuerda. Viste una faldilla color morado y nimbo radiante.</p>\n\n<p>Se&ntilde;or de la Ca&ntilde;a, con faldilla color ciruela, manto del mismo color con reborde dorado, con nimbo radiante. Porta una ca&ntilde;a en la mano izquierda.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>&nbsp;</p>\n\n<p>El Nazareno, la imagen carga la cruz, lleva la corona de espinas en la cabeza, viste t&uacute;nica color ciruela, con rebordes dorados. El anda que soporta la imagen con porta velas que la rodean, esta ornamentada con tela blanca y telas de color plateado, morado y negro.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>&nbsp;</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana morada y sobrepelliz blanco.</p>\n\n<p>Cabildo indigenal, con camijetas blancas y portando sus bastones.</p>\n\n<p>Mamitas abadesas con tipoi de color blanco y morado.</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca, traje negro (pantal&oacute;n y saco), y banda blanca.</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas.</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, y 1 viol&iacute;n.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane. (m&uacute;sica pregrabada)</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de madera de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con delgadas tiras del color de la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI, la portan los Sargentos Jud&iacute;os.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; morada, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera morada con soporte de plata, la lleva un miembro del Cabildo Indigenal</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Desde la ma&ntilde;ana<strong> </strong>las Memes se encargan del arreglo del altar donde se colocar&aacute; el Sagrario, este altar es una estructura de madera de seis pisos, construida de forma escalonada, profusamente ornamentado, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi&eacute;n se colocan cintas y flores blancas. La elecci&oacute;n de las telas depende de la capacidad adquisitiva que se tuvo en al a&ntilde;o.</p>\n\n<p>En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est&aacute; envuelto en cintas de colores y cintas con los colores de la bandera nacional.</p>\n\n<p>Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m&aacute;s elevado se ubica la imagen de un &aacute;ngel vestido de blanco. (foto)</p>\n\n<p>Se realiza la misa y posteriormente inicia la procesi&oacute;n del Nazareno, donde salen todas las im&aacute;genes que recuerdan la pasi&oacute;n de Jes&uacute;s.</p>\n\n<p>Cargan a las im&aacute;genes femeninas, solamente mujeres, y a las im&aacute;genes masculinas solamente varones.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<p>Se celebra la misa, siguiendo los rituales lit&uacute;rgicos</p>\n\n<ul>\n\t<li>Canta el Coro Musical canciones lit&uacute;rgicas al Tata Jes&uacute;s Nazareno, en moxe&ntilde;o, acompa&ntilde;ado del sivivire solamente.</li>\n\t<li>Canta el coro del templo en castellano.</li>\n\t<li>Los Hermanos del Santo Sepulcro colocan las cruces con flores que portan, delante de la imagen del Nazareno, para que reciban la bendici&oacute;n.</li>\n\t<li>El p&aacute;rroco da inicio a la misa, en la que solo participa el coro del templo.</li>\n</ul>\n\n<p>Termina la celebraci&oacute;n de la misa e inmediatamente los alzadores se sit&uacute;an en sus lugares para comenzar la procesi&oacute;n.</p>\n\n<ul>\n\t<li>Afuera del templo toca la banda</li>\n\t<li>Los Sargentos Jud&iacute;os flanquean las im&aacute;genes del Nazareno y la Dolorosa.</li>\n\t<li>Antes de la salida del Nazareno y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Se inciensa la imagen del Nazareno, mientras tocan las campanillas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen del Nazareno, custodiada por los Sargentos Jud&iacute;os, y por &uacute;ltimo la imagen de la Dolorosa.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda y la grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit&uacute;a La imagen del Nazareno.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten las siguientes ceremonias:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>Miembros del Cabildo extienden un lienzo blanco sobre el que se sit&uacute;a el p&aacute;rroco para incensar la imagen, mientras suenan las campanillas.</li>\n\t\t<li>En la primera parada canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, acompa&ntilde;ado de los instrumentos y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio.</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Se retira el lienzo blanco que estaba en el piso.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso, cerca de la plaza.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva con las im&aacute;genes, entran por el lado de la ep&iacute;stola, acompa&ntilde;adas por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las campanillas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>JUEVES SANTO</strong></p>\n\n<p>Desde la ma&ntilde;ana, los Santos Varones se dedican al arreglo del Santo Sepulcro, que est&aacute; ya sobre su respectiva anda para la procesi&oacute;n, lo adornan con flores artificiales y algunas naturales, de distintos colores, le colocan tambi&eacute;n luces y velas.</p>\n\n<p>En la ma&ntilde;ana se realiza la Celebraci&oacute;n de Las Tinieblas, y por la tarde la Celebraci&oacute;n de la misa del Se&ntilde;or, el lavatorio de pies, la procesi&oacute;n del Sant&iacute;simo Sacramento, y finalmente la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo, desde el jueves santo, hasta s&aacute;bado santo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>&nbsp;La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar), y mantiene sus tres velas encendidas.</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>&nbsp;La imagen del Cristo crucificado, con faldilla negra con decoraciones doradas, y la Virgen arrodillada con vestido blanco y manto celeste, sujetando con las manos un pa&ntilde;o blanco.</p>\n\n<p>&nbsp;La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>El Coro musical, Sacristanes, Sargentos jud&iacute;os, Cabildo indigenal, Mamitas abadesas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>El Coro, con camijetas; los Sacristanes, con sotana morada simbolizando el sufrimiento y la penitencia, y una sobrepelliz blanca; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; el Cabildo indigenal, con camijetas y portando sus bastones de mando; las Mamitas abadesas de blanco o morado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: 2 Bajones, 2 sivivires y 3 violines.</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Cruz negra de madera, sobre la que cuelga un pa&ntilde;o blanco, la porta uno de los Sargentos Jud&iacute;os.</p>\n\n<p>Tenebrario de madera</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Inicia a las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo, solamente se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>&nbsp;El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por el Coro Musical, con oraciones y cantos en castellano, la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican detr&aacute;s de la imagen de Cristo crucificado, y detr&aacute;s de la imagen de la Dolorosa, uno de ellos porta la cruz que los representa, y por la que tienen mucho respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Oraci&oacute;n con cantos del Coro Musical en castellano (con libreto)</li>\n\t<li>Suena la campanilla y el sacrist&aacute;n se levanta, se dirige a la imagen del Cristo crucificado para hacerle una reverencia, luego se acerca al tenebrario para apagar una vela, mientras esto sucede el Coro Musical se levanta, sigue orando y se tocan los instrumentos, luego de apagada la vela el sacrist&aacute;n retorna a su lugar, y el coro se sienta.</li>\n\t<li>Esto se hace para el apagado de cada vela. El orden de apagado se realiza de abajo hacia arriba, empezando por el lado derecho, se apagan 3 velas y se pasa al lado izquierdo, apagando otras 3 velas y as&iacute; se va alternando, hasta apagar casi todas las velas, excepto la &uacute;ltima que se encuentra en la parte superior del tenebrario.</li>\n\t<li>La &uacute;ltima vela del tenebrario no se apaga, es retirada por el sacrist&aacute;n y acompa&ntilde;ado del sonido de la matraca, se acerca e hinca frente al altar. Todos los asistentes est&aacute;n de pie.</li>\n\t<li>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminado por la iglesia y se golpean los asientos para que se siente, y los Sargentos jud&iacute;os golpean sus lanzas.</li>\n\t<li>Se recogen las velas apagadas y se distribuyen entre las personas asistentes.</li>\n\t<li>Pasada la ceremonia los Sargentos jud&iacute;os pasan a reverenciar la imagen de Cristo Crucificado, solo las velas que est&aacute;n al pie de la imagen quedan encendidas, no se permite que estas velas se apaguen. Los Sargentos jud&iacute;os custodian la imagen y se turnan en grupos cada 15 minutos, mientras en el atrio de la iglesia las Memes del Cabildo (Mamitas abadesas), sirven som&oacute; que es una bebida caliente preparada con ma&iacute;z pelado, ma&iacute;z molido y canela, y chocolate con pan de arroz.</li>\n\t<li>Esta ma&ntilde;ana sirve tambi&eacute;n para la confesi&oacute;n que realizan los feligreses, el confesionario es custodiado por los Sargentos jud&iacute;os.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Celebraci&oacute;n de la misa del Se&ntilde;or, lavatorio de pies, procesi&oacute;n del Sant&iacute;simo Sacramento - 16: 00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los ap&oacute;stoles, tambi&eacute;n se recuerda el lavatorio de los pies, que manifiesta el servicio y el amor de Cristo, que ha venido &ldquo;no a ser servido, sino a servir&rdquo;.</p>\n\n<p><strong>Lugar</strong><strong>:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior sosteniendo un lienzo blanco, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Esta protegida por un baldaquino</p>\n\n<p>En las naves laterales se sit&uacute;an en el lado del evangelio 3 im&aacute;genes y en el lado de la ep&iacute;stola 4 im&aacute;genes.</p>\n\n<p><strong>Participan</strong><strong> </strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, concejales, asamble&iacute;stas, Sargentos jud&iacute;os, Coro Musical, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco; los Sacristanes, con sotana blanca; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado; las autoridades con banda de identificaci&oacute;n, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro Musical, con camijetas.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: &nbsp;2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Bandera blanca, la porta un miembro del Cabildo Indigenal.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>En el centro de la nave y delante del altar, se sit&uacute;an dos bancos que estar&aacute;n ocupados por los Santos varones del Cabildo, a quienes el padre har&aacute; el lavado de los pies.</p>\n\n<p>Luego de la misa se realiza la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</li>\n\t<li>Durante el canto del Gloria, los Sacristanes pasan a recoger los bastones del Cabildo Indigenal, con este gesto ellos entregan el poder a Jes&uacute;s.</li>\n\t<li>Despu&eacute;s del serm&oacute;n del p&aacute;rroco, se procede a la ceremonia del lavado de los pies a cada uno los 12 Santos varones del Cabildo, que representan a los ap&oacute;stoles, mientras esto sucede el coro de j&oacute;venes, interpreta canciones en castellano acompa&ntilde;ados por guitarra.</li>\n\t<li>Luego continua la misa.</li>\n\t<li>Finalmente se hace la ceremonia de reponer el Sant&iacute;simo Sacramento que se ha consagrado en la eucarist&iacute;a, en el altar que han preparado el Mi&eacute;rcoles Santo.</li>\n</ul>\n\n<p style=\"margin-left:24px\"><strong>Procesi&oacute;n del Sant&iacute;simo Sacramento</strong></p>\n\n<ul>\n\t<li>Seis Santos varones sostienen un baldaqu&iacute;n o palio, hecho con tela blanca, en la nave delante del altar.</li>\n\t<li>En el altar, los sacristanes colocan sobre la espalda del p&aacute;rroco un pa&ntilde;o blanco y largo, con el que envuelve sus manos para no tocar el cop&oacute;n de plata, donde se guardan las hostias consagradas El p&aacute;rroco lo levanta y se dirige hacia el lugar donde est&aacute; el baldaqu&iacute;n, coloc&aacute;ndose bajo &eacute;ste.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: el Cabildo indigenal (uno de ellos porta una bandera blanca con soporte de plata que termina en una cruz del mismo material, autoridades c&iacute;vicas, el Coro Musical y los sacristanes que preceden al p&aacute;rroco con el cop&oacute;n, bajo el baldaqu&iacute;n, y detr&aacute;s de &eacute;l, caminan dos filas de Sargentos jud&iacute;os y en medio de ellos las mamitas abadesas.</li>\n\t<li>Inicia la procesi&oacute;n cuando se tocan las matracas, se esparce incienso con el incensario y comienzan los cantos en moje&ntilde;o (con libreto) y la m&uacute;sica interpretados por el Coro Musical, esto se repite constantemente en toda la procesi&oacute;n.</li>\n\t<li>Antes que la procesi&oacute;n termine en el altar, se recoge hacia un lado, el lienzo de color negro con la cruz roja, que imped&iacute;a la vista del altar temporal.</li>\n\t<li>La procesi&oacute;n pasa por detr&aacute;s del altar temporal y se detiene frente al altar.</li>\n\t<li>El p&aacute;rroco se dirige hacia el altar mayor temporal, y un Perpetuo sube los escalones para colocar el cop&oacute;n de plata dentro del sagrario.</li>\n\t<li>El p&aacute;rroco dirige unas palabras al publico y termina la ceremonia.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>La Ultima Cena - 18:00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los 12 ap&oacute;stoles.</p>\n\n<p><strong>Lugar</strong><strong>:</strong> Se realiza en el Cabildo indigenal</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Santos Varones, Perpetuos, Cabildo, Mamitas abadesas, concejales y asamble&iacute;stas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba color blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; blanco, la porta un Sacrist&aacute;n.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se designan tareas a las mujeres: limpieza, cocina, armado de las mesas, servir la mesa.</p>\n\n<p>La comida que ha sido preparada por las Memes, consiste en un plato de pescado pac&uacute; asado, arroz blanco, majadito, pl&aacute;tano cocido y pan de arroz, acompa&ntilde;ado de chicha.</p>\n\n<p>En el centro del Cabildo se colocan dos mesas largas, en una comer&aacute;n las autoridades (esto desde el 2023), y en la otra se ubican los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</p>\n\n<p>&nbsp;</p>\n\n<p>En la mesa en el Cabildo Indigenal se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco, representando al Ultima Cena de Cristo y sus disc&iacute;pulos.</p>\n\n<p>Acompa&ntilde;an este acto tres sacristanes, uno lleva la cruz de plata, con pa&ntilde;o blanco y los otros dos sujetan cada uno una vela encendida.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Se llama a la Santa Cena con el sonido de las matracas</li>\n\t<li>Los Sargentos jud&iacute;os hacen una procesi&oacute;n, por las calles, pero no van al Cabildo.</li>\n\t<li>Desde la iglesia, los Santos Varones, Perpetuos, Cabildo, las Memes (Mamitas abadesas) y Pasados, se dirigen caminando al patio del Cabildo, donde se extienden dos arcos cruzados, ornamentados con telas de colores, (sujetados por j&oacute;venes), bajo los arcos se sit&uacute;a la mesa donde se realiza la conmemoraci&oacute;n de la Ultima Cena.</li>\n\t<li>En la mesa se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco.</li>\n\t<li>Se hace una oraci&oacute;n bendici&eacute;ndola cena</li>\n\t<li>Los sacristanes se paran cerca de la mesa sosteniendo la cruz y las velas.</li>\n\t<li>Los comensales de la Santa Cena son alimentados por las autoridades del Cabildo, ya que no pueden tocar los platos ni los cubiertos con las manos, solo pueden tocar las tutumas de chicha.</li>\n\t<li>Luego del acto de la cena, se invita a todos los dem&aacute;s a comer.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Se&ntilde;or Crucificado - 20: 00</strong></p>\n\n<p><strong>Lugar</strong><strong>:</strong> Se realiza en las calles Montes, Bol&iacute;var, Santiesteban y Ballivi&aacute;n.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior sosteniendo un lienzo blanco, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm; La Ver&oacute;nica; 6&ordm; el Nazareno; 7&ordm; Se&ntilde;or Crucificado; y 8&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, concejales, asamble&iacute;stas, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana blanca y c&iacute;ngulo</p>\n\n<p>Cabildo indigenal, con camijetas blancas</p>\n\n<p>Mamitas abadesas con tipoi de color blanco o morado</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca y traje negro (pantal&oacute;n y saco)</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Autoridades con banda de identificaci&oacute;n</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; blanco, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca, la porta una autoridad municipal.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Antes de la salida del Cristo Crucificado y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Dentro el templo, los Hermanos de la Pasi&oacute;n de Cristo colocan sus cruces alrededor de la imagen del Cristo Crucificado para que reciban la bendici&oacute;n, ellos escoltan toda la procesi&oacute;n, mientras que los soldados jud&iacute;os solamente a la imagen de Cristo Crucificado y a la Dolorosa.</li>\n\t<li>Se inciensa la imagen de Cristo Crucificado, mientras tocan las matracas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; luego est&aacute;n las autoridades; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen de Cristo Crucificado custodiada por los Sargentos Jud&iacute;os, detr&aacute;s de estos, entra el p&uacute;blico en general y detr&aacute;s van los Penitentes y sus acompa&ntilde;antes. y por &uacute;ltimo la imagen de la Dolorosa</li>\n\t<li>Todos salen por el lado del evangelio y cuando el Cristo Crucificado cruza la puerta comienza la m&uacute;sica de la banda.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen del Cristo Crucificado.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva que entra por el lado de la ep&iacute;stola, acompa&ntilde;ada por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las matracas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>VIERNES SANTO</strong></p>\n\n<p>Ni&ntilde;os y j&oacute;venes, desde las seis de la ma&ntilde;ana realizan un <strong>V&iacute;a Crucis juvenil</strong> que pr&aacute;cticamente rodea el pueblo, este es sin lugar a dudas uno de los d&iacute;as m&aacute;s emotivos y especiales de la celebraci&oacute;n, tanto por su riqueza de tradiciones como por su importancia religiosa.</p>\n\n<p>Tambi&eacute;n durante la ma&ntilde;ana en el atrio del templo se construye la estructura de soporte del altar donde se situar&aacute; al Cristo Crucificado, para esto se utilizan vigas y rollizos de madera, que luego son cubiertas con ramas de sauce llor&oacute;n</p>\n\n<p>Por la tarde se efect&uacute;a la solemne ceremonia de la Desclavaci&oacute;n del Se&ntilde;or.</p>\n\n<p>Finalmente se realiza la procesi&oacute;n del Santo Sepulcro.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que el d&iacute;a anterior.</p>\n\n<p><strong>Serm&oacute;n de las Siete Palabras - 12:00 </strong></p>\n\n<p>En la ceremonia de la misa se recuerdan las siete frases que Jes&uacute;s pronunci&oacute; durante su crucifixi&oacute;n.</p>\n\n<p><strong>Celebraci&oacute;n de la Pasi&oacute;n y muerte de Nuestro Se&ntilde;or, y Adoraci&oacute;n de la Cruz - 15: 00</strong></p>\n\n<p><strong>Lugar</strong><strong>:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, est&aacute; sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>Cruz de madera con la imagen de Cristo crucificado, con base de madera, se ubica delante del altar, en la nave.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro del templo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas,</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La cruz para la Adoraci&oacute;n, ingresa al templo con una casulla morada, ricamente bordada con dorado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa, y antes de la comuni&oacute;n, se hace la Adoraci&oacute;n, que consiste en ingresar la Cruz por la puerta principal, &eacute;sta es llevada por el p&aacute;rroco y lo acompa&ntilde;a un sacrist&aacute;n, que sostiene el micr&oacute;fono mientras el padre hace la oraci&oacute;n cantada.</p>\n\n<p>Se le rinde respeto a la cruz, arrodill&aacute;ndose y dando un beso a la imagen de Cristo y se hace una ofrenda de dinero.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</li>\n\t<li>La misa se interrumpe antes de la comuni&oacute;n.</li>\n\t<li>El p&aacute;rroco sale del templo para nuevamente ingresar con la cruz y hacer la Adoraci&oacute;n.</li>\n\t<li>A su paso por el centro de la nave, el padre hace la oraci&oacute;n cantada y se detiene dos veces para ir descubriendo parcialmente la cruz que est&aacute; cubierta por un pa&ntilde;o blanco.</li>\n\t<li>El padre quita el pa&ntilde;o, como se&ntilde;al de que Cristo ha muerto y presenta la cruz a los asistentes, nuevamente hace la oraci&oacute;n cantada.</li>\n\t<li>Coloca la cruz en la base de madera que esta al pie del altar, se arrodilla y luego besa los pies de la imagen del Cristo crucificado, los sacristanes hacen lo mismo.</li>\n\t<li>Los asistentes tambi&eacute;n se arrodillan y besan la imagen, comenzando por el Cabildo indigenal, las Memes, los Sargentos Jud&iacute;os, y el pueblo en general. Esta ceremonia es acompa&ntilde;ada por el coro del templo.</li>\n\t<li>Continua la misa, con la comuni&oacute;n y al final el padre y tres sacristanes se arrodillan frente a la cruz y se retiran.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Solemne desclavaci&oacute;n del Se&ntilde;or - 20: 00</strong></p>\n\n<p><strong>Lugar</strong><strong>:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, ha sido colocada en el atrio debajo de la cubierta, en una especie de altar en forma de U, construido con madera y cubierto con ramas de sauce llor&oacute;n.</p>\n\n<p>Las otras im&aacute;genes: La Virgen Dolorosa, la Ver&oacute;nica, Virgen Mar&iacute;a y San Juan, est&aacute;n dispuestas a la derecha de la imagen de Cristo, no est&aacute;n bajo la cubierta del templo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Ni&ntilde;os que representan a los &aacute;ngeles, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana negra y sobrepelliz blanca; los ni&ntilde;os que reciben los objetos sagrados llevan una corona de flores blancas, rebozo que cae sobre la espalda, collares dorados, y t&uacute;nica blanca adornada con cintas de color turquesa, a manera de c&iacute;ngulo de dos ca&iacute;das; los Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos, los Caciques Mayores de los Santos Varones llevan en la cintura un c&iacute;ngulo dorado de dos ca&iacute;das y el resto la llevan en blanco. Sobre el hombro izquierdo cruza una estola blanca que sirve para manipular las piezas sagradas y no tocarlas con las manos; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: Sivivire (2); viol&iacute;n (1); baj&oacute;n (2).</p>\n\n<p>Coro de j&oacute;venes: Con violines</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>El atrio del templo y su entorno, se convierten en el escenario del desclavamiento de Cristo, toda la Comunidad de San Ignacio, se da cita en torno al altar construido por el Cabildo en el atrio del templo, en el que se muestra la imagen del Cristo Crucificado.</p>\n\n<p>El P&aacute;rroco da las indicaciones para la desclavaci&oacute;n de la imagen de Cristo, tarea que realizan los Santos Varones.</p>\n\n<p>El cuerpo de Cristo es bajado con mucho cuidado, lo presentan a la Virgen Dolorosa, lo visten, le colocan la corona y enseguida es trasladado al Santo Sepulcro.</p>\n\n<p>Las autoridades del Cabildo Indigenal, y los Hermanos del Santo Sepulcro, desmontan por partes el altar erigido, las personas que han acompa&ntilde;ado la ceremonia se aproximan y comienzan a quitar los ramos del sauce llor&oacute;n, estas plantas se utilizar&aacute;n para curar enfermedades f&iacute;sicas y espirituales.</p>\n\n<p>En reemplazo del cuerpo de Cristo se deja una estola blanca que atraviesa los dos brazos de la Cruz.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>El Coro Musical entona cantos (con libreto) en castellano, se ubican al lado derecho de la imagen de Cristo Crucificado.</li>\n\t<li>El Coro de j&oacute;venes interpreta una canci&oacute;n acompa&ntilde;ada de sus instrumentos, se ubican a la izquierda de la imagen de Cristo Crucificado.</li>\n\t<li>El p&aacute;rroco parado sobre una tarima anuncia que los Santos Varones proceder&aacute;n a desclavar el cuerpo de Cristo.</li>\n\t<li>Los Sargentos jud&iacute;os preceden la entrada de los Santos Varones.</li>\n\t<li>Los Santos Varones presentan primero sus respetos a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco va guiando a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento retirado es llevado por uno de los Santos Varones, primero son presentados a la Virgen Mar&iacute;a, la Dolorosa y luego se colocan, en unas bandejas sostenidas por tres ni&ntilde;os que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</li>\n\t<li>Cuando se han quitado todos los elementos, se baja la imagen de Cristo con sumo cuidado, y se la presenta a la Virgen Mar&iacute;a la Dolorosa, tocan las matracas, y el coro de j&oacute;venes interpreta m&uacute;sica sacra.</li>\n\t<li>Los Santos Varones, llevan el cuerpo de Cristo al Sepulcro y lo colocan en su interior, lo acomodan y cubren su cuerpo con un manto de color negro, mientras lo colocan van encendiendo las velas alrededor del Sepulcro, aseguran la puerta, y terminan de encender todas las velas. M&uacute;sica del coro de j&oacute;venes contin&uacute;a.</li>\n\t<li>Para la m&uacute;sica y toca la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro y los sacristanes se ubican delante del Santo Sepulcro</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, para iniciar la procesi&oacute;n.</li>\n</ul>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Santo Sepulcro - 21: 00</strong></p>\n\n<p><strong>Lugar</strong><strong>:</strong> Se realiza alrededor de la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo Crucificado, ha sido colocada en el Santo Sepulcro.</p>\n\n<p>Las im&aacute;genes, salen en el siguiente orden en la procesi&oacute;n: San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, el Santo Sepulcro, la Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas, y cubierto por un manto negro.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Autoridades, Sargentos Jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, Alzadores, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos.</p>\n\n<p>P&aacute;rroco, con alba y estola de color morada.</p>\n\n<p>Sacristanes, con sotana negra y sobrepelliz blanca.</p>\n\n<p>Cabildo indigenal, con camijetas.</p>\n\n<p>Mamitas abadesas con tipoi blanco o negro.</p>\n\n<p>Autoridades, con banda que los identifica.</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p>El Coro, con camijetas.</p>\n\n<p>Los Hermanos de la Pasi&oacute;n de Cristo, con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p>Las mujeres alzadoras de las im&aacute;genes femeninas, con pantal&oacute;n negro y solera negra o blanca; los varones alzadores del Santo Sepulcro, con pantal&oacute;n negro, camisa blanca y corbata negra.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Bandera negra con Cruz roja en el centro, ubicada delante del altar mayor, para cubrirlo.</p>\n\n<p>Santo Sepulcro</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Imagen de San Juan</p>\n\n<p>Imagen de la Ver&oacute;nica</p>\n\n<p>Imagen de la Virgen Maria</p>\n\n<p>Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas.</p>\n\n<p>Autoridades con la Bandera negra</p>\n\n<p>Cabildo con sombreros</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco</p>\n\n<p>Sacristanes y Hermanos de la Pasi&oacute;n de Cristo,</p>\n\n<p>Santo Sepulcro</p>\n\n<p>Pueblo en general</p>\n\n<p>Cruz de Cristo, de madera con pa&ntilde;o blanco en anda</p>\n\n<p>Penitentes con sus acompa&ntilde;antes</p>\n\n<p>Ni&ntilde;os con los elementos de la pasi&oacute;n</p>\n\n<p>Santos varones (los que hicieron la desclavaci&oacute;n de Cristo), llevando cruces con floreas blancas.</p>\n\n<p>Memes</p>\n\n<p>Virgen Dolorosa (alzada por mujeres con vestido negro)</p>\n\n<p>Pueblo en general</p>\n\n<p>Flanqueando el Santo Sepulcro est&aacute;n los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo</p>\n\n<p>Las Memes, tambi&eacute;n caminan a ambos lados de la procesi&oacute;n portando velas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Concluida la ceremonia de la Desclavaci&oacute;n de Cristo, se realiza la procesi&oacute;n del Santo Sepulcro, alrededor de la plaza, acompa&ntilde;ada de una numerosa comitiva y del pueblo en general.</p>\n\n<p><em>Este recorrido tiene especial significaci&oacute;n para las personas, ya que el ser tocado por la mano de uno de los Santos Varones significa haber sido sanado de la dolencia que ten&iacute;a la persona, as&iacute; que, en determinados momentos, lo Santos Varones van curando a las personas mientras caminan</em>.<a href=\"#_ftn3\" name=\"_ftnref3\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[3]</a></p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Una vez dispuesta la imagen de Cristo dentro el Santo Sepulcro, para la m&uacute;sica y comienza la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro musical con sus instrumentos y los sacristanes cargando la cruz de plata, cubierta por un pa&ntilde;o negro, se ubican delante del Santo Sepulcro.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas.</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, acompa&ntilde;an tambi&eacute;n portadores de faroles, dos adelante y dos atr&aacute;s.</li>\n\t<li>Comienza la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t<li>Antes de la salida del Santo Sepulcro, se han ubicado precediendo la procesi&oacute;n:</li>\n</ul>\n\n<p style=\"margin-left:48px\">San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas, Autoridades con la Bandera negra, Cabildo, Coro Musical, P&aacute;rroco, Sacristanes y Hermanos de la Pasi&oacute;n de Cristo.</p>\n\n<ul>\n\t<li>En las esquinas se detiene el Santo Sepulcro, bajo el dosel de tela morada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</li>\n\t<li>Se hace la lectura del evangelio</li>\n\t<li>El Coro Musical canta en castellano de memoria</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n.</li>\n\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo;</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las matracas.</li>\n\t<li>Dos personas del Cabildo colocan delante del Santo Sepulcro un pa&ntilde;o grande blanco.</li>\n\t<li>Se adelanta una persona, (primero un Santo var&oacute;n del Cabildo y en las otras paradas lo hacen las autoridades), hace una reverencia, y blande la bandera negra de frente al Santo Sepulcro, sobre el pa&ntilde;o que esta en el piso, nuevamente hace una reverencia, retorna a su sitio y le hace entrega de la bandera a la persona que la blandir&aacute; en la pr&oacute;xima parada.</li>\n\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita y la banda.</li>\n\t<li>Se repite esto en todas las esquinas.</li>\n\t<li>Para ingresar al templo, las im&aacute;genes de San Juan, La Ver&oacute;nica y la Virgen Mar&iacute;a, se quedan cerca de la plaza y dan lugar para que pasen: primero los Penitentes, y el resto de la comitiva que acompa&ntilde;a al Santo Sepulcro.</li>\n\t<li>A medida que las cruces van llegando con los Penitentes, se van colocando en los ambientes del templo. La Cruz Virgen, de color verde, la vuelven a colocar en el lado izquierdo del Altar Mayor, esto es realizado con mucho cuidado y solemnidad utilizando bastones y cuerdas para asegurarla.</li>\n\t<li>Ingresa el Santo Sepulcro y la comitiva al templo, y se dirigen por el lado de la ep&iacute;stola hacia el altar, asentando el Santo Sepulcro en el sector izquierdo de la nave, cerca del altar, la Cruz de madera se la coloca delante del altar mayor, muy cerca del pa&ntilde;o negro que lo cubre, y la Virgen Dolorosa se coloca sobre la nave de la ep&iacute;stola, en su lugar habitual.</li>\n\t<li>El p&aacute;rroco, procede a incensar el Santo Sepulcro, a la Dolorosa y a la Cruz de madera.</li>\n\t<li>Palabras del p&aacute;rroco.</li>\n\t<li>&ldquo;<em>En la sacrist&iacute;a los Santos Varones inician la curaci&oacute;n a las Autoridades del Cabildo y posteriormente a todas las personas que se aproximan a ellos, la curaci&oacute;n consiste en jalarles la cabeza hacia arriba, lo cual deben hacer todos los Santos Varones con las personas, esto a partir de la cualidad personal de curaci&oacute;n de cada uno de ellos.</em></li>\n\t<li><em>Mientras esto sucede se inicia otra procesi&oacute;n en la que llevan el Santo Sepulcro acompa&ntilde;ado por las Mamitas Abadesas, Hermanos, los Sargentos Jud&iacute;os, Sacristanes y las ceremonias oficiadas por el Coro de la Iglesia, el cual recorre las cuatro esquinas de la plaza central.&rdquo;</em> <a href=\"#_ftn4\" name=\"_ftnref4\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[4]</a></li>\n</ul>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<hr />\n<p><strong>SABADO SANTO</strong></p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que los d&iacute;as anteriores.</p>\n\n<p><strong>Bendici&oacute;n del fuego y del agua. Celebraci&oacute;n de la Vigilia Pascual - 20: 00</strong></p>\n\n<p>Se celebra que Cristo ha vencido a la muerte, &Eacute;l es la luz que ha vencido a las tinieblas, la luz, representada por el fuego, con el que se encender&aacute; el Cirio Pascual.</p>\n\n<p><strong>Lugar</strong><strong>:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado se sit&uacute;a en el altar.</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar), ahora ya no la protege el baldaquino.</p>\n\n<p>A los pies de la Virgen Dolorosa y de la base del Santo Sepulcro, se colocan recipientes de todo tipo, llenos de agua, para que esta sea bendecida.</p>\n\n<p>Las im&aacute;genes de San Juan y la Ver&oacute;nica est&aacute;n en la nave de la ep&iacute;stola, y la imagen de la Virgen Mar&iacute;a, en el lado del evangelio.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco; Sacristanes; Monaguillos; Cabildo Indigenal; Mamitas abadesas (Memes), p&uacute;blico en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana roja y sobrepelliz blanco.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo ya no lleva la camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.E<strong>elementos destacados</strong></p>\n\n<p>Porta Cirio, de madera torneada, de aproximadamente 1 metro de altura.</p>\n\n<p>Cirio, hecho de cera de abejas, de aproximadamente 1 metro de altura, lleva la imagen de Cristo, los s&iacute;mbolos Alfa y Omega, y el a&ntilde;o 2024.</p>\n\n<p>Pa&ntilde;o negro con cruz roja, que cubre el altar temporal.</p>\n\n<p>Participan: P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, pueblo en general.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza el encendido de una fogata en el atrio del templo, para luego prender el Cirio Pascual con este fuego. El Cirio se lleva al interior del templo y se coloca en el porta cirio ubicado al lado izquierdo del altar. Las personas encienden sus velas con la llama del Cirio, y se celebra la misa, luego se realiza la bendici&oacute;n del agua, y finalmente la procesi&oacute;n de Cristo Resucitado.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>El p&aacute;rroco bendice el fuego que se encendi&oacute; en el atrio del templo.</li>\n\t<li>Un monaguillo sostiene el Cirio Pascual, el p&aacute;rroco recoge la brasa del fuego y prende el cirio, recibe el Cirio y se dirige al interior del templo.</li>\n\t<li>En el trayecto, el p&aacute;rroco y el coro cantan &ldquo;la luz de Cristo, gracias a Dios&rdquo;, la gente se acerca a prender sus velas desde el Cirio.</li>\n\t<li>A medida que el p&aacute;rroco avanza, las luces del templo se van encendiendo.</li>\n\t<li>El p&aacute;rroco coloca el Cirio Pascual en el porta cirios.</li>\n\t<li>Los Sacristanes devuelven sus bastones a los Caciques del Cabildo, y encienden las dos velas del altar, mientras el p&aacute;rroco hace una oraci&oacute;n, acompa&ntilde;ando por el coro del templo.</li>\n\t<li>Se hacen las lecturas del Antiguo Testamento.</li>\n\t<li>Se canta el Gloria y repican las campanillas, al mismo tiempo, en el atrio comienza a tocar la tamborita, y los Chiripier&uacute;ana, bailan. En la plaza los miembros del Cabildo hacen estallar la camareta.&nbsp;</li>\n\t<li>Se descubre el altar, retirando el pa&ntilde;o negro que lo cubr&iacute;a.</li>\n\t<li>El p&aacute;rroco hace la oraci&oacute;n, y se procede a hacer las lecturas del Nuevo Testamento, en castellano y en moje&ntilde;o.</li>\n\t<li>Despu&eacute;s de la letan&iacute;a de los Santos, acompa&ntilde;ada del coro del templo, el p&aacute;rroco bendice el agua. Es la liturgia bautismal.</li>\n\t<li>P&aacute;rroco retira el Cirio Pascual, lo presenta al Cristo Resucitado, hace una reverencia y lo coloca nuevamente en el porta cirio, luego toma el recipiente que contiene el agua bendita y comienza a bendecir a la imagen de la Virgen Dolorosa, a los recipientes de agua, y va recorriendo todo el templo a los asistentes, echando agua bendita, como una renovaci&oacute;n de los votos del bautismo. El coro del templo acompa&ntilde;a toda esta ceremonia.</li>\n\t<li>Continua la misa, el p&aacute;rroco inciensa hacia todas direcciones y luego el sacrist&aacute;n a &eacute;l, mientras el Coro Musical canta el &ldquo;Hosanna&rdquo; en castellano, acompa&ntilde;ado de sivivires y caja.</li>\n\t<li>El coro musical acompa&ntilde;a el resto de la misa, cantando &ldquo;Amen&rdquo; y &ldquo;Cordero de dios...&rdquo; acompa&ntilde;ado de sivivires y caja.</li>\n\t<li>Concluye la misa.</li>\n</ul>\n\n<p><strong>DOMINGO DE RESURRECION </strong></p>\n\n<p><strong><em>La noche Blanca</em></strong></p>\n\n<p><em>A esta noche los j&oacute;venes la denominan la &ldquo;noche blanca&rdquo;, los j&oacute;venes esperan hasta las 4 de la madrugada del d&iacute;a domingo en medio de juegos que comparten mientras hacen la vigilia</em>.<a href=\"#_ftn5\" name=\"_ftnref5\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[5]</a></p>\n\n<p><strong>Procesi&oacute;n del encuentro del Se&ntilde;or Resucitado con su Madre&nbsp; -&nbsp; 4:00&nbsp; </strong></p>\n\n<p>Se celebra el encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a.</p>\n\n<p><strong>Lugar</strong><strong>: </strong>Se realiza la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>Salen en procesi&oacute;n en el siguiente orden: San Juan; Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, y finalmente la imagen de Cristo Resucitado.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, Angelitos, la tamborita de los Macheteros, alzadores varones que portan a Cristo Resucitado, San Juan y a la Virgen Dolorosa y alzadoras mujeres que portan a las im&aacute;genes femeninas, j&oacute;venes que flanquean la procesi&oacute;n, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana blanca.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo con camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p>Macheteros o Chiripier&uacute;ana, con camijeta, con franjas coloridas a los costados, sobre los hombros un pa&ntilde;uelo rojo, llevan en la mano derecha un machete de madera, y portan en la cabeza un tocado hecho de plumas de parabas, cuelga de este tocado un cuero que representa la piel de tigre, que llega hasta los talones, los que est&aacute;n cubiertos con semillas de paichach&iacute;s, que hacen las veces de cascabeles.</p>\n\n<p>Angelitos, llevan m&aacute;scara de &aacute;ngel sobre la frente, con pa&ntilde;oleta anaranjada sobre la cabeza, los que representan a la mujer tienen rasgos femeninos y usan tipoi anaranjado, los que representan a los hombres, con bigote, y usan pantal&oacute;n, todos usan chaleco generalmente oscuro, alas de cuero, cascabeles en las rodillas, en la mano derecha flores silvestres y en la derecha un l&aacute;tigo de colores.&nbsp;</p>\n\n<p>La tamborita, con pa&ntilde;oleta del mismo color que los angelitos.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz de plata, con faldilla blanca, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca con soporte de plata, la porta un miembro del Cabildo.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti, cajane, tampura.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, unos por la calle de la izquierda y el Cristo por la de la derecha de la plaza, para luego encontrarse en el medio de la calle al otro lado de la plaza. All&iacute; las im&aacute;genes se har&aacute;n venias y bailar&aacute;n demostrando la alegr&iacute;a de reencontrarse.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, la tamborita se ubica en la fila de en medio.</li>\n\t<li>Salen del templo las im&aacute;genes de San Juan: Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, luego los sacristanes cargando la Cruz de plata; el Cabildo portando una bandera blanca; el p&aacute;rroco y finalmente la imagen de Cristo Resucitado, sobre anda con porta velas. Todo esto en silencio.</li>\n\t<li>El Cristo Resucitado flanqueado por filas de j&oacute;venes, (hombres y mujeres), vestidos con pantal&oacute;n oscuro y camisa blanca, se va por la calle de la derecha de la plaza y las otras im&aacute;genes por la de la izquierda.</li>\n\t<li>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le quit&oacute; el manto negro).</li>\n\t<li>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer la venia para que la imagen baje y suba).</li>\n\t<li>Cuando est&aacute;n a unos 10 metros, se las inciensa y un miembro del Coro Musical canta Aleluya y hace una oraci&oacute;n (con libreto), luego el p&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y las im&aacute;genes comienzan a bailar al ritmo de la banda, la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo.</li>\n\t<li>Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita, en la esquina de la plaza para guiarlos al templo.</li>\n\t<li>Al acercarse al templo, ta&ntilde;en las campanas continuamente.</li>\n\t<li>En el atrio los Macheteros se colocan en dos filas una a cada lado de la puerta, contin&uacute;an bailando.</li>\n\t<li>Las im&aacute;genes de San Juan; la Virgen Mar&iacute;a; la Ver&oacute;nica, se quedan cerca de la plaza para dar paso a las principales.</li>\n\t<li>Ingresan en medio de los Macheteros, que permanecen en el atrio bailando: el Sacrist&aacute;n que porta la Cruz de plata, representantes del Cabildo con la bandera blanca, el p&aacute;rroco con sacristanes, la imagen de Cristo Resucitado, la imagen de la Virgen Mar&iacute;a y el resto de las im&aacute;genes.</li>\n\t<li>Se colocan en sus respectivos lugares y el p&aacute;rroco las inciensa, mientras en el atrio continua la m&uacute;sica.</li>\n\t<li>El P&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>Canta el coro musical en castellano, acompa&ntilde;ado con sivivire y caja.</li>\n\t<li>Comienza la misa del D&iacute;a de la Aurora, el coro de j&oacute;venes del templo acompa&ntilde;a toda la ceremonia, antes de dar la Comuni&oacute;n, el p&aacute;rroco inciensa el altar y las im&aacute;genes de Cristo Resucitado y la Virgen Mar&iacute;a, el sacrist&aacute;n al padre, mientras el Coro Musical canta &ldquo;Hosanna&rdquo; acompa&ntilde;ado del sivivire y la caja.</li>\n\t<li>Termina la misa y el sivivire y cajane acompa&ntilde;an al Coro musical &ldquo;Reina del cielo&hellip; aleluya&rdquo;</li>\n</ul>\n\n<p><strong>Celebraci&oacute;n de la misa del Dia de Pascua o Misa del Gloria Aleluya &ndash; 9:00</strong></p>\n\n<p>Esta misa conmemora la Resurrecci&oacute;n de Cristo, con el Gloria Aleluya.</p>\n\n<p>El Cabildo Indigenal, los Santos Varones y las Mamitas Abadesas se re&uacute;nen para la adoraci&oacute;n de el Sagrario, que esta ubicado en el altar mayor.</p>\n\n<p>Este d&iacute;a el saludo de las personas cambia por el &ldquo;Pascua Aleluya&rdquo;.</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>PERSONAJES QUE PARTICIPAN</strong></p>\n\n<p><strong>CABILDO</strong></p>\n\n<p>La comunidad moje&ntilde;a est&aacute; guiada por el Cabildo Indigenal, sistema que fue introducido por los jesuitas, en el siglo XVIII. Actualmente, no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, y proteger el patrimonio cultural material e inmaterial, preservando las tradiciones culturales y religiosas.</p>\n\n<p>En San Ignacio el Cabildo, est&aacute; compuesto por: el Corregidor, Caciques, Capitanes, Alcaldes, Intendente, Alguacil, Fiscal, Comisarios y los Mayordomos que est&aacute;n subdivididos en parcialidades.</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.</em><a href=\"#_ftn6\" name=\"_ftnref6\" style=\"color:#0563c1; text-decoration:underline\" title=\"\"><em><strong>[6]</strong></em></a></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>PERPETUOS</strong></p>\n\n<p>Son los se&ntilde;ores mayores que ayudan y apoyan al templo y al cabildo, deben su nombre al hecho de que solo son suplidos por vejez o muerte.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.</em><a href=\"#_ftn7\" name=\"_ftnref7\" style=\"color:#0563c1; text-decoration:underline\" title=\"\"><em><strong>[7]</strong></em></a></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.</em><a href=\"#_ftn8\" name=\"_ftnref8\" style=\"color:#0563c1; text-decoration:underline\" title=\"\"><em><strong>[8]</strong></em></a></p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn9\" name=\"_ftnref9\" style=\"color:#0563c1; text-decoration:underline\" title=\"\"><em><strong>[9]</strong></em></a></p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERU</strong></p>\n\n<p>Su nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>Su danza es de forma marcial en dos filas, bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores.</p>\n\n<p>Sujeta del armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichach&iacute;es, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisito exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<hr />\n<p><strong>GLOSARIO</strong></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p>El tenebrario simboliza el d&iacute;a de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap&oacute;stoles, las tres Mar&iacute;as (Mar&iacute;a Salom&eacute;, Mar&iacute;a de Cleof&aacute;s y Mar&iacute;a Magdalena) y la Virgen Mar&iacute;a, es decir, aquellos que acompa&ntilde;aron a Jes&uacute;s ese d&iacute;a. La vela m&aacute;s alta representa a la Sant&iacute;sima Virgen, la &uacute;nica que crey&oacute; en la Resurrecci&oacute;n. El tri&aacute;ngulo mismo simboliza la Sant&iacute;sima Trinidad.&nbsp;</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p><strong>Camareta. </strong>Recipiente de fierro de 10 cm de altura y 10 cm de ancho, que contiene p&oacute;lvora, que&nbsp; ser&aacute; encendida y explota generando un atronador ruido.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><strong>BIBLIOGRAF&Iacute;A </strong></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[1]</a> &ldquo;<em>Si bien la figura de Cristo corresponde a una persona mayor, el Cristo es identificado como Ni&ntilde;o Ramos, porque es inocente, sin culpa, como los ni&ntilde;os, es ni&ntilde;o porque no cambia nunca y vuelve a nacer cada a&ntilde;o&rdquo;. </em>Semana Santa San Ignacio de Mojos, Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg. 6.</p>\n\n<p>&nbsp;</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 11</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[3]</a> https://www.incarnationweb.org/Semana-Santa-en-la-Parroquia-de.html?lang=es</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[4]</a>Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 28.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[5]</a> Ibid., p.34.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[6]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. Pg. 8-9.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[7]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 21</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref8\" name=\"_ftn8\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[8]</a> Ibid,.pg. 11.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref9\" name=\"_ftn9\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[9]</a> Ibid,.pg. 14</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "402f3974-857b-11ee-a653-53ebd0470963": "30ae7af1-309d-4bef-b538-97b96d5c1f8f"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "6927bd92-a2a0-4e89-a1ef-5dd7ded53037"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "7215ba1c-be0e-451e-98e7-60f6f429a407"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Escultura de bulto redondo hecho de madera de maguey, con brazos articulados."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La imagen est\u00e1 sujeta a la cruz por tres clavos de metal, dos para las manos y uno para los pies, en la cabeza lleva la corona de espinas. Viste faldilla negra con decoraciones doradas. La cruz de madera tallada que lo soporta, lleva en el crucero el escudo de la compa\u00f1\u00eda de Jes\u00fas, y en la parte superior el acr\u00f3nimo INRI, tallado en madera con ornamentaci\u00f3n de rocallas."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen del Cristo crucificado"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 38, "tileid": "8a221257-4535-4624-86cc-2e7ae52fc3c3"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400", "f6149104-3d2f-4c31-8b0f-f58f7e19e8e1", "b6e4eb16-e3e1-4187-833b-327068bbbeaa"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El&nbsp;patrimonio cultural inmaterial&nbsp;incluye pr&aacute;cticas y expresiones vivas heredadas de nuestros antepasados, transmitidas de generaci&oacute;n en generaci&oacute;n.&nbsp;Estas pr&aacute;cticas incluyen las tradiciones orales, artes esc&eacute;nicas, usos sociales, rituales, actos festivos, entre otros.</p>\n\n<p>A principios del siglo XVIII en las misiones de mojos, los bailes y danzas se efectuaban con atuendos de plumajes, hechos con materiales locales, estas pr&aacute;cticas eran conservadas por el Cabildo, como encargado de transmitir su significado y simbolog&iacute;a.</p>\n\n<p><img id=\"Imagen_x0020_1\" src=\"file:///C:/Users/Usuario/AppData/Local/Temp/msohtmlclip1/01/clip_image001.png\" style=\"height:232.05pt; left:0; margin-left:69px; margin-top:2px; position:absolute; text-align:left; width:366.3pt; z-index:251664384\" /></p>\n\n<table align=\"left\">\n\t<tbody>\n\t\t<tr>\n\t\t\t<td style=\"height:48px; width:94px\">&nbsp;</td>\n\t\t</tr>\n\t\t<tr>\n\t\t\t<td>&nbsp;</td>\n\t\t\t<td><img src=\"file:///C:/Users/Usuario/AppData/Local/Temp/msohtmlclip1/01/clip_image002.jpg\" style=\"height:310px; width:488px\" /></td>\n\t\t</tr>\n\t</tbody>\n</table>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n&nbsp;\n\n<p>M&uacute;sica y danza religiosa en Moxos, (Bolivia.) <a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<p>Un grabado hecho por Alcide D&rsquo;Orbigny en 1832, muestra como se realizaban las celebraciones religiosas, con la participaci&oacute;n de danzantes (Macheteros), y m&uacute;sicos (tocando los bajones), as&iacute; los describe: &ldquo;<em>Despu&eacute;s de la misa los indios tocados con una especie de aureola de plumas y llevando cascabeles en las pantorrillas y un grandes sables de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mas agudas hasta las m&aacute;s graves y acompa&ntilde;ados de flautas y tambores , salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica muy singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a mas que un numero limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas.</em> &ldquo;<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></p>\n\n<p>Al observar esta imagen se evidencia que las danzas, los rituales, la vestimenta, y los instrumentos, han sufrido escasas modificaciones hasta nuestro d&iacute;as.</p>\n\n<p>D&rsquo;Orbigny, presenci&oacute; en San Pedro de Mojos la noche del Domingo de Ramos que es el comienzo de las celebraciones tradicionales de la Semana Santa. En el templo, le llam&oacute; la atenci&oacute;n el tama&ntilde;o y la cantidad de im&aacute;genes ubicadas al medio de la iglesia, que representaban la Pasi&oacute;n de Cristo: la flagelaci&oacute;n, la coronacion de espinas, el v&iacute;a crucis y, finalmente, la crucifixi&oacute;n. Describe tambi&eacute;n que en las v&iacute;speras, indios disfrazados de rojo u otros colores vivos desempe&ntilde;an el papel de jud&iacute;os, que recorren la misi&oacute;n muy despacio buscando a Jes&uacute;s, luego por la noche, la banda se re&uacute;ne y marcha acompa&ntilde;ada de m&uacute;sica triste, que proviene de los tambores, flautas y bajones.</p>\n\n<p>En el caso particular de la festividad de Semana Santa en San Ignacio de Mojos, los rituales relacionados a la misa, las procesiones, las representaciones de escenas religiosas, y las danzas como la de los Macheteros o Chiripier&uacute;ana, y Angelitos, se han mantenido casi inmutables a trav&eacute;s del tiempo.</p>\n\n<p>La representaci&oacute;n de escenas religiosas es parte vital de la festividad, destac&aacute;ndose particularmente: el Lavatorio de pies, la &Uacute;ltima Cena, La Desclavaci&oacute;n de Cristo y el encuentro del Se&ntilde;or Resucitado con su Madre, la procesi&oacute;n de los Penitentes.</p>\n\n<p>La danza est&aacute; presente tambi&eacute;n, en el Domingo de Resurrecci&oacute;n donde los Macheteros o Chiripier&uacute;ana, bailan en el atrio del templo, como demostraci&oacute;n de regocijo. Estas ceremonias, se describen a continuaci&oacute;n:</p>\n\n<hr />\n<p><strong>EL LAVATORIO DE PIES</strong></p>\n\n<p>Se realiza el Jueves Santo, manifiesta el servicio y el amor de Cristo, que ha venido &ldquo;no a ser servido, sino a servir&rdquo;.</p>\n\n<p>Lugar</p>\n\n<p>Se realiza en el templo.</p>\n\n<p>Participan</p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro Musical, pueblo en general.</p>\n\n<p>Vestimenta</p>\n\n<p>P&aacute;rroco con alba y estola de color blanco; los Sacristanes, con sotana blanca; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado; las autoridades con banda de identificaci&oacute;n, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro Musical, con camijetas.</p>\n\n<p>Instrumentos:</p>\n\n<p>Coro Musical: &nbsp;2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Actividades</p>\n\n<p>En el centro de la nave y delante del altar, se sit&uacute;an dos bancos que estar&aacute;n ocupados por los Santos Varones del Cabildo, a quienes el padre har&aacute; el lavado de pies.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</li>\n\t<li>Durante el canto del Gloria, los Sacristanes pasan a recoger los bastones del Cabildo Indigenal, con este gesto ellos entregan el poder a Jes&uacute;s.</li>\n\t<li><strong><u>Despu&eacute;s del serm&oacute;n del p&aacute;rroco, se procede a la ceremonia del lavado de los pies a cada uno los 12 Santos varones del Cabildo, que representan a los ap&oacute;stoles</u></strong>, mientras esto sucede el coro de j&oacute;venes, interpreta canciones en castellano acompa&ntilde;ados por guitarra.</li>\n\t<li>Luego continua la misa.</li>\n\t<li>Finalmente se hace la ceremonia de reponer el Sant&iacute;simo Sacramento que se ha consagrado en la <strong>eucarist&iacute;a</strong>, en el altar que han preparado el Mi&eacute;rcoles Santo.</li>\n</ul>\n\n<hr />\n<p><strong>ULTIMA CENA EN EL CABILDO</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los 12 ap&oacute;stoles. Se la realiza el</p>\n\n<p>Jueves Santo.</p>\n\n<p>Lugar</p>\n\n<p>Se realiza en el Cabildo indigenal.</p>\n\n<p>Participan</p>\n\n<p>P&aacute;rroco, Santos Varones, Perpetuos, Cabildo, Mamitas abadesas, concejales y asamble&iacute;stas, pueblo en general.</p>\n\n<p>Vestimenta</p>\n\n<p>P&aacute;rroco con alba color blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado.</p>\n\n<p>Elementos destacados</p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; blanca, la porta un Sacrist&aacute;n.</p>\n\n<p>Actividades</p>\n\n<p>Se designan tareas a las mujeres: limpieza, cocina, armado de las mesas, servir la mesa.</p>\n\n<p>La comida que ha sido preparada por las Memes, consiste en un plato de pescado pac&uacute; asado, arroz blanco, majadito, pl&aacute;tano cocido y pan de arroz, acompa&ntilde;ado de chicha.</p>\n\n<p>En el centro del Cabildo se colocan dos mesas largas, en una comer&aacute;n las autoridades (esto desde el 2023), y en la otra se ubican los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</p>\n\n<p>En la mesa en el Cabildo Indigenal se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco, representando al Ultima Cena de Cristo y sus disc&iacute;pulos.</p>\n\n<p>Acompa&ntilde;an este acto tres sacristanes, uno lleva la cruz de plata, con pa&ntilde;o blanco y los otros dos sujetan cada uno una vela encendida.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>Se llama a la Santa Cena con el sonido de las matracas</li>\n\t<li>Los Sargentos jud&iacute;os hacen una procesi&oacute;n, por las calles, pero no van al Cabildo.</li>\n\t<li>Desde la iglesia, los Santos Varones, Perpetuos, Cabildo, las Memes (Mamitas abadesas) y Pasados, se dirigen caminando al patio del Cabildo, donde se extienden dos arcos cruzados, ornamentados con telas de colores, (sujetados por j&oacute;venes), bajo los arcos se sit&uacute;a la mesa donde se realiza la conmemoraci&oacute;n de la Ultima Cena.</li>\n\t<li>En la mesa se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco.</li>\n\t<li>Se hace una oraci&oacute;n bendiciendo la cena.</li>\n\t<li>Los sacristanes se paran cerca de la mesa sosteniendo la cruz y las velas.</li>\n\t<li>Los comensales de la Santa Cena son alimentados por las autoridades del Cabildo, ya que no pueden tocar los platos ni los cubiertos con las manos, solo pueden tocar las tutumas de chicha.</li>\n\t<li>Luego del acto de la cena, se invita a todos los dem&aacute;s a comer.</li>\n</ul>\n\n<hr />\n<p><strong>DESCLAVACI&Oacute;N DEL SE&Ntilde;OR </strong></p>\n\n<p>Esta escena que forma parte del ciclo de la Pasi&oacute;n, narra el episodio en que el cuerpo de Cristo es desclavado y bajado de la cruz por Jos&eacute; de Arimatea y Nicodemo. Es uno de los momentos mas emotivos de la festividad de Semana Santa.</p>\n\n<p>Lugar</p>\n\n<p>Se realiza en el atrio del templo.</p>\n\n<p>Ubicaci&oacute;n de las im&aacute;genes</p>\n\n<p>La imagen del Cristo crucificado, ha sido colocada en el atrio debajo de la cubierta, en una especie de altar en forma de U, construido con madera y cubierto con ramas de sauce llor&oacute;n.</p>\n\n<p>Las otras im&aacute;genes: La Virgen Dolorosa, la Ver&oacute;nica, Virgen Mar&iacute;a y San Juan, est&aacute;n dispuestas a la derecha de la imagen de Cristo, no est&aacute;n bajo la cubierta del templo.</p>\n\n<p>Vestimenta de las im&aacute;genes:</p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>Participan</p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Ni&ntilde;os que representan a los &aacute;ngeles, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, pueblo en general.</p>\n\n<p>Vestimenta: P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana negra y sobrepelliz blanca; los ni&ntilde;os que reciben los objetos sagrados llevan una corona de flores blancas, rebozo que cae sobre la espalda, collares dorados, y t&uacute;nica blanca adornada con cintas de color turquesa, a manera de c&iacute;ngulo de dos ca&iacute;das; los Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos, los Caciques Mayores de los Santos Varones llevan en la cintura un c&iacute;ngulo dorado de dos ca&iacute;das y el resto la llevan en blanco. Sobre el hombro izquierdo cruza una estola blanca que sirve para manipular las piezas sagradas y no tocarlas con las manos; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p>Instrumentos</p>\n\n<p>Coro Musical: Sivivire (2); viol&iacute;n (1); baj&oacute;n (2).</p>\n\n<p>Coro de j&oacute;venes: Con violines</p>\n\n<p>Actividades</p>\n\n<p>El atrio del templo y su entorno, se convierten en el escenario del desclavamiento de Cristo, toda la Comunidad de San Ignacio, se da cita en torno al altar construido por el Cabildo en el atrio del templo, en el que se muestra la imagen del Cristo Crucificado.</p>\n\n<p>El P&aacute;rroco da las indicaciones para la desclavaci&oacute;n de la imagen de Cristo, tarea que realizan los Santos Varones.</p>\n\n<p>El cuerpo de Cristo es bajado con mucho cuidado, lo presentan a la Virgen Dolorosa, lo visten, le colocan la corona y enseguida es trasladado al Santo Sepulcro.</p>\n\n<p>Las autoridades del Cabildo Indigenal, y los Hermanos del Santo Sepulcro, desmontan por partes el altar erigido, las personas que han acompa&ntilde;ado la ceremonia se aproximan y comienzan a quitar los ramos del sauce llor&oacute;n, estas plantas se utilizar&aacute;n para curar enfermedades f&iacute;sicas y espirituales.</p>\n\n<p>En reemplazo del cuerpo de Cristo se deja una estola blanca que atraviesa los dos brazos de la Cruz.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>El Coro Musical entona cantos (con libreto) en castellano, se ubican al lado derecho de la imagen de Cristo Crucificado.</li>\n\t<li>El Coro de j&oacute;venes interpreta una canci&oacute;n acompa&ntilde;ada de sus instrumentos, se ubican a la izquierda de la imagen de Cristo Crucificado.</li>\n\t<li>El p&aacute;rroco parado sobre una tarima anuncia que los Santos Varones proceder&aacute;n a desclavar el cuerpo de Cristo.</li>\n\t<li>Los Sargentos jud&iacute;os preceden la entrada de los Santos Varones.</li>\n\t<li>Los Santos Varones presentan primero sus respetos a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco va guiando a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento retirado es llevado por uno de los Santos Varones, primero son presentados a la Virgen Mar&iacute;a, la Dolorosa y luego se colocan, en unas bandejas sostenidas por tres ni&ntilde;os que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</li>\n\t<li>Cuando se han quitado todos los elementos, se baja la imagen de Cristo con sumo cuidado, y se la presenta a la Virgen Dolorosa, tocan las matracas, y el coro de j&oacute;venes interpreta m&uacute;sica sacra.</li>\n\t<li>Los Santos Varones, llevan el cuerpo de Cristo al Sepulcro, lo visten y lo colocan en su interior, lo acomodan y cubren su cuerpo con un manto de color negro, mientras, van encendiendo las velas alrededor del Sepulcro, aseguran la puerta, y terminan de encender todas las velas. M&uacute;sica del coro de j&oacute;venes contin&uacute;a.</li>\n\t<li>Para la m&uacute;sica, y toca la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro y los sacristanes se ubican delante del Santo Sepulcro</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, para iniciar la procesi&oacute;n.</li>\n</ul>\n\n<hr />\n<p><strong>PROCESI&Oacute;N DEL ENCUENTRO DEL SE&Ntilde;OR RESUCITADO CON SU MADRE&nbsp; </strong></p>\n\n<p>Se celebra el encuentro de Cristo Resucitado, con su madre la Virgen Mar&iacute;a.</p>\n\n<p>Lugar</p>\n\n<p>Se realiza la plaza.</p>\n\n<p>Ubicaci&oacute;n de las im&aacute;genes</p>\n\n<p>Salen en procesi&oacute;n en el siguiente orden: San Juan; Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, y finalmente la imagen de Cristo Resucitado.</p>\n\n<p>Vestimenta de las im&aacute;genes:</p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>Participan</p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, Angelitos, la tamborita de los Macheteros, alzadores varones que portan a Cristo Resucitado, San Juan y a la Virgen Dolorosa y alzadoras mujeres que portan a las im&aacute;genes femeninas, j&oacute;venes que flanquean la procesi&oacute;n, pueblo en general.</p>\n\n<p>Vestimenta</p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana blanca.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo con camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p>Macheteros o Chiripier&uacute;ana, con camijeta, con franjas coloridas a los costados, sobre los hombros un pa&ntilde;uelo rojo, llevan en la mano derecha un machete de madera, y portan en la cabeza un tocado hecho de plumas de parabas, cuelga de este tocado un cuero que representa la piel de tigre, que llega hasta los talones, los que est&aacute;n cubiertos con semillas de paichach&iacute;s, que hacen las veces de cascabeles.</p>\n\n<p>Angelitos, llevan m&aacute;scara de &aacute;ngel sobre la frente, con pa&ntilde;oleta anaranjada sobre la cabeza, los que representan a la mujer tienen rasgos femeninos y usan tipoi anaranjado, los que representan a los hombres, con bigote, y usan pantal&oacute;n, todos usan chaleco generalmente oscuro, alas de cuero, cascabeles en las rodillas, en la mano derecha flores silvestres y en la derecha un l&aacute;tigo de colores.&nbsp;</p>\n\n<p>La tamborita, con pa&ntilde;oleta del mismo color que los angelitos.</p>\n\n<p>elementos destacados</p>\n\n<p>Cruz de plata, con faldilla blanca, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca con soporte de plata, la porta un miembro del Cabildo.</p>\n\n<p>Instrumentos</p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti, cajane, tampura.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p>Actividades</p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, unos por la calle de la izquierda y el Cristo por la de la derecha de la plaza, para luego encontrarse en el medio de la calle al otro lado de la plaza. All&iacute; las im&aacute;genes se har&aacute;n venias y bailar&aacute;n demostrando la alegr&iacute;a de reencontrarse.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, la tamborita se ubica en el medio.</li>\n\t<li>Salen del templo las im&aacute;genes de San Juan: Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, luego los sacristanes cargando la Cruz de plata; el Cabildo portando una bandera blanca; el p&aacute;rroco y finalmente la imagen de Cristo Resucitado, sobre anda con porta velas. Todo esto en silencio.</li>\n\t<li>El Cristo Resucitado flanqueado por filas de j&oacute;venes, (hombres y mujeres), vestidos con pantal&oacute;n oscuro y camisa blanca, se va por la calle de la derecha de la plaza y las otras im&aacute;genes por la de la izquierda.</li>\n\t<li>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le quit&oacute; el manto negro).</li>\n\t<li>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer la venia para que la imagen baje y suba).</li>\n\t<li>Cuando est&aacute;n a unos 10 metros, se las inciensa y un miembro del Coro Musical canta Aleluya y hace una oraci&oacute;n (con libreto), luego el p&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y las im&aacute;genes comienzan a bailar al ritmo de la banda, la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo.</li>\n\t<li>Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita, en la esquina de la plaza para guiarlos al templo.</li>\n\t<li>Al acercarse al templo, ta&ntilde;en las campanas continuamente.</li>\n\t<li>En el atrio los Macheteros se colocan en dos filas una a cada lado de la puerta, contin&uacute;an bailando.</li>\n\t<li>Las im&aacute;genes de San Juan; la Virgen Mar&iacute;a; la Ver&oacute;nica, se quedan cerca de la plaza para dar paso a las principales.</li>\n\t<li>Ingresan en medio de los Macheteros, que permanecen en el atrio bailando: el Sacrist&aacute;n que porta la Cruz de plata, representantes del Cabildo con la bandera blanca, el p&aacute;rroco con sacristanes, la imagen de Cristo Resucitado, la imagen de la Virgen Mar&iacute;a y el resto de las im&aacute;genes.</li>\n\t<li>Se colocan en sus respectivos lugares y el p&aacute;rroco las inciensa, mientras en el atrio continua la m&uacute;sica.</li>\n\t<li>El P&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>Canta el coro musical en castellano, acompa&ntilde;ado con sivivire y caja.</li>\n\t<li>Comienza la misa del D&iacute;a de la Aurora, el coro de j&oacute;venes del templo acompa&ntilde;a toda la ceremonia, antes de dar la Comuni&oacute;n, el p&aacute;rroco inciensa el altar y las im&aacute;genes de Cristo Resucitado y la Virgen Mar&iacute;a, el sacrist&aacute;n al padre, mientras el Coro Musical canta &ldquo;Hosanna&rdquo; acompa&ntilde;ado del sivivire y la caja.</li>\n\t<li>Termina la misa y el sivivire y cajane acompa&ntilde;an al Coro musical &ldquo;Reina del cielo&hellip; aleluya&rdquo;</li>\n</ul>\n\n<hr />\n<p><strong>LA PROCESI&Oacute;N DE LOS PENITENTES</strong></p>\n\n<p>Los Penitentes est&aacute;n presentes en las procesiones que se celebran en Semana Santa, generalmente se colocan al final de la procesi&oacute;n, y son los primeros en retornar al templo.</p>\n\n<p>Cargan en sus espaldas grandes cruces de madera, visten t&uacute;nica y faja negra, sobre su cabeza un pa&ntilde;o oscuro y poco transparente les cubre el rostro. Cada penitente tiene un s&eacute;quito que lo acompa&ntilde;a: su esposa que alumbra el camino con una vela, el Cirineo que le ayuda a llevar la cruz, que est&aacute; tambi&eacute;n acompa&ntilde;ado por su esposa.</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>PERSONAJES QUE PARTICIPAN</strong></p>\n\n<p><strong>CABILDO</strong></p>\n\n<p><em>&ldquo;La autoridad tradicional es el Cabildo representado por el Corregidor acompa&ntilde;ado de los Caciques; el cual cuenta con 25 representantes de cada comunidad ind&iacute;gena. El rol del Corregidor es llevar adelante el control de la poblaci&oacute;n desde actividades familiares hasta las fiestas, relacionamiento as&iacute; a gran parte de las instituciones que componen la poblaci&oacute;n. Actualmente, siguiendo los criterios jesu&iacute;ticos el Cabildo Indigenal est&aacute; compuesto por </em><em>\u2549</em><em>un Capital Grande, dos caciques, dos intendentes, cuatro alf&eacute;reces, dos fiscales, dos polic&iacute;as, once comisarios, un camaretero y un secretario (Eyzaguirre 2012:55) cada uno lleva sus propias funciones en sus distintas &aacute;reas. Al Corregidor tradicionalmente se le denomina Tayta &oacute; Tata (persona sabia), quien integra a los sectores, organizaciones, instituciones y familias, el que encierra el respeto y educaci&oacute;n heredada por la cultura de los abuelos. El Cabildo no percibe ning&uacute;n ingreso, el Corregidor no tiene sueldo, por lo que muchas no todas las personas asumen la responsabilidad de este cargo, y por otro lado, el Corregidor debe ser una persona mayor de entre 40 a 50 a&ntilde;os, como garant&iacute;a de su responsabilidad (Parroquias de Mojos 1988:32). La autoridad del Corregidor es elegida en una gran reuni&oacute;n del Cabildo Indigenal incluyendo la participaci&oacute;n de las agrupaciones de las Danzas e incluso personas de las comunidades; esta es una pr&aacute;ctica que la realiza el cabildo sin ninguna intromisi&oacute;n de la junta la prefectura, subprefectura, Comit&eacute;s C&iacute;vicos u otros.&rdquo;</em> <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\">[3]</a></p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos jud&iacute;os, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>&nbsp;Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; su rol es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</p>\n\n<p>Dos Sargentos Jud&iacute;os est&aacute;n apostados al lado del Cristo Crucificado.</p>\n\n<p><strong>PERPETUOS</strong></p>\n\n<p>Son los se&ntilde;ores mayores que ayudan y apoyan al templo y al cabildo, deben su nombre al hecho de que solo son suplidos por vejez o muerte.</p>\n\n<p><strong>PASADOS</strong></p>\n\n<p>Son los ex Caciques y ex Corregidores, miembros del Cabildo Indigenal.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><strong>[4]</strong></a></em></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"><strong>[5]</strong></a></em></p>\n\n<p><strong>LAS MAMITAS ABADESAS DE LA IGLESIA (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"><em><strong>[6]</strong></em></a></p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERUNA</strong></p>\n\n<p>Su nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>Su danza es de forma marcial en dos filas, bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores.</p>\n\n<p>Sujeta del armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichach&iacute;es, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p><img src=\"file:///C:/Users/Usuario/AppData/Local/Temp/msohtmlclip1/01/clip_image004.png\" style=\"height:352px; width:590px\" /></p>\n\n<p>Macheteros, julio 17 de 1859<a href=\"#_ftn7\" name=\"_ftnref7\" title=\"\">[7]</a></p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><strong>GLOSARIO</strong></p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<hr />\n<p><strong>BIBLIOGRAF&Iacute;A </strong></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> D&rsquo;Orbigny Alcides, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV, fig. N.&ordm; 34.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid. pg. 1310.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> <a name=\"_Hlk170379563\">M&uacute;jica, Angulo Richard, El &ldquo;Juramento</a>&rdquo; para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Mojos, Reuni&oacute;n Anual de Etnolog&iacute;a N&ordm; 26, La Paz: MUSEF, 2013, Tomo 2 &ndash; Cultura(s) Popular(es), pg. 96.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos</em>.pg.21.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Ibid.pg. 11.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" title=\"\">[6]</a> Ibid.pg. 14</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" title=\"\">[7]</a> <a name=\"_Hlk171005772\">Plan Mojos, Historia Cabildos. 2024.</a></p>\n\n<p>&nbsp;</p>\n</div>\n</div>\n\n<div>\n<div>\n<p>&nbsp;</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 1, "tileid": "d41a5927-89e0-40c0-8ed8-6312030f8c1d"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2881376c-5ddf-42d1-89ca-a207b006c108", "resourceXresourceId": "97bc4331-5dff-45b5-b328-8bf48a2cfc83"}], 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"nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 1, "tileid": "5ff10c9e-acd0-40af-8256-53021f84841f"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Estructura de madera de seis niveles."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Desde la ma\u00f1ana las Memes se encargan del arreglo del altar donde se colocar\u00e1 el Sagrario, este altar es una estructura de madera de seis pisos, construida de forma escalonada, profusamente ornamentado, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi\u00e9n se colocan cintas y flores blancas. La elecci\u00f3n de las telas depende de la capacidad adquisitiva que se tuvo en al a\u00f1o.  En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est\u00e1 envuelto en cintas de colores y cintas con los colores de la bandera nacional. Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m\u00e1s elevado se ubica la imagen de un \u00e1ngel vestido de blanco. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Altar Mayor temporal"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 36, "tileid": "88ad40fd-14d0-43e8-80b5-14983759b2c7"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El patrimonio inmaterial transmitido de generaci\u00f3n en generaci\u00f3n, por la memoria viva de la comunidad, esta expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici\u00f3n y son confirmadas y revitalizadas en el presente. En San Ignacio de Mojos, la transmisi\u00f3n de tradiciones y costumbres ha conseguido salvaguardar el Patrimonio Cultural Inmaterial. Los portadores de la tradici\u00f3n desempe\u00f1an un papel crucial al confirmar y revitalizar estas pr\u00e1cticas en el presente. El \u00e9xito de la preservaci\u00f3n se basa en: Participaci\u00f3n de Ni\u00f1os y J\u00f3venes. Al involucrar a ni\u00f1os y j\u00f3venes en las festividades, se asegura que adquieran habilidades y saberes ancestrales. Esto garantiza la continuidad de las costumbres al transferir conocimientos de una generaci\u00f3n a otra. Transmisi\u00f3n desde la Infancia. La transmisi\u00f3n comienza desde temprana edad, lo que permite que los ni\u00f1os internalicen las tradiciones y se conviertan en futuros portadores. La participaci\u00f3n activa en rituales y pr\u00e1cticas culturales refuerza su identidad cultural. Sostenibilidad y Adaptaci\u00f3n. La transmisi\u00f3n de tradiciones, no implica una mera repetici\u00f3n, sino tambi\u00e9n adaptaci\u00f3n. Los portadores de la tradici\u00f3n han mantenido la autenticidad, pero tambi\u00e9n han permitido que evolucione para seguir siendo relevante. Existe un esfuerzo organizado de la comunidad y el Plan Misiones para preservar el patrimonio cultural, con este objetivo se est\u00e1 efectuando la elaboraci\u00f3n de registros del patrimonio cultural, material e inmaterial, como instrumento de salvaguardia de estos acervos.  La comunidad se apoya en el Cabildo Indigenal como responsable del mantenimiento y perpetuaci\u00f3n del conjunto de c\u00f3digos relacionados con la celebraci\u00f3n de las festividades. Estas manifestaciones siguen uniendo a sus miembros y reforzando sus lazos identitarios, los cuales pueden verse debilitados por los procesos de transculturaci\u00f3n a los que todas las comunidades est\u00e1n expuestas en la actualidad. En San Ignacio, la transmisi\u00f3n de la lengua moje\u00f1a se ha efectuado de padres a hijos de forma oral. La cultura moje\u00f1a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense\u00f1an formalmente el idioma moje\u00f1o, como medio de salvaguardar la cultura.  La creaci\u00f3n de la nueva escuela de m\u00fasica, se ha convertido en factor importante de reproducci\u00f3n de la tradici\u00f3n musical moje\u00f1a, adem\u00e1s de proveer oportunidades de conseguir un t\u00edtulo profesional. El objetivo no es solamente recuperar la m\u00fasica legado de la \u00e9poca misional y prehisp\u00e1nica, sino de proponer nueva m\u00fasica popular.  La confecci\u00f3n de instrumentos, es tambi\u00e9n parte de los conocimientos que se han transmitido por generaciones, y se han ido mejorando con el tiempo. Aunque actualmente la mayor\u00eda de los instrumentos son importados.   La Semana Santa es proclive a preservarse y transmitirse, por su car\u00e1cter festivo e interactivo, con la realizaci\u00f3n de bailes, danzas, ceremonias religiosas, representaciones esc\u00e9nicas, m\u00fasica, etc. Es gracias a la relaci\u00f3n del Cabildo con la comunidad que estas manifestaciones se han adaptado con facilidad a los modos de vida actual, y se mantienen como escenarios de encuentro y convivencia, del pueblo moje\u00f1o."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "7c71cd70-e7ce-40c6-8ba7-82e539f88b44"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El conocimiento de los riesgos que puede afrontar el patrimonio inmaterial es una herramienta fundamental para su prevenci&oacute;n.</p>\n\n<p>Con la creaci&oacute;n de la nueva escuela de m&uacute;sica, se est&aacute; salvaguardando la tradici&oacute;n musical, pero tambi&eacute;n existe una falta de integraci&oacute;n con los miembros del Coro Musical, que interpretan sus instrumentos de la forma &ldquo;t&iacute;pica&rdquo;, mientras que en la escuela se tocan los instrumentos de manera formal. Esta situaci&oacute;n genera una brecha entre las pr&aacute;cticas tradicionales y las ense&ntilde;anzas acad&eacute;micas, lo que podr&iacute;a afectar la cohesi&oacute;n y la transmisi&oacute;n aut&eacute;ntica de la herencia musical. Es fundamental encontrar un equilibrio que permita la coexistencia y el enriquecimiento mutuo de ambas formas de interpretaci&oacute;n, asegurando as&iacute; la preservaci&oacute;n y evoluci&oacute;n de la tradici&oacute;n musical en su totalidad.</p>\n\n<p>Son pocas ya las personas que saben fabricar instrumentos, m&aacute;scaras, sombreros, entre otros objetos tradicionales, por lo que se est&aacute;n perdiendo estos saberes. La disminuci&oacute;n de artesanos y la falta de transmisi&oacute;n de estos conocimientos a las nuevas generaciones ponen en riesgo la continuidad de estas pr&aacute;cticas culturales. Es crucial implementar iniciativas que fomenten el aprendizaje y la preservaci&oacute;n de estas habilidades, asegurando as&iacute; que estas valiosas tradiciones no se pierdan y puedan ser apreciadas por futuras generaciones.</p>\n\n<p>El uso de instrumentos industrializados, o la construcci&oacute;n de instrumentos con materiales no tradicionales, por la facilidad de su manufactura, supone un riesgo de perder las &ldquo;formas de hacer&rdquo; tradicionales que son transmitidas usualmente de maestro a aprendiz.</p>\n\n<p>La utilizaci&oacute;n de nuevas tecnolog&iacute;as, como es el caso de las procesiones en Semana Santa, que ahora son acompa&ntilde;adas por una grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os, ha reemplazado la interpretaci&oacute;n en vivo que antiguamente realizaban los m&uacute;sicos. Este cambio implica una p&eacute;rdida de una parte de la tradici&oacute;n moje&ntilde;a, ya que la m&uacute;sica en vivo era un elemento esencial de estas celebraciones.</p>\n\n<p>La declaraci&oacute;n como Patrimonio Cultural Inmaterial de la Humanidad a la Ichapekene Piesta, la fiesta mayor de San Ignacio de Moxos, es una forma de dar valor y gran visibilidad a la cultura moje&ntilde;a. Esta mayor atenci&oacute;n a todas sus expresiones culturales, como es la festividad de Semana Santa, puede conllevar una p&eacute;rdida de la esencia propia de las celebraciones, que est&aacute;n profundamente arraigadas en la poblaci&oacute;n, modificando las formas art&iacute;sticas tradicionales para convertirlas en &ldquo;productos tur&iacute;sticos&quot;.</p>\n\n<p>Otro riesgo probable, se presenta cuando instituciones dedicadas a la promoci&oacute;n del turismo difunden sin reservas una manifestaci&oacute;n que no cuenta con los recursos materiales ni humanos necesarios para satisfacer las demandas de los asistentes. La comunidad local carece de aforos adecuados y de procedimientos de organizaci&oacute;n interna necesarios para manejar una afluencia excesiva y no sostenible de visitantes. Adem&aacute;s, la comunidad no se beneficia de la presencia de estos p&uacute;blicos, ya que no se establece un contacto duradero, sino que se produce un impacto puntual y aislado que poco o nada contribuye a la perpetuaci&oacute;n del Patrimonio Cultural.</p>\n\n<p>Las amenazas para la transmisi&oacute;n del patrimonio cultural inmaterial provienen de diversos factores, entre ellos los cambios sociales y demogr&aacute;ficos que reducen el contacto intergeneracional, como ocurre con las migraciones y la urbanizaci&oacute;n. Adem&aacute;s, la imposici&oacute;n de sistemas educativos formales que subestiman los conocimientos y t&eacute;cnicas tradicionales, as&iacute; como la influencia de los medios de comunicaci&oacute;n masivos, tambi&eacute;n contribuyen a estos riesgos.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "c0d80a48-4cc4-4d11-800d-a338d194173e"}, {"data": {}, "nodegroup_id": "2eef1f82-d3e5-11ee-a8c9-b13f60624ac2", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "51a0a502-6c08-42da-9899-a38d3df87317"}, {"data": {"d691d91e-d3e5-11ee-a8c9-b13f60624ac2": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2881376c-5ddf-42d1-89ca-a207b006c108", "resourceXresourceId": "df1c4737-7771-413c-8146-b41692791f0d"}]}, "nodegroup_id": "d691d91e-d3e5-11ee-a8c9-b13f60624ac2", "parenttile_id": "51a0a502-6c08-42da-9899-a38d3df87317", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "43375d26-bfdf-4a5d-8c99-f0d643f292bf"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La m&uacute;sica es un medio que permite expresar emociones y transmitir conocimientos o experiencias. Las comunidades ind&iacute;genas la han utilizado como instrumento de preservaci&oacute;n de su cultura, trasmitiendo sus saberes de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>En la &eacute;poca prehisp&aacute;nica Mojos era una regi&oacute;n poblada por diversos grupos &eacute;tnicos de habla Arawak, con la llegada de los jesuitas a finales del siglo XVII, estos grupos son reducidos y se establecen la misiones, una de ellas es San Ignacio.</p>\n\n<p>Los sacerdotes jesuitas, recurrieron a la afici&oacute;n de los ind&iacute;genas por la m&uacute;sica y la danza, para inculcarles la religi&oacute;n cristiana y sus valores. Los moje&ntilde;os, demostraron tener gran aptitud para el aprendizaje musical, tocaban con destreza todos los instrumentos que eran tra&iacute;dos de Europa, ya fuesen de cuerda o viento, y con el tiempo tambi&eacute;n fueron capaces de construirlos.</p>\n\n<p style=\"margin-left:47px\"><em>Los jesuitas ense&ntilde;aron m&uacute;sica a, los indios y pronto &eacute;stos ocuparon sus lugares en el coro, como solistas, instrumentistas, copistas, constructores de instrumentos y hasta de maestros de capilla.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Los documentos que registran la presencia de las pr&aacute;cticas musicales y las danzas en el periodo jesuita, muestran la coexistencia de la m&uacute;sica sacra con la m&uacute;sica y danzas aut&oacute;ctonas.</p>\n\n<p>En sus escritos Alcide D&rsquo;Orbigny relata:</p>\n\n<p style=\"margin-left:47px\"><em>...me sorprendi&oacute; la m&uacute;sica instrumental, plena de armon&iacute;a, en la que admir&eacute; sobre todo los bajos formados por un instrumento propio de los ind&iacute;genas, especie de flauta de Pan de uno a dos metros de largo, construida con hojas de palmeras unidas unas con otras, &hellip;</em></p>\n\n<p style=\"margin-left:47px\"><em>Despu&eacute;s de la misa, los indios, tocados con una especie de aureola de plumas, y llevando cascabeles en las pantorrillas y un gran sable de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mis agudas hasta las mis graves, y acompa&ntilde;ados de flautas y tambores, salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a m&aacute;s que un n&uacute;mero muy limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas. <a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p><img src=\"file:///C:/Users/Usuario/AppData/Local/Temp/msohtmlclip1/01/clip_image002.jpg\" style=\"height:317px; width:513px\" /></p>\n\n<p>Keller, Franz. &ldquo;Misa Cantada en la Antigua misi&oacute;n de Trinidad (Mamor&eacute;)&rdquo;The Amazon and Madeira Rivers. Sketches <em>and descriptions from the Note-Book of an Explorer. </em><em>London, 1874.</em></p>\n\n<p>&nbsp;</p>\n\n<p><em>Las danzas aut&oacute;ctonas fueron aceptadas por los misioneros como expresi&oacute;n genuina de los pueblos a su cargo, e incorporadas oficialmente al culto religioso, especialmente en las procesiones de Corpus, fiesta de la Sant&iacute;sima Trinidad o la conmemoraci&oacute;n del d&iacute;a del Santo bajo cuya advocaci&oacute;n se hallaban las diferentes misiones. El P. Eder informa que &quot;en ciertas horas se re&uacute;nen en casa del misionero, y bailan all&iacute; y dentro del Templo&quot;, y describe los atav&iacute;os de los bailarines: &quot;Para dar m&aacute;s gracia a sus bailes, hay algunos que se ponen pieles de monos y de aves; otros llevan escudos de plumas ingeridas (cosidas) en una tela; y en ellos hay dibujadas varias figuras de animales&quot;.</em></p>\n\n<p><em>&hellip;</em></p>\n\n<p><em>Las procesiones que se originaron en festividades religiosas tales como Corpus, Epifan&iacute;a, Trinidad, Navidad, etc., ocasionaban el despliegue de intensa actividad musical, donde se daban cita cantantes, bailarines e instrumentistas y donde interven&iacute;an todos los integrantes del pueblo. <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El pueblo moje&ntilde;o mantiene viva su cultura, salvaguardando: la m&uacute;sica prehisp&aacute;nica, que hace eco y uso de la naturaleza; y la m&uacute;sica eclesial, como forma de preservar la religiosidad heredada del periodo misional.</p>\n\n<p>Las partituras que dejaron los jesuitas luego de la expulsi&oacute;n fueron celosa y cuidadosamente conservadas por el Cabildo y el pueblo mismo, la importancia de estos documentos reside en su devoci&oacute;n ya que no se concibe la adoraci&oacute;n a Dios separada de la m&uacute;sica.</p>\n\n<p>El Cabildo Indigenal, como representante de la comunidad, cuyo rol principal es difundir el patrimonio cultural moje&ntilde;o, organiza y participa con las parcialidades de los Valores Espirituales del Pueblo, en las actividades festivas donde la m&uacute;sica y la danza son el elemento fundamental.</p>\n\n<p>Los integrantes de los conjuntos musicales, tiene la responsabilidad de mostrar y transmitir estos saberes, para preservarlos a trav&eacute;s del tiempo.</p>\n\n<p>Coro Musical. Conjunto de personas que cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio, tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el cajane o caja (tambor).</p>\n\n<p>Tamborita. Grupo musical que toca el sivivire, el sankuti, y la tampura, interpretando ritmos alegres t&iacute;picos de la zona.</p>\n\n<p>Banda. &nbsp;&nbsp;Grupo que toca la caja y la trompeta.</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momentos se incluye dentro los ritos religiosos de Semana Santa, las canciones, la m&uacute;sica interpretadas por el Coro Musical, la tamborita y la banda; y las danzas ejecutadas por los Macheteros y los Angelitos.</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, la tamborita y la banda, y cuando se ejecutan las danzas. </u></strong></p>\n\n<hr />\n<p><strong>VIERNES DE DOLORES</strong></p>\n\n<p>Este d&iacute;a se conmemora el sufrimiento de la&nbsp;Virgen Mar&iacute;a, en los momentos de la Pasi&oacute;n y Muerte de Cristo.</p>\n\n<p>Lugar: Se realiza en el templo y luego en la plaza.</p>\n\n<p>M&uacute;sica</p>\n\n<p>Durante la procesi&oacute;n el Coro Musical interpreta canciones religiosas, acompa&ntilde;adas con sus instrumentos.</p>\n\n<p>Coro Musical:&nbsp; 2 &ldquo;cantantes&rdquo;, 2 bajones, 2 sivivire, y 3 violines.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza la celebraci&oacute;n de la misa y luego la imagen de la Virgen Dolorosa sale en procesi&oacute;n por la plaza, alzada por mujeres.</p>\n\n<p>Se coloca la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, como se&ntilde;al de inicio de la Semana Santa.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>Se celebra la misa, con la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, y la Virgen Dolorosa en la nave del lado de la ep&iacute;stola.</li>\n\t<li>El Cabildo se sienta en los primeros bancos, a la izquierda del altar</li>\n\t<li>Concluye la misa y se preparan las alzadoras para llevar a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco inciensa la imagen de la Virgen antes que sea alzada.</li>\n\t<li>Salen del templo por el medio de la nave principal, comienza a tocar la tamborita.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: Por delante salen los Sacristanes, uno con la Cruz de plata y dos con velas; el Cabildo ind&iacute;gena con la bandera morada; las Memes al centro y tambi&eacute;n flanqueando la procesi&oacute;n portando velas; el P&aacute;rroco con los Sacristanes; la imagen de la Virgen Dolorosa; p&uacute;blico en general y por &uacute;ltimo los Penitentes.</li>\n\t<li>Al salir del templo, los Sargentos Jud&iacute;os flanquean la imagen de la Virgen Dolorosa.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen de la Virgen Dolorosa.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:disc\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Cantos lit&uacute;rgicos interpretados por el coro de se&ntilde;oras, en castellano y con libreto, en la siguiente parada, ser&aacute; el turno del <strong><u>Coro Musical que canta en castellano y con libreto</u></strong>, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos</u></strong>.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos</u></strong>.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li><strong><u>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la banda y de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</u></strong></li>\n\t</ul>\n\t</li>\n</ul>\n\n<ul>\n\t<li>Cuando la procesi&oacute;n se acerca al templo, los Penitentes y sus acompa&ntilde;antes se adelantan e ingresan al templo primero. La banda se queda afuera del templo.</li>\n</ul>\n\n<ul>\n\t<li><strong><u>Luego entra la comitiva en el orden mencionado, con m&uacute;sica de la tamborita (pregrabada).</u></strong></li>\n\t<li>Se coloca la imagen de la Virgen Dolorosa en su lugar y el p&aacute;rroco la inciensa, tocan campanillas.</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n, para despedirse.</li>\n\t<li>Los fieles se acercan a tocar el vestido de la Virgen y presentar sus respetos.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>DOMINGO DE RAMOS</strong></p>\n\n<p>Inicia la Semana Santa, recordando la entrada de Jes&uacute;s a Jerusal&eacute;n.<strong> </strong></p>\n\n<p><strong>Misa del Ni&ntilde;o de Ramos, con bendici&oacute;n de las Palmas. - 8:00&nbsp; </strong></p>\n\n<p>Lugar: Se realiza en el templo y en el atrio.</p>\n\n<p>M&uacute;sica</p>\n\n<p>Coro juvenil del templo interpreta cantos propios de la misa.</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p>instrumentos</p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivire, 3 cajas o kajanes.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza la bendici&oacute;n de las palmas, la procesi&oacute;n sale hasta el atrio con la imagen del Ni&ntilde;o Ramos y luego inmediatamente retorna, para la celebraci&oacute;n de la misa.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>Antes de las 8:00, las Memes rezan el rosario, paradas frente al altar, dirigidas por un Perpetuo, que porta una cruz de madera.</li>\n\t<li>El Cabildo indigenal se sienta en las primeras filas y detr&aacute;s se sit&uacute;an las Memes, en los asientos de las naves laterales los ni&ntilde;os.</li>\n\t<li>El P&aacute;rroco recorre el templo echando agua bendita a las palmas de motac&uacute;, (Cogollo, como llaman los moje&ntilde;os ignacianos), que portan las Memes, los ni&ntilde;os y la gente. El coro del templo acompa&ntilde;a esta ceremonia.</li>\n\t<li>P&aacute;rroco hace una lectura y da lugar a la procesi&oacute;n, incensando la imagen del Ni&ntilde;o Ramos y la Virgen Dolorosa.</li>\n\t<li>El orden de la procesi&oacute;n es<strong><u>: 3 personas que tocan las cajas o kajanes;</u></strong> Sacristanes con la Cruz de plata, Cabildo indigenal, P&aacute;rroco y Sacristanes, Memes con palmas, imagen del Ni&ntilde;o Ramos, los Sargentos Jud&iacute;os flanquean la imagen, y finalmente los ni&ntilde;os con palmas.</li>\n\t<li><strong><u>La procesi&oacute;n sale por la nave del evangelio, precedida por el toque constante de cajas.</u></strong></li>\n\t<li>La imagen cruza la puerta del templo y es incensada por el p&aacute;rroco, quien hace una oraci&oacute;n, se cierran las puertas del templo.</li>\n\t<li><strong><u>El Coro Musical, con instrumentos canta el Hosanna, en castellano con libreto.</u></strong></li>\n\t<li><strong><u>El Sacrist&aacute;n golpea tres veces la puerta del templo, &eacute;sta se abre y entra el Cabildo indigenal, el P&aacute;rroco, Sacristanes y la imagen del Ni&ntilde;o Ramos se da la vuelta y vuelve a ingresar al templo, por el lado de la ep&iacute;stola, acompa&ntilde;ada con el sonido constante de las cajas.</u></strong></li>\n\t<li>Se sit&uacute;a en su lugar a la imagen del Ni&ntilde;o Ramos, suena la campanilla, el P&aacute;rroco inciensa las im&aacute;genes.</li>\n\t<li>Inicia la celebraci&oacute;n de la misa.</li>\n\t<li>Antes de la consagraci&oacute;n del pan y el vino, el P&aacute;rroco nuevamente inciensa las im&aacute;genes, a los asistentes, <strong><u>mientras el Coro Musical canta el Hosanna, acompa&ntilde;ado de sivivire y caja.</u></strong></li>\n\t<li>Concluye la misa y <strong><u>canta el Coro Musical acompa&ntilde;ado de sivivire y caja. (cantos eucar&iacute;sticos en castellano).</u></strong></li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Ni&ntilde;o Ramos - 16:00&nbsp; </strong></p>\n\n<p>Esta procesi&oacute;n conmemora la entrada triunfal de Cristo a Jerusal&eacute;n.</p>\n\n<p>Lugar: Se realiza desde el Cabildo y termina en el templo.</p>\n\n<p>M&uacute;sica</p>\n\n<p>Grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p>instrumentos</p>\n\n<p>Tamborita: Caja redoblante, sivivire, tambor</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivires.</p>\n\n<p>Actividades</p>\n\n<p><em>Iniciada la tarde los miembros del Cabildo construyen un altar en la puerta del cabildo, al frente de la Cruz que significa la presencia misional en mojos.</em></p>\n\n<p><em>Este altar est&aacute; hecho de cuatro apoyos de bamb&uacute; forrados con telas blanco, amarillo y verde, entre los pilares se cuelga un techo blanco adornado con tela blanca, verde y naranja, en la parte de adelante se sit&uacute;a un arco movible y sostenido por los miembros del cabildo.</em><a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\">[4]</a></p>\n\n<p>El Perpetuo reza el rosario, en frente de la imagen del Ni&ntilde;o Ramos, y luego se realiza la procesi&oacute;n que se dirige al templo.</p>\n\n<p>La procesi&oacute;n se detiene en todas las esquinas de la plaza, para realizar las ceremonias.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>Fuera del Cabildo Indigenal, donde est&aacute; la imagen del Ni&ntilde;o Ramos, un Perpetuo reza el rosario con las Memes que llevan palmas.</li>\n\t<li>Un manto blanco se extiende frente a la imagen, sobre el que rezan algunas Memes de rodillas.</li>\n\t<li><strong><u>Termina el rosario, el Perpetuo y las Memes empiezan a cantar en Moje&ntilde;o,</u></strong> mientras tanto llegan los Sargentos Jud&iacute;os y se colocan flanqueando la imagen.</li>\n\t<li>El p&aacute;rroco y sacristanes se acercan, se inciensa la imagen, y se bendicen los ramos con agua bendita.</li>\n\t<li>El p&aacute;rroco hace una oraci&oacute;n, <strong><u>el Coro Musical canta Hosanna en castellano, </u></strong>nuevamente hace una oraci&oacute;n.</li>\n\t<li>Suena la caja, se inciensa la imagen nuevamente, los alzadores cargan la imagen y <strong><u>comienza la procesi&oacute;n, acompa&ntilde;ada por el redoble de la caja y la m&uacute;sica de la tamborita pregrabada, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os,</u></strong> se difunde por dos peque&ntilde;os parlantes.</li>\n\t<li>En todas las esquinas de la plaza se hace lo siguiente:</li>\n</ul>\n\n<p style=\"margin-left:48px\">Se detiene la imagen del Ni&ntilde;o Ramos, bajo el dosel de tela anaranjada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa la imagen, mientras suenan las matracas.</p>\n\n<p style=\"margin-left:48px\"><strong><u>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</u></strong></p>\n\n<p style=\"margin-left:48px\">Se hace la lectura del evangelio</p>\n\n<p style=\"margin-left:48px\"><strong><u>El Coro Musical interpreta canciones religiosas en castellano de memoria</u></strong></p>\n\n<p style=\"margin-left:48px\">P&aacute;rroco hace una oraci&oacute;n.</p>\n\n<p style=\"margin-left:48px\"><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo;.</u></strong></p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las campanillas.</p>\n\n<ul>\n\t<li>Cuando est&aacute;n cerca del templo, empieza el redoble de campanas y se escucha a la banda buri, adem&aacute;s de la grabaci&oacute;n de la tamborita y el redoble de tambor.</li>\n\t<li>La imagen del Ni&ntilde;o Ramos, se gira y da la espalda a la puerta del templo, se lee el evangelio, <strong><u>el Coro Musical canta en castellano</u></strong>, nuevamente la imagen gira para ingresar al templo.</li>\n\t<li>La procesi&oacute;n ingresa al templo, por el lado de la ep&iacute;stola.</li>\n\t<li>Se coloca a la imagen en lado izquierdo del altar.</li>\n\t<li>Suenan las campanillas, redoble de tambor, se inciensa la imagen del Ni&ntilde;o Ramos y de la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco, da comienzo a la celebraci&oacute;n de la misa, el Cabildo Indigenal se sit&uacute;a en las primeras bancas, detr&aacute;s est&aacute;n las memes y luego el pueblo en general.</li>\n</ul>\n\n<hr />\n<p><strong>LUNES SANTO</strong></p>\n\n<p>El lunes se coloca delante el altar mayor un gran tel&oacute;n negro, que lleva una cruz roja en el centro, simbolizando la oscuridad que se cierne sobre nosotros.</p>\n\n<p><strong>MIERCOLES SANTO</strong></p>\n\n<p>El Mi&eacute;rcoles Santo da inicio a los cuatro d&iacute;as principales que preceden a la Resurrecci&oacute;n, por lo que se construye y ornamenta un altar donde se colocar&aacute; el Sagrario.</p>\n\n<p>Se celebran la misa y la procesi&oacute;n del Nazareno.</p>\n\n<p><strong>Misa y Procesi&oacute;n del Nazareno - 20:00</strong></p>\n\n<p>En el templo se sientan en los primeros asientos el Cabildo Indigenal, detr&aacute;s las Mamitas Abadesas y luego el pueblo en general.</p>\n\n<p><strong>Lugar</strong>: Se realiza en el templo y en la plaza principal.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, y 1 viol&iacute;n.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane. (m&uacute;sica pregrabada)</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Desde la ma&ntilde;ana<strong> </strong>las Memes se encargan del arreglo del altar donde se colocar&aacute; el Sagrario, este altar es una estructura de madera de seis pisos, construida de forma escalonada, profusamente ornamentado, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi&eacute;n se colocan cintas y flores blancas. La elecci&oacute;n de las telas depende de la capacidad adquisitiva que se tuvo en al a&ntilde;o.</p>\n\n<p>En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est&aacute; envuelto en cintas de colores y cintas con los colores de la bandera nacional.</p>\n\n<p>Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m&aacute;s elevado se ubica la imagen de un &aacute;ngel vestido de blanco. (foto)</p>\n\n<p>Se realiza la misa y posteriormente inicia la procesi&oacute;n del Nazareno, donde salen todas las im&aacute;genes que recuerdan la pasi&oacute;n de Jes&uacute;s.</p>\n\n<p>Cargan a las im&aacute;genes femeninas, solamente mujeres, y a las im&aacute;genes masculinas solamente varones.</p>\n\n<p><strong>Secuencia:</strong></p>\n\n<p>Se celebra la misa, siguiendo los rituales lit&uacute;rgicos</p>\n\n<ul>\n\t<li><strong><u>Canta el Coro Musical canciones lit&uacute;rgicas al Tata Jes&uacute;s Nazareno, en moxe&ntilde;o,</u></strong> <strong><u>acompa&ntilde;ado del sivivire solamente.</u></strong></li>\n\t<li>Canta el coro del templo en castellano.</li>\n\t<li>Los Hermanos del Santo Sepulcro colocan las cruces con flores que portan, delante de la imagen del Nazareno, para que reciban la bendici&oacute;n.</li>\n\t<li>El p&aacute;rroco da inicio a la misa, en la que solo participa el coro del templo.</li>\n</ul>\n\n<p>Termina la celebraci&oacute;n de la misa e inmediatamente los alzadores se sit&uacute;an en sus lugares para comenzar la procesi&oacute;n.</p>\n\n<ul>\n\t<li><strong><u>Afuera del templo toca la banda</u></strong></li>\n\t<li>Los Sargentos Jud&iacute;os flanquean las im&aacute;genes del Nazareno y la Dolorosa.</li>\n\t<li>Antes de la salida del Nazareno y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Se inciensa la imagen del Nazareno, mientras tocan las campanillas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen del Nazareno, custodiada por los Sargentos Jud&iacute;os, y por &uacute;ltimo la imagen de la Dolorosa.</li>\n\t<li><strong><u>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda y la grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os</u></strong>.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit&uacute;a La imagen del Nazareno.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten las siguientes ceremonias:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>Miembros del Cabildo extienden un lienzo blanco sobre el que se sit&uacute;a el p&aacute;rroco para incensar la imagen, mientras suenan las campanillas.</li>\n\t\t<li>En la primera parada canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del <strong><u>Coro Musical que canta en castellano con libreto</u></strong>, acompa&ntilde;ado de los instrumentos y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio.</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</u></strong></li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</u></strong></li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Se retira el lienzo blanco que estaba en el piso.</li>\n\t\t<li><strong><u>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</u></strong></li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso, cerca de la plaza.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva con las im&aacute;genes<strong><u>, entran por el lado de la ep&iacute;stola, acompa&ntilde;adas por la tamborita, (sonido pregrabado).</u></strong></li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las campanillas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<hr />\n<p><strong>JUEVES SANTO</strong></p>\n\n<p>Desde la ma&ntilde;ana, los Santos Varones se dedican al arreglo del Santo Sepulcro, que est&aacute; ya sobre su respectiva anda para la procesi&oacute;n, lo adornan con flores artificiales y algunas naturales, de distintos colores, le colocan tambi&eacute;n luces y velas.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo, desde el jueves santo, hasta el s&aacute;bado santo, a la misma hora.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>Instrumentos:</strong><strong> </strong></p>\n\n<p>Coro Musical: 2 Bajones, 2 sivivires y 3 violines.</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Cruz negra de madera, sobre la que cuelga un pa&ntilde;o blanco, la porta uno de los Sargentos Jud&iacute;os.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Inicia a las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo, solamente se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>&nbsp;El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por <strong><u>el Coro Musical, con oraciones y cantos en castellano,</u></strong> la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican detr&aacute;s de la imagen de Cristo crucificado, y detr&aacute;s de la imagen de la Dolorosa, uno de ellos porta la cruz que los representa, y por la que tienen mucho respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li><strong><u>Oraci&oacute;n con cantos del Coro Musical en castellano (con libreto)</u></strong></li>\n\t<li>Suena la campanilla y el sacrist&aacute;n se levanta, se dirige a la imagen del Cristo crucificado para hacerle una reverencia, luego se acerca al tenebrario para apagar una vela, mientras esto sucede <strong><u>el Coro Musical se levanta, sigue orando y se tocan los instrumentos</u></strong>, luego de apagada la vela el sacrist&aacute;n retorna a su lugar, y el coro se sienta.</li>\n\t<li>Esto se hace para el apagado de cada vela. El orden de apagado se realiza de abajo hacia arriba, empezando por el lado derecho, se apagan 3 velas y se pasa al lado izquierdo, apagando otras 3 velas y as&iacute; se va alternando, hasta apagar casi todas las velas, excepto la &uacute;ltima que se encuentra en la parte superior del tenebrario.</li>\n\t<li>La &uacute;ltima vela del tenebrario no se apaga, es retirada por el sacrist&aacute;n y acompa&ntilde;ado del sonido de la matraca, se acerca e hinca frente al altar. Todos los asistentes est&aacute;n de pie.</li>\n\t<li>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminado por la iglesia y se golpean los asientos para que se siente, y los Sargentos jud&iacute;os golpean sus lanzas.</li>\n\t<li>Se recogen las velas apagadas y se distribuyen entre las personas asistentes.</li>\n\t<li>Pasada la ceremonia los Sargentos jud&iacute;os pasan a reverenciar la imagen de Cristo Crucificado, solo las velas que est&aacute;n al pie de la imagen quedan encendidas, no se permite que estas velas se apaguen. Los Sargentos jud&iacute;os custodian la imagen y se turnan en grupos cada 15 minutos, mientras en el atrio de la iglesia las Memes del Cabildo (Mamitas abadesas), sirven som&oacute; que es una bebida caliente preparada con ma&iacute;z pelado, ma&iacute;z molido y canela, y chocolate con pan de arroz.</li>\n\t<li>Esta ma&ntilde;ana sirve tambi&eacute;n para la confesi&oacute;n que realizan los feligreses, el confesionario es custodiado por los Sargentos jud&iacute;os.</li>\n</ul>\n\n<p style=\"margin-left:38px\">&nbsp;</p>\n\n<p><strong>Celebraci&oacute;n de la misa del Se&ntilde;or, lavatorio de pies, procesi&oacute;n del Sant&iacute;simo Sacramento - 16: 00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los ap&oacute;stoles, tambi&eacute;n se recuerda el lavatorio de los pies, que manifiesta el servicio y el amor de Cristo, que ha venido &ldquo;no a ser servido, sino a servir&rdquo;.</p>\n\n<p><strong>Lugar</strong>: Se realiza en el templo.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: &nbsp;2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>En el centro de la nave y delante del altar, se sit&uacute;an dos bancos que estar&aacute;n ocupados por los Santos varones del Cabildo, a quienes el padre har&aacute; el lavado de los pies.</p>\n\n<p>Luego de la misa se realiza la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y <strong><u>se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</u></strong></li>\n\t<li>Despu&eacute;s del serm&oacute;n del p&aacute;rroco, se procede a la ceremonia del lavado de los pies a cada uno los 12 Santos varones del Cabildo, que representan a los ap&oacute;stoles, mientras esto sucede el coro de j&oacute;venes, interpreta canciones en castellano acompa&ntilde;ados por guitarra.</li>\n\t<li>Luego continua la misa.</li>\n\t<li>Finalmente se hace la ceremonia de reponer el Sant&iacute;simo Sacramento que se ha consagrado en la eucarist&iacute;a, en el altar que han preparado el Mi&eacute;rcoles Santo.</li>\n</ul>\n\n<p><strong>Procesi&oacute;n del Sant&iacute;simo Sacramento</strong></p>\n\n<ul>\n\t<li>Seis Santos varones sostienen un baldaqu&iacute;n o palio, hecho con tela blanca, en la nave delante del altar.</li>\n\t<li>En el altar, los sacristanes colocan sobre la espalda del p&aacute;rroco un pa&ntilde;o blanco y largo, con el que envuelve sus manos para no tocar el cop&oacute;n de plata, donde se guardan las hostias consagradas El p&aacute;rroco lo levanta y se dirige hacia el lugar donde est&aacute; el baldaqu&iacute;n, coloc&aacute;ndose bajo &eacute;ste.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: el Cabildo indigenal (uno de ellos porta una bandera blanca con soporte de plata que termina en una cruz del mismo material, autoridades c&iacute;vicas, el Coro Musical y los sacristanes que preceden al p&aacute;rroco con el cop&oacute;n, bajo el baldaqu&iacute;n, y detr&aacute;s de &eacute;l, caminan dos filas de Sargentos jud&iacute;os y en medio de ellos las mamitas abadesas.</li>\n\t<li>Inicia la procesi&oacute;n cuando se tocan las matracas, se esparce incienso con el incensario y comienzan los <strong><u>cantos en moje&ntilde;o (con libreto) y m&uacute;sica interpretados por el Coro Musical</u></strong>, esto se repite constantemente en toda la procesi&oacute;n.</li>\n\t<li>Antes que la procesi&oacute;n termine en el altar, se recoge hacia un lado, el lienzo de color negro con la cruz roja, que imped&iacute;a la vista del altar temporal.</li>\n\t<li>La procesi&oacute;n pasa por detr&aacute;s del altar temporal y se detiene frente al altar.</li>\n\t<li>El p&aacute;rroco se dirige hacia el altar mayor temporal, y un Perpetuo sube los escalones para colocar el cop&oacute;n de plata dentro del sagrario.</li>\n\t<li>El p&aacute;rroco dirige unas palabras al p&uacute;blico y termina la ceremonia.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>La Ultima Cena - 18:00</strong></p>\n\n<p>Se realiza en el Cabildo indigenal, en este ritual, no se hace uso del idioma moje&ntilde;o, ni se interpretan canciones.</p>\n\n<p><strong>Procesi&oacute;n del Se&ntilde;or Crucificado - 20: 00</strong></p>\n\n<p>Lugar: Se realiza en las calles Montes, Bol&iacute;var, Santiesteban y Ballivi&aacute;n.</p>\n\n<p>Instrumentos</p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li>Antes de la salida del Cristo Crucificado y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Dentro el templo, los Hermanos de la Pasi&oacute;n de Cristo colocan sus cruces alrededor de la imagen del Cristo Crucificado para que reciban la bendici&oacute;n, ellos escoltan toda la procesi&oacute;n, mientras que los soldados jud&iacute;os solamente a la imagen de Cristo Crucificado y a la Dolorosa.</li>\n\t<li>Se inciensa la imagen de Cristo Crucificado, mientras tocan las matracas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; luego est&aacute;n las autoridades; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen de Cristo Crucificado custodiada por los Sargentos Jud&iacute;os, detr&aacute;s de estos, entra el p&uacute;blico en general y detr&aacute;s van los Penitentes y sus acompa&ntilde;antes. y por &uacute;ltimo la imagen de la Dolorosa</li>\n\t<li>Todos salen por el lado del evangelio y cuando el Cristo Crucificado cruza la puerta comienza la m&uacute;sica de la banda.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen del Cristo Crucificado.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del <strong><u>Coro Musical que canta en castellano con libreto</u></strong>, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</u></strong></li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos</u></strong><strong>.</strong></li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li><strong><u>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os</u></strong>.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y <strong><u>luego la comitiva que entra por el lado de la ep&iacute;stola, acompa&ntilde;ada por la tamborita, (sonido pregrabado).</u></strong></li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las matracas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<hr />\n<p><strong>VIERNES SANTO</strong></p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que el d&iacute;a anterior.</p>\n\n<p><strong>Serm&oacute;n de Las Siete Palabras - 12:00 </strong></p>\n\n<p>En la ceremonia de la misa se recuerdan las siete frases que Jes&uacute;s pronunci&oacute; durante su crucifixi&oacute;n.</p>\n\n<p><strong>Celebraci&oacute;n de la pasi&oacute;n y muerte de nuestro Se&ntilde;or, y Adoraci&oacute;n de la Cruz - 15: 00</strong></p>\n\n<p>Lugar: Se realiza en el templo.</p>\n\n<p>Instrumentos: Guitarra.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza la celebraci&oacute;n de la misa, y antes de la comuni&oacute;n, se hace la Adoraci&oacute;n, que consiste en ingresar la Cruz por la puerta principal, &eacute;sta es llevada por el p&aacute;rroco y lo acompa&ntilde;a un sacrist&aacute;n, que sostiene el micr&oacute;fono mientras el padre hace la oraci&oacute;n cantada.</p>\n\n<p>Se le rinde respeto a la cruz, arrodill&aacute;ndose y dando un beso a la imagen de Cristo y se hace una ofrenda de dinero.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se <strong><u>realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</u></strong></li>\n\t<li>La misa se interrumpe antes de la comuni&oacute;n.</li>\n\t<li>El p&aacute;rroco sale del templo para nuevamente ingresar con la cruz y hacer la Adoraci&oacute;n.</li>\n\t<li>A su paso por el centro de la nave, el padre hace la oraci&oacute;n cantada y se detiene dos veces para ir descubriendo parcialmente la cruz que est&aacute; cubierta por un pa&ntilde;o blanco.</li>\n\t<li>El padre quita el pa&ntilde;o, como se&ntilde;al de que Cristo ha muerto y presenta la cruz a los asistentes, nuevamente hace la oraci&oacute;n cantada.</li>\n\t<li>Coloca la cruz en la base de madera que esta al pie del altar, se arrodilla y luego besa los pies de la imagen del Cristo crucificado, los sacristanes hacen lo mismo.</li>\n\t<li>Los asistentes tambi&eacute;n se arrodillan y besan la imagen, comenzando por el Cabildo indigenal, las Memes, los Sargentos Jud&iacute;os, y el pueblo en general. Esta ceremonia es acompa&ntilde;ada por el coro del templo.</li>\n\t<li>Continua la misa, con la comuni&oacute;n y al final el padre y tres sacristanes se arrodillan frente a la cruz y se retiran.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Solemne Desclavaci&oacute;n del Se&ntilde;or - 20: 00</strong></p>\n\n<p>Lugar: Se realiza en el atrio del templo.</p>\n\n<p>Instrumentos: Coro Musical: Sivivire (2); viol&iacute;n (1); baj&oacute;n (2).</p>\n\n<p>Coro de j&oacute;venes: Con violines</p>\n\n<p>Actividades</p>\n\n<p>El atrio del templo y su entorno, se convierten en el escenario del desclavamiento de Cristo, toda la Comunidad de San Ignacio, se da cita en torno al altar construido por el Cabildo en el atrio del templo, en el que se muestra la imagen del Cristo Crucificado.</p>\n\n<p>Una vez realizada la Desclavaci&oacute;n del Se&ntilde;or, se lo viste y coloca en el Santo Sepulcro.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li><strong><u>El Coro Musical entona cantos (con libreto) en castellano</u></strong>, se ubican al lado derecho de la imagen de Cristo Crucificado.</li>\n\t<li>El Coro de j&oacute;venes interpreta una canci&oacute;n acompa&ntilde;ada de sus instrumentos, se ubican a la izquierda de la imagen de Cristo Crucificado.</li>\n\t<li>El p&aacute;rroco parado sobre una tarima anuncia que los Santos Varones proceder&aacute;n a desclavar el cuerpo de Cristo.</li>\n\t<li>Los Sargentos jud&iacute;os preceden la entrada de los Santos Varones.</li>\n\t<li>Los Santos Varones presentan primero sus respetos a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco va guiando a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento retirado es llevado por uno de los Santos Varones, primero son presentados a la Virgen Mar&iacute;a, la Dolorosa y luego se colocan, en unas bandejas sostenidas por tres ni&ntilde;os que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</li>\n\t<li>Cuando se han quitado todos los elementos, se baja la imagen de Cristo con sumo cuidado, y se la presenta a la Virgen Mar&iacute;a la Dolorosa, tocan las matracas, y el coro de j&oacute;venes interpreta m&uacute;sica sacra.</li>\n\t<li>Los Santos Varones, llevan el cuerpo de Cristo al Sepulcro y lo colocan en su interior, lo acomodan y cubren su cuerpo con un manto de color negro, mientras lo colocan van encendiendo las velas alrededor del Sepulcro, aseguran la puerta, y terminan de encender todas las velas. M&uacute;sica del coro de j&oacute;venes contin&uacute;a.</li>\n\t<li>Para la m&uacute;sica y toca la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro y los sacristanes se ubican delante del Santo Sepulcro</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, para iniciar la procesi&oacute;n.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Santo Sepulcro - 21: 00</strong></p>\n\n<p>Lugar: Se realiza alrededor de la plaza.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>Instrumentos:</p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>M&uacute;sica</p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p>Virgen Dolorosa (alzada por mujeres con vestido negro)</p>\n\n<p>Pueblo en general</p>\n\n<p>Actividades</p>\n\n<p>Concluida la ceremonia de la Desclavaci&oacute;n de Cristo, se realiza la procesi&oacute;n del Santo Sepulcro, alrededor de la plaza, acompa&ntilde;ada de una numerosa comitiva y del pueblo en general.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li>Una vez dispuesta la imagen de Cristo dentro el Santo Sepulcro, para la m&uacute;sica y comienza la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li><strong><u>El coro musical con sus instrumentos</u></strong> y los sacristanes cargando la cruz de plata, cubierta por un pa&ntilde;o negro, se ubican delante del Santo Sepulcro.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas.</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, acompa&ntilde;an tambi&eacute;n portadores de faroles, dos adelante y dos atr&aacute;s.</li>\n\t<li><strong><u>Comienza la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os. </u></strong></li>\n\t<li>Antes de la salida del Santo Sepulcro, se han ubicado precediendo la procesi&oacute;n:</li>\n</ul>\n\n<p style=\"margin-left:48px\">San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas, Autoridades con la Bandera negra, Cabildo, Coro Musical, P&aacute;rroco, Sacristanes y Hermanos de la Pasi&oacute;n de Cristo.</p>\n\n<ul>\n\t<li>En las esquinas se detiene el Santo Sepulcro, bajo el dosel de tela morada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li><strong><u>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</u></strong></li>\n\t<li>Se hace la lectura del evangelio</li>\n\t<li><strong><u>El Coro Musical canta en castellano de memoria</u></strong></li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n.</li>\n\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo;</u></strong></li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las matracas.</li>\n\t<li>Dos personas del Cabildo colocan delante del Santo Sepulcro un pa&ntilde;o grande blanco.</li>\n\t<li>Se adelanta una persona, (primero un Santo var&oacute;n del Cabildo y en las otras paradas lo hacen las autoridades), hace una reverencia, y blande la bandera negra de frente al Santo Sepulcro, sobre el pa&ntilde;o que est&aacute; en el piso, nuevamente hace una reverencia, retorna a su sitio y le hace entrega de la bandera a la persona que la blandir&aacute; en la pr&oacute;xima parada.</li>\n\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita y la banda.</li>\n\t<li>Se repite esto en todas las esquinas.</li>\n\t<li>Para ingresar al templo, las im&aacute;genes de San Juan, La Ver&oacute;nica y la Virgen Mar&iacute;a, se quedan cerca de la plaza y dan lugar para que pasen: primero los Penitentes, y el resto de la comitiva que acompa&ntilde;a al Santo Sepulcro.</li>\n\t<li>A medida que las cruces van llegando con los Penitentes, al templo, se van colocando en los ambientes de la iglesia. La Cruz Virgen, de color verde, la vuelven a colocar en el lado izquierdo del Altar Mayor, esto es realizado con mucho cuidado y solemnidad utilizando bastones y cuerdas para asegurarla.</li>\n\t<li>Ingresa el Santo Sepulcro y la comitiva al templo, y se dirigen por el lado de la ep&iacute;stola hacia el altar, asentando el Santo Sepulcro en el sector izquierdo de la nave, cerca del altar, la Cruz de madera se la coloca delante del altar mayor, muy cerca del pa&ntilde;o negro que lo cubre, y la Virgen Dolorosa se coloca sobre la nave de la ep&iacute;stola, en su lugar habitual.</li>\n\t<li>El p&aacute;rroco, procede a incensar el Santo Sepulcro, a la Dolorosa y a la Cruz de madera.</li>\n\t<li>Palabras del p&aacute;rroco.</li>\n</ul>\n\n<hr />\n<p><strong>SABADO SANTO</strong></p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que los d&iacute;as anteriores.</p>\n\n<p><strong>Bendici&oacute;n del fuego y del agua. Celebraci&oacute;n de la vigilia pascual -&nbsp; 20: 00</strong></p>\n\n<p>Se celebra que Cristo ha vencido a la muerte, &Eacute;l es la luz que ha vencido a las tinieblas, la luz, representada por el fuego, con el que se encender&aacute; el Cirio Pascual.</p>\n\n<p>Instrumentos:</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza el encendido de una fogata en el atrio del templo, para luego prender el Cirio Pascual con este fuego. El Cirio se lleva al interior del templo y se coloca en el porta cirio ubicado al lado izquierdo del altar. Las personas encienden sus velas con la llama del Cirio, y se celebra la misa, luego se realiza la bendici&oacute;n del agua, y finalmente la procesi&oacute;n de Cristo Resucitado.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li>El p&aacute;rroco bendice el fuego que se encendi&oacute; en el atrio del templo.</li>\n\t<li>Un monaguillo sostiene el Cirio Pascual, el p&aacute;rroco recoge la brasa del fuego y prende el cirio, recibe el Cirio y se dirige al interior del templo.</li>\n\t<li>En el trayecto, el p&aacute;rroco y el coro del templo, cantan &ldquo;la luz de Cristo, gracias a Dios&rdquo;, la gente se acerca a prender sus velas desde el Cirio.</li>\n\t<li>A medida que el p&aacute;rroco avanza, las luces del templo se van encendiendo.</li>\n\t<li>El p&aacute;rroco coloca el Cirio Pascual en el porta cirios.</li>\n\t<li>Los Sacristanes devuelven sus bastones a los Caciques del Cabildo, y encienden las dos velas del altar, mientras el p&aacute;rroco hace una oraci&oacute;n, acompa&ntilde;ando por el coro del templo.</li>\n\t<li>Se hacen las lecturas del Antiguo Testamento.</li>\n\t<li><strong><u>Se canta el Gloria y repican las campanillas, al mismo tiempo, en el atrio comienza a tocar la tamborita, y los Chiripier&uacute;ana, bailan.</u></strong> En la plaza los miembros del Cabildo hacen estallar la camareta.&nbsp;</li>\n\t<li>Se descubre el altar, retirando el pa&ntilde;o negro que lo cubr&iacute;a.</li>\n\t<li>El p&aacute;rroco hace la oraci&oacute;n, y se procede a hacer las lecturas del Nuevo Testamento, en castellano y en moje&ntilde;o.</li>\n\t<li>Despu&eacute;s de la letan&iacute;a de los Santos, acompa&ntilde;ada del coro del templo, el p&aacute;rroco bendice el agua. Es la liturgia bautismal.</li>\n\t<li>P&aacute;rroco retira el Cirio Pascual, lo presenta al Cristo Resucitado, hace una reverencia y lo coloca nuevamente en el porta cirio, luego toma el recipiente que contiene el agua bendita y comienza a bendecir a la imagen de la Virgen Dolorosa, a los recipientes de agua, y va recorriendo todo el templo a los asistentes, echando agua bendita, como una renovaci&oacute;n de los votos del bautismo. El coro del templo acompa&ntilde;a toda esta ceremonia.</li>\n\t<li>Continua la misa, el p&aacute;rroco inciensa hacia todas direcciones y luego el sacrist&aacute;n a &eacute;l, mientras el <strong><u>Coro Musical canta el &ldquo;Hosanna&rdquo; en castellano, acompa&ntilde;ado de sivivires y caja.</u></strong></li>\n\t<li><strong><u>El coro musical acompa&ntilde;a el resto de la misa, cantando &ldquo;Amen&rdquo; y &ldquo;Cordero de dios...&rdquo; acompa&ntilde;ado de sivivires y caja.</u></strong></li>\n\t<li>Concluye la misa.</li>\n</ul>\n\n<hr />\n<p><strong>DOMINGO DE RESURRECION </strong></p>\n\n<p><strong>La noche Blanca</strong></p>\n\n<p><em>A esta noche los j&oacute;venes la denominan la &ldquo;noche blanca&rdquo;, los j&oacute;venes esperan hasta las 4 de la madrugada del d&iacute;a domingo en medio de juegos que comparten mientras hacen la vigilia</em>.<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\">[5]</a></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del encuentro del Se&ntilde;or Resucitado con su Madre&nbsp; -&nbsp; 4:00&nbsp; </strong></p>\n\n<p>Se celebra el encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a.</p>\n\n<p>Lugar: Se realiza la plaza.</p>\n\n<p>Bandera blanca con soporte de plata, la porta un miembro del Cabildo.</p>\n\n<p>Participan: P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, Angelitos, la tamborita de los Macheteros, alzadores varones que portan a Cristo Resucitado, San Juan y a la Virgen Dolorosa y alzadoras mujeres que portan a las im&aacute;genes femeninas, j&oacute;venes que flanquean la procesi&oacute;n, pueblo en general.</p>\n\n<p>Instrumentos:</p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti, cajane, tampura.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p>Actividades</p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, unos por la calle de la izquierda y el Cristo por la calle de la derecha de la plaza, para luego encontrarse en el medio de la calle al otro lado de la plaza. All&iacute; las im&aacute;genes har&aacute;n venias y bailar&aacute;n demostrando la alegr&iacute;a de reencontrarse.</p>\n\n<p><strong><u>Secuencia:</u></strong></p>\n\n<ul>\n\t<li><strong><u>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, la tamborita se ubica en la fila de en medio.</u></strong></li>\n\t<li>Salen del templo las im&aacute;genes de San Juan: Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, luego los sacristanes cargando la Cruz de plata; el Cabildo portando una bandera blanca; el p&aacute;rroco y finalmente la imagen de Cristo Resucitado, sobre anda con porta velas. Todo esto en silencio.</li>\n\t<li>El Cristo Resucitado flanqueado por filas de j&oacute;venes, (hombres y mujeres), vestidos con pantal&oacute;n oscuro y camisa blanca, se va por la calle de la derecha de la plaza y las otras im&aacute;genes por la de la izquierda.</li>\n\t<li>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le quit&oacute; el manto negro).</li>\n\t<li>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer la venia para que la imagen baje y suba).</li>\n\t<li>Cuando est&aacute;n a unos 10 metros, se las inciensa y un miembro del Coro Musical canta Aleluya y hace una oraci&oacute;n (con libreto), luego el p&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li><strong><u>La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y las im&aacute;genes comienzan a bailar al ritmo de la banda, la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo.</u></strong></li>\n\t<li><strong><u>Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita, en la esquina de la plaza para guiarlos al templo.</u></strong></li>\n\t<li>Al acercarse al templo, ta&ntilde;en las campanas continuamente.</li>\n\t<li><strong><u>En el atrio los Macheteros se colocan en dos filas una a cada lado de la puerta, contin&uacute;an bailando.</u></strong></li>\n\t<li>Las im&aacute;genes de San Juan; la Virgen Mar&iacute;a; la Ver&oacute;nica, se quedan cerca de la plaza para dar paso a las principales.</li>\n\t<li><strong><u>Ingresan en medio de los Macheteros, que permanecen en el atrio bailando</u></strong>: el Sacrist&aacute;n que porta la Cruz de plata, representantes del Cabildo con la bandera blanca, el p&aacute;rroco con sacristanes, la imagen de Cristo Resucitado, la imagen de la Virgen Mar&iacute;a y el resto de las im&aacute;genes.</li>\n\t<li><strong><u>Se colocan en sus respectivos lugares y el p&aacute;rroco las inciensa, mientras en el atrio continua la m&uacute;sica.</u></strong></li>\n\t<li>El P&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li><strong><u>Canta el coro musical en castellano, acompa&ntilde;ado con sivivire y caja</u></strong>.</li>\n\t<li>Comienza la misa del D&iacute;a de la Aurora, el coro de j&oacute;venes del templo acompa&ntilde;a toda la ceremonia, antes de dar la Comuni&oacute;n, el p&aacute;rroco inciensa el altar y las im&aacute;genes de Cristo Resucitado y la Virgen Mar&iacute;a, el sacrist&aacute;n al padre, mientras <strong><u>el Coro Musical canta &ldquo;Hosanna&rdquo; acompa&ntilde;ado del sivivire y la caja.</u></strong></li>\n\t<li>Termina la misa <strong><u>y el sivivire y cajane acompa&ntilde;an al Coro musical &ldquo;Reina del cielo&hellip; aleluya&rdquo;</u></strong></li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><strong>GLOSARIO</strong></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.&rdquo;</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;, cada danza tiene diferentes &ldquo;toques&rdquo;, dependiendo del momento en el que se los ejecuta.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><strong>BIBLIOGRAF&Iacute;A </strong></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Claro Samuel, La M&uacute;sica en las Misiones Jesuitas de Moxos.&nbsp; Revista Musical Chilena. Santiago, 1969. pg. 11. Ss.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV. pg. 1309 ss.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Claro Samuel, op. cit., pp. 13-16</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> Semana Santa San Ignacio de Mojos, Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg. 11</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Ibid., p.34.</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "e6323cbf-1077-4730-847e-7aa0919f202d"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["6734af3e-4791-4d75-82c4-3fb2b73aed20"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": null, "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": null}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 2, "tileid": "335827b9-051d-4897-bcb8-7b52068019c6"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["9c539c14-ff65-4565-85a2-2268e4fe36ed", "bf356c16-8705-42f9-8947-6abf28e51a73", "ac9bf7d5-5ebe-428c-b88f-bb7b2f644a87"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<div>\n<p>Las formas tradicionales de organizaci&oacute;n socio cultural se sustentan en valores comunes establecidos y creencias compartidas, apoyadas por estructuras jer&aacute;rquicas, donde la transmisi&oacute;n oral de conocimientos se realiza de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo Indigenal es la organizaci&oacute;n m&aacute;s representativa y reconocida de la sociedad moje&ntilde;a, desde sus inicios hasta la actualidad.</p>\n\n<p>&nbsp;</p>\n\n<p>El origen del Cabildo se remonta a los reinos hisp&aacute;nicos del siglo XV, que luego de establecerse en Am&eacute;rica cumplieron un rol importante en las reducciones jesu&iacute;ticas de Mojos desde principios del siglo XVIII, con el fin de reforzar los puntos d&eacute;biles en las misiones jesu&iacute;ticas, que albergaban a miles de ind&iacute;genas de diferentes etnias, agrupados en una sola doctrina.</p>\n\n<p>&nbsp;</p>\n\n<p>Los cabildos fueron una parte esencial en los antiguos pueblos misionales, cumpliendo roles de gobierno local y manteniendo una estrecha relaci&oacute;n con la iglesia. Aquellos que formaban parte de esta instituci&oacute;n no solo administraban justicia y gestionaban los recursos de la comunidad, sino que tambi&eacute;n se encargaban de transmitir a las generaciones futuras sus conocimientos y responsabilidades. Esta transmisi&oacute;n de saberes y pr&aacute;cticas era fundamental para preservar la cohesi&oacute;n social y cultural, y se compart&iacute;a ampliamente con la comunidad, asegurando as&iacute; la continuidad de las tradiciones y valores que sustentaban la vida en los pueblos misionales. Los oficios y cargos que eran parte de su estructura estaban ocupados por m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes y otros, que se constituyeron en las diversas parcialidades que conformaban el Cabildo.</p>\n\n<p>&nbsp;</p>\n</div>\n\n<p><em>La religi&oacute;n era la esencia en las poblaciones, la iglesia o templo era el edificio central de instrucci&oacute;n cristiana, junto con la casa del cabildo, donde se reun&iacute;an las autoridades elegidas, cargo que desempe&ntilde;aban por el periodo de un a&ntilde;o, &ldquo;quien el a&ntilde;o anterior hab&iacute;a cumplido con diligencia su cargo, era ascendido, quien no, deb&iacute;a hacer m&eacute;ritos para permanecer o llegar ejercer otro cargo (Eder, 1985: 362).<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>En el siglo XVIII, exist&iacute;an 21 reducciones, cada una estaba representada por un Cabildo con oficios como m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes, entre otros, los que constituyeron las parcialidades del pueblo. Estos representantes gracias a su trabajo y dedicaci&oacute;n llegaron a gozar de gran prestigio, conformando una especie de &eacute;lite ind&iacute;gena, lo que deriv&oacute; en que la sociedad reduccional se dividiera en dos: la Familia, (miembros del Cabildo, los asistentes religiosos y los que ejerc&iacute;an alg&uacute;n oficio en las parcialidades y el templo, la escuela o los talleres), y el Pueblo, (los dem&aacute;s habitantes de la reducci&oacute;n).</p>\n\n<p>Los cargos del Cabildo estaban especificados en las <em>Leyes de las Reducciones y Pueblo de Indios</em>, que ordenaban la existencia de un indio Sacrist&aacute;n y dos o tres cantores, para la atenci&oacute;n del templo, y las ceremonias religiosas: &ldquo;<em>En todos los pueblos que pasaren de cien indios, haya dos o tres cantores, y en cada reducci&oacute;n un Sacrist&aacute;n, que tenga cuidado de guardar los ornamentos, y barrer la iglesia (Ley VI, Libro VI, Ti. III).&rdquo;</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><em><strong>[2]</strong></em></a></p>\n\n<p>Tambi&eacute;n estas Leyes mencionan la necesidad que los ind&iacute;genas cumplan funciones de gobierno pol&iacute;tico, como alcaldes y regidores, que son las autoridades m&aacute;s importantes&nbsp; del pueblo:<em> &ldquo;Ordenamos que, en cada pueblo y reducci&oacute;n, haya un alcalde indio de la misma reducci&oacute;n, y si pasare de ochenta casas, dos alcaldes, y dos regidores, tambi&eacute;n indios, y aunque el pueblo sea muy grande, no haya m&aacute;s que dos alcaldes y cuatro regidores, los cuales han de elegir por a&ntilde;o nuevo otros, como se practica en los pueblos de espa&ntilde;oles en indios, en presencia de los curas (Libro VI, T&iacute;tulo III, Ley XV).&rdquo;</em><em> <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El cabildo ya no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas de los siglos XVII y XVIII, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX,&nbsp;los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, preservar las tradiciones culturales y religiosas, y proteger el patrimonio cultural. Adem&aacute;s, han tomado medidas para defender el territorio frente a la explotaci&oacute;n de empresas madereras y ganaderas.</p>\n\n<p><em>&nbsp;&ldquo;&hellip;Actualmente, siguiendo los criterios jesu&iacute;ticos el Cabildo Indigenal est&aacute; compuesto por &ldquo;un Capital Grande, dos caciques, dos intendentes, cuatro alf&eacute;reces, dos fiscales, dos polic&iacute;as, once comisarios, un camaretero y un secretario (Eyzaguirre 2012:55) cada uno lleva sus propias funciones en sus distintas &aacute;reas. Al Corregidor tradicionalmente se le denomina Tayta&oacute;Tata(persona sabia), quien integra a los sectores, organizaciones, instituciones y familias, el que encierra el respeto y educaci&oacute;n heredada por la cultura de los abuelos. El Cabildo no percibe ning&uacute;n ingreso, el Corregidor no tiene sueldo, por lo que muchas no todas las personas asumen la responsabilidad de este cargo, y por otro lado, el Corregidor debe ser una persona mayor de entre 40 a 50 a&ntilde;os, como garant&iacute;a de su responsabilidad (Parroquias de Mojos 1988:32). La autoridad del Corregidor es elegida en una gran reuni&oacute;n del Cabildo Indigenal incluyendo la participaci&oacute;n de las agrupaciones de las Danzas e incluso personas de las comunidades; esta es una pr&aacute;ctica que la realiza el cabildo sin ninguna intromisi&oacute;n de la junta la prefectura, subprefectura, Comit&eacute;s C&iacute;vicos u otros.&rdquo;<a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><strong>[4]</strong></a></em></p>\n\n<p>&nbsp;</p>\n\n<table style=\"width:100%\">\n\t<tbody>\n\t\t<tr>\n\t\t\t<td>\n\t\t\t<div>\n\t\t\t<p>Fuente: Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg..20.</p>\n\t\t\t</div>\n\t\t\t</td>\n\t\t</tr>\n\t</tbody>\n</table>\nEl Cabildo de San Ignacio de Mojos, actualmente cuenta con un espacio o centro de reuniones para la poblaci&oacute;n, &eacute;sta edificaci&oacute;n se ubica detr&aacute;s del templo misional: <em>La distribuci&oacute;n espacial del cabildo expresa el rol importante que tienen sus representantes en las sillas principales se sientan las Autoridades principales del Cabildo: Corregidor, Representante, Capit&aacute;n Grande, Cacique e Intendente, detr&aacute;s es las autoridades se ubica el Coro Musical de la Iglesia, al lado izquierdo de las sillas de las autoridades, se encuentran los Pasados que son los ex-caciques y Ex-Corregidores, al lado derecho se ubican el Polic&iacute;a, Comisario, Alf&eacute;rez y el Camaretero; m&aacute;s all&aacute;, sobre el mismo lado derecho, se sientan los Perpetuos y, en el mismo lado, las Mamitas Abadesas. </em>\n\n<p>&nbsp;</p>\n\n<p><em>De frente a las Autoridades del Cabildo se encuentra el altar donde se encuentran las im&aacute;genes de los Santos; al lado derecho del altar se colocan los bastones de mando que llevan las autoridades, luego se ubican otro grupo de Mamitas Abadesas y al continuaci&oacute;n los Chiripier&uacute;ana(macheteros).<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"><strong>[5]</strong></a></em></p>\n\n<p>El Cabildo de San Ignacio de Mojos posee personer&iacute;a jur&iacute;dica como organizaci&oacute;n, su rol principal es mantener sus tradiciones y dar continuidad a la cultura moje&ntilde;a, organizar todas las actividades festivas, y tienen competencia sobre diversos asuntos del pueblo.</p>\n\n<p>La composici&oacute;n del Cabildo es la siguiente:</p>\n\n<p>&nbsp;</p>\n\n<table style=\"width:100%\">\n\t<tbody>\n\t\t<tr>\n\t\t\t<td>\n\t\t\t<div>\n\t\t\t<p>Fuente: Educa Bolivia</p>\n\t\t\t</div>\n\t\t\t</td>\n\t\t</tr>\n\t</tbody>\n</table>\n\n<table align=\"left\">\n\t<tbody>\n\t\t<tr>\n\t\t\t<td style=\"height:549px; width:13px\">&nbsp;</td>\n\t\t</tr>\n\t\t<tr>\n\t\t\t<td>&nbsp;</td>\n\t\t\t<td>&nbsp;</td>\n\t\t</tr>\n\t</tbody>\n</table>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<p>&nbsp;</p>\n&nbsp;\n\n<p>El Cabildo est&aacute; presente y es parte de la organizaci&oacute;n de las festividades, gracias a su pervivencia se ha logrado conservar el patrimonio cultural material e inmaterial, ya que son celosos guardianes de su acervo, evitando adem&aacute;s las influencias for&aacute;neas o renovaciones culturales.</p>\n\n<p>Las agrupaciones que participan en la festividad de Semana Santa, que son parte inherente al Cabildo son:</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"><strong>[6]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p>Las Mamitas Abadesas o Memes, forman parte de la parcialidad de los valores espirituales del pueblo.</p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.<a href=\"#_ftn7\" name=\"_ftnref7\" title=\"\"><strong>[7]</strong></a></em></p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;, este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisitos exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERUANA </strong></p>\n\n<p>El nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>La danza se ejecuta de forma marcial, en dos filas. Bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores, sujeta al armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichachies, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><strong>GLOSARIO</strong></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p>El tenebrario simboliza el d&iacute;a de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap&oacute;stoles, las tres Mar&iacute;as (Mar&iacute;a Salom&eacute;, Mar&iacute;a de Cleof&aacute;s y Mar&iacute;a Magdalena) y la Virgen Mar&iacute;a, es decir, aquellos que acompa&ntilde;aron a Jes&uacute;s ese d&iacute;a. La vela m&aacute;s alta representa a la Sant&iacute;sima Virgen, la &uacute;nica que crey&oacute; en la Resurrecci&oacute;n. El tri&aacute;ngulo mismo simboliza la Sant&iacute;sima Trinidad.&nbsp;</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p><strong>Camareta. </strong>Recipiente de fierro de 10 cm de altura y 10 cm de ancho, que contiene p&oacute;lvora, que ser&aacute; encendida y explota generando un atronador ruido.</p>\n\n<p><strong>Paichachies. </strong>Semillas silvestres que producen un sonido similar a los cascabeles.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><strong>BIBLIOGRAF&Iacute;A </strong></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> <em>&nbsp;</em>Plan Mojos, Historia Cabildos. 2024. pg. 45.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid, pg. 50.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid., pg. 51</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em> </em><em>&ldquo;para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>&nbsp;</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Fuente: Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg..20.</p>\n\n<p>&nbsp;</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" title=\"\">[6]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pp. 8-9.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" title=\"\">[7]</a> Ibid. p. 14</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "da339851-6574-45f8-9289-1bb6a19e5ff7"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91", "3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del patrimonio cultural inmaterial, es esencial para su salvaguarda, los medios utilizados son: la tradici&oacute;n oral, historias, conocimientos transmitidos verbalmente de generaci&oacute;n en generaci&oacute;n; usos sociales, rituales y festivos; t&eacute;cnicas artesanales tradicionales, entre otros.&nbsp;</p>\n\n<p>En San Ignacio, la transmisi&oacute;n de la lengua moje&ntilde;a se ha efectuado de padres a hijos de forma oral. La cultura moje&ntilde;a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense&ntilde;an formalmente el idioma moje&ntilde;o, como medio de salvaguardar la cultura.</p>\n\n<p>Los conocimientos de m&uacute;sica y confecci&oacute;n de instrumentos, son inculcados de maestro a aprendiz, as&iacute; es como se forman los integrantes del Coro Musical del Cabildo Indigenal, quienes deben adem&aacute;s, realizar el &ldquo;juramento&rdquo; que los marca de por vida, es el compromiso solemne de interpretar un instrumento musical y pertenecer a un grupo de danza, &nbsp;esta responsabilidad se adquiere luego que los &ldquo;taytas&rdquo; m&uacute;sicos consideran que el aprendiz est&aacute; capacitado y cumple las expectativas de interpretaci&oacute;n. La ceremonia del &ldquo;juramento&rdquo;, se realiza en el templo en ocasi&oacute;n de la festividad de la Virgen de la Candelaria, recibiendo la bendici&oacute;n del Padre. &nbsp;</p>\n\n<p style=\"margin-left:47px\"><em>Los m&uacute;sicos en San Ignacio de Mojos son muy respetados y reconocidos en la comunidad al grado incluso de los Caciques. Por un lado, este prestigio se eleva cuando el int&eacute;rprete adem&aacute;s de conocer detalladamente la construcci&oacute;n de su propio instrumento tambi&eacute;n realiza otros (como es el caso de Robin Cuellar pr&aacute;cticamente uno de los pocos m&uacute;sicos que adem&aacute;s de ser violinista fabrica e interpreta los bajones) y m&aacute;s a&uacute;n si compone sus m&uacute;sicas.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>La creaci&oacute;n de la nueva escuela de m&uacute;sica, se ha convertido en factor importante de reproducci&oacute;n de la tradici&oacute;n musical moje&ntilde;a, adem&aacute;s de proveer oportunidades de conseguir un t&iacute;tulo profesional. El objetivo no es solamente recuperar la m&uacute;sica legado de la &eacute;poca misional y prehisp&aacute;nica, sino de proponer nueva m&uacute;sica popular.</p>\n\n<p>La m&uacute;sica que los ancianos ense&ntilde;an es m&aacute;s que todo religiosa, en cambio en la escuela se abarca un amplio espectro de estilos. Actualmente la escuela acoge a m&aacute;s de 300 alumnos en diferentes especialidades instrumentales.</p>\n\n<p>La participaci&oacute;n activa de la poblaci&oacute;n en las festividades religiosas es un reflejo del valor que se les atribuye. Desde los ancianos hasta los ni&ntilde;os, la poblaci&oacute;n moje&ntilde;a se involucra, esto es crucial para la transmisi&oacute;n de valores y la preservaci&oacute;n de las tradiciones.</p>\n\n<p>La transmisi&oacute;n de saberes y costumbres tiene tambi&eacute;n una base material, la que es indispensable para el mantenimiento de la manifestaci&oacute;n, sin duda, el&nbsp;objeto material&nbsp;es un testigo valioso y un documento que refleja el sentimiento colectivo de una sociedad. Como receptor y transmisor de m&uacute;ltiples significados culturales, est&aacute; arraigado en un tiempo y un espacio espec&iacute;ficos, su existencia nos conecta con la historia, las tradiciones y las creencias de quienes lo crearon y utilizaron. La tradici&oacute;n del uso de estos objetos se pasa entre generaciones y es promovido especialmente por el Cabildo Indigenal.&nbsp; Entre estos objetos destacan: el tocado de plumas de los Macheteros, sus machetes de madera; las im&aacute;genes religiosas; los instrumentos musicales; la vestimenta del Cabildo, Memes, Angelitos y Sargentos Jud&iacute;os, entre otros.</p>\n\n<p>Las danzas en San Ignacio poseen elementos simb&oacute;licos y rituales que se relacionan con un pasado hist&oacute;rico m&aacute;s extenso, incluso anterior a la llegada de los jesuitas. Estas danzas son expresi&oacute;n de la identidad cultural, que se transfirie de modo informal mediante la pr&aacute;ctica, la observaci&oacute;n y la imitaci&oacute;n, dentro la comunidad, y se conserva casi sin modificaciones.</p>\n\n<p>En las ceremonias de la festividad, especialmente en las procesiones, los mayores hacen referencia a la importancia de la participaci&oacute;n de los j&oacute;venes y ni&ntilde;os, el objetivo es que puedan aprender y dar continuidad a sus tradiciones, para que pervivan en el tiempo. Existe un sentimiento muy importante de aprecio de los mayores por la participaci&oacute;n de los ni&ntilde;os.</p>\n\n<p>Los Santos Varones y los miembros del Cabildo son los encargados de transmitir la memoria viva, los conocimientos y procedimientos que son parte de la celebraci&oacute;n de Semana Santa.</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento&rdquo; para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>&nbsp;</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "b4498b19-2260-432f-9cc5-9d78b98b027b"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Con vestido blanco y manto negro, sujeta con las manos un pa\u00f1o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem\u00e1s de tener flores y ramas naturales."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de la Virgen Dolorosa"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 11, "tileid": "f23256b1-2073-43fa-948f-750d0d4e9b84"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La imagen del Ni\u00f1o Ramos, es Jes\u00fas con t\u00fanica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci\u00f3n sea bendecida. Esta imagen est\u00e1 bajo un baldaquino ornamentado con telas de todos los colores. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen del Ni\u00f1o Ramos "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 12, "tileid": "7a62d788-1add-437b-bb4e-5f5914ec7068"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Arcos hechos de tacuara, decorados con telas blancas y de colores."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "En cada esquina, donde se debe detener la procesi\u00f3n, se encuentran dos arcos m\u00f3viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit\u00faa la imagen principal de la procesi\u00f3n. Se fabrican dos \u201cjuegos\u201d de estos arcos, porque se van moviendo a medida que la procesi\u00f3n avanza."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Arcos m\u00f3viles "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 43, "tileid": "628f8fef-bd5f-4f48-99a8-8c2643b78f83"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La cosmovisi&oacute;n del pueblo moje&ntilde;o, sintetiza los dogmas de la religi&oacute;n cat&oacute;lica, con la noci&oacute;n de la presencia de los esp&iacute;ritus tutelares de la naturaleza, estas arraigadas creencias y su conexi&oacute;n con lo sagrado, proporcionan un sentido de comunidad e identidad, que se demuestra en la importancia que le confieren a la pr&aacute;ctica solemne de las ceremonias, en este caso en la Semana Santa.</p>\n\n<p>Las parcialidades de los valores espirituales del pueblo, que forman parte del Cabildo Indigenal, son actores fundamentales en las celebraciones de la festividad.</p>\n\n<p>El templo de San Ignacio es el lugar sagrado, centro de todas las manifestaciones rituales, y desde el cual salen las procesiones que tambi&eacute;n son parte vital de la conmemoraci&oacute;n cristiana.</p>\n\n<p>Los ritos cat&oacute;licos como la misa, la procesi&oacute;n, el lavado de pies, la Ultima Cena, el Desclavamiento de Cristo, el Encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a, entre otros, son acompa&ntilde;ados constantemente por el Cabildo Indigenal, y sus parcialidades como el Coro Musical, las Mamitas Abadesas, los Sargentos Jud&iacute;os, los Sacristanes y los Macheteros.&nbsp;</p>\n\n<p>La pr&aacute;ctica solemne de las ceremonias religiosas, se ve enriquecida por la inclusi&oacute;n de los ritos y danzas ancestrales, como la danza de los Macheteros que portan un vistoso tocado de plumas, la intervenci&oacute;n del Coro Musical con sus instrumentos aut&oacute;ctonos, o la alegr&iacute;a de la tamborita y la banda.</p>\n\n<p>A continuaci&oacute;n, se describen episodios que son parte de los ritos religiosos o est&aacute;n relacionados con ellos, y tienen lugar en Semana Santa:</p>\n\n<hr />\n<p>La devoci&oacute;n se ve reflejada en mucho aspectos, es el caso de los j&oacute;venes que cargan las im&aacute;genes, ellos se sit&uacute;an al lado del santo, d&iacute;as antes de comenzar las festividades, para cuidarlo. Otra particularidad, es que su gran fe cat&oacute;lica les compromete a participar alzando las pesadas im&aacute;genes y sus andas, como una forma de limpiar sus pecados, colaborar con la iglesia, o por el bienestar de sus familias y del pueblo en general. Este trabajo lo hacen por el lapso de cinco d&iacute;as hasta el Domingo de Resurrecci&oacute;n.</p>\n\n<p>En las procesiones, las mujeres cargan las im&aacute;genes femeninas y los varones las masculinas, excepto en el alba de la Resurrecci&oacute;n, momento en el que los varones alzan la imagen de La Virgen, por el peso significativo de la misma, y la hacen bailar, cuando se encuentra con Cristo Resucitado</p>\n\n<hr />\n<p><strong>Los Penitentes, en las procesiones</strong> son los que representan la expiaci&oacute;n de los pecados, estas personas hacen la promesa de cargar la Cruz, y se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn1\" name=\"_ftnref1\" style=\"color:#0563c1; text-decoration:underline\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<hr />\n<p><strong>Ornamentaci&oacute;n del Altar Mayor</strong></p>\n\n<p>Se realiza el Mi&eacute;rcoles Santo, cuando se inician los cuatro d&iacute;as principales que preceden a la resurrecci&oacute;n. Delante del retablo del Altar mayor se sit&uacute;a una estructura de madera de seis pisos, construida de forma escalonada, en la que se coloca el Sagrario en el cuarto piso, al centro.</p>\n\n<p>Desde la ma&ntilde;ana las Memes se encargan del arreglo del nuevo y provisional altar, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi&eacute;n se colocan cintas y flores blancas. La elecci&oacute;n de las telas depende de la capacidad adquisitiva que se tuvo en al a&ntilde;o.</p>\n\n<p>En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est&aacute; envuelto en cintas de colores y cintas con los colores de la bandera nacional.</p>\n\n<p>Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m&aacute;s elevado se ubica la imagen de un &aacute;ngel vestido de blanco.</p>\n\n<hr />\n<p><strong>Las Tinieblas</strong></p>\n\n<p>Se celebra en el templo, en las ma&ntilde;anas de los d&iacute;as: Jueves, Viernes y S&aacute;bado Santo.</p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p>A las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo. Se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por el Coro Musical, con oraciones y cantos en castellano, la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican, unos detr&aacute;s de la imagen de Cristo crucificado, y otros, detr&aacute;s de la imagen de la Dolorosa, un Sargento porta la cruz que los representa, y la sujeta con un chal blanco teniendo cuidado de no tocarla con las manos por el respeto que le tienen. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminando por la iglesia y se golpean los asientos para que se siente, tambi&eacute;n los Sargentos jud&iacute;os golpean sus lanzas.</p>\n\n<hr />\n<p><strong>Arreglo del Santo Sepulcro</strong></p>\n\n<p>El Jueves Santo, desde la ma&ntilde;ana, los Santos Varones se dedican al arreglo del Santo Sepulcro, que est&aacute; ya sobre su respectiva anda para la procesi&oacute;n, lo adornan con flores de distintos colores, artificiales y algunas naturales, le colocan tambi&eacute;n luces y velas.</p>\n\n<hr />\n<p><strong>La Ultima Cena</strong></p>\n\n<p>Esta celebraci&oacute;n se realiza el Jueves Santo en el Cabildo Indigenal, evoca la Ultima Cena que Jes&uacute;s pas&oacute; con los doce ap&oacute;stoles.</p>\n\n<p>Las mujeres son quienes se encargan de la limpieza, cocina, armado de las mesas y de servir la mesa. La comida que ha sido preparada por las Memes, consiste en un plato de pescado pac&uacute; asado, arroz blanco, majadito, pl&aacute;tano cocido y pan de arroz, acompa&ntilde;ado de chicha.</p>\n\n<p>En el centro del Cabildo se colocan dos mesas largas, en una comer&aacute;n las autoridades (esto desde el 2023), y en la otra se ubican los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</p>\n\n<p>En la mesa que ocupa el Cabildo Indigenal se sientan seis Santos Varones, al frente seis Perpetuos, y a la cabeza el P&aacute;rroco, representando la Ultima Cena de Cristo y sus disc&iacute;pulos.</p>\n\n<p>Acompa&ntilde;an este acto tres sacristanes, uno lleva la cruz de plata, con pa&ntilde;o blanco y los otros dos sujetan cada uno una vela encendida.</p>\n\n<hr />\n<p><strong>Preparaci&oacute;n del Monte Calvario y Desclavaci&oacute;n de Cristo</strong></p>\n\n<p>El Viernes Santo, el atrio del templo se transforma en un espacio sagrado, donde se erige el altar que va a constituir el sitio de la Crucifixi&oacute;n y Desclavamiento de Cristo, para ello se utiliza una estructura de madera cubierta con ramas de sauce llor&oacute;n.</p>\n\n<p>Posteriormente inicia la ceremonia de la desclavaci&oacute;n de cristo. La imagen del Cristo Crucificado, ha sido colocada en el atrio, en el altar en forma de U, construido con madera.</p>\n\n<p>Las otras im&aacute;genes: La Virgen Dolorosa, la Ver&oacute;nica, Virgen Mar&iacute;a y San Juan, est&aacute;n dispuestas a la derecha de la imagen de Cristo, y el Santo Sepulcro se ubica en el lado izquierdo.</p>\n\n<p>El p&aacute;rroco gu&iacute;a a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento removido es llevado por uno de los Santos Varones, primero son presentados a la Virgen Dolorosa y luego se colocan en bandejas sostenidas por ni&ntilde;os, que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</p>\n\n<p>El cuerpo de Cristo es bajado con mucho cuidado, lo presentan a la Virgen Dolorosa, lo visten, le colocan la corona y enseguida es trasladado al Santo Sepulcro, para efectuar la procesi&oacute;n.</p>\n\n<p>Finalmente, las autoridades del Cabildo Indigenal, y los Hermanos del Santo Sepulcro, desmontan por partes el altar erigido, las personas que han acompa&ntilde;ado la ceremonia se aproximan y comienzan a quitar los ramos del sauce llor&oacute;n, estas plantas se utilizar&aacute;n para curar enfermedades f&iacute;sicas y espirituales.</p>\n\n<p>En reemplazo del cuerpo de Cristo, que estaba en la Cruz, se deja una estola blanca que atraviesa los dos brazos de la misma.</p>\n\n<p>Tambi&eacute;n este d&iacute;a se realiza la ceremonia de las &ldquo;Siete Palabras&rdquo; en esta misa las Autoridades del Cabildo Indigenal entregan a los Sacristanes sus bastones, con este acto se les quita el poder temporalmente.</p>\n\n<hr />\n<p><strong>Bendici&oacute;n del fuego y del agua. </strong></p>\n\n<p>El S&aacute;bado Santo, se celebra a Cristo que ha vencido a la muerte, &Eacute;l es la luz que ha vencido a las tinieblas, la luz, representada por el fuego, con el que se encender&aacute; el Cirio Pascual.</p>\n\n<p>Se realiza en el atrio del templo, donde se prende una fogata que es bendecida por el P&aacute;rroco, y de donde se procede a encender el Cirio Pascual, &eacute;ste se lleva al interior del templo y se lo coloca en el porta cirio ubicado al lado izquierdo del altar. Las personas encienden sus velas con la llama del Cirio, posteriormente se celebra la misa, se realiza la bendici&oacute;n del agua, y finalmente comienza la procesi&oacute;n de Cristo Resucitado.</p>\n\n<hr />\n<p><strong>La noche Blanca</strong></p>\n\n<p><em>A esta noche los j&oacute;venes la denominan la &ldquo;noche blanca&rdquo;, los j&oacute;venes esperan hasta las 4 de la madrugada del d&iacute;a domingo en medio de juegos que comparten mientras hacen la vigilia</em>.<a href=\"#_ftn2\" name=\"_ftnref2\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[2]</a></p>\n\n<hr />\n<p><strong>Procesi&oacute;n del encuentro del Se&ntilde;or Resucitado con su Madre&nbsp; </strong></p>\n\n<p>Esta ceremonia es una de las m&aacute;s extraordinarias, ya que se aprecia en la gente la fe religiosa y la alegr&iacute;a de ser parte de este momento tan significativo de la celebraci&oacute;n de Semana Santa. La banda, la tamborita, las danzas de los Macheteros y los Angelitos son el s&iacute;mbolo de la presencia permanente de las tradiciones del pueblo moje&ntilde;o.</p>\n\n<p>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, acompa&ntilde;ados de la tamborita que se ubica en la fila de en medio.</p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, la Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, las primeras por la calle de la izquierda y el Cristo por la de la derecha de la plaza, para luego encontrarse en el medio de la calle m&aacute;s cercana al templo. Todo esto en silencio.</p>\n\n<p>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le ha quitado el manto negro).</p>\n\n<p>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer tambi&eacute;n la venia para que la imagen baje y suba). La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y las im&aacute;genes comienzan a bailar al ritmo de la banda, demostrando la alegr&iacute;a de reencontrarse, finalmente la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo. Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita, en la esquina de la plaza para guiarlos al templo. Al acercarse al templo, ta&ntilde;en las campanas continuamente, anunciando la Resurrecci&oacute;n de Cristo.</p>\n\n<p>Las ceremonias de Semana Santa, est&aacute;n plenas de simbolismo, y son el reflejo de la fe y las tradiciones de la gente, a continuaci&oacute;n, se describe, cada una de las ceremonias que se llevan a cabo en estos d&iacute;as festivos:</p>\n\n<hr />\n<p><strong>VIERNES DE DOLORES</strong></p>\n\n<p>Este d&iacute;a, se coloca la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, como se&ntilde;al de inicio de la Semana Santa, y se celebra la misa.</p>\n\n<p>Posteriormente a la celebraci&oacute;n de la misa se realiza la procesi&oacute;n de la Virgen Dolorosa.</p>\n\n<p><strong>Misa y Procesi&oacute;n de la Virgen Dolorosa - 20:00&nbsp; </strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo y luego en la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar.</p>\n\n<p>A los pies de Cristo esta San Juan ap&oacute;stol.</p>\n\n<p>La imagen de la Dolorosa, sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos esta en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La imagen del Cristo de la Misericordia, con faldilla negra con decoraciones plateadas, protegido por un baldaquino, profusamente ornamentado con cintas de color azul, morado, negro y plateado.</p>\n\n<p>La Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino ornamentado con telas de todos los colores.</p>\n\n<p>San Juan, con t&uacute;nica roja y manto color ciruela, con nimbo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Mamitas abadesas, Coro Musical Sargentos jud&iacute;os, Hermanos de la Pasi&oacute;n de Cristo Coro del templo, alzadoras, pueblo en general.</p>\n\n<p><strong>Vestimenta de los participantes</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana morada y sobrepelliz blanco; monaguillos, de blanco, rojo y azul; el Cabildo indigenal, con camijetas, sombreros y bastones; las Mamitas abadesas de blanco y morado; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; el Coro Musical, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo, con pantal&oacute;n negro y camisa blanca.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Bandera morada, la porta un representante del Cabildo Indigenal.</p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; morado, la porta un Sacrist&aacute;n.</p>\n\n<p>Cruz negra con flores blanca y pa&ntilde;o blanco, portada por un Sargento Jud&iacute;o.</p>\n\n<p>Cruz de madera con flores blancas, portada por un Hermano de la Pasi&oacute;n de Cristo.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a una grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetados a un palo de madera, llevado por el encargado, cerca de la imagen de la Virgen Dolorosa.</p>\n\n<p>La banda toca durante la procesi&oacute;n.</p>\n\n<p>El Coro Musical interpreta canciones religiosas</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa y luego la imagen de la Virgen Dolorosa sale en procesi&oacute;n por la plaza, alzada por mujeres.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Se celebra la misa, con la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, y la Virgen Dolorosa en la nave del lado de la ep&iacute;stola.</li>\n\t<li>El Cabildo se sienta en los primeros bancos, a la izquierda del altar</li>\n\t<li>Concluye la misa y se preparan las alzadoras para llevar a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco inciensa la imagen de la Virgen antes que sea alzada.</li>\n\t<li>Salen del templo por el medio de la nave principal, comienza a tocar la tamborita.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: Por delante salen los Sacristanes, uno con la Cruz de plata y dos con velas; el Cabildo ind&iacute;gena con la bandera morada; las Memes al centro y tambi&eacute;n flanqueando la procesi&oacute;n portando velas; el P&aacute;rroco con los Sacristanes; la imagen de la Virgen Dolorosa; publico en general y por &uacute;ltimo los Penitentes.</li>\n\t<li>Al salir del templo, los Sargentos Jud&iacute;os flanquean la imagen de la Virgen Dolorosa.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen de la Virgen Dolorosa.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:disc\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la banda y de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n</ul>\n\n<ul>\n\t<li>Cuando la procesi&oacute;n se acerca al templo, los Penitentes y sus acompa&ntilde;antes se adelantan e ingresan al templo primero. La banda se queda afuera del templo.</li>\n</ul>\n\n<ul>\n\t<li>Luego entra la comitiva en el orden mencionado, con m&uacute;sica de la tamborita (pregrabada).</li>\n\t<li>Se coloca la imagen en su lugar y el p&aacute;rroco la inciensa, tocan campanillas.</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n, para despedirse.</li>\n\t<li>Los fieles se acercan a tocar el vestido de la Virgen y presentar sus respetos.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>DOMINGO DE RAMOS</strong></p>\n\n<p>Inicia la Semana Santa, recordando la entrada de Jes&uacute;s a Jerusal&eacute;n.</p>\n\n<p><strong>Misa del Ni&ntilde;o de Ramos, con bendici&oacute;n de las palmas. - 8:00&nbsp; </strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo y en el atrio.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen de la Dolorosa, sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>La imagen del Ni&ntilde;o Ramos est&aacute; en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Mamitas abadesas, Coro del templo, Coro Musical, alzadores, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; monaguillos, de blanco, y rojo, el Cabildo y el Coro Musical con camijetas.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco que carga frutas, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino ornamentado con telas de todos los colores.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>El Cabildo porta bandera blanca, con asta de plata.</p>\n\n<p>Sacrist&aacute;n porta la Cruz de plata con &ldquo;faldilla&rdquo; blanca.</p>\n\n<p>Cruz Verde en el altar, apoyada en un horc&oacute;n.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Coro juvenil del templo interpreta cantos propios de la misa.</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>instrumentos</strong></p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivire, 3 cajas o kajanes.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la bendici&oacute;n de las palmas, la procesi&oacute;n sale hasta el atrio con la imagen del Ni&ntilde;o Ramos y luego inmediatamente retorna, para la celebraci&oacute;n de la misa.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Antes de las 8:00, las Memes rezan el rosario, paradas frente al altar, dirigidas por un Perpetuo, que porta una cruz de madera.</li>\n\t<li>El Cabildo indigenal se sienta en las primeras filas y detr&aacute;s se sit&uacute;an las Memes, en los asientos de las naves laterales los ni&ntilde;os.</li>\n\t<li>El P&aacute;rroco recorre el templo echando agua bendita a las palmas de motac&uacute;, (Cogollo, como llaman los moje&ntilde;os ignacianos), que portan las Memes, los ni&ntilde;os y la gente. El coro del templo acompa&ntilde;a esta ceremonia.</li>\n\t<li>P&aacute;rroco hace una lectura y da lugar a la procesi&oacute;n, incensando la imagen del Ni&ntilde;o Ramos y la Virgen Dolorosa.</li>\n\t<li>El orden de la procesi&oacute;n es: 3 personas que tocan las cajas o kajanes; Sacristanes con la Cruz de plata, Cabildo indigenal, P&aacute;rroco y Sacristanes, Memes con palmas, imagen del Ni&ntilde;o Ramos, los Sargentos Jud&iacute;os flanquean la imagen, y finalmente los ni&ntilde;os con palmas.</li>\n\t<li>La procesi&oacute;n sale por la nave del evangelio, precedida por el toque constante de cajas.</li>\n\t<li>La imagen cruza la puerta del templo y es incensada por el p&aacute;rroco, quien hace una oraci&oacute;n, se cierran las puertas del templo.</li>\n\t<li>El Coro Musical, con instrumentos canta el Hosanna, en castellano con libreto.</li>\n\t<li>El Sacrist&aacute;n golpea tres veces la puerta del templo, &eacute;sta se abre y entra el Cabildo indigenal, el P&aacute;rroco, Sacristanes y la imagen del Ni&ntilde;o Ramos se da la vuelta y vuelve a ingresar al templo, por el lado de la ep&iacute;stola, acompa&ntilde;ada con el sonido constante de las cajas.</li>\n\t<li>Se sit&uacute;a en su lugar a la imagen del Ni&ntilde;o Ramos, suena la campanilla, el P&aacute;rroco inciensa las im&aacute;genes.</li>\n\t<li>Inicia la celebraci&oacute;n de la misa.</li>\n\t<li>Antes de la consagraci&oacute;n del pan y el vino, el P&aacute;rroco nuevamente inciensa las im&aacute;genes, a los asistentes, mientras el Coro Musical canta el Hosanna, acompa&ntilde;ado de sivivire y caja.</li>\n\t<li>Concluye la misa y canta el Coro Musical acompa&ntilde;ado de sivivire y caja. (cantos eucar&iacute;sticos)</li>\n\t<li>&nbsp;</li>\n</ul>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>Procesi&oacute;n del Ni&ntilde;o Ramos - 16:00&nbsp; </strong></p>\n\n<p>Esta procesi&oacute;n conmemora la entrada triunfal de Cristo a Jerusal&eacute;n.</p>\n\n<p><strong>Lugar:</strong> Se realiza desde el Cabildo y termina en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Ni&ntilde;o Ramos<a href=\"#_ftn3\" name=\"_ftnref3\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[3]</a> se lleva al Cabildo Indigenal para la procesi&oacute;n. Se sit&uacute;a la imagen bajo los arcos m&oacute;viles.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>La imagen del Ni&ntilde;o Ramos, es Jes&uacute;s con t&uacute;nica color crema, cinto blanco y capa celeste, con una rama en su mano izquierda, montado sobre un burro blanco de madera, con campanas que cuelgan de su cuello, y carga frutas en la grupa, para que la producci&oacute;n sea bendecida. Esta imagen est&aacute; bajo un baldaquino profusamente ornamentado con telas de todos los colores.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Perpetuos, Cabildo indigenal, Mamitas abadesas, Sargentos Jud&iacute;os, Coro Musical, alzadores, j&oacute;venes con palmas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; monaguillos, de blanco, y rojo, Perpetuos, Cabildo y el Coro Musical con camijetas y sombrero; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Arcos, construidos con tacuara, forrados con telas de colores.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; blanca, la cruz esta cubierta con pa&ntilde;o blanco.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>instrumentos</strong></p>\n\n<p>Tamborita: Caja redoblante, sivivire, tambor</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivires.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes portando la Cruz de plata y dos velas</p>\n\n<p>Cabildo indigenal</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco y sacristanes</p>\n\n<p>Imagen del Ni&ntilde;o Ramos</p>\n\n<p><strong>Actividades</strong></p>\n\n<p><em>Iniciada la tarde los miembros del Cabildo construyen un altar en la puerta del cabildo, al frente de la Cruz que significa la presencia misional en mojos.</em></p>\n\n<p><em>Este altar esta hecho de cuatro apoyos de bamb&uacute; forrados con telas blanco, amarillo y verde, entre los pilares se cuelga un techo blanco adornado con tela blanca, verde y naranja, en la parte de adelante se sit&uacute;a un arco movible y sostenido por los miembros del cabildo.</em><a href=\"#_ftn4\" name=\"_ftnref4\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[4]</a></p>\n\n<p>El Perpetuo reza el rosario, en frente de la imagen del Ni&ntilde;o Ramos, y luego se realiza la procesi&oacute;n que se dirige al templo.</p>\n\n<p>La procesi&oacute;n se detiene en todas las esquinas de la plaza, para realizar las ceremonias.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Fuera del Cabildo Indigenal, donde est&aacute; la imagen del Ni&ntilde;o Ramos, un Perpetuo reza el rosario con las Memes que llevan palmas.</li>\n\t<li>Un manto blanco se ha extendido frente a la imagen, sobre el que rezan algunas Memes de rodillas.</li>\n\t<li>Termina el rosario, el Perpetuo y las Memes empiezan a cantar en Moje&ntilde;o, mientras tanto llegan los Sargentos Jud&iacute;os y se colocan flanqueando la imagen.</li>\n\t<li>El p&aacute;rroco y sacristanes se acercan, se inciensa la imagen, y se bendicen los ramos con agua bendita.</li>\n\t<li>El p&aacute;rroco hace una oraci&oacute;n, el Coro Musical canta Hosanna en castellano, nuevamente hace una oraci&oacute;n.</li>\n\t<li>Suena la caja, se inciensa la imagen nuevamente, los alzadores cargan la imagen y comienza la procesi&oacute;n, acompa&ntilde;ada por el redoble de la caja y la m&uacute;sica de la tamborita pregrabada, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes.</li>\n\t<li>En todas las esquinas de la plaza se hace lo siguiente:</li>\n</ul>\n\n<p style=\"margin-left:48px\">Se detiene la imagen del Ni&ntilde;o Ramos, bajo el dosel de tela anaranjada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa la imagen, mientras suenan las matracas.</p>\n\n<p style=\"margin-left:48px\">Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</p>\n\n<p style=\"margin-left:48px\">Se hace la lectura del evangelio</p>\n\n<p style=\"margin-left:48px\">El Coro Musical canta en castellano de memoria</p>\n\n<p style=\"margin-left:48px\">P&aacute;rroco hace una oraci&oacute;n.</p>\n\n<p style=\"margin-left:48px\">El Coro Musical canta &ldquo;am&eacute;n&rdquo;</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las campanillas.</p>\n\n<ul>\n\t<li>Cuando est&aacute;n cerca del templo, empieza el redoble de campanas y se escucha a la banda buri, adem&aacute;s de la grabaci&oacute;n de la tamborita y el redoble de tambor.</li>\n\t<li>La imagen del Ni&ntilde;o Ramos, se gira y da la espalda a la puerta del templo, se lee el evangelio, el Coro Musical canta en castellano, nuevamente la imagen gira para ingresar al templo.</li>\n\t<li>La procesi&oacute;n ingresa al templo, por el lado de la ep&iacute;stola.</li>\n\t<li>Se coloca a la imagen en lado izquierdo del altar.</li>\n\t<li>Suenan las campanillas, redoble de tambor, se inciensa la imagen del Ni&ntilde;o Ramos y de la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco, da comienzo a la celebraci&oacute;n de la misa, el Cabildo Indigenal se sit&uacute;a en las primeras bancas, detr&aacute;s est&aacute;n las memes y luego el pueblo en general.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>LUNES SANTO</strong></p>\n\n<p>El lunes se coloca delante el altar mayor un gran tel&oacute;n negro, que lleva una cruz roja en el centro, simbolizando la oscuridad que se cierne sobre nosotros.</p>\n\n<hr />\n<p><strong>MIERCOLES SANTO</strong></p>\n\n<p>El Mi&eacute;rcoles Santo da inicio a los cuatro d&iacute;as principales que preceden a la Resurrecci&oacute;n, por lo que se construye y ornamenta un altar donde se colocar&aacute; el Sagrario.</p>\n\n<p>Se celebran la misa y la procesi&oacute;n del Nazareno.</p>\n\n<p><strong>Misa y Procesi&oacute;n del Nazareno - 20:00</strong></p>\n\n<p>En el templo se sientan en los primeros asientos el Cabildo Indigenal, detr&aacute;s las Mamitas Abadesas y luego el pueblo en general.</p>\n\n<p><strong>Lugar: </strong>Se realiza en el templo y en la plaza principal.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Nazareno sobre el anda, se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar). Las velas prendidas a su alrededor.</p>\n\n<p>La imagen de la Virgen Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm;; La Ver&oacute;nica; 6&ordm; el Nazareno; y 7&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes </strong></p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo redondo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>Jes&uacute;s en el huerto de Getseman&iacute;, la imagen esta de rodillas con los brazos doblados, las manos con las palmas hacia arriba. Viste t&uacute;nica blanca, con manto rojo y bordados de color plata, sobre la cabeza un pa&ntilde;uelo blanco. Delante de la imagen de Jes&uacute;s, se ha colocado un arco del que cuelga la imagen de un &aacute;ngel alado.</p>\n\n<p>Se&ntilde;or de la columna, la imagen esta de pie, con una columna a la que est&aacute; atada por una cuerda. Viste una faldilla color morado y nimbo radiante.</p>\n\n<p>Se&ntilde;or de la Ca&ntilde;a, con faldilla color ciruela, manto del mismo color con reborde dorado, con nimbo radiante. Porta una ca&ntilde;a en la mano izquierda.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>El Nazareno, la imagen carga la cruz, lleva la corona de espinas en la cabeza, viste t&uacute;nica color ciruela, con rebordes dorados. El anda que soporta la imagen con porta velas que la rodean, esta ornamentada con tela blanca y telas de color plateado, morado y negro.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana morada y sobrepelliz blanco.</p>\n\n<p>Cabildo indigenal, con camijetas blancas y portando sus bastones.</p>\n\n<p>Mamitas abadesas con tipoi de color blanco y morado.</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca, traje negro (pantal&oacute;n y saco), y banda blanca.</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas.</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, y 1 viol&iacute;n.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane. (m&uacute;sica pregrabada)</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de madera de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con delgadas tiras del color de la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI, la portan los Sargentos Jud&iacute;os.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; morada, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera morada con soporte de plata, la lleva un miembro del Cabildo Indigenal</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Desde la ma&ntilde;ana<strong> </strong>las Memes se encargan del arreglo del altar donde se colocar&aacute; el Sagrario, este altar es una estructura de madera de seis pisos, construida de forma escalonada, profusamente ornamentado, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi&eacute;n se colocan cintas y flores blancas. La elecci&oacute;n de las telas depende de la capacidad adquisitiva que se tuvo en al a&ntilde;o.</p>\n\n<p>En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est&aacute; envuelto en cintas de colores y cintas con los colores de la bandera nacional.</p>\n\n<p>Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m&aacute;s elevado se ubica la imagen de un &aacute;ngel vestido de blanco. (foto)</p>\n\n<p>Se realiza la misa y posteriormente inicia la procesi&oacute;n del Nazareno, donde salen todas las im&aacute;genes que recuerdan la pasi&oacute;n de Jes&uacute;s.</p>\n\n<p>Cargan a las im&aacute;genes femeninas, solamente mujeres, y a las im&aacute;genes masculinas solamente varones.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<p>Se celebra la misa, siguiendo los rituales lit&uacute;rgicos</p>\n\n<ul>\n\t<li>Canta el Coro Musical canciones lit&uacute;rgicas al Tata Jes&uacute;s Nazareno, en moxe&ntilde;o, acompa&ntilde;ado del sivivire solamente.</li>\n\t<li>Canta el coro del templo en castellano.</li>\n\t<li>Los Hermanos del Santo Sepulcro colocan las cruces con flores que portan, delante de la imagen del Nazareno, para que reciban la bendici&oacute;n.</li>\n\t<li>El p&aacute;rroco da inicio a la misa, en la que solo participa el coro del templo.</li>\n</ul>\n\n<p>Termina la celebraci&oacute;n de la misa e inmediatamente los alzadores se sit&uacute;an en sus lugares para comenzar la procesi&oacute;n.</p>\n\n<ul>\n\t<li>Afuera del templo toca la banda</li>\n\t<li>Los Sargentos Jud&iacute;os flanquean las im&aacute;genes del Nazareno y la Dolorosa.</li>\n\t<li>Antes de la salida del Nazareno y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Se inciensa la imagen del Nazareno, mientras tocan las campanillas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen del Nazareno, custodiada por los Sargentos Jud&iacute;os, y por &uacute;ltimo la imagen de la Dolorosa.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda y la grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit&uacute;a La imagen del Nazareno.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten las siguientes ceremonias:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>Miembros del Cabildo extienden un lienzo blanco sobre el que se sit&uacute;a el p&aacute;rroco para incensar la imagen, mientras suenan las campanillas.</li>\n\t\t<li>En la primera parada canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, acompa&ntilde;ado de los instrumentos y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio.</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Se retira el lienzo blanco que estaba en el piso.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso, cerca de la plaza.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva con las im&aacute;genes, entran por el lado de la ep&iacute;stola, acompa&ntilde;adas por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las campanillas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>JUEVES SANTO</strong></p>\n\n<p>Desde la ma&ntilde;ana, los Santos Varones se dedican al arreglo del Santo Sepulcro, que est&aacute; ya sobre su respectiva anda para la procesi&oacute;n, lo adornan con flores artificiales y algunas naturales, de distintos colores, le colocan tambi&eacute;n luces y velas.</p>\n\n<p>En la ma&ntilde;ana se realiza la Celebraci&oacute;n de Las Tinieblas, y por la tarde la Celebraci&oacute;n de la misa del Se&ntilde;or, el lavatorio de pies, la procesi&oacute;n del Sant&iacute;simo Sacramento, y finalmente la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo, desde el jueves santo, hasta s&aacute;bado santo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>&nbsp;La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar), y mantiene sus tres velas encendidas.</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar).</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>&nbsp;La imagen del Cristo crucificado, con faldilla negra con decoraciones doradas, y la Virgen arrodillada con vestido blanco y manto celeste, sujetando con las manos un pa&ntilde;o blanco.</p>\n\n<p>&nbsp;La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>El Coro musical, Sacristanes, Sargentos jud&iacute;os, Cabildo indigenal, Mamitas abadesas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>El Coro, con camijetas; los Sacristanes, con sotana morada simbolizando el sufrimiento y la penitencia, y una sobrepelliz blanca; los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; el Cabildo indigenal, con camijetas y portando sus bastones de mando; las Mamitas abadesas de blanco o morado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: 2 Bajones, 2 sivivires y 3 violines.</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Cruz negra de madera, sobre la que cuelga un pa&ntilde;o blanco, la porta uno de los Sargentos Jud&iacute;os.</p>\n\n<p>Tenebrario de madera</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Inicia a las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo, solamente se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>&nbsp;El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por el Coro Musical, con oraciones y cantos en castellano, la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican detr&aacute;s de la imagen de Cristo crucificado, y detr&aacute;s de la imagen de la Dolorosa, uno de ellos porta la cruz que los representa, y por la que tienen mucho respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Oraci&oacute;n con cantos del Coro Musical en castellano (con libreto)</li>\n\t<li>Suena la campanilla y el sacrist&aacute;n se levanta, se dirige a la imagen del Cristo crucificado para hacerle una reverencia, luego se acerca al tenebrario para apagar una vela, mientras esto sucede el Coro Musical se levanta, sigue orando y se tocan los instrumentos, luego de apagada la vela el sacrist&aacute;n retorna a su lugar, y el coro se sienta.</li>\n\t<li>Esto se hace para el apagado de cada vela. El orden de apagado se realiza de abajo hacia arriba, empezando por el lado derecho, se apagan 3 velas y se pasa al lado izquierdo, apagando otras 3 velas y as&iacute; se va alternando, hasta apagar casi todas las velas, excepto la &uacute;ltima que se encuentra en la parte superior del tenebrario.</li>\n\t<li>La &uacute;ltima vela del tenebrario no se apaga, es retirada por el sacrist&aacute;n y acompa&ntilde;ado del sonido de la matraca, se acerca e hinca frente al altar. Todos los asistentes est&aacute;n de pie.</li>\n\t<li>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminado por la iglesia y se golpean los asientos para que se siente, y los Sargentos jud&iacute;os golpean sus lanzas.</li>\n\t<li>Se recogen las velas apagadas y se distribuyen entre las personas asistentes.</li>\n\t<li>Pasada la ceremonia los Sargentos jud&iacute;os pasan a reverenciar la imagen de Cristo Crucificado, solo las velas que est&aacute;n al pie de la imagen quedan encendidas, no se permite que estas velas se apaguen. Los Sargentos jud&iacute;os custodian la imagen y se turnan en grupos cada 15 minutos, mientras en el atrio de la iglesia las Memes del Cabildo (Mamitas abadesas), sirven som&oacute; que es una bebida caliente preparada con ma&iacute;z pelado, ma&iacute;z molido y canela, y chocolate con pan de arroz.</li>\n\t<li>Esta ma&ntilde;ana sirve tambi&eacute;n para la confesi&oacute;n que realizan los feligreses, el confesionario es custodiado por los Sargentos jud&iacute;os.</li>\n</ul>\n\n<p><strong>Celebraci&oacute;n de la misa del Se&ntilde;or, lavatorio de pies, procesi&oacute;n del Sant&iacute;simo Sacramento - 16: 00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los ap&oacute;stoles, tambi&eacute;n se recuerda el lavatorio de los pies, que manifiesta el servicio y el amor de Cristo, que ha venido &ldquo;no a ser servido, sino a servir&rdquo;.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior sosteniendo un lienzo blanco, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Esta protegida por un baldaquino</p>\n\n<p>En las naves laterales se sit&uacute;an en el lado del evangelio 3 im&aacute;genes y en el lado de la ep&iacute;stola 4 im&aacute;genes.</p>\n\n<p><strong>Participan </strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, concejales, asamble&iacute;stas, Sargentos jud&iacute;os, Coro Musical, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco; los Sacristanes, con sotana blanca; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado; las autoridades con banda de identificaci&oacute;n, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro Musical, con camijetas.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: &nbsp;2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Bandera blanca, la porta un miembro del Cabildo Indigenal.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>En el centro de la nave y delante del altar, se sit&uacute;an dos bancos que estar&aacute;n ocupados por los Santos varones del Cabildo, a quienes el padre har&aacute; el lavado de los pies.</p>\n\n<p>Luego de la misa se realiza la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</li>\n\t<li>Durante el canto del Gloria, los Sacristanes pasan a recoger los bastones del Cabildo Indigenal, con este gesto ellos entregan el poder a Jes&uacute;s.</li>\n\t<li>Despu&eacute;s del serm&oacute;n del p&aacute;rroco, se procede a la ceremonia del lavado de los pies a cada uno los 12 Santos varones del Cabildo, que representan a los ap&oacute;stoles, mientras esto sucede el coro de j&oacute;venes, interpreta canciones en castellano acompa&ntilde;ados por guitarra.</li>\n\t<li>Luego continua la misa.</li>\n\t<li>Finalmente se hace la ceremonia de reponer el Sant&iacute;simo Sacramento que se ha consagrado en la eucarist&iacute;a, en el altar que han preparado el Mi&eacute;rcoles Santo.</li>\n</ul>\n\n<p style=\"margin-left:24px\"><strong>Procesi&oacute;n del Sant&iacute;simo Sacramento</strong></p>\n\n<ul>\n\t<li>Seis Santos varones sostienen un baldaqu&iacute;n o palio, hecho con tela blanca, en la nave delante del altar.</li>\n\t<li>En el altar, los sacristanes colocan sobre la espalda del p&aacute;rroco un pa&ntilde;o blanco y largo, con el que envuelve sus manos para no tocar el cop&oacute;n de plata, donde se guardan las hostias consagradas El p&aacute;rroco lo levanta y se dirige hacia el lugar donde est&aacute; el baldaqu&iacute;n, coloc&aacute;ndose bajo &eacute;ste.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: el Cabildo indigenal (uno de ellos porta una bandera blanca con soporte de plata que termina en una cruz del mismo material, autoridades c&iacute;vicas, el Coro Musical y los sacristanes que preceden al p&aacute;rroco con el cop&oacute;n, bajo el baldaqu&iacute;n, y detr&aacute;s de &eacute;l, caminan dos filas de Sargentos jud&iacute;os y en medio de ellos las mamitas abadesas.</li>\n\t<li>Inicia la procesi&oacute;n cuando se tocan las matracas, se esparce incienso con el incensario y comienzan los cantos en moje&ntilde;o (con libreto) y la m&uacute;sica interpretados por el Coro Musical, esto se repite constantemente en toda la procesi&oacute;n.</li>\n\t<li>Antes que la procesi&oacute;n termine en el altar, se recoge hacia un lado, el lienzo de color negro con la cruz roja, que imped&iacute;a la vista del altar temporal.</li>\n\t<li>La procesi&oacute;n pasa por detr&aacute;s del altar temporal y se detiene frente al altar.</li>\n\t<li>El p&aacute;rroco se dirige hacia el altar mayor temporal, y un Perpetuo sube los escalones para colocar el cop&oacute;n de plata dentro del sagrario.</li>\n\t<li>El p&aacute;rroco dirige unas palabras al publico y termina la ceremonia.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>La Ultima Cena - 18:00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los 12 ap&oacute;stoles.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el Cabildo indigenal</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Santos Varones, Perpetuos, Cabildo, Mamitas abadesas, concejales y asamble&iacute;stas, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba color blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o morado.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruz de plata con &ldquo;faldilla&rdquo; blanco, la porta un Sacrist&aacute;n.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se designan tareas a las mujeres: limpieza, cocina, armado de las mesas, servir la mesa.</p>\n\n<p>La comida que ha sido preparada por las Memes, consiste en un plato de pescado pac&uacute; asado, arroz blanco, majadito, pl&aacute;tano cocido y pan de arroz, acompa&ntilde;ado de chicha.</p>\n\n<p>En el centro del Cabildo se colocan dos mesas largas, en una comer&aacute;n las autoridades (esto desde el 2023), y en la otra se ubican los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</p>\n\n<p>&nbsp;</p>\n\n<p>En la mesa en el Cabildo Indigenal se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco, representando al Ultima Cena de Cristo y sus disc&iacute;pulos.</p>\n\n<p>Acompa&ntilde;an este acto tres sacristanes, uno lleva la cruz de plata, con pa&ntilde;o blanco y los otros dos sujetan cada uno una vela encendida.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Se llama a la Santa Cena con el sonido de las matracas</li>\n\t<li>Los Sargentos jud&iacute;os hacen una procesi&oacute;n, por las calles, pero no van al Cabildo.</li>\n\t<li>Desde la iglesia, los Santos Varones, Perpetuos, Cabildo, las Memes (Mamitas abadesas) y Pasados, se dirigen caminando al patio del Cabildo, donde se extienden dos arcos cruzados, ornamentados con telas de colores, (sujetados por j&oacute;venes), bajo los arcos se sit&uacute;a la mesa donde se realiza la conmemoraci&oacute;n de la Ultima Cena.</li>\n\t<li>En la mesa se sientan seis Santos Varones, seis Perpetuos y a la cabeza el p&aacute;rroco.</li>\n\t<li>Se hace una oraci&oacute;n bendici&eacute;ndola cena</li>\n\t<li>Los sacristanes se paran cerca de la mesa sosteniendo la cruz y las velas.</li>\n\t<li>Los comensales de la Santa Cena se sirven la comida, es necesario apuntar que en el a&ntilde;o 2010, en el documento elaborado por el Ministerio de Culturas, que describe las actividades de Semana Santa en Mojos, refiere que los Santos varones y Perpetuos son alimentados por las autoridades del Cabildo, ya que no pueden tocar los platos ni los cubiertos con las manos, solo pueden tocar las tutumas de chicha, por lo que se registra que se han modificado estas pr&aacute;cticas.</li>\n\t<li>Luego del acto de la cena, se invita a todos los dem&aacute;s a comer.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Se&ntilde;or Crucificado - 20: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en las calles Montes, Bol&iacute;var, Santiesteban y Ballivi&aacute;n.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en el templo</strong></p>\n\n<p>La imagen del Cristo crucificado, y la Virgen arrodillada en la parte posterior sosteniendo un lienzo blanco, est&aacute;n sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes en la procesi&oacute;n</strong></p>\n\n<p>1&ordm; San Juan; 2&ordm; Jes&uacute;s en el huerto de Getseman&iacute;; 3&ordm; Se&ntilde;or de la columna; 4&ordm; Se&ntilde;or de la Ca&ntilde;a; 5&ordm; La Ver&oacute;nica; 6&ordm; el Nazareno; 7&ordm; Se&ntilde;or Crucificado; y 8&ordm; La Virgen Dolorosa.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Sacristanes con la Cruz de plata, concejales, asamble&iacute;stas, Cabildo Indigenal, Coro Musical, Mamitas abadesas alumbran al borde del camino con velas, Coro de se&ntilde;oras, P&aacute;rroco, Hermanos de la Pasi&oacute;n de Cristo, Sargentos Jud&iacute;os flanquean las im&aacute;genes del Crucificado y la Virgen Dolorosa, j&oacute;venes con velas flanquean la procesi&oacute;n, pueblo en general, Penitentes y sus acompa&ntilde;antes.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco, con alba y estola de color morado</p>\n\n<p>Sacristanes, con sotana blanca y c&iacute;ngulo</p>\n\n<p>Cabildo indigenal, con camijetas blancas</p>\n\n<p>Mamitas abadesas con tipoi de color blanco o morado</p>\n\n<p>Hermanos de la Pasi&oacute;n de Cristo, con camisa blanca y traje negro (pantal&oacute;n y saco)</p>\n\n<p>Penitentes, con t&uacute;nica blanca, faja negra y sandalias, llevan un velo grueso sobre la cabeza que no permite ver su rostro y una corona de espinas</p>\n\n<p>Cirineos, faldilla rojo y camisa blanca</p>\n\n<p>Autoridades con banda de identificaci&oacute;n</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo</p>\n\n<p>El Coro Musical, con camijetas blancas</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Cruces de madera decoradas con flores blancas, las portan los Hermanos del Santo Sepulcro.</p>\n\n<p>Cruz de plata, con &ldquo;faldilla&rdquo; blanco, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca, la porta una autoridad municipal.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Antes de la salida del Cristo Crucificado y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Dentro el templo, los Hermanos de la Pasi&oacute;n de Cristo colocan sus cruces alrededor de la imagen del Cristo Crucificado para que reciban la bendici&oacute;n, ellos escoltan toda la procesi&oacute;n, mientras que los soldados jud&iacute;os solamente a la imagen de Cristo Crucificado y a la Dolorosa.</li>\n\t<li>Se inciensa la imagen de Cristo Crucificado, mientras tocan las matracas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; luego est&aacute;n las autoridades; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen de Cristo Crucificado custodiada por los Sargentos Jud&iacute;os, detr&aacute;s de estos, entra el p&uacute;blico en general y detr&aacute;s van los Penitentes y sus acompa&ntilde;antes. y por &uacute;ltimo la imagen de la Dolorosa</li>\n\t<li>Todos salen por el lado del evangelio y cuando el Cristo Crucificado cruza la puerta comienza la m&uacute;sica de la banda.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen del Cristo Crucificado.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical que canta en castellano con libreto, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva que entra por el lado de la ep&iacute;stola, acompa&ntilde;ada por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las matracas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>VIERNES SANTO</strong></p>\n\n<p>Ni&ntilde;os y j&oacute;venes, desde las seis de la ma&ntilde;ana realizan un <strong>V&iacute;a Crucis juvenil</strong> que pr&aacute;cticamente rodea el pueblo, este es sin lugar a dudas uno de los d&iacute;as m&aacute;s emotivos y especiales de la celebraci&oacute;n, tanto por su riqueza de tradiciones como por su importancia religiosa.</p>\n\n<p>Tambi&eacute;n durante la ma&ntilde;ana en el atrio del templo se construye la estructura de soporte del altar donde se situar&aacute; al Cristo Crucificado, para esto se utilizan vigas y rollizos de madera, que luego son cubiertas con ramas de sauce llor&oacute;n</p>\n\n<p>Por la tarde se efect&uacute;a la solemne ceremonia de la Desclavaci&oacute;n del Se&ntilde;or.</p>\n\n<p>Finalmente se realiza la procesi&oacute;n del Santo Sepulcro.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que el d&iacute;a anterior.</p>\n\n<p><strong>Serm&oacute;n de las Siete Palabras - 12:00 </strong></p>\n\n<p>En la ceremonia de la misa se recuerdan las siete frases que Jes&uacute;s pronunci&oacute; durante su crucifixi&oacute;n.</p>\n\n<p><strong>Celebraci&oacute;n de la Pasi&oacute;n y muerte de Nuestro Se&ntilde;or, y Adoraci&oacute;n de la Cruz - 15: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, est&aacute; sobre el anda que se ubica en el lado del evangelio (lado izquierdo, mirando de frente al altar).</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar). Est&aacute; protegida por un baldaquino</p>\n\n<p>Cruz de madera con la imagen de Cristo crucificado, con base de madera, se ubica delante del altar, en la nave.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro del templo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color rojo; los Sacristanes, con sotana roja y sobrepelliz blanco; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas,</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La cruz para la Adoraci&oacute;n, ingresa al templo con una casulla morada, ricamente bordada con dorado.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Guitarra.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misa, y antes de la comuni&oacute;n, se hace la Adoraci&oacute;n, que consiste en ingresar la Cruz por la puerta principal, &eacute;sta es llevada por el p&aacute;rroco y lo acompa&ntilde;a un sacrist&aacute;n, que sostiene el micr&oacute;fono mientras el padre hace la oraci&oacute;n cantada.</p>\n\n<p>Se le rinde respeto a la cruz, arrodill&aacute;ndose y dando un beso a la imagen de Cristo y se hace una ofrenda de dinero.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</li>\n\t<li>La misa se interrumpe antes de la comuni&oacute;n.</li>\n\t<li>El p&aacute;rroco sale del templo para nuevamente ingresar con la cruz y hacer la Adoraci&oacute;n.</li>\n\t<li>A su paso por el centro de la nave, el padre hace la oraci&oacute;n cantada y se detiene dos veces para ir descubriendo parcialmente la cruz que est&aacute; cubierta por un pa&ntilde;o blanco.</li>\n\t<li>El padre quita el pa&ntilde;o, como se&ntilde;al de que Cristo ha muerto y presenta la cruz a los asistentes, nuevamente hace la oraci&oacute;n cantada.</li>\n\t<li>Coloca la cruz en la base de madera que esta al pie del altar, se arrodilla y luego besa los pies de la imagen del Cristo crucificado, los sacristanes hacen lo mismo.</li>\n\t<li>Los asistentes tambi&eacute;n se arrodillan y besan la imagen, comenzando por el Cabildo indigenal, las Memes, los Sargentos Jud&iacute;os, y el pueblo en general. Esta ceremonia es acompa&ntilde;ada por el coro del templo.</li>\n\t<li>Continua la misa, con la comuni&oacute;n y al final el padre y tres sacristanes se arrodillan frente a la cruz y se retiran.</li>\n</ul>\n\n<p><strong>Solemne desclavaci&oacute;n del Se&ntilde;or - 20: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, ha sido colocada en el atrio debajo de la cubierta, en una especie de altar en forma de U, construido con madera y cubierto con ramas de sauce llor&oacute;n.</p>\n\n<p>Las otras im&aacute;genes: La Virgen Dolorosa, la Ver&oacute;nica, Virgen Mar&iacute;a y San Juan, est&aacute;n dispuestas a la derecha de la imagen de Cristo, no est&aacute;n bajo la cubierta del templo.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Ni&ntilde;os que representan a los &aacute;ngeles, Cabildo indigenal, Mamitas abadesas, Sargentos jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color morado; los Sacristanes, con sotana negra y sobrepelliz blanca; los ni&ntilde;os que reciben los objetos sagrados llevan una corona de flores blancas, rebozo que cae sobre la espalda, collares dorados, y t&uacute;nica blanca adornada con cintas de color turquesa, a manera de c&iacute;ngulo de dos ca&iacute;das; los Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos, los Caciques Mayores de los Santos Varones llevan en la cintura un c&iacute;ngulo dorado de dos ca&iacute;das y el resto la llevan en blanco. Sobre el hombro izquierdo cruza una estola blanca que sirve para manipular las piezas sagradas y no tocarlas con las manos; el Cabildo indigenal, con camijetas; las Mamitas abadesas de blanco o negro, los Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo; El Coro, con camijetas; los Hermanos de la Pasi&oacute;n de Cristo con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: Sivivire (2); viol&iacute;n (1); baj&oacute;n (2).</p>\n\n<p>Coro de j&oacute;venes: Con violines</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>El atrio del templo y su entorno, se convierten en el escenario del desclavamiento de Cristo, toda la Comunidad de San Ignacio, se da cita en torno al altar construido por el Cabildo en el atrio del templo, en el que se muestra la imagen del Cristo Crucificado.</p>\n\n<p>El P&aacute;rroco da las indicaciones para la desclavaci&oacute;n de la imagen de Cristo, tarea que realizan los Santos Varones.</p>\n\n<p>El cuerpo de Cristo es bajado con mucho cuidado, lo presentan a la Virgen Dolorosa, lo visten, le colocan la corona y enseguida es trasladado al Santo Sepulcro.</p>\n\n<p>Las autoridades del Cabildo Indigenal, y los Hermanos del Santo Sepulcro, desmontan por partes el altar erigido, las personas que han acompa&ntilde;ado la ceremonia se aproximan y comienzan a quitar los ramos del sauce llor&oacute;n, estas plantas se utilizar&aacute;n para curar enfermedades f&iacute;sicas y espirituales.</p>\n\n<p>En reemplazo del cuerpo de Cristo se deja una estola blanca que atraviesa los dos brazos de la Cruz.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>El Coro Musical entona cantos (con libreto) en castellano, se ubican al lado derecho de la imagen de Cristo Crucificado.</li>\n\t<li>El Coro de j&oacute;venes interpreta una canci&oacute;n acompa&ntilde;ada de sus instrumentos, se ubican a la izquierda de la imagen de Cristo Crucificado.</li>\n\t<li>El p&aacute;rroco parado sobre una tarima anuncia que los Santos Varones proceder&aacute;n a desclavar el cuerpo de Cristo.</li>\n\t<li>Los Sargentos jud&iacute;os preceden la entrada de los Santos Varones.</li>\n\t<li>Los Santos Varones presentan primero sus respetos a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco va guiando a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento retirado es llevado por uno de los Santos Varones, primero son presentados a la Virgen Mar&iacute;a, la Dolorosa y luego se colocan, en unas bandejas sostenidas por tres ni&ntilde;os que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</li>\n\t<li>Cuando se han quitado todos los elementos, se baja la imagen de Cristo con sumo cuidado, y se la presenta a la Virgen Mar&iacute;a la Dolorosa, tocan las matracas, y el coro de j&oacute;venes interpreta m&uacute;sica sacra.</li>\n\t<li>Los Santos Varones, llevan el cuerpo de Cristo al Sepulcro y lo colocan en su interior, lo acomodan y cubren su cuerpo con un manto de color negro, mientras lo colocan van encendiendo las velas alrededor del Sepulcro, aseguran la puerta, y terminan de encender todas las velas. M&uacute;sica del coro de j&oacute;venes contin&uacute;a.</li>\n\t<li>Para la m&uacute;sica y toca la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro y los sacristanes se ubican delante del Santo Sepulcro</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, para iniciar la procesi&oacute;n.</li>\n</ul>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Santo Sepulcro - 21: 00</strong></p>\n\n<p><strong>Lugar:</strong> Se realiza alrededor de la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo Crucificado, ha sido colocada en el Santo Sepulcro.</p>\n\n<p>Las im&aacute;genes, salen en el siguiente orden en la procesi&oacute;n: San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, el Santo Sepulcro, la Virgen Dolorosa.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo crucificado, con faldilla negra y decoraciones doradas, y cubierto por un manto negro.</p>\n\n<p>La dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado, Su baldaquino esta ornamentado con telas de colores: blanco, negro y morado, adem&aacute;s de tener flores y ramas naturales.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participan</strong></p>\n\n<p>Santos Varones, P&aacute;rroco, Sacristanes, Cabildo indigenal, Mamitas abadesas, Autoridades, Sargentos Jud&iacute;os, Coro Musical, Hermanos de la Pasi&oacute;n de Cristo, Alzadores, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>Santos Varones, con t&uacute;nicas blancas que en algunos casos llevan plisados y encajes en mangas y faldilla, una pa&ntilde;oleta blanca amarrada en la cabeza, y descalzos.</p>\n\n<p>P&aacute;rroco, con alba y estola de color morada.</p>\n\n<p>Sacristanes, con sotana negra y sobrepelliz blanca.</p>\n\n<p>Cabildo indigenal, con camijetas.</p>\n\n<p>Mamitas abadesas con tipoi blanco o negro.</p>\n\n<p>Autoridades, con banda que los identifica.</p>\n\n<p>Sargentos jud&iacute;os, con traje negro, camisa blanca y bonete (algunos usan cascos negros), bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo.</p>\n\n<p>El Coro, con camijetas.</p>\n\n<p>Los Hermanos de la Pasi&oacute;n de Cristo, con traje negro camisa blanca y una banda blanca que cruza el pecho.</p>\n\n<p>Las mujeres alzadoras de las im&aacute;genes femeninas, con pantal&oacute;n negro y solera negra o blanca; los varones alzadores del Santo Sepulcro, con pantal&oacute;n negro, camisa blanca y corbata negra.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Bandera negra con Cruz roja en el centro, ubicada delante del altar mayor, para cubrirlo.</p>\n\n<p>Santo Sepulcro</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Orden de participantes en la procesi&oacute;n</strong></p>\n\n<p>Imagen de San Juan</p>\n\n<p>Imagen de la Ver&oacute;nica</p>\n\n<p>Imagen de la Virgen Maria</p>\n\n<p>Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas.</p>\n\n<p>Autoridades con la Bandera negra</p>\n\n<p>Cabildo con sombreros</p>\n\n<p>Coro Musical</p>\n\n<p>P&aacute;rroco</p>\n\n<p>Sacristanes y Hermanos de la Pasi&oacute;n de Cristo,</p>\n\n<p>Santo Sepulcro</p>\n\n<p>Pueblo en general</p>\n\n<p>Cruz de Cristo, de madera con pa&ntilde;o blanco en anda</p>\n\n<p>Penitentes con sus acompa&ntilde;antes</p>\n\n<p>Ni&ntilde;os con los elementos de la pasi&oacute;n</p>\n\n<p>Santos varones (los que hicieron la desclavaci&oacute;n de Cristo), llevando cruces con floreas blancas.</p>\n\n<p>Memes</p>\n\n<p>Virgen Dolorosa (alzada por mujeres con vestido negro)</p>\n\n<p>Pueblo en general</p>\n\n<p>Flanqueando el Santo Sepulcro est&aacute;n los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo</p>\n\n<p>Las Memes, tambi&eacute;n caminan a ambos lados de la procesi&oacute;n portando velas.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Concluida la ceremonia de la Desclavaci&oacute;n de Cristo, se realiza la procesi&oacute;n del Santo Sepulcro, alrededor de la plaza, acompa&ntilde;ada de una numerosa comitiva y del pueblo en general.</p>\n\n<p><em>Este recorrido tiene especial significaci&oacute;n para las personas, ya que el ser tocado por la mano de uno de los Santos Varones significa haber sido sanado de la dolencia que ten&iacute;a la persona, as&iacute; que, en determinados momentos, lo Santos Varones van curando a las personas mientras caminan</em>.<a href=\"#_ftn5\" name=\"_ftnref5\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[5]</a></p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>Una vez dispuesta la imagen de Cristo dentro el Santo Sepulcro, para la m&uacute;sica y comienza la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro musical con sus instrumentos y los sacristanes cargando la cruz de plata, cubierta por un pa&ntilde;o negro, se ubican delante del Santo Sepulcro.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas.</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, acompa&ntilde;an tambi&eacute;n portadores de faroles, dos adelante y dos atr&aacute;s.</li>\n\t<li>Comienza la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t<li>Antes de la salida del Santo Sepulcro, se han ubicado precediendo la procesi&oacute;n:</li>\n</ul>\n\n<p style=\"margin-left:48px\">San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas, Autoridades con la Bandera negra, Cabildo, Coro Musical, P&aacute;rroco, Sacristanes y Hermanos de la Pasi&oacute;n de Cristo.</p>\n\n<ul>\n\t<li>En las esquinas se detiene el Santo Sepulcro, bajo el dosel de tela morada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</li>\n\t<li>Se hace la lectura del evangelio</li>\n\t<li>El Coro Musical canta en castellano de memoria</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n.</li>\n\t<li>El Coro Musical canta &ldquo;am&eacute;n&rdquo;</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las matracas.</li>\n\t<li>Dos personas del Cabildo colocan delante del Santo Sepulcro un pa&ntilde;o grande blanco.</li>\n\t<li>Se adelanta una persona, (primero un Santo var&oacute;n del Cabildo y en las otras paradas lo hacen las autoridades), hace una reverencia, y blande la bandera negra de frente al Santo Sepulcro, sobre el pa&ntilde;o que esta en el piso, nuevamente hace una reverencia, retorna a su sitio y le hace entrega de la bandera a la persona que la blandir&aacute; en la pr&oacute;xima parada.</li>\n\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita y la banda.</li>\n\t<li>Se repite esto en todas las esquinas.</li>\n\t<li>Para ingresar al templo, las im&aacute;genes de San Juan, La Ver&oacute;nica y la Virgen Mar&iacute;a, se quedan cerca de la plaza y dan lugar para que pasen: primero los Penitentes, y el resto de la comitiva que acompa&ntilde;a al Santo Sepulcro.</li>\n\t<li>A medida que las cruces van llegando con los Penitentes, se van colocando en los ambientes del templo. La Cruz Virgen, de color verde, la vuelven a colocar en el lado izquierdo del Altar Mayor, esto es realizado con mucho cuidado y solemnidad utilizando bastones y cuerdas para asegurarla.</li>\n\t<li>Ingresa el Santo Sepulcro y la comitiva al templo, y se dirigen por el lado de la ep&iacute;stola hacia el altar, asentando el Santo Sepulcro en el sector izquierdo de la nave, cerca del altar, la Cruz de madera se la coloca delante del altar mayor, muy cerca del pa&ntilde;o negro que lo cubre, y la Virgen Dolorosa se coloca sobre la nave de la ep&iacute;stola, en su lugar habitual.</li>\n\t<li>El p&aacute;rroco, procede a incensar el Santo Sepulcro, a la Dolorosa y a la Cruz de madera.</li>\n\t<li>Palabras del p&aacute;rroco.</li>\n\t<li>&ldquo;<em>En la sacrist&iacute;a los Santos Varones inician la curaci&oacute;n a las Autoridades del Cabildo y posteriormente a todas las personas que se aproximan a ellos, la curaci&oacute;n consiste en jalarles la cabeza hacia arriba, lo cual deben hacer todos los Santos Varones con las personas, esto a partir de la cualidad personal de curaci&oacute;n de cada uno de ellos.</em></li>\n\t<li><em>Mientras esto sucede se inicia otra procesi&oacute;n en la que llevan el Santo Sepulcro acompa&ntilde;ado por las Mamitas Abadesas, Hermanos, los Sargentos Jud&iacute;os, Sacristanes y las ceremonias oficiadas por el Coro de la Iglesia, el cual recorre las cuatro esquinas de la plaza central.&rdquo;</em> <a href=\"#_ftn6\" name=\"_ftnref6\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[6]</a></li>\n</ul>\n\n<p style=\"margin-left:24px\">&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>SABADO SANTO</strong></p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que los d&iacute;as anteriores.</p>\n\n<p><strong>Bendici&oacute;n del fuego y del agua. Celebraci&oacute;n de la Vigilia Pascual - 20: 00</strong></p>\n\n<p>Se celebra que Cristo ha vencido a la muerte, &Eacute;l es la luz que ha vencido a las tinieblas, la luz, representada por el fuego, con el que se encender&aacute; el Cirio Pascual.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado se sit&uacute;a en el altar.</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar), ahora ya no la protege el baldaquino.</p>\n\n<p>A los pies de la Virgen Dolorosa y de la base del Santo Sepulcro, se colocan recipientes de todo tipo, llenos de agua, para que esta sea bendecida.</p>\n\n<p>Las im&aacute;genes de San Juan y la Ver&oacute;nica est&aacute;n en la nave de la ep&iacute;stola, y la imagen de la Virgen Mar&iacute;a, en el lado del evangelio.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco; Sacristanes; Monaguillos; Cabildo Indigenal; Mamitas abadesas (Memes), p&uacute;blico en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana roja y sobrepelliz blanco.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo ya no lleva la camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Porta Cirio, de madera torneada, de aproximadamente 1 metro de altura.</p>\n\n<p>Cirio, hecho de cera de abejas, de aproximadamente 1 metro de altura, lleva la imagen de Cristo, los s&iacute;mbolos Alfa y Omega, y el a&ntilde;o 2024.</p>\n\n<p>Pa&ntilde;o negro con cruz roja, que cubre el altar temporal.</p>\n\n<p>Participan: P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, pueblo en general.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza el encendido de una fogata en el atrio del templo, para luego prender el Cirio Pascual con este fuego. El Cirio se lleva al interior del templo y se coloca en el porta cirio ubicado al lado izquierdo del altar. Las personas encienden sus velas con la llama del Cirio, y se celebra la misa, luego se realiza la bendici&oacute;n del agua, y finalmente la procesi&oacute;n de Cristo Resucitado.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>El p&aacute;rroco bendice el fuego que se encendi&oacute; en el atrio del templo.</li>\n\t<li>Un monaguillo sostiene el Cirio Pascual, el p&aacute;rroco recoge la brasa del fuego y prende el cirio, recibe el Cirio y se dirige al interior del templo.</li>\n\t<li>En el trayecto, el p&aacute;rroco y el coro cantan &ldquo;la luz de Cristo, gracias a Dios&rdquo;, la gente se acerca a prender sus velas desde el Cirio.</li>\n\t<li>A medida que el p&aacute;rroco avanza, las luces del templo se van encendiendo.</li>\n\t<li>El p&aacute;rroco coloca el Cirio Pascual en el porta cirios.</li>\n\t<li>Los Sacristanes devuelven sus bastones a los Caciques del Cabildo, y encienden las dos velas del altar, mientras el p&aacute;rroco hace una oraci&oacute;n, acompa&ntilde;ando por el coro del templo.</li>\n\t<li>Se hacen las lecturas del Antiguo Testamento.</li>\n\t<li>Se canta el Gloria y repican las campanillas, al mismo tiempo, en el atrio comienza a tocar la tamborita, y los Chiripier&uacute;ana, bailan. En la plaza los miembros del Cabildo hacen estallar la camareta.&nbsp;</li>\n\t<li>Se descubre el altar, retirando el pa&ntilde;o negro que lo cubr&iacute;a.</li>\n\t<li>El p&aacute;rroco hace la oraci&oacute;n, y se procede a hacer las lecturas del Nuevo Testamento, en castellano y en moje&ntilde;o.</li>\n\t<li>Despu&eacute;s de la letan&iacute;a de los Santos, acompa&ntilde;ada del coro del templo, el p&aacute;rroco bendice el agua. Es la liturgia bautismal.</li>\n\t<li>P&aacute;rroco retira el Cirio Pascual, lo presenta al Cristo Resucitado, hace una reverencia y lo coloca nuevamente en el porta cirio, luego toma el recipiente que contiene el agua bendita y comienza a bendecir a la imagen de la Virgen Dolorosa, a los recipientes de agua, y va recorriendo todo el templo a los asistentes, echando agua bendita, como una renovaci&oacute;n de los votos del bautismo. El coro del templo acompa&ntilde;a toda esta ceremonia.</li>\n\t<li>Continua la misa, el p&aacute;rroco inciensa hacia todas direcciones y luego el sacrist&aacute;n a &eacute;l, mientras el Coro Musical canta el &ldquo;Hosanna&rdquo; en castellano, acompa&ntilde;ado de sivivires y caja.</li>\n\t<li>El coro musical acompa&ntilde;a el resto de la misa, cantando &ldquo;Amen&rdquo; y &ldquo;Cordero de dios...&rdquo; acompa&ntilde;ado de sivivires y caja.</li>\n\t<li>Concluye la misa.</li>\n</ul>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>DOMINGO DE RESURRECION </strong></p>\n\n<p><strong><em>La noche Blanca</em></strong></p>\n\n<p><em>A esta noche los j&oacute;venes la denominan la &ldquo;noche blanca&rdquo;, los j&oacute;venes esperan hasta las 4 de la madrugada del d&iacute;a domingo en medio de juegos que comparten mientras hacen la vigilia</em>.<a href=\"#_ftn7\" name=\"_ftnref7\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[7]</a></p>\n\n<p><strong>Procesi&oacute;n del encuentro del Se&ntilde;or Resucitado con su Madre&nbsp; -&nbsp; 4:00&nbsp; </strong></p>\n\n<p>Se celebra el encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a.</p>\n\n<p><strong>Lugar: </strong>Se realiza la plaza.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>Salen en procesi&oacute;n en el siguiente orden: San Juan; Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, y finalmente la imagen de Cristo Resucitado.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, Angelitos, la tamborita de los Macheteros, alzadores varones que portan a Cristo Resucitado, San Juan y a la Virgen Dolorosa y alzadoras mujeres que portan a las im&aacute;genes femeninas, j&oacute;venes que flanquean la procesi&oacute;n, pueblo en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana blanca.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo con camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p>Macheteros o Chiripier&uacute;ana, con camijeta, con franjas coloridas a los costados, sobre los hombros un pa&ntilde;uelo rojo, llevan en la mano derecha un machete de madera, y portan en la cabeza un tocado hecho de plumas de parabas, cuelga de este tocado un cuero que representa la piel de tigre, que llega hasta los talones, los que est&aacute;n cubiertos con semillas de paichach&iacute;s, que hacen las veces de cascabeles.</p>\n\n<p>Angelitos, llevan m&aacute;scara de &aacute;ngel sobre la frente, con pa&ntilde;oleta anaranjada sobre la cabeza, los que representan a la mujer tienen rasgos femeninos y usan tipoi anaranjado, los que representan a los hombres, con bigote, y usan pantal&oacute;n, todos usan chaleco generalmente oscuro, alas de cuero, cascabeles en las rodillas, en la mano derecha flores silvestres y en la derecha un l&aacute;tigo de colores.&nbsp;</p>\n\n<p>La tamborita, con pa&ntilde;oleta del mismo color que los angelitos.</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Cruz de plata, con faldilla blanca, la porta un Sacrist&aacute;n.</p>\n\n<p>Bandera blanca con soporte de plata, la porta un miembro del Cabildo.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti, cajane, tampura.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, unos por la calle de la izquierda y el Cristo por la de la derecha de la plaza, para luego encontrarse en el medio de la calle al otro lado de la plaza. All&iacute; las im&aacute;genes se har&aacute;n venias y bailar&aacute;n demostrando la alegr&iacute;a de reencontrarse.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, la tamborita se ubica en la fila de en medio.</li>\n\t<li>Salen del templo las im&aacute;genes de San Juan: Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, luego los sacristanes cargando la Cruz de plata; el Cabildo portando una bandera blanca; el p&aacute;rroco y finalmente la imagen de Cristo Resucitado, sobre anda con porta velas. Todo esto en silencio.</li>\n\t<li>El Cristo Resucitado flanqueado por filas de j&oacute;venes, (hombres y mujeres), vestidos con pantal&oacute;n oscuro y camisa blanca, se va por la calle de la derecha de la plaza y las otras im&aacute;genes por la de la izquierda.</li>\n\t<li>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le quit&oacute; el manto negro).</li>\n\t<li>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer la venia para que la imagen baje y suba).</li>\n\t<li>Cuando est&aacute;n a unos 10 metros, se las inciensa y un miembro del Coro Musical canta Aleluya y hace una oraci&oacute;n (con libreto), luego el p&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y las im&aacute;genes comienzan a bailar al ritmo de la banda, la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo.</li>\n\t<li>Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita, en la esquina de la plaza para guiarlos al templo.</li>\n\t<li>Al acercarse al templo, ta&ntilde;en las campanas continuamente.</li>\n\t<li>En el atrio los Macheteros se colocan en dos filas una a cada lado de la puerta, contin&uacute;an bailando.</li>\n\t<li>Las im&aacute;genes de San Juan; la Virgen Mar&iacute;a; la Ver&oacute;nica, se quedan cerca de la plaza para dar paso a las principales.</li>\n\t<li>Ingresan en medio de los Macheteros, que permanecen en el atrio bailando: el Sacrist&aacute;n que porta la Cruz de plata, representantes del Cabildo con la bandera blanca, el p&aacute;rroco con sacristanes, la imagen de Cristo Resucitado, la imagen de la Virgen Mar&iacute;a y el resto de las im&aacute;genes.</li>\n\t<li>Se colocan en sus respectivos lugares y el p&aacute;rroco las inciensa, mientras en el atrio continua la m&uacute;sica.</li>\n\t<li>El P&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>Canta el coro musical en castellano, acompa&ntilde;ado con sivivire y caja.</li>\n\t<li>Comienza la misa del D&iacute;a de la Aurora, el coro de j&oacute;venes del templo acompa&ntilde;a toda la ceremonia, antes de dar la Comuni&oacute;n, el p&aacute;rroco inciensa el altar y las im&aacute;genes de Cristo Resucitado y la Virgen Mar&iacute;a, el sacrist&aacute;n al padre, mientras el Coro Musical canta &ldquo;Hosanna&rdquo; acompa&ntilde;ado del sivivire y la caja.</li>\n\t<li>Termina la misa y el sivivire y cajane acompa&ntilde;an al Coro musical &ldquo;Reina del cielo&hellip; aleluya&rdquo;</li>\n</ul>\n\n<p><strong>Celebraci&oacute;n de la misa del Dia de Pascua o Misa del Gloria Aleluya &ndash; 9:00</strong></p>\n\n<p>Esta misa conmemora la Resurrecci&oacute;n de Cristo, con el Gloria Aleluya.</p>\n\n<p>El Cabildo Indigenal, los Santos Varones y las Mamitas Abadesas se re&uacute;nen para la adoraci&oacute;n de el Sagrario, que esta ubicado en el altar mayor.</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>PERSONAJES QUE PARTICIPAN</strong></p>\n\n<p><strong>CABILDO</strong></p>\n\n<p>La comunidad moje&ntilde;a est&aacute; guiada por el Cabildo Indigenal, sistema que fue introducido por los jesuitas, en el siglo XVIII. Actualmente, no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, y proteger el patrimonio cultural material e inmaterial, preservando las tradiciones culturales y religiosas.</p>\n\n<p>En San Ignacio el Cabildo, est&aacute; compuesto por: el Corregidor, Caciques, Capitanes, Alcaldes, Intendente, Alguacil, Fiscal, Comisarios y los Mayordomos que est&aacute;n subdivididos en parcialidades.</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.</em><a href=\"#_ftn8\" name=\"_ftnref8\" style=\"color:#0563c1; text-decoration:underline\" title=\"\"><em><strong>[8]</strong></em></a></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>PERPETUOS</strong></p>\n\n<p>Son los se&ntilde;ores mayores que ayudan y apoyan al templo y al cabildo, deben su nombre al hecho de que solo son suplidos por vejez o muerte.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.</em><a href=\"#_ftn9\" name=\"_ftnref9\" style=\"color:#0563c1; text-decoration:underline\" title=\"\"><em><strong>[9]</strong></em></a></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.</em><a href=\"#_ftn10\" name=\"_ftnref10\" style=\"color:#0563c1; text-decoration:underline\" title=\"\"><em><strong>[10]</strong></em></a></p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn11\" name=\"_ftnref11\" style=\"color:#0563c1; text-decoration:underline\" title=\"\"><em><strong>[11]</strong></em></a></p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERU</strong></p>\n\n<p>Su nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>Su danza es de forma marcial en dos filas, bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores.</p>\n\n<p>Sujeta del armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichach&iacute;es, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisito exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<p>&nbsp;</p>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>GLOSARIO</strong></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p>El tenebrario simboliza el d&iacute;a de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap&oacute;stoles, las tres Mar&iacute;as (Mar&iacute;a Salom&eacute;, Mar&iacute;a de Cleof&aacute;s y Mar&iacute;a Magdalena) y la Virgen Mar&iacute;a, es decir, aquellos que acompa&ntilde;aron a Jes&uacute;s ese d&iacute;a. La vela m&aacute;s alta representa a la Sant&iacute;sima Virgen, la &uacute;nica que crey&oacute; en la Resurrecci&oacute;n. El tri&aacute;ngulo mismo simboliza la Sant&iacute;sima Trinidad.&nbsp;</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><strong>BIBLIOGRAF&Iacute;A </strong></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[1]</a> Direcci&oacute;n General De Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em> pg. 21</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[2]</a> Ibid., p.34.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[3]</a> &ldquo;<em>Si bien la figura de Cristo corresponde a una persona mayor, el Cristo es identificado como Ni&ntilde;o Ramos, porque es inocente, sin culpa, como los ni&ntilde;os, es ni&ntilde;o porque no cambia nunca y vuelve a nacer cada a&ntilde;o&rdquo;. </em>Semana Santa San Ignacio de Mojos, Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg. 6.</p>\n\n<p>&nbsp;</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[4]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 11</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[5]</a> https://www.incarnationweb.org/Semana-Santa-en-la-Parroquia-de.html?lang=es</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[6]</a>Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 28.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[7]</a> Ibid., p.34.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref8\" name=\"_ftn8\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[8]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. Pg. 8-9.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref9\" name=\"_ftn9\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[9]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 21</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref10\" name=\"_ftn10\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[10]</a> Ibid,.pg. 11.</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref11\" name=\"_ftn11\" style=\"color:#0563c1; text-decoration:underline\" title=\"\">[11]</a> Ibid,.pg. 14</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c28a1ac9-d6d0-4f45-8e54-38109c55bc2e", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 2, "tileid": "b0788c1d-391b-47f3-af31-30c3bfe71d1b"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "7d589f1b-da90-4721-9e87-b0018073c423", "resourceXresourceId": "c5cdfc3e-7b8d-4c76-a851-dc86e46dad9c"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "40fdb6ae-ada5-4e63-b5cb-6204692d21de", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 13, "tileid": "cf699f49-461d-4441-8781-be5f97e8e91e"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "aa77f74b-99b2-4162-b94a-2ceef6e5d54c", "resourceXresourceId": "1171a8c6-10ad-424f-a77e-a1ddfc04aa8f"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "40fdb6ae-ada5-4e63-b5cb-6204692d21de", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 1, "tileid": "63d8354c-49d6-4e63-a6d6-a19c80c4cf92"}, {"data": {"bc5370a8-857a-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "80b1d6fd-7df2-4276-92bf-c20fcd9a6c04", "resourceXresourceId": "499e119d-35b4-4bc1-bd42-100891176462"}]}, "nodegroup_id": "bc5370a8-857a-11ee-a653-53ebd0470963", "parenttile_id": "40fdb6ae-ada5-4e63-b5cb-6204692d21de", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 6, "tileid": "e31fe5c5-596b-4989-bdd8-fe32fa88f3a0"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La imagen esta de rodillas con los brazos doblados, las manos con las palmas hacia arriba. Viste t\u00fanica blanca, con manto rojo y bordados de color plata, sobre la cabeza un pa\u00f1uelo blanco. Delante de la imagen de Jes\u00fas, se ha colocado un arco del que cuelga la imagen de un \u00e1ngel alado."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de Jes\u00fas en el huerto de Getseman\u00ed"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 15, "tileid": "2ea8ae9c-00cc-421b-94a0-0a4e00c232b5"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La imagen carga la cruz, lleva la corona de espinas en la cabeza, viste t\u00fanica color ciruela, con rebordes dorados. El anda que soporta la imagen con porta velas que la rodean, esta ornamentada con tela blanca y telas de color plateado, morado y negro."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen del Nazareno"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 22, "tileid": "803775c9-bb61-4095-baaa-6f5f4301b384"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Custodia - cop\u00f3n de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Custodia de caja cerrada, se eleva sobre una base cuadrada con bordes mixtil\u00edneos, guarnecido con filigrana, en el centro, la base del cop\u00f3n es circular con molduras biseladas y en bocel. Un pie hexagonal se eleva hasta el cop\u00f3n, y en su sector intermedio sobresale un cuerpo bulbiforme ornamentado con cuatro asas con decoraci\u00f3n vegetal. El cop\u00f3n que alberga las hostias, tiene forma agallonada, con cuatro asas de ornamentaci\u00f3n fitomorfa, que rematan en angelitos alados, cuelga de las asas la cadena con la llave que abre la custodia. La parte superior es la tapa de la custodia presenta una base redonda, de la que surge con cuerpo tronco piramidal, decorado con cuatro figuras de angelitos alados, rematando todo en la figura de un ave sobre la que un angelito alado de pie, sostiene la cruz. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Custodia de caja cerrada"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 40, "tileid": "74c88999-8f73-45ab-8c4f-787b70ff0da0"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las&nbsp;tradiciones y expresiones orales, transmitidas de generaci&oacute;n en generaci&oacute;n como parte de la memoria colectiva de la comunidad, forman parte fundamental del&nbsp;patrimonio cultural inmaterial.</p>\n\n<p>Los pueblos aut&oacute;ctonos de la regi&oacute;n moje&ntilde;a, antes de pertenecer a las reducciones jesu&iacute;ticas, hac&iacute;an uso del canto y usaban sus propios instrumentos, en rituales de car&aacute;cter m&iacute;tico. Los misioneros adoptaron los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena, ense&ntilde;ando en su lugar m&uacute;sica y poemas sagrados estrictamente religiosos.</p>\n\n<p>Las tradiciones del antiguo pueblo misional de San Ignacio de Mojos se conservan hasta hoy, gracias a su gente, que mantiene con mucho orgullo y esfuerzo sus costumbres y ceremonias. Dentro de estas arraigadas tradiciones, est&aacute; la celebraci&oacute;n de Semana Santa, que como en otras latitudes, se festeja durante diez d&iacute;as, comenzando con el Viernes de Dolores, y concluyendo en el Domingo de Resurrecci&oacute;n. Las ceremonias de esta festividad, siguen pr&aacute;cticamente los mismos ritos establecidos por la religi&oacute;n cristiana, pero en sincretismo con la cultura del lugar, por medio de la inclusi&oacute;n del idioma moje&ntilde;o, que est&aacute; presente en ciertos momentos de las celebraciones, as&iacute; como la inserci&oacute;n de m&uacute;sica y bailes propios.</p>\n\n<p>La lengua que se habla en San Ignacio de Mojos, es el castellano, pero se conserva todav&iacute;a la lengua Moje&ntilde;a Ignaciana, que corresponde a la familia ling&uuml;&iacute;stica Arawak, y se hace presente especialmente en la celebraci&oacute;n de la misa cuando se hace la segunda lectura del evangelio.</p>\n\n<p>El canto del Coro Musical, es parte infaltable de la misa y las procesiones, interpretando canciones religiosas acompa&ntilde;ado por sus instrumentos, si bien las canciones son interpretadas en castellano ya forman parte de su tradici&oacute;n. El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor).</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momento se incluye dentro los ritos religiosos, la lengua moje&ntilde;a, y las canciones religiosas en castellano:</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, y cuando se hacen las lecturas en lengua moje&ntilde;a:</u></strong></p>\n\n<hr />\n<p><strong>VIERNES DE DOLORES</strong></p>\n\n<p>Este d&iacute;a se conmemora el sufrimiento de la&nbsp;Virgen Mar&iacute;a, en los momentos de la Pasi&oacute;n y Muerte de Cristo.</p>\n\n<p>Lugar: Se realiza en el templo y luego en la plaza.</p>\n\n<p>M&uacute;sica</p>\n\n<p>Durante la procesi&oacute;n el Coro Musical interpreta canciones religiosas, acompa&ntilde;adas con sus instrumentos.</p>\n\n<p>Coro Musical:&nbsp; 2 &ldquo;cantantes&rdquo;, 2 bajones, 2 sivivire, y 3 violines.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza la celebraci&oacute;n de la misa y luego la imagen de la Virgen Dolorosa sale en procesi&oacute;n por la plaza, alzada por mujeres.</p>\n\n<p>Se coloca la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, como se&ntilde;al de inicio de la Semana Santa.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>Se celebra la misa, con la imagen de Cristo de la Misericordia en una Cruz Verde, en medio del altar, y la Virgen Dolorosa en la nave del lado de la ep&iacute;stola.</li>\n\t<li>El Cabildo se sienta en los primeros bancos, a la izquierda del altar</li>\n\t<li>Concluye la misa y se preparan las alzadoras para llevar a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco inciensa la imagen de la Virgen antes que sea alzada.</li>\n\t<li>Salen del templo por el medio de la nave principal, comienza a tocar la tamborita.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: Por delante salen los Sacristanes, uno con la Cruz de plata y dos con velas; el Cabildo ind&iacute;gena con la bandera morada; las Memes al centro y tambi&eacute;n flanqueando la procesi&oacute;n portando velas; el P&aacute;rroco con los Sacristanes; la imagen de la Virgen Dolorosa; p&uacute;blico en general y por &uacute;ltimo los Penitentes.</li>\n\t<li>Al salir del templo, los Sargentos Jud&iacute;os flanquean la imagen de la Virgen Dolorosa.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen de la Virgen Dolorosa.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:disc\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Cantos lit&uacute;rgicos interpretados por el coro de se&ntilde;oras, en castellano y con libreto, en la siguiente parada, ser&aacute; el turno del <strong><u>Coro Musical que canta en castellano y con libreto</u></strong>, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos</u></strong>.</li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos</u></strong>.</li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la banda y de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n</ul>\n\n<ul>\n\t<li>Cuando la procesi&oacute;n se acerca al templo, los Penitentes y sus acompa&ntilde;antes se adelantan e ingresan al templo primero. La banda se queda afuera del templo.</li>\n</ul>\n\n<ul>\n\t<li>Luego entra la comitiva en el orden mencionado, con m&uacute;sica de la tamborita (pregrabada).</li>\n\t<li>Se coloca la imagen de la Virgen Dolorosa en su lugar y el p&aacute;rroco la inciensa, tocan campanillas.</li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n, para despedirse.</li>\n\t<li>Los fieles se acercan a tocar el vestido de la Virgen y presentar sus respetos.</li>\n</ul>\n\n<hr />\n<p><strong>DOMINGO DE RAMOS</strong></p>\n\n<p>Inicia la Semana Santa, recordando la entrada de Jes&uacute;s a Jerusal&eacute;n.</p>\n\n<p><strong>Misa del Ni&ntilde;o de Ramos, con bendici&oacute;n de las palmas. - 8:00&nbsp; </strong></p>\n\n<p>Lugar: Se realiza en el templo y en el atrio.</p>\n\n<p>M&uacute;sica</p>\n\n<p>Coro juvenil del templo interpreta cantos propios de la misa.</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p>instrumentos</p>\n\n<p>Coro juvenil del templo: Guitarra.</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivire, 3 cajas o kajanes.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza la bendici&oacute;n de las palmas, la procesi&oacute;n sale hasta el atrio con la imagen del Ni&ntilde;o Ramos y luego inmediatamente retorna, para la celebraci&oacute;n de la misa.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>Antes de las 8:00, las Memes rezan el rosario, paradas frente al altar, dirigidas por un Perpetuo, que porta una cruz de madera.</li>\n\t<li>El Cabildo indigenal se sienta en las primeras filas y detr&aacute;s se sit&uacute;an las Memes, en los asientos de las naves laterales los ni&ntilde;os.</li>\n\t<li>El P&aacute;rroco recorre el templo echando agua bendita a las palmas de motac&uacute;, (Cogollo, como llaman los moje&ntilde;os ignacianos), que portan las Memes, los ni&ntilde;os y la gente. El coro del templo acompa&ntilde;a esta ceremonia.</li>\n\t<li>P&aacute;rroco hace una lectura y da lugar a la procesi&oacute;n, incensando la imagen del Ni&ntilde;o Ramos y la Virgen Dolorosa.</li>\n\t<li>El orden de la procesi&oacute;n es: 3 personas que tocan las cajas o kajanes; Sacristanes con la Cruz de plata, Cabildo indigenal, P&aacute;rroco y Sacristanes, Memes con palmas, imagen del Ni&ntilde;o Ramos, los Sargentos Jud&iacute;os flanquean la imagen, y finalmente los ni&ntilde;os con palmas.</li>\n\t<li>La procesi&oacute;n sale por la nave del evangelio, precedida por el toque constante de cajas.</li>\n\t<li>La imagen cruza la puerta del templo y es incensada por el p&aacute;rroco, quien hace una oraci&oacute;n, se cierran las puertas del templo.</li>\n\t<li><strong><u>El Coro Musical, con instrumentos canta el Hosanna, en castellano con libreto.</u></strong></li>\n\t<li>El Sacrist&aacute;n golpea tres veces la puerta del templo, &eacute;sta se abre y entra el Cabildo indigenal, el P&aacute;rroco, Sacristanes y la imagen del Ni&ntilde;o Ramos se da la vuelta y vuelve a ingresar al templo, por el lado de la ep&iacute;stola, acompa&ntilde;ada con el sonido constante de las cajas.</li>\n\t<li>Se sit&uacute;a en su lugar a la imagen del Ni&ntilde;o Ramos, suena la campanilla, el P&aacute;rroco inciensa las im&aacute;genes.</li>\n\t<li>Inicia la celebraci&oacute;n de la misa.</li>\n\t<li>Antes de la consagraci&oacute;n del pan y el vino, el P&aacute;rroco nuevamente inciensa las im&aacute;genes, a los asistentes, <strong><u>mientras el Coro Musical canta el Hosanna, acompa&ntilde;ado de sivivire y caja.</u></strong></li>\n\t<li>Concluye la misa y <strong><u>canta el Coro Musical acompa&ntilde;ado de sivivire y caja. (cantos eucar&iacute;sticos en castellano).</u></strong></li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Procesi&oacute;n del Ni&ntilde;o Ramos - 16:00&nbsp; </strong></p>\n\n<p>Esta procesi&oacute;n conmemora la entrada triunfal de Cristo a Jerusal&eacute;n.</p>\n\n<p>Lugar: Se realiza desde el Cabildo y termina en el templo.</p>\n\n<p>M&uacute;sica</p>\n\n<p>Grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p>instrumentos</p>\n\n<p>Tamborita: Caja redoblante, sivivire, tambor</p>\n\n<p>Coro Musical: 2 bajones, 2 sivivires.</p>\n\n<p>&nbsp;</p>\n\n<p>Actividades</p>\n\n<p><em>Iniciada la tarde los miembros del Cabildo construyen un altar en la puerta del cabildo, al frente de la Cruz que significa la presencia misional en mojos.</em></p>\n\n<p><em>Este altar esta hecho de cuatro apoyos de bamb&uacute; forrados con telas blanco, amarillo y verde, entre los pilares se cuelga un techo blanco adornado con tela blanca, verde y naranja, en la parte de adelante se sit&uacute;a un arco movible y sostenido por los miembros del cabildo.</em><a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a></p>\n\n<p>El Perpetuo reza el rosario, en frente de la imagen del Ni&ntilde;o Ramos, y luego se realiza la procesi&oacute;n que se dirige al templo.</p>\n\n<p>La procesi&oacute;n se detiene en todas las esquinas de la plaza, para realizar las ceremonias.</p>\n\n<p>Secuencia</p>\n\n<ul>\n\t<li>Fuera del Cabildo Indigenal, donde est&aacute; la imagen del Ni&ntilde;o Ramos, un Perpetuo reza el rosario con las Memes que llevan palmas.</li>\n\t<li>Un manto blanco se extiende frente a la imagen, sobre el que rezan algunas Memes de rodillas.</li>\n\t<li>Termina el rosario, el Perpetuo y las Memes empiezan a cantar en Moje&ntilde;o, mientras tanto llegan los Sargentos Jud&iacute;os y se colocan flanqueando la imagen.</li>\n\t<li>El p&aacute;rroco y sacristanes se acercan, se inciensa la imagen, y se bendicen los ramos con agua bendita.</li>\n\t<li>El p&aacute;rroco hace una oraci&oacute;n, el Coro Musical canta Hosanna en castellano, nuevamente hace una oraci&oacute;n.</li>\n\t<li>Suena la caja, se inciensa la imagen nuevamente, los alzadores cargan la imagen y comienza la procesi&oacute;n, acompa&ntilde;ada por el redoble de la caja y la m&uacute;sica de la tamborita pregrabada, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes.</li>\n\t<li>En todas las esquinas de la plaza se hace lo siguiente:</li>\n</ul>\n\n<p style=\"margin-left:48px\">Se detiene la imagen del Ni&ntilde;o Ramos, bajo el dosel de tela anaranjada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa la imagen, mientras suenan las matracas.</p>\n\n<p style=\"margin-left:48px\"><strong><u>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</u></strong></p>\n\n<p style=\"margin-left:48px\">Se hace la lectura del evangelio</p>\n\n<p style=\"margin-left:48px\"><strong><u>El Coro Musical interpreta canciones religiosas en castellano de memoria</u></strong></p>\n\n<p style=\"margin-left:48px\">P&aacute;rroco hace una oraci&oacute;n.</p>\n\n<p style=\"margin-left:48px\">El Coro Musical canta &ldquo;am&eacute;n&rdquo;.</p>\n\n<p style=\"margin-left:48px\">El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las campanillas.</p>\n\n<ul>\n\t<li>Cuando est&aacute;n cerca del templo, empieza el redoble de campanas y se escucha a la banda buri, adem&aacute;s de la grabaci&oacute;n de la tamborita y el redoble de tambor.</li>\n\t<li>La imagen del Ni&ntilde;o Ramos, se gira y da la espalda a la puerta del templo, se lee el evangelio, <strong><u>el Coro Musical canta en castellano</u></strong>, nuevamente la imagen gira para ingresar al templo.</li>\n\t<li>La procesi&oacute;n ingresa al templo, por el lado de la ep&iacute;stola.</li>\n\t<li>Se coloca a la imagen en lado izquierdo del altar.</li>\n\t<li>Suenan las campanillas, redoble de tambor, se inciensa la imagen del Ni&ntilde;o Ramos y de la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco, da comienzo a la celebraci&oacute;n de la misa, el Cabildo Indigenal se sit&uacute;a en las primeras bancas, detr&aacute;s est&aacute;n las memes y luego el pueblo en general.</li>\n</ul>\n\n<div style=\"page-break-after:always\"><span style=\"display:none\">&nbsp;</span></div>\n\n<hr />\n<p><strong>LUNES SANTO</strong></p>\n\n<p>El lunes se coloca delante el altar mayor un gran tel&oacute;n negro, que lleva una cruz roja en el centro, simbolizando la oscuridad que se cierne sobre nosotros.</p>\n\n<p><strong>MIERCOLES SANTO</strong></p>\n\n<p>El Mi&eacute;rcoles Santo da inicio a los cuatro d&iacute;as principales que preceden a la Resurrecci&oacute;n, por lo que se construye y ornamenta un altar donde se colocar&aacute; el Sagrario.</p>\n\n<p>Se celebran la misa y la procesi&oacute;n del Nazareno.</p>\n\n<p><strong>Misa y Procesi&oacute;n del Nazareno - 20:00</strong></p>\n\n<p>En el templo se sientan en los primeros asientos el Cabildo Indigenal, detr&aacute;s las Mamitas Abadesas y luego el pueblo en general.</p>\n\n<p><strong>Lugar</strong>: Se realiza en el templo y en la plaza principal.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, y 1 viol&iacute;n.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane. (m&uacute;sica pregrabada)</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Desde la ma&ntilde;ana<strong> </strong>las Memes se encargan del arreglo del altar donde se colocar&aacute; el Sagrario, este altar es una estructura de madera de seis pisos, construida de forma escalonada, profusamente ornamentado, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi&eacute;n se colocan cintas y flores blancas. La elecci&oacute;n de las telas depende de la capacidad adquisitiva que se tuvo en al a&ntilde;o.</p>\n\n<p>En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est&aacute; envuelto en cintas de colores y cintas con los colores de la bandera nacional.</p>\n\n<p>Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m&aacute;s elevado se ubica la imagen de un &aacute;ngel vestido de blanco. (foto)</p>\n\n<p>Se realiza la misa y posteriormente inicia la procesi&oacute;n del Nazareno, donde salen todas las im&aacute;genes que recuerdan la pasi&oacute;n de Jes&uacute;s.</p>\n\n<p>Cargan a las im&aacute;genes femeninas, solamente mujeres, y a las im&aacute;genes masculinas solamente varones.</p>\n\n<p><strong>Secuencia:</strong></p>\n\n<p>Se celebra la misa, siguiendo los rituales lit&uacute;rgicos</p>\n\n<ul>\n\t<li><strong><u>Canta el Coro Musical canciones lit&uacute;rgicas al Tata Jes&uacute;s Nazareno, en moxe&ntilde;o,</u></strong> <strong><u>acompa&ntilde;ado del sivivire solamente.</u></strong></li>\n\t<li>Canta el coro del templo en castellano.</li>\n\t<li>Los Hermanos del Santo Sepulcro colocan las cruces con flores que portan, delante de la imagen del Nazareno, para que reciban la bendici&oacute;n.</li>\n\t<li>El p&aacute;rroco da inicio a la misa, en la que solo participa el coro del templo.</li>\n</ul>\n\n<p>Termina la celebraci&oacute;n de la misa e inmediatamente los alzadores se sit&uacute;an en sus lugares para comenzar la procesi&oacute;n.</p>\n\n<ul>\n\t<li>Afuera del templo toca la banda</li>\n\t<li>Los Sargentos Jud&iacute;os flanquean las im&aacute;genes del Nazareno y la Dolorosa.</li>\n\t<li>Antes de la salida del Nazareno y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Se inciensa la imagen del Nazareno, mientras tocan las campanillas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen del Nazareno, custodiada por los Sargentos Jud&iacute;os, y por &uacute;ltimo la imagen de la Dolorosa.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda y la grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se para y se sit&uacute;a La imagen del Nazareno.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten las siguientes ceremonias:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>Miembros del Cabildo extienden un lienzo blanco sobre el que se sit&uacute;a el p&aacute;rroco para incensar la imagen, mientras suenan las campanillas.</li>\n\t\t<li>En la primera parada canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del <strong><u>Coro Musical que canta en castellano con libreto</u></strong>, acompa&ntilde;ado de los instrumentos y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio.</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</u></strong></li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos.</u></strong></li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Se retira el lienzo blanco que estaba en el piso.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso, cerca de la plaza.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva con las im&aacute;genes, entran por el lado de la ep&iacute;stola, acompa&ntilde;adas por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las campanillas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<hr />\n<p><strong>JUEVES SANTO</strong></p>\n\n<p>Desde la ma&ntilde;ana, los Santos Varones se dedican al arreglo del Santo Sepulcro, que est&aacute; ya sobre su respectiva anda para la procesi&oacute;n, lo adornan con flores artificiales y algunas naturales, de distintos colores, le colocan tambi&eacute;n luces y velas.</p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el templo, desde el jueves santo, hasta el &nbsp;s&aacute;bado santo,&nbsp; a la misma hora.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>Instrumentos:</strong><strong> </strong></p>\n\n<p>Coro Musical: 2 Bajones, 2 sivivires y 3 violines.</p>\n\n<p><strong>elementos destacados</strong></p>\n\n<p>Cruz negra de madera, sobre la que cuelga un pa&ntilde;o blanco, la porta uno de los Sargentos Jud&iacute;os.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Inicia a las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo, solamente se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>&nbsp;El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por <strong><u>el Coro Musical, con oraciones y cantos en castellano,</u></strong> la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican detr&aacute;s de la imagen de Cristo crucificado, y detr&aacute;s de la imagen de la Dolorosa, uno de ellos porta la cruz que los representa, y por la que tienen mucho respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li><strong><u>Oraci&oacute;n con cantos del Coro Musical en castellano (con libreto)</u></strong></li>\n\t<li>Suena la campanilla y el sacrist&aacute;n se levanta, se dirige a la imagen del Cristo crucificado para hacerle una reverencia, luego se acerca al tenebrario para apagar una vela, mientras esto sucede <strong><u>el Coro Musical se levanta, sigue orando y se tocan los instrumentos</u></strong>, luego de apagada la vela el sacrist&aacute;n retorna a su lugar, y el coro se sienta.</li>\n\t<li>Esto se hace para el apagado de cada vela. El orden de apagado se realiza de abajo hacia arriba, empezando por el lado derecho, se apagan 3 velas y se pasa al lado izquierdo, apagando otras 3 velas y as&iacute; se va alternando, hasta apagar casi todas las velas, excepto la &uacute;ltima que se encuentra en la parte superior del tenebrario.</li>\n\t<li>La &uacute;ltima vela del tenebrario no se apaga, es retirada por el sacrist&aacute;n y acompa&ntilde;ado del sonido de la matraca, se acerca e hinca frente al altar. Todos los asistentes est&aacute;n de pie.</li>\n\t<li>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminado por la iglesia y se golpean los asientos para que se siente, y los Sargentos jud&iacute;os golpean sus lanzas.</li>\n\t<li>Se recogen las velas apagadas y se distribuyen entre las personas asistentes.</li>\n\t<li>Pasada la ceremonia los Sargentos jud&iacute;os pasan a reverenciar la imagen de Cristo Crucificado, solo las velas que est&aacute;n al pie de la imagen quedan encendidas, no se permite que estas velas se apaguen. Los Sargentos jud&iacute;os custodian la imagen y se turnan en grupos cada 15 minutos, mientras en el atrio de la iglesia las Memes del Cabildo (Mamitas abadesas), sirven som&oacute; que es una bebida caliente preparada con ma&iacute;z pelado, ma&iacute;z molido y canela, y chocolate con pan de arroz.</li>\n\t<li>Esta ma&ntilde;ana sirve tambi&eacute;n para la confesi&oacute;n que realizan los feligreses, el confesionario es custodiado por los Sargentos jud&iacute;os.</li>\n</ul>\n\n<p><strong>Celebraci&oacute;n de la misa del Se&ntilde;or, lavatorio de pies, procesi&oacute;n del Sant&iacute;simo Sacramento - 16: 00</strong></p>\n\n<p>Esta celebraci&oacute;n evoca la Ultima Cena, que Jes&uacute;s pas&oacute; con los ap&oacute;stoles, tambi&eacute;n se recuerda el lavatorio de los pies, que manifiesta el servicio y el amor de Cristo, que ha venido &ldquo;no a ser servido, sino a servir&rdquo;.</p>\n\n<p>Lugar: Se realiza en el templo.</p>\n\n<p><strong>M&uacute;sica</strong></p>\n\n<p>Grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os, se difunde por dos peque&ntilde;os parlantes</p>\n\n<p>Coro musical, cantos eucar&iacute;sticos.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro Musical: &nbsp;2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>En el centro de la nave y delante del altar, se sit&uacute;an dos bancos que estar&aacute;n ocupados por los Santos varones del Cabildo, a quienes el padre har&aacute; el lavado de los pies.</p>\n\n<p>Luego de la misa se realiza la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y <strong><u>se realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</u></strong></li>\n\t<li>Despu&eacute;s del serm&oacute;n del p&aacute;rroco, se procede a la ceremonia del lavado de los pies a cada uno los 12 Santos varones del Cabildo, que representan a los ap&oacute;stoles, mientras esto sucede el coro de j&oacute;venes, interpreta canciones en castellano acompa&ntilde;ados por guitarra.</li>\n\t<li>Luego continua la misa.</li>\n\t<li>Finalmente se hace la ceremonia de reponer el Sant&iacute;simo Sacramento que se ha consagrado en la eucarist&iacute;a, en el altar que han preparado el Mi&eacute;rcoles Santo.</li>\n</ul>\n\n<p style=\"margin-left:24px\"><strong>Procesi&oacute;n del Sant&iacute;simo Sacramento</strong></p>\n\n<ul>\n\t<li>Seis Santos varones sostienen un baldaqu&iacute;n o palio, hecho con tela blanca, en la nave delante del altar.</li>\n\t<li>En el altar, los sacristanes colocan sobre la espalda del p&aacute;rroco un pa&ntilde;o blanco y largo, con el que envuelve sus manos para no tocar el cop&oacute;n de plata, donde se guardan las hostias consagradas El p&aacute;rroco lo levanta y se dirige hacia el lugar donde est&aacute; el baldaqu&iacute;n, coloc&aacute;ndose bajo &eacute;ste.</li>\n\t<li>El orden de la procesi&oacute;n es el siguiente: el Cabildo indigenal (uno de ellos porta una bandera blanca con soporte de plata que termina en una cruz del mismo material, autoridades c&iacute;vicas, el Coro Musical y los sacristanes que preceden al p&aacute;rroco con el cop&oacute;n, bajo el baldaqu&iacute;n, y detr&aacute;s de &eacute;l, caminan dos filas de Sargentos jud&iacute;os y en medio de ellos las mamitas abadesas.</li>\n\t<li>Inicia la procesi&oacute;n cuando se tocan las matracas, se esparce incienso con el incensario y comienzan los <strong><u>cantos en moje&ntilde;o (con libreto) y m&uacute;sica interpretados por el Coro Musical</u></strong>, esto se repite constantemente en toda la procesi&oacute;n.</li>\n\t<li>Antes que la procesi&oacute;n termine en el altar, se recoge hacia un lado, el lienzo de color negro con la cruz roja, que imped&iacute;a la vista del altar temporal.</li>\n\t<li>La procesi&oacute;n pasa por detr&aacute;s del altar temporal y se detiene frente al altar.</li>\n\t<li>El p&aacute;rroco se dirige hacia el altar mayor temporal, y un Perpetuo sube los escalones para colocar el cop&oacute;n de plata dentro del sagrario.</li>\n\t<li>El p&aacute;rroco dirige unas palabras al p&uacute;blico y termina la ceremonia.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>La Ultima Cena - 18:00</strong></p>\n\n<p>Se realiza en el Cabildo indigenal, en este ritual, no se hace uso del idioma moje&ntilde;o, ni se interpretan canciones</p>\n\n<p><strong>Procesi&oacute;n del Se&ntilde;or Crucificado - 20: 00</strong></p>\n\n<p>Lugar: Se realiza en las calles Montes, Bol&iacute;var, Santiesteban y Ballivi&aacute;n.</p>\n\n<p>Instrumentos</p>\n\n<p>Coro musical: 2 Bajones, 2 sivivires, 3 violines, y 2 matracas.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza la procesi&oacute;n del Se&ntilde;or Crucificado.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li>Antes de la salida del Cristo Crucificado y la Virgen Dolorosa, salen las im&aacute;genes de los santos, con sus respectivos cargadores y esperan fuera del templo. A las im&aacute;genes masculinas las cargan hombres y a las im&aacute;genes femeninas, las cargan mujeres.</li>\n\t<li>Dentro el templo, los Hermanos de la Pasi&oacute;n de Cristo colocan sus cruces alrededor de la imagen del Cristo Crucificado para que reciban la bendici&oacute;n, ellos escoltan toda la procesi&oacute;n, mientras que los soldados jud&iacute;os solamente a la imagen de Cristo Crucificado y a la Dolorosa.</li>\n\t<li>Se inciensa la imagen de Cristo Crucificado, mientras tocan las matracas, lo mismo a la imagen de la Virgen Dolorosa, luego de esto, los Hermanos de la Pasi&oacute;n de Cristo retiran sus cruces.</li>\n\t<li>Se organiza a la comitiva que estar&aacute; delante de la imagen del Cristo Crucificado, coloc&aacute;ndose en el siguiente orden: 3 sacristanes 1 con la cruz de plata y dos con velas; luego est&aacute;n las autoridades; el Cabildo Indigenal y el Coro musical; el P&aacute;rroco acompa&ntilde;ado por sacristanes; las Memes con velas; la imagen de Cristo Crucificado custodiada por los Sargentos Jud&iacute;os, detr&aacute;s de estos, entra el p&uacute;blico en general y detr&aacute;s van los Penitentes y sus acompa&ntilde;antes. y por &uacute;ltimo la imagen de la Dolorosa</li>\n\t<li>Todos salen por el lado del evangelio y cuando el Cristo Crucificado cruza la puerta comienza la m&uacute;sica de la banda.</li>\n\t<li>La procesi&oacute;n se inicia con el orden mencionado de las im&aacute;genes, siempre acompa&ntilde;ada por la banda.</li>\n\t<li>En cada esquina, donde se debe detener la procesi&oacute;n, se encuentran dos arcos m&oacute;viles decorados con telas blancas y de colores, unidos por cuerdas en cuyo centro se ha colocado una tela morada a modo de dosel. Bajo este dosel se sit&uacute;a La imagen del Cristo Crucificado.</li>\n\t<li>En las cuatro esquinas donde la imagen se detiene se repiten los siguientes actos:\n\t<ul style=\"list-style-type:circle\">\n\t\t<li>P&aacute;rroco inciensa la imagen.</li>\n\t\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del <strong><u>Coro Musical que canta en castellano con libreto</u></strong>, y as&iacute; alternadamente.</li>\n\t\t<li>Se hace la lectura del evangelio</li>\n\t\t<li><strong><u>El Coro Musical hace una oraci&oacute;n en castellano y toca sus instrumentos.</u></strong></li>\n\t\t<li>P&aacute;rroco hace la oraci&oacute;n.</li>\n\t\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo; y toca sus instrumentos</u></strong><strong>.</strong></li>\n\t\t<li>El p&aacute;rroco inciensa la imagen de Cristo Crucificado mientas tocan las campanillas los sacristanes.</li>\n\t\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la banda y de la grabaci&oacute;n de la tamborita, que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t</ul>\n\t</li>\n\t<li>Al volver al templo, las im&aacute;genes de los santos se sit&uacute;an a un lado del acceso.</li>\n\t<li>Ingresan al templo: las Memes; los Hermanos de la Pasi&oacute;n de Cristo; los Penitentes con sus acompa&ntilde;antes; y luego la comitiva que entra por el lado de la ep&iacute;stola, acompa&ntilde;ada por la tamborita, (sonido pregrabado).</li>\n\t<li>Se colocan las im&aacute;genes en el mismo lugar en el que estaban.</li>\n\t<li>Mientras suenan las matracas se inciensa las dos im&aacute;genes.</li>\n\t<li>Termina la ceremonia con palabras del p&aacute;rroco.</li>\n</ul>\n\n<hr />\n<p><strong>VIERNES SANTO</strong></p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que el d&iacute;a anterior.</p>\n\n<p><strong>Serm&oacute;n de las Siete Palabras - 12:00 </strong></p>\n\n<p>En la ceremonia de la misa se recuerdan las siete frases que Jes&uacute;s pronunci&oacute; durante su crucifixi&oacute;n.</p>\n\n<p><strong>Celebraci&oacute;n de la pasi&oacute;n y muerte de nuestro Se&ntilde;or, y Adoraci&oacute;n de la Cruz - 15: 00</strong></p>\n\n<p>Lugar: Se realiza en el templo.</p>\n\n<p>Instrumentos: Guitarra.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza la celebraci&oacute;n de la misa, y antes de la comuni&oacute;n, se hace la Adoraci&oacute;n, que consiste en ingresar la Cruz por la puerta principal, &eacute;sta es llevada por el p&aacute;rroco y lo acompa&ntilde;a un sacrist&aacute;n, que sostiene el micr&oacute;fono mientras el padre hace la oraci&oacute;n cantada.</p>\n\n<p>Se le rinde respeto a la cruz, arrodill&aacute;ndose y dando un beso a la imagen de Cristo y se hace una ofrenda de dinero.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li>La misa se celebra, siguiendo los ritos solemnes y se <strong><u>realiza la segunda lectura en moje&ntilde;o, por parte del Cabildo.</u></strong></li>\n\t<li>La misa se interrumpe antes de la comuni&oacute;n.</li>\n\t<li>El p&aacute;rroco sale del templo para nuevamente ingresar con la cruz y hacer la Adoraci&oacute;n.</li>\n\t<li>A su paso por el centro de la nave, el padre hace la oraci&oacute;n cantada y se detiene dos veces para ir descubriendo parcialmente la cruz que est&aacute; cubierta por un pa&ntilde;o blanco.</li>\n\t<li>El padre quita el pa&ntilde;o, como se&ntilde;al de que Cristo ha muerto y presenta la cruz a los asistentes, nuevamente hace la oraci&oacute;n cantada.</li>\n\t<li>Coloca la cruz en la base de madera que esta al pie del altar, se arrodilla y luego besa los pies de la imagen del Cristo crucificado, los sacristanes hacen lo mismo.</li>\n\t<li>Los asistentes tambi&eacute;n se arrodillan y besan la imagen, comenzando por el Cabildo indigenal, las Memes, los Sargentos Jud&iacute;os, y el pueblo en general. Esta ceremonia es acompa&ntilde;ada por el coro del templo.</li>\n\t<li>Continua la misa, con la comuni&oacute;n y al final el padre y tres sacristanes se arrodillan frente a la cruz y se retiran.</li>\n</ul>\n\n<p style=\"margin-left:48px\">&nbsp;</p>\n\n<p><strong>Solemne Desclavaci&oacute;n del Se&ntilde;or - 20: 00</strong></p>\n\n<p>Lugar: Se realiza en el atrio del templo.</p>\n\n<p>Instrumentos: Coro Musical: Sivivire (2); viol&iacute;n (1); baj&oacute;n (2).</p>\n\n<p>Coro de j&oacute;venes: Con violines</p>\n\n<p>Actividades</p>\n\n<p>El atrio del templo y su entorno, se convierten en el escenario del desclavamiento de Cristo, toda la Comunidad de San Ignacio, se da cita en torno al altar construido por el Cabildo en el atrio del templo, en el que se muestra la imagen del Cristo Crucificado.</p>\n\n<p>Una vez realizada la Desclavaci&oacute;n del Se&ntilde;or, se lo viste y coloca en el Santo Sepulcro.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li><strong><u>El Coro Musical entona cantos (con libreto) en castellano</u></strong>, se ubican al lado derecho de la imagen de Cristo Crucificado.</li>\n\t<li>El Coro de j&oacute;venes interpreta una canci&oacute;n acompa&ntilde;ada de sus instrumentos, se ubican a la izquierda de la imagen de Cristo Crucificado.</li>\n\t<li>El p&aacute;rroco parado sobre una tarima anuncia que los Santos Varones proceder&aacute;n a desclavar el cuerpo de Cristo.</li>\n\t<li>Los Sargentos jud&iacute;os preceden la entrada de los Santos Varones.</li>\n\t<li>Los Santos Varones presentan primero sus respetos a la Virgen Dolorosa.</li>\n\t<li>El p&aacute;rroco va guiando a los Santos Varones para que vayan retirando: el rotulo de INRI, la corona de espinos, los clavos de las manos y los pies. Cada elemento retirado es llevado por uno de los Santos Varones, primero son presentados a la Virgen Mar&iacute;a, la Dolorosa y luego se colocan, en unas bandejas sostenidas por tres ni&ntilde;os que representan a los &aacute;ngeles. Mientras esto ocurre el p&aacute;rroco hace reflexiones y oraciones.</li>\n\t<li>Cuando se han quitado todos los elementos, se baja la imagen de Cristo con sumo cuidado, y se la presenta a la Virgen Mar&iacute;a la Dolorosa, tocan las matracas, y el coro de j&oacute;venes interpreta m&uacute;sica sacra.</li>\n\t<li>Los Santos Varones, llevan el cuerpo de Cristo al Sepulcro y lo colocan en su interior, lo acomodan y cubren su cuerpo con un manto de color negro, mientras lo colocan van encendiendo las velas alrededor del Sepulcro, aseguran la puerta, y terminan de encender todas las velas. M&uacute;sica del coro de j&oacute;venes contin&uacute;a.</li>\n\t<li>Para la m&uacute;sica y toca la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li>El coro y los sacristanes se ubican delante del Santo Sepulcro</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, para iniciar la procesi&oacute;n.</li>\n</ul>\n\n<p><strong>Procesi&oacute;n del Santo Sepulcro - 21: 00</strong></p>\n\n<p>Lugar: Se realiza alrededor de la plaza.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p>&nbsp;</p>\n\n<p>Instrumentos:</p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti y cajane.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>M&uacute;sica</p>\n\n<p>Durante la procesi&oacute;n, acompa&ntilde;a la banda y tambi&eacute;n una grabaci&oacute;n de la tamborita, que se difunde por dos peque&ntilde;os meg&aacute;fonos sujetos a un palo de madera, llevado por el encargado, cerca del Santo Sepulcro.</p>\n\n<p>Virgen Dolorosa (alzada por mujeres con vestido negro)</p>\n\n<p>Pueblo en general</p>\n\n<p>Actividades</p>\n\n<p>Concluida la ceremonia de la Desclavaci&oacute;n de Cristo, se realiza la procesi&oacute;n del Santo Sepulcro, alrededor de la plaza, acompa&ntilde;ada de una numerosa comitiva y del pueblo en general.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li>Una vez dispuesta la imagen de Cristo dentro el Santo Sepulcro, para la m&uacute;sica y comienza la retreta de trompeta de la banda, los portadores del sepulcro toman sus puestos, para comenzar la procesi&oacute;n.</li>\n\t<li><strong><u>El coro musical con sus instrumentos</u></strong> y los sacristanes cargando la cruz de plata, cubierta por un pa&ntilde;o negro, se ubican delante del Santo Sepulcro.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas.</li>\n\t<li>Los Sargentos jud&iacute;os se sit&uacute;an a ambos lados del Sepulcro, acompa&ntilde;an tambi&eacute;n portadores de faroles, dos adelante y dos atr&aacute;s.</li>\n\t<li>Comienza la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita que interpreta el &ldquo;toque&rdquo; tradicional de los Sargentos Jud&iacute;os.</li>\n\t<li>Antes de la salida del Santo Sepulcro, se han ubicado precediendo la procesi&oacute;n:</li>\n</ul>\n\n<p style=\"margin-left:48px\">San Juan, la Ver&oacute;nica, la Virgen Mar&iacute;a, Sacristanes, uno con la Cruz de plata cubierta por un pa&ntilde;o negro y dos con velas, Autoridades con la Bandera negra, Cabildo, Coro Musical, P&aacute;rroco, Sacristanes y Hermanos de la Pasi&oacute;n de Cristo.</p>\n\n<ul>\n\t<li>En las esquinas se detiene el Santo Sepulcro, bajo el dosel de tela morada, que cuelga entre los dos arcos m&oacute;viles decorados con telas blancas y de colores.</li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro, mientras suenan las matracas</li>\n\t<li>Canta el coro de se&ntilde;oras en castellano, con libreto, en la siguiente parada, ser&aacute; el turno del Coro Musical, y as&iacute; alternadamente.</li>\n\t<li>Se hace la lectura del evangelio</li>\n\t<li><strong><u>El Coro Musical canta en castellano de memoria</u></strong></li>\n\t<li>P&aacute;rroco hace una oraci&oacute;n.</li>\n\t<li><strong><u>El Coro Musical canta &ldquo;am&eacute;n&rdquo;</u></strong></li>\n\t<li>El p&aacute;rroco inciensa el Santo Sepulcro mientras los sacristanes tocan las matracas.</li>\n\t<li>Dos personas del Cabildo colocan delante del Santo Sepulcro un pa&ntilde;o grande blanco.</li>\n\t<li>Se adelanta una persona, (primero un Santo var&oacute;n del Cabildo y en las otras paradas lo hacen las autoridades), hace una reverencia, y blande la bandera negra de frente al Santo Sepulcro, sobre el pa&ntilde;o que est&aacute; en el piso, nuevamente hace una reverencia, retorna a su sitio y le hace entrega de la bandera a la persona que la blandir&aacute; en la pr&oacute;xima parada.</li>\n\t<li>Continua la procesi&oacute;n acompa&ntilde;ada de la grabaci&oacute;n de la tamborita y la banda.</li>\n\t<li>Se repite esto en todas las esquinas.</li>\n\t<li>Para ingresar al templo, las im&aacute;genes de San Juan, La Ver&oacute;nica y la Virgen Mar&iacute;a, se quedan cerca de la plaza y dan lugar para que pasen: primero los Penitentes, y el resto de la comitiva que acompa&ntilde;a al Santo Sepulcro.</li>\n\t<li>A medida que las cruces van llegando con los Penitentes, al templo, se van colocando en los ambientes de la iglesia. La Cruz Virgen, de color verde, la vuelven a colocar en el lado izquierdo del Altar Mayor, esto es realizado con mucho cuidado y solemnidad utilizando bastones y cuerdas para asegurarla.</li>\n\t<li>Ingresa el Santo Sepulcro y la comitiva al templo, y se dirigen por el lado de la ep&iacute;stola hacia el altar, asentando el Santo Sepulcro en el sector izquierdo de la nave, cerca del altar, la Cruz de madera se la coloca delante del altar mayor, muy cerca del pa&ntilde;o negro que lo cubre, y la Virgen Dolorosa se coloca sobre la nave de la ep&iacute;stola, en su lugar habitual.</li>\n\t<li>El p&aacute;rroco, procede a incensar el Santo Sepulcro, a la Dolorosa y a la Cruz de madera.</li>\n\t<li>Palabras del p&aacute;rroco.</li>\n</ul>\n\n<hr />\n<p><strong>SABADO SANTO</strong></p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que los d&iacute;as anteriores.</p>\n\n<p><strong>Bendici&oacute;n del Fuego y del Agua. Celebraci&oacute;n de la Vigilia Pascual -&nbsp; 20: 00</strong></p>\n\n<p>Se celebra que Cristo ha vencido a la muerte, &Eacute;l es la luz que ha vencido a las tinieblas, la luz, representada por el fuego, con el que se encender&aacute; el Cirio Pascual.</p>\n\n<p>Instrumentos:</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p>Actividades</p>\n\n<p>Se realiza el encendido de una fogata en el atrio del templo, para luego prender el Cirio Pascual con este fuego. El Cirio se lleva al interior del templo y se coloca en el porta cirio ubicado al lado izquierdo del altar. Las personas encienden sus velas con la llama del Cirio, y se celebra la misa, luego se realiza la bendici&oacute;n del agua, y finalmente la procesi&oacute;n de Cristo Resucitado.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li>El p&aacute;rroco bendice el fuego que se encendi&oacute; en el atrio del templo.</li>\n\t<li>Un monaguillo sostiene el Cirio Pascual, el p&aacute;rroco recoge la brasa del fuego y prende el cirio, recibe el Cirio y se dirige al interior del templo.</li>\n\t<li>En el trayecto, el p&aacute;rroco y el coro cantan &ldquo;la luz de Cristo, gracias a Dios&rdquo;, la gente se acerca a prender sus velas desde el Cirio.</li>\n\t<li>A medida que el p&aacute;rroco avanza, las luces del templo se van encendiendo.</li>\n\t<li>El p&aacute;rroco coloca el Cirio Pascual en el porta cirios.</li>\n\t<li>Los Sacristanes devuelven sus bastones a los Caciques del Cabildo, y encienden las dos velas del altar, mientras el p&aacute;rroco hace una oraci&oacute;n, acompa&ntilde;ando por el coro del templo.</li>\n\t<li>Se hacen las lecturas del Antiguo Testamento.</li>\n\t<li>Se canta el Gloria y repican las campanillas, al mismo tiempo, en el atrio comienza a tocar la tamborita, y los Chiripier&uacute;ana, bailan. En la plaza los miembros del Cabildo hacen estallar la camareta.&nbsp;</li>\n\t<li>Se descubre el altar, retirando el pa&ntilde;o negro que lo cubr&iacute;a.</li>\n\t<li>El p&aacute;rroco hace la oraci&oacute;n, y se procede a hacer <strong><u>las lecturas del Nuevo Testamento, en castellano y en moje&ntilde;o.</u></strong></li>\n\t<li>Despu&eacute;s de la letan&iacute;a de los Santos, acompa&ntilde;ada del coro del templo, el p&aacute;rroco bendice el agua. Es la liturgia bautismal.</li>\n\t<li>P&aacute;rroco retira el Cirio Pascual, lo presenta al Cristo Resucitado, hace una reverencia y lo coloca nuevamente en el porta cirio, luego toma el recipiente que contiene el agua bendita y comienza a bendecir a la imagen de la Virgen Dolorosa, a los recipientes de agua, y va recorriendo todo el templo a los asistentes, echando agua bendita, como una renovaci&oacute;n de los votos del bautismo. El coro del templo acompa&ntilde;a toda esta ceremonia.</li>\n\t<li>Continua la misa, el p&aacute;rroco inciensa hacia todas direcciones y luego el sacrist&aacute;n a &eacute;l, mientras el <strong><u>Coro Musical canta el &ldquo;Hosanna&rdquo; en castellano, acompa&ntilde;ado de sivivires y caja.</u></strong></li>\n\t<li><strong><u>El coro musical acompa&ntilde;a el resto de la misa, cantando &ldquo;Amen&rdquo; y &ldquo;Cordero de dios...&rdquo; acompa&ntilde;ado de sivivires y caja.</u></strong></li>\n\t<li>Concluye la misa.</li>\n</ul>\n\n<hr />\n<p><strong>DOMINGO DE RESURRECION </strong></p>\n\n<p><strong><em>La noche Blanca</em></strong></p>\n\n<p><em>A esta noche los j&oacute;venes la denominan la &ldquo;noche blanca&rdquo;, los j&oacute;venes esperan hasta las 4 de la madrugada del d&iacute;a domingo en medio de juegos que comparten mientras hacen la vigilia</em>.<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\">[2]</a></p>\n\n<p><strong>Procesi&oacute;n del encuentro del Se&ntilde;or Resucitado con su Madre&nbsp; -&nbsp; 4:00&nbsp; </strong></p>\n\n<p>Se celebra el encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a.</p>\n\n<p>Lugar: Se realiza la plaza.</p>\n\n<p>Bandera blanca con soporte de plata, la porta un miembro del Cabildo.</p>\n\n<p>Participan: P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, Angelitos, la tamborita de los Macheteros, alzadores varones que portan a Cristo Resucitado, San Juan y a la Virgen Dolorosa y alzadoras mujeres que portan a las im&aacute;genes femeninas, j&oacute;venes que flanquean la procesi&oacute;n, pueblo en general.</p>\n\n<p>Instrumentos:</p>\n\n<p>Coro musical: 2 Bajones, 3 sivivires, 3 violines.</p>\n\n<p>Tamborita: sivivire, sankuti, cajane, tampura.</p>\n\n<p>Banda: Trompeta, caja.</p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p>Actividades</p>\n\n<p>Salen del templo las im&aacute;genes de la Virgen Dolorosa, Virgen Mar&iacute;a, la Ver&oacute;nica, y el Cristo Resucitado, dirigi&eacute;ndose, unos por la calle de la izquierda y el Cristo por la calle de la derecha de la plaza, para luego encontrarse en el medio de la calle al otro lado de la plaza. All&iacute; las im&aacute;genes har&aacute;n venias y bailar&aacute;n demostrando la alegr&iacute;a de reencontrarse.</p>\n\n<p>Secuencia:</p>\n\n<ul>\n\t<li>En el atrio bailan los Macheteros por delante y los Angelitos detr&aacute;s, la tamborita se ubica en la fila de en medio.</li>\n\t<li>Salen del templo las im&aacute;genes de San Juan: Virgen Mar&iacute;a; la Ver&oacute;nica y la Virgen Dolorosa, luego los sacristanes cargando la Cruz de plata; el Cabildo portando una bandera blanca; el p&aacute;rroco y finalmente la imagen de Cristo Resucitado, sobre anda con porta velas. Todo esto en silencio.</li>\n\t<li>El Cristo Resucitado flanqueado por filas de j&oacute;venes, (hombres y mujeres), vestidos con pantal&oacute;n oscuro y camisa blanca, se va por la calle de la derecha de la plaza y las otras im&aacute;genes por la de la izquierda.</li>\n\t<li>En la calle donde se reencontrar&aacute;n las im&aacute;genes se han colocado los arcos formando un espacio, a modo de nave, donde se ubican frente a frente las im&aacute;genes de Cristo y su madre (la imagen de la Virgen ahora luce un manto celeste, se le quit&oacute; el manto negro).</li>\n\t<li>El p&aacute;rroco da las indicaciones para que las im&aacute;genes se vayan acercando haciendo 3 venias (los alzadores deben hacer la venia para que la imagen baje y suba).</li>\n\t<li>Cuando est&aacute;n a unos 10 metros, se las inciensa y un miembro del Coro Musical canta Aleluya y hace una oraci&oacute;n (con libreto), luego el p&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li>La explosi&oacute;n de la camareta indica que es &ldquo;Pascua Aleluya&rdquo; y las im&aacute;genes comienzan a bailar al ritmo de la banda, la tamborita tambi&eacute;n acompa&ntilde;a la procesi&oacute;n en direcci&oacute;n al templo.</li>\n\t<li>Mientras tanto los Macheteros los esperan bailando, al ritmo de la tamborita, en la esquina de la plaza para guiarlos al templo.</li>\n\t<li>Al acercarse al templo, ta&ntilde;en las campanas continuamente.</li>\n\t<li>En el atrio los Macheteros se colocan en dos filas una a cada lado de la puerta, contin&uacute;an bailando.</li>\n\t<li>Las im&aacute;genes de San Juan; la Virgen Mar&iacute;a; la Ver&oacute;nica, se quedan cerca de la plaza para dar paso a las principales.</li>\n\t<li>Ingresan en medio de los Macheteros, que permanecen en el atrio bailando: el Sacrist&aacute;n que porta la Cruz de plata, representantes del Cabildo con la bandera blanca, el p&aacute;rroco con sacristanes, la imagen de Cristo Resucitado, la imagen de la Virgen Mar&iacute;a y el resto de las im&aacute;genes.</li>\n\t<li>Se colocan en sus respectivos lugares y el p&aacute;rroco las inciensa, mientras en el atrio continua la m&uacute;sica.</li>\n\t<li>El P&aacute;rroco hace la oraci&oacute;n.</li>\n\t<li><strong><u>Canta el coro musical en castellano, acompa&ntilde;ado con sivivire y caja</u></strong>.</li>\n\t<li>Comienza la misa del D&iacute;a de la Aurora, el coro de j&oacute;venes del templo acompa&ntilde;a toda la ceremonia, antes de dar la Comuni&oacute;n, el p&aacute;rroco inciensa el altar y las im&aacute;genes de Cristo Resucitado y la Virgen Mar&iacute;a, el sacrist&aacute;n al padre, mientras <strong><u>el Coro Musical canta &ldquo;Hosanna&rdquo; acompa&ntilde;ado del sivivire y la caja.</u></strong></li>\n\t<li>Termina la misa <strong><u>y el sivivire y cajane acompa&ntilde;an al Coro musical &ldquo;Reina del cielo&hellip; aleluya&rdquo;</u></strong></li>\n</ul>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><strong>BIBLIOGRAF&Iacute;A </strong></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Semana Santa San Ignacio de Mojos, Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg. 11</p>\n</div>\n\n<div>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid., p.34.</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["d2a24278-85f8-422d-85c6-24e4009f191f", "b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "9f8a24cc-e520-49fb-b0ef-93ccea425288"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de plata,  con soporte de macolla de cuerpo circular y asta de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz latina, con crucero circular, que alberga el escudo de la compa\u00f1\u00eda de Jes\u00fas, (el monograma del nombre de Jes\u00fas, IHS (en este caso la S asemeja una I), los cuatro brazos ornamentados con cartelas, rematan en elementos bulbiformes con decoraci\u00f3n vegetal. La cruz se apoya en macolla circular de hierro fundido."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz procesional de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 31, "tileid": "bbe2a257-8e4e-4508-b17e-2944eb28f87d"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Candelabro triangular de madera con soporte del mismo material."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores. Simboliza el d\u00eda de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap\u00f3stoles, las tres Mar\u00edas (Mar\u00eda Salom\u00e9, Mar\u00eda de Cleof\u00e1s y Mar\u00eda Magdalena) y la Virgen Mar\u00eda, es decir, aquellos que acompa\u00f1aron a Jes\u00fas ese d\u00eda. La vela m\u00e1s alta representa a la Sant\u00edsima Virgen, la \u00fanica que crey\u00f3 en la Resurrecci\u00f3n. El tri\u00e1ngulo mismo simboliza la Sant\u00edsima Trinidad. 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Lo cubre una estructura vidriada en forma de prisma y descansa sobre anda de madera con doble fila de porta velas tallados con motivos fitoformes y con roleos.  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La parte posterior presenta el escudo de la Compa\u00f1\u00eda de Jes\u00fas, ejecutado en un sutil bajorrelieve policromado."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sagrario "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 39, "tileid": "a533cff5-56d0-47e8-871f-f5ee53d9cad8"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El patrimonio inmaterial est&aacute; expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici&oacute;n, por lo que est&aacute; sujeto a cambios y evoluciones.</p>\n\n<p>V&iacute;ctor Hugo limpias en su art&iacute;culo: Lo Infernal, lo Terrenal y lo Celestial en la Misi&oacute;n de Moxos<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a>, menciona las descripciones de Francisco J. Eder en 1772, sobre las ceremonias celebradas en Semana Santa:</p>\n\n<p style=\"margin-left:24px\"><em>&ldquo;&hellip;Los d&iacute;as de la Semana Santa comienzan el Domingo de Ramos, con la procesi&oacute;n acostumbrada. Los d&iacute;as restantes todo se celebra con una exactitud tan grande, que no falta nada&hellip;Los tres d&iacute;as se entona el Oficio de Tinieblas; luego, la pasi&oacute;n en su lengua. Todos los indios visten de estricto negro desde el Mi&eacute;rcoles de Ceniza hasta el d&iacute;a de Pascua. Durante este periodo ni siquiera las mujeres utilizan el menor adorno. El Jueves Santo tiene lugar el tradicional lavatorio de los pies y la cena con doce indios. Pero nada dice tanto a favor de los indios como el silencio y la aplicaci&oacute;n en la procesi&oacute;n (del)&hellip; Viernes Santo, a los que contribuyen mucho la m&uacute;sica triste, la viveza de la escenograf&iacute;a con las estatuas&hellip; que representan los misterios del Se&ntilde;or&hellip; as&iacute; como los cantos que se repiten en cada parada...&rdquo; </em></p>\n\n<p>Francisco J. Eder, hace referencia tambi&eacute;n a las sangrientas flagelaciones que se infring&iacute;an los ind&iacute;genas tanto hombres como mujeres el d&iacute;a de Viernes Santo, si bien eran expresiones teatrales, estas eran exageradas e incluso implicaban a ni&ntilde;os, quienes llevaban sogas al cuello y coronas de espinas en la cabeza. &nbsp;As&iacute; mismo relata que la fiesta de Corpus Christi, era la de mayor alarde ornamental, donde los altares son adornados con hermosas palmas y flores, y que se hac&iacute;a explotar un peque&ntilde;o ca&ntilde;oncito delante de cada altar, los adornos del templo y la m&uacute;sica selecta, banderas de seda y los arcos triunfales le recordaban a Europa.</p>\n\n<p>Tomando como referencia estas descripciones se observa que, en la actualidad, la vestimenta de color negro se mantiene en los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo, las Mamitas Abadesas cambian los colores de su tipoi, utilizan el blanco o morado y el negro &uacute;nicamente el Viernes Santo, mientras que los miembros del Cabildo visten siempre de blanco.</p>\n\n<p>El Oficio de Tinieblas, se sigue celebrando durante tres d&iacute;as, en la misa se lee la segunda lectura en lengua moje&ntilde;a, la ceremonia del lavatorio de los pies y la Ultima Cena se realiza con la participaci&oacute;n del Cabildo Indigenal, tal como se hac&iacute;a &nbsp;en el siglo XVIII.</p>\n\n<p>Las costumbres de Corpus Christi descritas por el jesuita, son muy similares a las que observamos hoy en Semana Santa, la profusa ornamentaci&oacute;n de altares, con flores (en su mayor&iacute;a con flores artificiales), y la explosi&oacute;n de un peque&ntilde;o ca&ntilde;&oacute;n, seria hoy la explosi&oacute;n de la &ldquo;camareta&rdquo;, la m&uacute;sica solemne es interpretada por la&nbsp; banda y por la tamborita de los Sargentos Jud&iacute;os, aunque tambi&eacute;n se interpreta m&uacute;sica alegre en el alba del Domingo de Resurrecci&oacute;n cuando se celebra el encuentro del Se&ntilde;or Resucitado con su Madre, ese momento de alegr&iacute;a cuando la banda toca y la im&aacute;genes se saludan y bailan, es una de las escenas m&aacute;s conmovedoras de la festividad.</p>\n\n<p>Algunos cambios se han observado en relaci&oacute;n a lo registrado el a&ntilde;o 2010, por la Direcci&oacute;n General de Patrimonio Cultural del Ministerio de Culturas, estos se describen a continuaci&oacute;n:</p>\n\n<ul>\n\t<li>En el centro del Cabildo se colocan dos mesas largas, en una mesa se instalan las autoridades ediles y del consejo, (esto desde el 2023), y en la otra los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</li>\n\t<li>Se ha modificado tambi&eacute;n el d&iacute;a en que se instala el tel&oacute;n negro que cubre el altar y lleva una cruz roja al centro, que corresponde a &ldquo;Las Tinieblas&rdquo;, en 2010 se lo hac&iacute;a el Mi&eacute;rcoles Santo, en 2024 se coloca este tel&oacute;n el Lunes Santo.</li>\n\t<li>En el alba del Domingo de Resurrecci&oacute;n, cuando los Macheteros bailan en el atrio, en 2010 se registra que lo hacen acompa&ntilde;ados por los Toritos, mientras que, en 2024, los acompa&ntilde;an danzando los Angelitos.</li>\n</ul>\n\n<p>Se puede afirmar entonces, que las ceremonias celebradas en Semana Santa no han cambiado notoriamente desde el siglo XVIII hasta ahora, y se ha mantenido lo m&aacute;s significativo, que es la participaci&oacute;n de todos los miembros de la sociedad moje&ntilde;a, y el resguardo de su tradiciones, de la mano del Cabildo Indigenal.</p>\n\n<p>&nbsp;</p>\n\n<div>&nbsp;\n<hr />\n<div>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Memoria del V encuentro internacional del barroco. Visi&oacute;n Cultural. 2010.</p>\n</div>\n</div>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "61692da8-aa62-4499-b97e-a4d343d69acc"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera, revestida con plata repujada."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cruz de madera revestida con plata repujada, ornamentada con roleos y figuras fitomorfas, la talla del Cristo crucificado est\u00e1 hecha en marfil policromado. En el crucero un c\u00edrculo a modo de nimbo, se rodea de piedras preciosas?, dentro del c\u00edrculo un sol con terminaciones de perlas de n\u00e1car. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Cruz para la Adoraci\u00f3n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 41, "tileid": "61933da4-73bb-4bb9-a428-36bd5e951279"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Recipiente de barro cocido"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "C\u00e1ntaro de barro cocido con muescas en el borde de la boca del recipiente. Utilizado para guardar el agua bendita que luego los fieles podr\u00e1n llevar en recipientes propios."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "C\u00e1ntaro para agua bendita"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 42, "tileid": "5e252b30-c02f-4ac1-a7ea-eba4670e1886"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las t&eacute;cnicas tradicionales de fabricaci&oacute;n, en este caso de instrumentos musicales, constituyen la manifestaci&oacute;n m&aacute;s tangible del patrimonio cultural inmaterial, el conocimiento de estas pr&aacute;cticas manuales ha pasado de generaci&oacute;n en generaci&oacute;n, dentro la comunidad moje&ntilde;a conect&aacute;ndola con su pasado.</p>\n\n<p>La construcci&oacute;n y empleo de instrumentos en Mojos data de la &eacute;poca prehisp&aacute;nica, y adquiere un gran desarrollo con la llegada de los jesuitas. Este tema ha sido investigado ampliamente por el antrop&oacute;logo Richard Mujica Angulo, a continuaci&oacute;n, adjunto una breve introducci&oacute;n y la descripci&oacute;n de los instrumentos musicales utilizados en San Ignacio, temas desarrollados en su art&iacute;culo:&nbsp; <em>El &ldquo;Juramento</em><em>&rdquo; </em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos</em> que forma parte de la Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es), 2013:</p>\n\n<p><em>Una de las principales referencia a los instrumentos musicales de Mojos son las de Alcides D&rsquo;orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de &ldquo;acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a 13 tubos, actualmente se registraron bajones de 10 tubos. Gran parte de los instrumentos de Mojos son precolombinos. Estos pueblos, adem&aacute;s de contar con estos instrumentos, hac&iacute;an uso del canto. Los misioneros decidieron adoptar los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena apoyando en su lugar m&uacute;sica concertada y poemas sagrados estrictamente religiosos.</em></p>\n\n<p><strong>Descripci&oacute;n de los instrumentos</strong></p>\n\n<p><strong><em>Sivivire.</em></strong><em> El Sivivire es un instrumento aer&oacute;fono&hellip; Es una flauta de tubo con embocadura lateral 0 (clasificado como 411.2 seg&uacute;n Hornbostel-Sachs) caracter&iacute;stico en la interpretaci&oacute;n de la m&uacute;sica, emple&aacute;ndose en diferentes g&eacute;neros musicales y danzas de San Ignacio de Mojos. El instrumento tiene siete orificios: seis digitables y uno que hace de embocadura&hellip;, el extremo base presenta el orificio de salida completo, y en el otro extremo se rellena la parte frontal con cera de abeja (lado embocadura). </em></p>\n\n<p><em>Esta flauta (se toma como base de descripci&oacute;n el Sivivire de los Macheteros) es interpretada pr&aacute;cticamente en todo el calendario anual festivo del lugar. En un conjunto de m&uacute;sicos se interpreta s&oacute;lo un Sivivire y generalmente est&aacute; acompa&ntilde;ado de membran&oacute;fonos: tampura, sankuti y caja... El ejecutante por lo general es var&oacute;n, lo denominan (flautero) y es &eacute;l mismo quien construye su flauta&hellip; </em></p>\n\n<p><em>Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;. Por ello cada danza tiene diferentes &ldquo;toques&rdquo; de acuerdo a la situaci&oacute;n ritual o festiva en la cual se ejecuta. </em><em>De forma general el repertorio musical de cada danza est&aacute; conformado por la marcha (de uso ritual especialmente en procesiones), el tayr&rsquo;imarapi (taquirari &ldquo;especial&rdquo;) primera pieza interpretada luego de la marcha; y finalmente, el v&rsquo;irimarapi (taquirari &ldquo;festivo&rdquo;) que se interpreta como parte de la fiesta misma. Existe una melod&iacute;a espec&iacute;fica para cada santo o virgen, el cual se marca espec&iacute;ficamente en la marcha. Respecto de esto Cirilo Yaca afirma: &ldquo;tiene que acompa&ntilde;ar a las im&aacute;genes, a los santos. Para acompa&ntilde;ar y visitar a estos ocupan la Marcha&rdquo;; por ello nos habla de un principal elemento del repertorio musical &ldquo;la marcha&rdquo; m&uacute;sica de car&aacute;cter sagrado y ritual. Otro elemento que conforma este repertorio es el &ldquo;taquirari&rdquo; (v&rsquo;irimarapi): &ldquo;el que vale m&aacute;s es el taquirari (...) se cambia el toque y se toca el taquirari en la fiesta, es m&aacute;s bonito, m&aacute;s entrador (...) la Marcha tiene un s&oacute;lo paso (...) Cada conjunto tiene su entrada [la marcha] y tiene su taquirari&rdquo;. Este el papel del instrumento, la danza y el repertorio musical de las m&uacute;sicas y danzas de Mojos.</em></p>\n\n<p><em>Los materiales empleados en la realizaci&oacute;n de instrumentos de basa en la tsakana (takuara fina o &ldquo;castilla&rdquo;), ca&ntilde;a-bamb&uacute; empleada para construirlo. Este material antiguamente se encontraba en las regiones extensas del monte; posteriormente, por causa de la expansi&oacute;n de las tierras de pastoreo que los ganaderos deciden ampliar, se reducen los lugares donde se encontraba este material. La inexistencia del material obliga a utilizar tubos pl&aacute;sticos de ca&ntilde;er&iacute;a y otros materiales como el aluminio. Por otro lado, el M&aacute;paji (Cera de Abeja), empleado para tapar el extremo de la flauta. Luego, tambi&eacute;n se presentan flautas de pl&aacute;stico de </em><em>&ldquo;</em><em>ca&ntilde;er&iacute;a&rdquo;, empleadas por la falta de la takuara tradicional. </em></p>\n\n<p><em>La elaboraci&oacute;n de este instrumento es de dominio de todo flautero y est&aacute; muy vinculado al individuo. Las t&eacute;cnicas empleadas para su elaboraci&oacute;n iniciar&iacute;an con la recolecci&oacute;n de la ca&ntilde;a: se limpia el orificio central. Se inicia la medida desde la base (cola) marcando el primer orificio digitable (dista el ancho de tres dedos). Luego, desde esta marca, se toma la medida de </em><em>&ldquo;</em><em>mi cuarta&rdquo; (distancia entre los dedos me&ntilde;ique y pulgar de la palma abierta); y se marca el orificio central digitable. Se emplea la misma medida (&ldquo;mi cuarta&rdquo;) para marcar el orificio de la embocadura o boquilla. Realizadas estas tres primeras marcas se se&ntilde;ala equidistantemente los lugares donde se realizar&aacute;n las cuatro perforaciones necesarias para la digitaci&oacute;n de la flauta&hellip; Los orificios se hacen con el tumare, un cuchillo en punta; y la emisi&oacute;n del sonido se ajusta moviendo (hacia adentro o afuera) la cera de abeja que tapa el extremo de la embocadura, s&oacute;lo la correcta posici&oacute;n permitir&aacute; la emisi&oacute;n de octavas. Por tanto, las dimensiones del Sivivire depende de dos factores: (1) la danza o </em><em>&ldquo;</em><em>toque&rdquo; que se interpretar&aacute;; y (2) las caracter&iacute;sticas corporales (la mano) del instrumentista, ya que cada qui&eacute;n busca el tama&ntilde;o m&aacute;s c&oacute;modo para su interpretaci&oacute;n.</em></p>\n\n<p><strong><em>Sankuti. </em></strong><em>Instrumento musical membran&oacute;fono elaborado en base al </em><em>&ldquo;</em><em>coraz&oacute;n</em><em> </em><em>&ldquo;del tronco de &aacute;rboles como la mara y el juchi, considerados como </em><em>&ldquo;</em><em>finos</em><em>&rdquo;</em><em> &hellip; Las membranas del sankuti (Cavour, 2010:246-247) son hechas de </em><em>&ldquo;</em><em>cuero de res&rdquo; el cual tiene mucho grosor y es cambiado eventualmente. Las correas que sujetan las membranas as&iacute; como las empleadas para colgar el instrumento en el hombro tambi&eacute;n est&aacute;n hechas del mismo cuero&hellip;</em></p>\n\n<p><em>Para ta&ntilde;er este instrumento se emplea una baqueta denominada </em><em>&ldquo;</em><em>palitoke&rdquo; que los lugare&ntilde;os traducen como </em><em>&ldquo;</em><em>Palito que se toca</em><em>&rdquo;</em><em>. Este material le otorga gran durabilidad lo que hace que sea&rdquo; heredado</em><em> </em><em>&ldquo;de un m&uacute;sico a otro, y por otro lado, se le otorga el sentido de </em><em>&ldquo;</em><em>antiguo&rdquo; ya que se afirma que </em><em>&ldquo;</em><em>el antiguo lo hicieron</em><em>&rdquo;.</em><em> </em></p>\n\n<p><em>(foto)</em></p>\n\n<p><strong><em>Kajane o Caja (Tambor). </em></strong><em>Otro instrumento membran&oacute;fono muy empleado en las danzas es la caja o tambor. Sus dimensiones promedio son de 38 cm. de di&aacute;metro por 23 cm. de altura&hellip; La caja de resonancia est&aacute; hecha en base a corteza de &aacute;rbol de toco; para su obtenci&oacute;n es perforada y luego &ldquo;cavada&rdquo; con ayuda de cinceles artesanales. El cuero utilizado en las membranas es de sullu de vaca, vale decir de la cr&iacute;a del ganado bovino10 el cual es envuelto en un aro de bejuco que le da la forma circular. Y cuenta con un sobrearo o y&rsquo;ana de casi 5 cm. de ancho hecho de madera v&rsquo;i (jianaki). En la membrana posterior se sujeta una cuerda de algod&oacute;n a manera de </em><em>&ldquo;</em><em>charlera&rdquo; para que el instrumento aumente su vibraci&oacute;n. </em></p>\n\n<p><em>Para su interpretaci&oacute;n la caja es colgada del cuerpo con ayuda de una correa hecha de cuero de res; y se hace uso del palitoki tambi&eacute;n denominado cajaneraki,11 un par de baquetas de unos 34 cm. de largo hechos de madera de gabetillo, chonta y de cuchi. En algunas ocasiones a la buena interpretaci&oacute;n de los instrumentos musicales, en especial a los membran&oacute;fonos se hace menci&oacute;n a que &quot;Se tesa con una cuerda&hellip; ya lo hace rezar</em><em>&rdquo;</em></p>\n\n<p><strong><em>Tampura (bombo).</em></strong><em> La Tampura, es el membran&oacute;fono asemejado al bombo, el cual tiene mayores dimensiones que los otros, con un di&aacute;metro de 46 cm. y 22 cm. de alto (Fotograf&iacute;a N&ordm; 7). La caja de resonancia est&aacute; hecha en base a madera blanca de toco o jocho&rsquo;o. Las membranas generalmente son de cuero de res y en algunos casos presenta inscripciones pintadas; por otro lado, indican que este cuero es del cuello de la res, el cual es curtido lav&aacute;ndolo con ceniza para </em><em>&ldquo;</em><em>que no lo cambie el sereno</em><em>&rdquo;</em><em> o sea para que no cambie el sonido. El instrumento que ayuda a su interpretaci&oacute;n es una baqueta de madera de v&rsquo;idenominadata&rsquo;earaki o tampuraraki (&ldquo;toca bombo&rdquo;), el cual mide 26,5 cm. de largo, el mango tiene 3 cm. de grosor y tiene una especie de mazo de 6 cm. de di&aacute;metro.</em></p>\n\n<p><strong><em>Chonono o cascabelana.</em></strong><em> En un idi&oacute;fono empleado por los danzantes, especialmente hombres, de cada danza&hellip; Consiste en una trozo rectangular de cuero (de 10 por 64 cm.) al cual van sujetas semillas o cascabeles; la base rectangular tiene dos tiras laterales utilizadas para amarrarlas a las piernas justo en la articulaci&oacute;n de la rodilla. En el caso de las danzas del machetero las semillas utilizadas en el chonono son de chakai y para otras danzas se emplea el naviri. Y para danzas como los toritos y ciervos se emplean cascabeles de bronce. </em></p>\n\n<p><em>Estos instrumentos acompa&ntilde;an a la m&uacute;sica d&aacute;ndole un comp&aacute;s r&iacute;tmico a partir de la danza de sus int&eacute;rpretes, esto hace referencia a que los danzantes tambi&eacute;n tienen un papel importante como interpretes del chonono.</em></p>\n\n<p><strong><em>El Baj&oacute;n.</em></strong><em> Es uno de los instrumentos musicales m&aacute;s difundidos de la regi&oacute;n, por lo cual ampliar&eacute; su descripci&oacute;n&hellip; Este instrumento aer&oacute;fono, conformado por pares (machohembra) a primera vista se parece a una especie de flauta de pan pero con boquillas de madera en cada uno de los tubos; sin embargo, se trata de unas &ldquo;trompetas m&uacute;ltiples</em><em>&rdquo;</em><em>construidas a base de varios tubos de hojas enrolladas atadas en </em><em>&ldquo;</em><em>forma de balsa o ala&rdquo;, donde cada tubo es acomodado en una sola hilera (Waisman 2002:533). </em></p>\n\n<p><em>El Baj&oacute;n est&aacute; elaborado con los siguientes materiales: Hoja de Cusi, varas de cogollo que estructuran la parte interna de cada tubo; hilo de algod&oacute;n o hilo </em><em>&ldquo;</em><em>camba</em><em>&rdquo; (</em><em>itsepite cajare) mezclada con cera (M&aacute;paji) de abeja &ldquo;se&ntilde;orita&rdquo;. Las boquillas torneadas de madera de cedro para cada tubo; donde una </em><em>&lsquo;</em><em>peineta&rdquo; </em><em>(</em><em>de 56.5 x4 cm) hecha de madera sujeta a todos los tubos (de 56.5 x 4 cm). Cada uno de los tubos tiene asignado una sigla del alfabeto grabada en la </em><em>&ldquo;</em><em>peineta&rdquo; que hace referencia a la afinaci&oacute;n de cada uno de ellos. El tubo de mayor tama&ntilde;o tiene una base de goma sujetado en la parte inferior para facilitar su apoyo en el suelo. </em></p>\n\n<p><em>Los pasos empleados para la elaboraci&oacute;n del baj&oacute;n son el armado del soporte o estructura de cogollo; enrollado o superposici&oacute;n de hojas de Cusi, atado (liado) con cordel (pita) de algod&oacute;n hilado, embadurnado con cera de abeja para fortificar el hilo y apoyar el agarre. Y se emplean herramientas como el Tumare (cuchillo) y la Capotera (aguja). </em></p>\n\n<p><em>Este instrumento musical se interpreta de mediante la </em><em>&ldquo;</em><em>t&eacute;cnica dialogada&rdquo; entre el Baj&oacute;n macho y Baj&oacute;n hembra. Vale decir que la melod&iacute;a se entreteje de forma dialogada entre los dos int&eacute;rpretes del instrumento. El sonido que emite este instrumento es grave. La forma de interpretaci&oacute;n de los bajones se basa en el soplido. Cada int&eacute;rprete sujeta el baj&oacute;n horizontalmente con ambas manos apretando los labios en la boquilla para tocarlos de forma similar a una trompeta. Sin embargo, por el tama&ntilde;o del instrumento el ejecutante no puede sujetar solo el baj&oacute;n, por ello, requiere de la ayuda de otra persona que sostenga el instrumento desde el extremo inferior.</em></p>\n\n<p><em>El baj&oacute;n tiene un rol muy reconocido como parte de la orquesta t&iacute;pica de San Ignacio, orient&aacute;ndose su interpretaci&oacute;n para acompa&ntilde;ar los c&aacute;nticos sagrados de misas, procesiones religiosas y </em><em>&ldquo;</em><em>velorios</em><em>&rdquo;</em><em> de santos y v&iacute;rgenes. Los instrumentistas o ejecutantes del baj&oacute;n son especialistas y gozan de alto prestigio en la comunidad. Los bajones actualmente son acompa&ntilde;ados por un viol&iacute;n, dos flautas, caja y tampura.</em></p>\n\n<p><em>Una de las principales referencia son las de Alcides D</em><em>&rsquo;</em><em>orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de </em><em>&ldquo;</em><em>acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a </em><em>13</em><em> tubos, actualmente se registraron bajones de 10 tubos. Hip&oacute;tesis no confirmadas plantean que el nombre original de este instrumento podr&iacute;a ser </em><em>&ldquo;</em><em>ippij&iacute;raseco&rdquo; aunque actualmente s&oacute;lo se emplea el nombre de Baj&oacute;n (Waisman 2002:534).</em></p>\n\n<hr />\n<p><em>[[Ver foto: Instrumentos musicales - Coro Musical]]</em></p>\n\n<hr />\n<p>&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["a0e4f8bb-9310-4344-b025-2609c8a26ec2"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7215ba1c-be0e-451e-98e7-60f6f429a407", "provisionaledits": null, "resourceinstance_id": "f8d05bf8-ac7c-4207-8d2d-92bc5eac819a", "sortorder": 0, "tileid": "51c9e032-7804-4b84-8acc-8b139fe201a5"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, 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Danza El Sarao</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La danza El Sarao est&aacute; asociada a la Fiesta de la Virgen del Carmen, en la que se presentan diversas expresiones culturales y religiosas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>Esta danza representa una fiesta en la que j&oacute;venes, tanto varones como mujeres, bailan alrededor de un palo adornado con flores sosteniendo cintas que salen de la parte superior. Durante la ejecuci&oacute;n, los bailarines trenzan y destrenzan doce cintas que cuelgan del m&aacute;stil. Se baila habitualmente en Navidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>El Sarao se ha bailado en Navidad desde la &eacute;poca de las misiones jesu&iacute;ticas. Los bailarines acompa&ntilde;an la danza con el canto &quot;Mar&iacute;a pari&oacute; a Jes&uacute;s, Santo Pascua, Aleluya&quot;, resaltando su car&aacute;cter religioso.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>Los participantes forman un grupo mixto de mujeres y hombres, cada uno sosteniendo una cinta sujeta al m&aacute;stil. A medida que bailan, trenzan y destrenzan las cintas en torno al palo, siguiendo una secuencia establecida. El acompa&ntilde;amiento musical est&aacute; a cargo de la agrupaci&oacute;n Bombilla.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<p>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana. . Ellas llevaban el estandarte que data de 1957, estaban encargadas de atender a la virgen y atender necesidades de la iglesia y ayudar a la manutenci&oacute;n del templo y recaudar fondos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "1bb7c6b5-d83e-47a1-9afd-0f12e9511fcd", "provisionaledits": null, "resourceinstance_id": "e552249b-cdcd-42ef-bc5a-bf1b239fc68b", "sortorder": 0, "tileid": "3544776a-a910-4d5d-a67d-a5f0f6f97995"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales La pieza est\u00e1 elaborada con madera de palo Mar\u00eda, decorada con cintas y flores confeccionadas en tela. Estos elementos aportan colorido y movimiento a la estructura durante la danza. T\u00e9cnica de elaboraci\u00f3n Elaborada de forma completamente manual, lo que refleja el trabajo artesanal y la dedicaci\u00f3n de quienes conservan esta tradici\u00f3n. Descripci\u00f3n de la pieza Se trata de una vara larga cuya parte superior est\u00e1 adornada con cintas multicolores y flores, formando una especie de penacho festivo que se convierte en el centro de la danza. Descripci\u00f3n de la funci\u00f3n/uso Esta pieza representa un elemento central en una danza festiva que se realiza durante la Navidad. J\u00f3venes, tanto varones como mujeres, bailan en c\u00edrculo alrededor del palo, cada uno sosteniendo una cinta. Durante la danza, deben trenzar \u2014o \"simbar\"\u2014 las doce cintas que cuelgan del extremo superior, creando un entramado de colores al ritmo del canto tradicional: \u201cMar\u00eda pari\u00f3 a Jes\u00fas santo, Pascua, aleluya\u201d. Esta expresi\u00f3n art\u00edstica simboliza alegr\u00eda, renovaci\u00f3n espiritual y comunidad. Datos hist\u00f3ricos La danza del palo con cintas se interpreta en Navidad y se remonta a los tiempos de las misiones jesu\u00edticas en la regi\u00f3n. Su permanencia a lo largo de los siglos demuestra la fuerza de las tradiciones sincr\u00e9ticas, en las que elementos europeos y expresiones locales se fusionan en rituales festivos profundamente significativos."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vara del sarao"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "1bb7c6b5-d83e-47a1-9afd-0f12e9511fcd", "provisionaledits": null, "resourceinstance_id": "e552249b-cdcd-42ef-bc5a-bf1b239fc68b", "sortorder": 0, "tileid": "03462d7b-79cd-48f2-b424-e262aa3a46e4"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza El Sarao ha logrado mantenerse vigente gracias a diversas formas de transmisi&oacute;n del conocimiento que han permitido su preservaci&oacute;n a lo largo del tiempo. La ense&ntilde;anza de esta tradici&oacute;n se ha dado principalmente a trav&eacute;s de la participaci&oacute;n activa dentro de la comunidad, donde las generaciones mayores instruyen a los m&aacute;s j&oacute;venes mediante la repetici&oacute;n y la pr&aacute;ctica conjunta. A trav&eacute;s de la observaci&oacute;n los bailarines aprenden los pasos, el trenzado de las cintas y la importancia del canto que acompa&ntilde;a la danza. Adem&aacute;s, el contexto festivo en el que se presenta refuerza su valor cultural y religioso, asegurando que su significado sea comprendido y apreciado por quienes la interpretan.</p>\n\n<p>&nbsp;</p>\n\n<p>Por otro lado, la m&uacute;sica y el canto tambi&eacute;n desempe&ntilde;an un papel clave en la ense&ntilde;anza y conservaci&oacute;n de esta expresi&oacute;n art&iacute;stica. Las letras transmiten el mensaje religioso de la danza, facilitando su memorizaci&oacute;n y reforzando su car&aacute;cter ritual. A su vez, los ensayos colectivos permiten que los conocimientos sean compartidos en un ambiente colaborativo, donde la correcci&oacute;n y el perfeccionamiento de la t&eacute;cnica se logran a trav&eacute;s de la pr&aacute;ctica grupal. Estas din&aacute;micas no solo garantizan la continuidad de El Sarao, sino que tambi&eacute;n fortalecen los lazos comunitarios y fomentan el sentido de identidad entre quienes participan en su ejecuci&oacute;n.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "1bb7c6b5-d83e-47a1-9afd-0f12e9511fcd", "provisionaledits": null, "resourceinstance_id": "e552249b-cdcd-42ef-bc5a-bf1b239fc68b", "sortorder": 0, "tileid": "c4df5099-ddfa-4bfb-9787-f30dacb9b841"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, la danza El Sarao ha experimentado modificaciones que responden a cambios en el contexto social y cultural. La vestimenta, por ejemplo, pudo haber evolucionado para adaptarse a nuevas expresiones est&eacute;ticas o a la disponibilidad de materiales en cada &eacute;poca. Del mismo modo, la m&uacute;sica que acompa&ntilde;a la danza pudo haber incorporado variaciones en su interpretaci&oacute;n, ya sea en el ritmo o en los instrumentos utilizados. Estas adaptaciones han permitido que la tradici&oacute;n contin&uacute;e vigente, ajust&aacute;ndose a las din&aacute;micas actuales sin desvirtuar su significado.</p>\n\n<p>&nbsp;</p>\n\n<p>Las formas de ense&ntilde;anza tambi&eacute;n han sufrido variaciones. Si en un principio el aprendizaje ocurr&iacute;a exclusivamente en el &aacute;mbito familiar y comunitario, hoy en d&iacute;a con el apoyo de instituciones podr&iacute;a existir espacios organizados donde se imparten talleres o presentaciones con el fin de difundir la pr&aacute;ctica a nuevas generaciones. El registro audiovisual tambi&eacute;n puede&nbsp; favorecer la conservaci&oacute;n y transmisi&oacute;n de la coreograf&iacute;a, proporcionando un medio alternativo para su aprendizaje.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "1bb7c6b5-d83e-47a1-9afd-0f12e9511fcd", "provisionaledits": null, "resourceinstance_id": "e552249b-cdcd-42ef-bc5a-bf1b239fc68b", "sortorder": 0, "tileid": "ffdb799f-1520-4b31-bcbf-c58edc158b47"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La transmisi\u00f3n intergeneracional ha permitido que los bailarines aprendan no solo los movimientos y la estructura de la danza, sino tambi\u00e9n su significado religioso y festivo. La participaci\u00f3n activa de j\u00f3venes y adultos en su ejecuci\u00f3n refuerza el sentido de identidad y pertenencia, consolidando su importancia dentro de las celebraciones.   La ejecuci\u00f3n de la pr\u00e1ctica ha sido esencial para su continuidad. La posibilidad de ense\u00f1ar en espacios organizados, como talleres o festivales, puede facilitar su difusi\u00f3n. Al mismo tiempo, su naturaleza colectiva fortalece los lazos sociales entre los participantes, promoviendo la colaboraci\u00f3n y el trabajo en equipo. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "1bb7c6b5-d83e-47a1-9afd-0f12e9511fcd", "provisionaledits": null, "resourceinstance_id": "e552249b-cdcd-42ef-bc5a-bf1b239fc68b", "sortorder": 0, "tileid": "2de5e866-f0ab-4163-95ef-41c62d207f2b"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la danza El Sarao es la disminuci&oacute;n de su transmisi&oacute;n generacional. La migraci&oacute;n de los j&oacute;venes hacia las ciudades y el cambio en sus intereses han reducido la cantidad de participantes en las festividades, lo que puede afectar la continuidad de la pr&aacute;ctica. A medida que las din&aacute;micas comunitarias se transforman, el conocimiento tradicional corre el riesgo de debilitarse si no se refuerzan espacios de ense&ntilde;anza dentro de la comunidad. La falta de registros documentales detallados tambi&eacute;n puede dificultar su conservaci&oacute;n en el tiempo, ya que su transmisi&oacute;n depende en gran medida de la memoria colectiva.</p>\n\n<p>&nbsp;</p>\n\n<p>Por otro lado, la influencia de expresiones culturales externas y la modernizaci&oacute;n de las festividades pueden llevar a modificaciones que alteren su esencia. Para evitar estas situaciones, es fundamental fomentar estrategias de revitalizaci&oacute;n que fortalezcan el compromiso de la comunidad con la preservaci&oacute;n de El Sarao.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "1bb7c6b5-d83e-47a1-9afd-0f12e9511fcd", "provisionaledits": null, "resourceinstance_id": "e552249b-cdcd-42ef-bc5a-bf1b239fc68b", "sortorder": 0, "tileid": "db15c5fb-da65-4f4d-aaf6-ad4bd0c4b7cc"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:48.796", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080501-00-00-000015, "}, "es": {"description": "San Ignacio. Creencias y supersticiones del pueblo Moje\u00f1o Ignaciano Eta viye\u2019erepiana tavi\u2019achanewana eta viawapairu majara", "map_popup": "Beni", "name": "PI-080501-00-00-000015, San Ignacio. 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Creencias y supersticiones del pueblo Moje\u00f1o Ignaciano Eta viye\u2019erepiana tavi\u2019achanewana eta viawapairu majara", "principaluser_id": 26, "resourceinstanceid": "73727bee-9bbc-4f11-bfc2-a0a3a7bc8050", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-65.63740234375952, -14.994745737219873], "type": "Point"}, "id": "afbe6f37bfff32efe8423c552f8603d5", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "7c630574-4bde-4beb-92f4-d7e3a4b4c5fe", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080501', 'num': '000002'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "73727bee-9bbc-4f11-bfc2-a0a3a7bc8050", "sortorder": 0, "tileid": "23234f59-f347-4a9d-b436-b46eb7d5425f"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tradici\u00f3n oral"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080501-00-00-000015", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio. Creencias y supersticiones del pueblo Moje\u00f1o Ignaciano Eta viye\u2019erepiana tavi\u2019achanewana eta viawapairu majara"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["13752e2b-a73b-47dc-89a8-97b96ddaa54c"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "73727bee-9bbc-4f11-bfc2-a0a3a7bc8050", "sortorder": 0, "tileid": "1804a5f8-5465-41ca-99fd-65b65cbb64c3"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "73727bee-9bbc-4f11-bfc2-a0a3a7bc8050", "sortorder": 0, "tileid": "9f2f058b-f4a7-449d-9c6e-fa2109c83eb9"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Ignacio. Creencias y supersticiones del pueblo Moje&ntilde;o Ignaciano</strong></p>\n\n<p><strong>Eta viye&rsquo;erepiana tavi&rsquo;achanewana eta viawapairu majara</strong></p>\n\n<p>&nbsp;</p>\n\n<p>Es una historia oral que ha sido transmitida a trav&eacute;s de generaciones, preservando las tradiciones y cosmovisiones del pueblo moje&ntilde;o de San Ignacio. La historia oral es el principal veh&iacute;culo a trav&eacute;s del cual se difunden estas creencias, permitiendo que cada generaci&oacute;n mantenga viva la esencia de sus ancestros, que incluyen mitos, leyendas, y conocimientos que gu&iacute;an la vida cotidiana, las festividades y las decisiones personales.</p>\n\n<p>Uno de los portadores de esta historia es Berardo Selum Rivero.</p>\n\n<p>&nbsp;</p>\n\n<p>Las supersticiones y creencias son formas de pensamiento vinculadas al sentimiento y a la conformidad con situaciones espec&iacute;ficas. Seg&uacute;n relatos de bisabuelas y abuelas, en tiempos pasados, las personas practicaban ciertos cuidados y creencias para evitar males o presagios de mala suerte. Estas supersticiones florecieron a la par de las culturas locales, convirti&eacute;ndose en manifestaciones tradicionales propias de cada pueblo, que les ayudaban a mantener una relaci&oacute;n armoniosa con la naturaleza y los seres que la habitan.</p>\n\n<p>&nbsp;</p>\n\n<p>Entre las figuras que forman parte de estas creencias, se destacan los animales, como la lechuza y el gato negro, que para algunos pueblos son s&iacute;mbolos de presagios negativos. Para la gente de anta&ntilde;o, hab&iacute;a ciertos elementos o momentos del a&ntilde;o en los que realizar determinados trabajos o actividades podr&iacute;a resultar peligroso para la salud, o incluso traer mala suerte.</p>\n\n<p>&nbsp;</p>\n\n<p>Hoy en d&iacute;a, podemos observar que muchas de estas supersticiones siguen vivas en el pueblo de San Ignacio de Mojos. Por ejemplo, ciertos mitos sobre los animales nocturnos o la creencia de que ciertos rituales deben realizarse en momentos espec&iacute;ficos del a&ntilde;o para evitar malos augurios. Aunque estas creencias puedan parecer extra&ntilde;as para algunos, siguen siendo parte importante del imaginario colectivo y la identidad cultural del pueblo, record&aacute;ndonos c&oacute;mo, a trav&eacute;s de los siglos, las tradiciones han sido transmitidas y adaptadas a nuevas realidades.</p>\n\n<p>&nbsp;</p>\n\n<p>Hoy en d&iacute;a nosotros a&uacute;n podemos evidenciar las supersticiones, aqu&iacute; en San Ignacio de Mojos. Por ejemplo:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>A una persona difunta tienen que cruzarles las manos para que descanse en paz y vaya con Dios, poner el vaso de agua durante los 9 d&iacute;as de la novena.</li>\n\t<li>Lavar ropa en luna nueva, se rompe f&aacute;cilmente.</li>\n\t<li>Luna nueva, buena cacer&iacute;a, porque los animales se alborotan.</li>\n\t<li>Trabajos que realizas en luna nueva, no aguantan.</li>\n\t<li>Sembrar o plantar en luna llena, la planta crece r&aacute;pida y da buenos frutos.</li>\n\t<li>Cuando se da de comer al gato de la casa, antes, que a cualquier otra persona, a esa familia no le falta el dinero.</li>\n\t<li>No salir a recibir vientos fuertes o huracanados, se pude recibir males o enfermedades.</li>\n\t<li>Cuando el perro a&uacute;lla en la puerta de la casa o cuando cava un hueco, anuncia muerte de alg&uacute;n ser querido.</li>\n\t<li>Entrar la mariposa negra a la casa presagio de muerte.</li>\n\t<li>No dar castigo a los hijos durante los d&iacute;as jueves y viernes Santo, de hacerlo, se lastimar&iacute;a el Se&ntilde;or.</li>\n\t<li>No consumir frutas c&iacute;tricas antes de la Semana Santa, esto por no estar bendecidas por el Se&ntilde;or, pasada esta celebraci&oacute;n si se puede hacerlo.</li>\n\t<li>Guardar el ombligo del beb&eacute;, al s&eacute;ptimo d&iacute;a enterrar en el umbral de la puerta para que el hijo no sea andante.</li>\n\t<li>Dar guasca a las plantas en la noche de San Juan para que fruteen todo el a&ntilde;o.</li>\n\t<li>Para las personas que quieren casarse, cortarse una mechita de cabello en la noche de San Juan; al a&ntilde;o tomaran matrimonio.</li>\n\t<li>Ba&ntilde;arse en la madrugada de San Juan, para tener buena salud y no envejecer.</li>\n\t<li>No dejar el peine en la cabeza las mujeres solteras, porque el esposo ser&aacute; celoso.</li>\n\t<li>Si un picaflor entra a tu cuarto, tendr&aacute;s visita en casa.</li>\n\t<li>Estas de ida a cualquier lugar y una v&iacute;bora cruza tu camino, te va mal o estas yendo en vano.</li>\n\t<li>No contar las estrellas, porque cuanto hayas contado as&iacute; tendr&aacute;s hijos.</li>\n\t<li>No se&ntilde;alar al arco&iacute;ris con el dedo, tu dedo se te podrir&aacute;.</li>\n\t<li>Sembrar ajo y otras plantas en la entrada de la casa, para alejar a los malos esp&iacute;ritus.</li>\n\t<li>Consumir, colocar alrededor de la casa ajo; para protegerse de toda maldici&oacute;n, hechicer&iacute;a, robos y animales peligrosos.</li>\n\t<li>No comer migas de comida que queda pegada en la olla, dificultades al dar a luz en las mujeres.</li>\n\t<li>Cuando la mujer esta con su menstruaci&oacute;n, no debe bajar frutas ni subir al &aacute;rbol, para que el &aacute;rbol no se muera.</li>\n\t<li>Mujer que este con su menstruaci&oacute;n no debe ver un bebe reci&eacute;n nacido, el bebe puja mucho y le crece su ombligo.</li>\n\t<li>Cuando uno se tropieza, tiene un mal d&iacute;a.</li>\n\t<li>Cuando canta el pajarito fr&iacute;o, anuncia que no llover&aacute;.</li>\n\t<li>Hacer la se&ntilde;al de la cruz en direcci&oacute;n por donde venga la lluvia, para que no llueva.</li>\n\t<li>Cuando gritan los patos puturis, anuncian que llover&aacute;.</li>\n\t<li>Estirar 3 sapos vivos con su barriga vista arriba, para que llueva.</li>\n\t<li>No pasar por debajo la escalera, tendr&aacute;s 7 d&iacute;as malos.</li>\n\t<li>Guardar chononos de cascabel te trae buena suerte, pero tambi&eacute;n te sigue la v&iacute;bora.</li>\n\t<li>Cuando este viniendo el hurac&aacute;n hacia ti, escupir 3 veces y ponerse la se&ntilde;al de la cruz; para que el hurac&aacute;n huya de ti.</li>\n\t<li>Cuando vez que pasan cometas, golpear ollas o cualquier objeto de cocina y no faltara alimento en la cocina.</li>\n\t<li>Cuando la gallina canta como gallo, mala se&ntilde;al, muerte o desgracia.</li>\n\t<li>Cuando pasan loros, b&uacute;hos por la casa en la noche y gritan, es porque alguien va morir; no siempre es uno de la familia.</li>\n\t<li>Cuando el ni&ntilde;o es flojo, se les da huasca con la plantita quema quema o pica pica y el ni&ntilde;o ser&aacute; valiente.</li>\n\t<li>No comer echado sobre la hamaca, porque se saldr&aacute;n sus dientes.</li>\n\t<li>Cuando se duerme sobre la hamaca en la noche, el esp&iacute;ritu maligno lo mece.</li>\n\t<li>Si comes en la esquina de la mesa, no ser&aacute;s querida (o) por la o el suegro (a).</li>\n\t<li>Cambiarse de lugar varias veces cuando estas comiendo, varias veces te casaras.</li>\n\t<li>Cuando se est&aacute; sembrando ma&iacute;z o arroz no se debe ir al ba&ntilde;o, para que a la cosecha no le salga maleza.</li>\n\t<li>No barrer sobre pies de ni&ntilde;os, adolescentes y j&oacute;venes, para que no se casen con personas mayores.</li>\n\t<li>Cuando te pica la mano derecha, vas a recibir dinero; y si es la mano izquierda, te cobraran deuda.</li>\n\t<li>En las procesiones cargan personas la imagen y las que se cansan r&aacute;pido, son muy pecadores.</li>\n\t<li>Cuando la luna tiene alrededor nube en forma de lucero, habr&aacute; un matrimonio.</li>\n\t<li>En eclipse de luna la mujer embarazada no debe salir de casa, para que no se pasme el bebe.</li>\n\t<li>Mujeres embarazadas no pueden curar heridas a otras personas, empeoran m&aacute;s las heridas.</li>\n</ul>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["f48b2b49-9b4e-4e82-9357-e000462e5312", "f14150f4-31db-4fac-9f70-647d6478f0c2"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "9f2f058b-f4a7-449d-9c6e-fa2109c83eb9", "provisionaledits": null, "resourceinstance_id": "73727bee-9bbc-4f11-bfc2-a0a3a7bc8050", "sortorder": 0, "tileid": "8cfeb81f-bdf5-4f50-8c1d-32934eaa28c2"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Memoria colectiva"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos y creencias del pueblo moje&ntilde;o ignaciano se han transmitido principalmente a trav&eacute;s de la oralidad, un mecanismo ancestral que ha permitido la preservaci&oacute;n de sus tradiciones, mitos y supersticiones. Las abuelas y bisabuelas, y abuelos relatan historias y pr&aacute;cticas a las nuevas generaciones, asegurando que la sabidur&iacute;a colectiva no se pierda con el tiempo. Esta forma de ense&ntilde;anza no solo mantiene vivas las costumbres, sino que tambi&eacute;n refuerza la identidad cultural del pueblo, vinculando cada creencia con experiencias de vida, ciclos naturales y pr&aacute;cticas comunitarias. Adem&aacute;s, la oralidad permite la adaptaci&oacute;n de estos conocimientos a los cambios sociales y ambientales, lo que hace que las supersticiones sigan vigentes en la vida cotidiana de San Ignacio de Mojos.</p>\n\n<p>&nbsp;</p>\n\n<p>Los miembros de la comunidad aprenden a trav&eacute;s de la experiencia directa. Muchas de las creencias registradas tienen una relaci&oacute;n estrecha con la naturaleza, el clima y las actividades productivas, como la agricultura y el monte, lo que refuerza la importancia de la transmisi&oacute;n vivencial. Por ejemplo, la creencia de que sembrar en luna llena favorece el crecimiento de las plantas es una pr&aacute;ctica que se aprende observando los ciclos lunares y su impacto en la cosecha. Del mismo modo, los rituales y cuidados en torno a la muerte, la salud y la fortuna se perpet&uacute;an mediante la participaci&oacute;n activa en ceremonias y costumbres familiares.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "9f2f058b-f4a7-449d-9c6e-fa2109c83eb9", "provisionaledits": null, "resourceinstance_id": "73727bee-9bbc-4f11-bfc2-a0a3a7bc8050", "sortorder": 0, "tileid": "fbdf4749-2a43-4e3d-8367-434fea708406"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las historias orales del pueblo moje&ntilde;o ignaciano han experimentado diversas transformaciones a lo largo del tiempo, adapt&aacute;ndose a los cambios socioculturales y a las nuevas formas de comunicaci&oacute;n. Originalmente, estas narraciones eran transmitidas exclusivamente de manera verbal, de generaci&oacute;n en generaci&oacute;n, manteniendo su esencia en los relatos de abuelas y bisabuelas que compart&iacute;an creencias y supersticiones con sus descendientes. Sin embargo, con la introducci&oacute;n de nuevas tecnolog&iacute;as y medios escritos, algunas de estas historias han sido documentadas, permitiendo su preservaci&oacute;n en libros, investigaciones y otros registros formales. Aunque esto ha contribuido a su conservaci&oacute;n, tambi&eacute;n ha generado cambios en el relato de la historia, lo mismo que la influencia de personas que no pertenecen al pueblo ignaciano, tienden a cambiar los relatos, introduciendo elementos nuevos.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro factor que ha influido en la transformaci&oacute;n de la tradici&oacute;n oral es el contacto con otras culturas y la influencia de la educaci&oacute;n formal. Con la llegada de nuevas generaciones que crecen en un entorno donde predomina la escolarizaci&oacute;n y el acceso a informaci&oacute;n globalizada, muchas creencias y supersticiones han sido reinterpretadas o incluso cuestionadas. Algunas historias han perdido vigencia en la vida cotidiana, mientras que otras han sido resignificadas, incorporando elementos modernos o adapt&aacute;ndose a nuevos contextos. A pesar de estos cambios, la oralidad sigue siendo un pilar fundamental en la identidad del pueblo moje&ntilde;o ignaciano, ya que permite que las creencias tradicionales contin&uacute;en vivas, aunque con nuevas formas de expresi&oacute;n y transmisi&oacute;n.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "9f2f058b-f4a7-449d-9c6e-fa2109c83eb9", "provisionaledits": null, "resourceinstance_id": "73727bee-9bbc-4f11-bfc2-a0a3a7bc8050", "sortorder": 0, "tileid": "d3d46b2c-d980-4e1b-8fc7-6bfb9f16521d"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la tradici\u00f3n oral en el pueblo moje\u00f1o ignaciano es su capacidad para mantener viva la identidad cultural y la memoria colectiva. A trav\u00e9s de la transmisi\u00f3n de mitos, creencias y supersticiones, las generaciones mayores han logrado preservar conocimientos ancestrales que explican el mundo desde la cosmovisi\u00f3n propia del pueblo. Estas historias no solo sirven como formas de entretenimiento, sino que tambi\u00e9n ense\u00f1an valores, normas de convivencia y advertencias sobre los peligros de la naturaleza o del comportamiento humano. Al mantenerse en el \u00e1mbito oral, estas narraciones relatan la riqueza de la expresi\u00f3n hablada.  Otra fortaleza de la tradici\u00f3n oral es su capacidad de adaptaci\u00f3n y resistencia a los cambios del tiempo. A pesar de la llegada de nuevas formas de comunicaci\u00f3n y del acceso a informaci\u00f3n externa, las historias contadas por los mayores siguen teniendo un impacto en la comunidad, pues se transmiten en espacios familiares y comunitarios donde la palabra hablada sigue teniendo gran valor. Adem\u00e1s, la oralidad permite la reinterpretaci\u00f3n de los relatos seg\u00fan el contexto actual, lo que facilita su continuidad sin perder su esencia. Esta flexibilidad ha permitido que muchas de las supersticiones y creencias moje\u00f1as sigan vigentes, ya sea como advertencias, consejos o explicaciones simb\u00f3licas sobre la vida cotidiana, reafirmando as\u00ed la importancia de la tradici\u00f3n oral en la identidad del pueblo."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "9f2f058b-f4a7-449d-9c6e-fa2109c83eb9", "provisionaledits": null, "resourceinstance_id": "73727bee-9bbc-4f11-bfc2-a0a3a7bc8050", "sortorder": 0, "tileid": "f0e713fa-abad-45a4-8ec3-26d14ec8acf8"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la tradici&oacute;n oral en el pueblo moje&ntilde;o ignaciano es la disminuci&oacute;n de su transmisi&oacute;n intergeneracional. Con el avance de la modernizaci&oacute;n y la creciente influencia de medios de comunicaci&oacute;n digitales, las nuevas generaciones tienen menos contacto con los relatos ancestrales, ya que su tiempo y atenci&oacute;n est&aacute;n cada vez m&aacute;s dirigidos hacia la educaci&oacute;n formal, la televisi&oacute;n, las redes sociales y otros formatos de entretenimiento. Esto ha llevado a que muchas creencias y supersticiones, que antes se transmit&iacute;an en espacios familiares o comunitarios, se pierdan o sean vistas como simples cuentos sin relevancia en la vida cotidiana. Si no se promueven estrategias para revitalizar la narraci&oacute;n oral en el entorno familiar y escolar, existe el riesgo de que estos conocimientos desaparezcan, afectando la continuidad de la identidad cultural del pueblo.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza significativa para la tradici&oacute;n oral es la falta de reconocimiento de su valor dentro de un contexto globalizado que privilegia la informaci&oacute;n escrita sobre el conocimiento tradicional. Con el tiempo, muchas creencias moje&ntilde;as han sido cuestionadas o sustituidas por explicaciones racionales, lo que puede llevar a su desestimaci&oacute;n como parte del acervo cultural. Si no se generan espacios comunitarios donde la oralidad siga siendo una herramienta de ense&ntilde;anza y transmisi&oacute;n de valores, las historias y supersticiones del pueblo moje&ntilde;o ignaciano corren el riesgo de convertirse en recuerdos, perdiendo su funci&oacute;n como gu&iacute;a de vida y elemento de cohesi&oacute;n cultural.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "9f2f058b-f4a7-449d-9c6e-fa2109c83eb9", "provisionaledits": null, "resourceinstance_id": "73727bee-9bbc-4f11-bfc2-a0a3a7bc8050", "sortorder": 0, "tileid": "9e03f68c-d5ed-4988-8d73-9940dcd2d4f2"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:38.717", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-080000-00-00-000019, "}, "es": {"description": "S\u00e1bado Santo - Semana Santa, San Ignacio de Mojos", "map_popup": "Nacional", "name": "PI-080000-00-00-000019, S\u00e1bado Santo - Semana Santa, San Ignacio de Mojos"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080000-00-00-000019, S\u00e1bado Santo - Semana Santa, San Ignacio de Mojos", "principaluser_id": 26, "resourceinstanceid": "c6e32b69-df4b-4922-9831-32da8db4e92a", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '00', 'codsA': '00', 'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Festividad"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080000-00-00-000019", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "S\u00e1bado Santo - Semana Santa, San Ignacio de Mojos"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": null}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "a2ce7c93-7c62-4c91-a7db-2262068785d1"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p><strong>PERSONAJES QUE PARTICIPAN</strong></p>\n\n<p><strong>CABILDO</strong></p>\n\n<p>La comunidad moje&ntilde;a est&aacute; guiada por el Cabildo Indigenal, sistema que fue introducido por los jesuitas, en el siglo XVIII. Actualmente, no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, y proteger el patrimonio cultural material e inmaterial, preservando las tradiciones culturales y religiosas.</p>\n\n<p>En San Ignacio el Cabildo, est&aacute; compuesto por: el Corregidor, Caciques, Capitanes, Alcaldes, Intendente, Alguacil, Fiscal, Comisarios y los Mayordomos que est&aacute;n subdivididos en parcialidades.</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>PERPETUOS</strong></p>\n\n<p>Son los se&ntilde;ores mayores que ayudan y apoyan al templo y al cabildo, deben su nombre al hecho de que solo son suplidos por vejez o muerte.</p>\n\n<p><strong>HERMANOS DE LA PASI&Oacute;N DE CRISTO</strong></p>\n\n<p>Son los que custodian junto con los Sargentos Jud&iacute;os, el orden y el Sepulcro en las procesiones, acompa&ntilde;an a las autoridades antes de las procesiones.</p>\n\n<p><strong>LOS PENITENTES</strong></p>\n\n<p>Son los que representan la expiaci&oacute;n de los pecados, las personas que hacen esta promesa de cargar las Cruces, se comprometen a hacerlo por 14 a&ntilde;os, en relaci&oacute;n a las catorce estaciones de la Pasi&oacute;n de Cristo.</p>\n\n<p><em>Al mismo tiempo significa ser sujeto voluntario de reclusi&oacute;n y el sacrificio de flagelaci&oacute;n, recibirla huasca en la espalda, esto sucede en uno de los ambientes del cabildo y la iglesia. El atuendo de los Penitentes est&aacute; compuesto por sandalias en los pies, una t&uacute;nica blanca, faja negra, llevan un velo oscuro poco transparente, que no permite distinguir su rostro y una corona con espinas, es acompa&ntilde;ado celosamente por los Sargentos Jud&iacute;os y los hermanos acompa&ntilde;antes de los penitentes. Delante de ellos le acompa&ntilde;a su esposa quien alumbra el camino con una vela encendida. Detr&aacute;s de los Penitentes est&aacute;n los Cirineos de los Penitentes, quienes les ayudan a llevar la cruz; a este tambi&eacute;n le acompa&ntilde;a su esposa, los Cirineos llevan un fald&oacute;n rojo, una camisa blanca con un rosario en el cuello, una estola blanca tejida de algod&oacute;n amarrada a la parte inferior de la Cruz y una pa&ntilde;oleta blanca en la cabeza. Detr&aacute;s de ellos el conjunto de musical de los Sargentos Jud&iacute;os, quienes interpretan la marcha solemne.<a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<p><strong>LOS ALZADORES</strong></p>\n\n<p>Son los j&oacute;venes que cargan las im&aacute;genes de los Santos, los varones cargan a los Santos y las mujeres a las Santas. Lo hacen por el lapso de 5 d&iacute;as, y se turnan entre ellos en el templo, para cuidar la imagen que van a cargar.&nbsp;</p>\n\n<p><em>Las im&aacute;genes y el altar sobre el cual se encuentran los Santos tienen bastante peso; pero, llevar en los hombros y espalda tiene varios objetivos que pueden ser por colaborar con la iglesia desde su fe cat&oacute;lica, para limpiarse de los pecados, para el bienestar personal y de sus familias y/o para que mejore el pueblo y que no llegue ninguna desgracia.<a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.</em><a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><em><strong>[4]</strong></em></a></p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERU</strong></p>\n\n<p>Su nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>Su danza es de forma marcial en dos filas, bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores.</p>\n\n<p>Sujeta del armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichach&iacute;es, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;. Este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisito exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<hr />\n<p><u><strong>GLOSARIO</strong></u></p>\n\n<p><strong>Nimbo. </strong>Corona circular que aparece detr&aacute;s y alrededor de la cabeza en una imagen o icono.</p>\n\n<p><strong>Tenebrario</strong>. Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores, utilizados en el servicio cristiano de Tinieblas, que incluye maitines y laudes durante los &uacute;ltimos tres d&iacute;as de Semana Santa.</p>\n\n<p>El tenebrario simboliza el d&iacute;a de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap&oacute;stoles, las tres Mar&iacute;as (Mar&iacute;a Salom&eacute;, Mar&iacute;a de Cleof&aacute;s y Mar&iacute;a Magdalena) y la Virgen Mar&iacute;a, es decir, aquellos que acompa&ntilde;aron a Jes&uacute;s ese d&iacute;a. La vela m&aacute;s alta representa a la Sant&iacute;sima Virgen, la &uacute;nica que crey&oacute; en la Resurrecci&oacute;n. El tri&aacute;ngulo mismo simboliza la Sant&iacute;sima Trinidad.&nbsp;</p>\n\n<p><strong>Sobrepelliz. </strong>Vestidura blanca de lienzo fino, con mangas perdidas o muy anchas, que llevan sobre la sotana los eclesi&aacute;sticos, y aun los legos que sirven en las funciones de iglesia, y que llega desde el hombro hasta la cintura poco m&aacute;s o menos.</p>\n\n<p><strong>El lado de la Ep&iacute;stola</strong>. Si se mira de frente al altar, es lado derecho de la iglesia. Su nombre es dado por ser el lugar desde el que se le&iacute;a la Ep&iacute;stola durante la celebraci&oacute;n de la santa misa.</p>\n\n<p><strong>El lado del Evangelio. </strong>Este lado, mirando hacia el altar, es el lado izquierdo. Se le conoce con este nombre porque era el lado desde el que se le&iacute;a el Evangelio en la misa.</p>\n\n<p><strong>Camareta.</strong> Cartucho de cart&oacute;n relleno de p&oacute;lvora y provisto de una mecha, que explota al ser encendido; se lo utiliza para animar fiestas infantiles o religiosas.</p>\n\n<p><strong>Toque.</strong> Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;.</p>\n\n<p><strong>Tacuara.</strong> Planta gram&iacute;nea, especie de bamb&uacute; de ca&ntilde;as huecas, le&ntilde;osas y resistentes, que alcanzan los doce metros de altura. Se us&oacute; para fabricar astiles de lanzas.</p>\n\n<p><strong>Camareta. </strong>Recipiente de fierro de 10 cm de altura y 10 cm de ancho, que contiene p&oacute;lvora, que&nbsp; ser&aacute; encendida y explota generando un atronador ruido.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><u><strong>BIBLIOGRAF&Iacute;A </strong></u></p>\n\n<p>DIRECCI&Oacute;N GENERAL DE PATRIMONIO CULTURAL, Ministerio de Culturas Viceministerio de Interculturalidad (2010). <em>Semana Santa San Ignacio de Mojos.</em></p>\n\n<p>M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em>&rdquo;</em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p>PLAN MISIONES, Historia Cabildos, 2024.</p>\n\n<p>D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. Pg. 8-9.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pg. 21</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid,.pg. 11.</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> Ibid,.pg. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "231aea11-c039-4e9b-bb56-7ac9d0d72a49"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "8915b9f9-5256-4021-a723-f4b5b973ecb9"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Candelabro triangular de madera con soporte del mismo material."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Candelabro de forma triangular con velas que ascienden desde los dos brazos superiores. Simboliza el d\u00eda de la muerte de Jesucristo en la Cruz. Las quince velas representan a los once ap\u00f3stoles, las tres Mar\u00edas (Mar\u00eda Salom\u00e9, Mar\u00eda de Cleof\u00e1s y Mar\u00eda Magdalena) y la Virgen Mar\u00eda, es decir, aquellos que acompa\u00f1aron a Jes\u00fas ese d\u00eda. La vela m\u00e1s alta representa a la Sant\u00edsima Virgen, la \u00fanica que crey\u00f3 en la Resurrecci\u00f3n. El tri\u00e1ngulo mismo simboliza la Sant\u00edsima Trinidad. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tenebrario"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 15, "tileid": "aeb946d4-e1c0-4b64-b036-2cc11ed707af"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La cosmovisi&oacute;n del pueblo moje&ntilde;o, sintetiza los dogmas de la religi&oacute;n cat&oacute;lica, con la noci&oacute;n de la presencia de los esp&iacute;ritus tutelares de la naturaleza, estas arraigadas creencias y su conexi&oacute;n con lo sagrado, proporcionan un sentido de comunidad e identidad, que se demuestra en la importancia que le confieren a la pr&aacute;ctica solemne de las ceremonias, en este caso en la Semana Santa.</p>\n\n<p>Las parcialidades de los valores espirituales del pueblo, que forman parte del Cabildo Indigenal, son actores fundamentales en las celebraciones de la festividad.</p>\n\n<p>El templo de San Ignacio es el lugar sagrado, centro de todas las manifestaciones rituales, y desde el cual salen las procesiones que tambi&eacute;n son parte vital de la conmemoraci&oacute;n cristiana.</p>\n\n<p>Los ritos cat&oacute;licos como la misa, la procesi&oacute;n, el lavado de pies, la Ultima Cena, el Desclavamiento de Cristo, el Encuentro de Cristo Resucitado con su madre la Virgen Mar&iacute;a, entre otros, son acompa&ntilde;ados constantemente por el Cabildo Indigenal, y sus parcialidades como el Coro Musical, las Mamitas Abadesas, los Sargentos Jud&iacute;os, los Sacristanes y los Macheteros.&nbsp;</p>\n\n<p>La pr&aacute;ctica solemne de las ceremonias religiosas, se ve enriquecida por la inclusi&oacute;n de los ritos y danzas ancestrales, como la danza de los Macheteros que portan un vistoso tocado de plumas, la intervenci&oacute;n del Coro Musical con sus instrumentos aut&oacute;ctonos, o la alegr&iacute;a de la tamborita y la banda.</p>\n\n<p>A continuaci&oacute;n, se describen episodios que son parte de los ritos religiosos o est&aacute;n relacionados con ellos, y tienen lugar en Semana Santa:</p>\n\n<hr />\n<p>La devoci&oacute;n se ve reflejada en mucho aspectos, es el caso de los j&oacute;venes que cargan las im&aacute;genes, ellos se sit&uacute;an al lado del santo, d&iacute;as antes de comenzar las festividades, para cuidarlo. Otra particularidad, es que su gran fe cat&oacute;lica les compromete a participar alzando las pesadas im&aacute;genes y sus andas, como una forma de limpiar sus pecados, colaborar con la iglesia, o por el bienestar de sus familias y del pueblo en general. Este trabajo lo hacen por el lapso de cinco d&iacute;as hasta el Domingo de Resurrecci&oacute;n.</p>\n\n<p>En las procesiones, las mujeres cargan las im&aacute;genes femeninas y los varones las masculinas, excepto en el alba de la Resurrecci&oacute;n, momento en el que los varones alzan la imagen de La Virgen, por el peso significativo de la misma, y la hacen bailar, cuando se encuentra con Cristo Resucitado.</p>\n\n<hr />\n<p><strong>Las Tinieblas</strong></p>\n\n<p>Se celebra en el templo, en las ma&ntilde;anas de los d&iacute;as: Jueves, Viernes y S&aacute;bado Santo.</p>\n\n<p>Esta celebraci&oacute;n simboliza la oscuridad y la tristeza que lleva consigo la muerte de Cristo.</p>\n\n<p>A las 7:00 de la ma&ntilde;ana, delante del altar mayor se despliega un lienzo de color negro con una cruz roja, suspendido de las vigas de cubierta. Este lienzo estar&aacute; siempre delante del altar mayor, hasta el s&aacute;bado santo. Se retirar&aacute; parcialmente para la procesi&oacute;n del Sant&iacute;simo Sacramento.</p>\n\n<p>En la nave, en el lado de la ep&iacute;stola y frente al tenebrario, se sienta el Coro musical, a su derecha se sit&uacute;an dos m&uacute;sicos que tocan los bajones; en el lado del evangelio se sientan dos sacristanes, uno toca la campanilla y el otro apaga las velas.</p>\n\n<p>El apagado de las velas representa c&oacute;mo se apaga la vida de Cristo y se ingresa a la oscuridad. Las velas est&aacute;n colocadas en un tenebrario llamado tambi&eacute;n las Tres Mar&iacute;as, el sacrist&aacute;n encargado de apagarlas utiliza una vara, en cuyo extremo est&aacute; la talla de una mano con pintura color piel y sangre, y un brazalete celeste, que representa la mano de Judas, la cual es quemada al momento de recibir las monedas de plata por entregar a Cristo.</p>\n\n<p>La ceremonia est&aacute; acompa&ntilde;ada por el Coro Musical, con oraciones y cantos en castellano, la m&uacute;sica es interpretada utilizando: bajones, sivivire y violines, adem&aacute;s de la campanilla que anuncia el momento en que va a ser apagada una vela.</p>\n\n<p>Los Sargentos jud&iacute;os se ubican, unos detr&aacute;s de la imagen de Cristo crucificado, y otros, detr&aacute;s de la imagen de la Dolorosa, un Sargento porta la cruz que los representa, y la sujeta con un chal blanco teniendo cuidado de no tocarla con las manos por el respeto que le tienen. Con ellos tambi&eacute;n entran ni&ntilde;os y j&oacute;venes, que ayudan a portar las lanzas.</p>\n\n<p>Al finalizar la ceremonia, las personas sentadas golpean sus asientos con fuerza, la creencia indica que el esp&iacute;ritu de Cristo esta caminando por la iglesia y se golpean los asientos para que se siente, tambi&eacute;n los Sargentos jud&iacute;os golpean sus lanzas.</p>\n\n<hr />\n<p><strong>SABADO SANTO</strong></p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que los d&iacute;as anteriores.</p>\n\n<hr />\n<p><strong>Bendici&oacute;n del fuego y del agua. Celebraci&oacute;n de la Vigilia Pascual - 20: 00</strong></p>\n\n<p>Se celebra que Cristo ha vencido a la muerte, &Eacute;l es la luz que ha vencido a las tinieblas, la luz, representada por el fuego, con el que se encender&aacute; el Cirio Pascual.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado se sit&uacute;a en el altar.</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar), ahora ya no la protege el baldaquino.</p>\n\n<p>A los pies de la Virgen Dolorosa y de la base del Santo Sepulcro, se colocan recipientes de todo tipo, llenos de agua, para que esta sea bendecida.</p>\n\n<p>Las im&aacute;genes de San Juan y la Ver&oacute;nica est&aacute;n en la nave de la ep&iacute;stola, y la imagen de la Virgen Mar&iacute;a, en el lado del evangelio.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco; Sacristanes; Monaguillos; Cabildo Indigenal; Mamitas abadesas (Memes), p&uacute;blico en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana roja y sobrepelliz blanco.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo ya no lleva la camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Porta Cirio, de madera torneada, de aproximadamente 1 metro de altura.</p>\n\n<p>Cirio, hecho de cera de abejas, de aproximadamente 1 metro de altura, lleva la imagen de Cristo, los s&iacute;mbolos Alfa y Omega, y el a&ntilde;o 2024.</p>\n\n<p>Pa&ntilde;o negro con cruz roja, que cubre el altar temporal.</p>\n\n<p>Participan: P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, pueblo en general.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza el encendido de una fogata en el atrio del templo, para luego prender el Cirio Pascual con este fuego. El Cirio se lleva al interior del templo y se coloca en el porta cirio ubicado al lado izquierdo del altar. Las personas encienden sus velas con la llama del Cirio, y se celebra la misa, luego se realiza la bendici&oacute;n del agua, y finalmente la procesi&oacute;n de Cristo Resucitado.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>El p&aacute;rroco bendice el fuego que se encendi&oacute; en el atrio del templo.</li>\n\t<li>Un monaguillo sostiene el Cirio Pascual, el p&aacute;rroco recoge la brasa del fuego y prende el cirio, recibe el Cirio y se dirige al interior del templo.</li>\n\t<li>En el trayecto, el p&aacute;rroco y el coro cantan &ldquo;la luz de Cristo, gracias a Dios&rdquo;, la gente se acerca a prender sus velas desde el Cirio.</li>\n\t<li>A medida que el p&aacute;rroco avanza, las luces del templo se van encendiendo.</li>\n\t<li>El p&aacute;rroco coloca el Cirio Pascual en el porta cirios.</li>\n\t<li>Los Sacristanes devuelven sus bastones a los Caciques del Cabildo, y encienden las dos velas del altar, mientras el p&aacute;rroco hace una oraci&oacute;n, acompa&ntilde;ando por el coro del templo.</li>\n\t<li>Se hacen las lecturas del Antiguo Testamento.</li>\n\t<li>Se canta el Gloria y repican las campanillas, al mismo tiempo, en el atrio comienza a tocar la tamborita, y los Chiripier&uacute;ana, bailan. En la plaza los miembros del Cabildo hacen estallar la camareta.&nbsp;</li>\n\t<li>Se descubre el altar, retirando el pa&ntilde;o negro que lo cubr&iacute;a.</li>\n\t<li>El p&aacute;rroco hace la oraci&oacute;n, y se procede a hacer las lecturas del Nuevo Testamento, en castellano y en moje&ntilde;o.</li>\n\t<li>Despu&eacute;s de la letan&iacute;a de los Santos, acompa&ntilde;ada del coro del templo, el p&aacute;rroco bendice el agua. Es la liturgia bautismal.</li>\n\t<li>P&aacute;rroco retira el Cirio Pascual, lo presenta al Cristo Resucitado, hace una reverencia y lo coloca nuevamente en el porta cirio, luego toma el recipiente que contiene el agua bendita y comienza a bendecir a la imagen de la Virgen Dolorosa, a los recipientes de agua, y va recorriendo todo el templo a los asistentes, echando agua bendita, como una renovaci&oacute;n de los votos del bautismo. El coro del templo acompa&ntilde;a toda esta ceremonia.</li>\n\t<li>Continua la misa, el p&aacute;rroco inciensa hacia todas direcciones y luego el sacrist&aacute;n a &eacute;l, mientras el Coro Musical canta el &ldquo;Hosanna&rdquo; en castellano, acompa&ntilde;ado de sivivires y caja.</li>\n\t<li>El coro musical acompa&ntilde;a el resto de la misa, cantando &ldquo;Amen&rdquo; y &ldquo;Cordero de dios...&rdquo; acompa&ntilde;ado de sivivires y caja.</li>\n\t<li>Concluye la misa.</li>\n</ul>\n\n<hr />\n<p><strong><em>Video: Bendici&oacute;n del fuego y del agua</em></strong></p>\n\n<p><strong><em>https://www.facebook.com/100075644031143/videos/434366122661074</em></strong></p>\n\n<hr />\n<p><a href=\"https://www.facebook.com/100075644031143/videos/434366122661074\">Bendici&oacute;n del fuego y del agua</a></p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c28a1ac9-d6d0-4f45-8e54-38109c55bc2e", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "c8522a56-3b61-4a16-a91a-61a5ed47d8b2"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La m&uacute;sica es un medio que permite expresar emociones y transmitir conocimientos o experiencias. Las comunidades ind&iacute;genas la han utilizado como instrumento de preservaci&oacute;n de su cultura, trasmitiendo sus saberes de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>En la &eacute;poca prehisp&aacute;nica Mojos era una regi&oacute;n poblada por diversos grupos &eacute;tnicos de habla Arawak, con la llegada de los jesuitas a finales del siglo XVII, estos grupos son reducidos y se establecen la misiones, una de ellas es San Ignacio.</p>\n\n<p>Los sacerdotes jesuitas, recurrieron a la afici&oacute;n de los ind&iacute;genas por la m&uacute;sica y la danza, para inculcarles la religi&oacute;n cristiana y sus valores. Los moje&ntilde;os, demostraron tener gran aptitud para el aprendizaje musical, tocaban con destreza todos los instrumentos que eran tra&iacute;dos de Europa, ya fuesen de cuerda o viento, y con el tiempo tambi&eacute;n fueron capaces de construirlos.</p>\n\n<p><em>Los jesuitas ense&ntilde;aron m&uacute;sica a, los indios y pronto &eacute;stos ocuparon sus lugares en el coro, como solistas, instrumentistas, copistas, constructores de instrumentos y hasta de maestros de capilla.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>Los documentos que registran la presencia de las pr&aacute;cticas musicales y las danzas en el periodo jesuita, muestran la coexistencia de la m&uacute;sica sacra con la m&uacute;sica y danzas aut&oacute;ctonas.</p>\n\n<p>En sus escritos Alcide D&rsquo;Orbigny relata:</p>\n\n<p><em>...me sorprendi&oacute; la m&uacute;sica instrumental, plena de armon&iacute;a, en la que admir&eacute; sobre todo los bajos formados por un instrumento propio de los ind&iacute;genas, especie de flauta de Pan de uno a dos metros de largo, construida con hojas de palmeras unidas unas con otras, &hellip;</em></p>\n\n<p><em>Despu&eacute;s de la misa, los indios, tocados con una especie de aureola de plumas, y llevando cascabeles en las pantorrillas y un gran sable de madera en la mano, comenzaron al son del tambor una especie de danza religiosa y guerrera muy mon&oacute;tona, despu&eacute;s de la cual, otros sesenta indios, todos provistos de flautas de Pan de distintos tonos, desde las notas mis agudas hasta las mis graves, y acompa&ntilde;ados de flautas y tambores, salieron de la casa de un juez, se colocaron en dos filas y se pusieron a ejecutar una m&uacute;sica singular, mientras marchaban a comp&aacute;s, con paso tardo y de costado. Cada uno de los m&uacute;sicos no produc&iacute;a m&aacute;s que un n&uacute;mero muy limitado de notas, y, sin embargo, el conjunto de esos acordes completamente salvajes tenia a veces mucha armon&iacute;a. Esta comparsa se detuvo en las cuatro esquinas de la plaza para orar en las peque&ntilde;as capillas. <a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><strong>[2]</strong></a></em></p>\n\n<hr />\n<p>[[Ver foto: Misa cantada Mojos]]</p>\n\n<p>Keller, Franz. &ldquo;Misa Cantada en la Antigua misi&oacute;n de Trinidad (Mamor&eacute;)&rdquo;The Amazon and Madeira Rivers. Sketches <em>and descriptions from the Note-Book of an Explorer. </em><em>London, 1874.</em></p>\n\n<hr />\n<p><em>Las danzas aut&oacute;ctonas fueron aceptadas por los misioneros como expresi&oacute;n genuina de los pueblos a su cargo, e incorporadas oficialmente al culto religioso, especialmente en las procesiones de Corpus, fiesta de la Sant&iacute;sima Trinidad o la conmemoraci&oacute;n del d&iacute;a del Santo bajo cuya advocaci&oacute;n se hallaban las diferentes misiones. El P. Eder informa que &quot;en ciertas horas se re&uacute;nen en casa del misionero, y bailan all&iacute; y dentro del Templo&quot;, y describe los atav&iacute;os de los bailarines: &quot;Para dar m&aacute;s gracia a sus bailes, hay algunos que se ponen pieles de monos y de aves; otros llevan escudos de plumas ingeridas (cosidas) en una tela; y en ellos hay dibujadas varias figuras de animales&quot;.</em></p>\n\n<p><em>&hellip;</em></p>\n\n<p><em>Las procesiones que se originaron en festividades religiosas tales como Corpus, Epifan&iacute;a, Trinidad, Navidad, etc., ocasionaban el despliegue de intensa actividad musical, donde se daban cita cantantes, bailarines e instrumentistas y donde interven&iacute;an todos los integrantes del pueblo. <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El pueblo moje&ntilde;o mantiene viva su cultura, salvaguardando: la m&uacute;sica prehisp&aacute;nica, que hace eco y uso de la naturaleza; y la m&uacute;sica eclesial, como forma de preservar la religiosidad heredada del periodo misional.</p>\n\n<p>Las partituras que dejaron los jesuitas luego de la expulsi&oacute;n fueron celosa y cuidadosamente conservadas por el Cabildo y el pueblo mismo, la importancia de estos documentos reside en su devoci&oacute;n ya que no se concibe la adoraci&oacute;n a Dios separada de la m&uacute;sica.</p>\n\n<p>El Cabildo Indigenal, como representante de la comunidad, cuyo rol principal es difundir el patrimonio cultural moje&ntilde;o, organiza y participa con las parcialidades de los Valores Espirituales del Pueblo, en las actividades festivas donde la m&uacute;sica y la danza son el elemento fundamental.</p>\n\n<p>Los integrantes de los conjuntos musicales, tiene la responsabilidad de mostrar y transmitir estos saberes, para preservarlos a trav&eacute;s del tiempo.</p>\n\n<p>Coro Musical. Conjunto de personas que cantan y tocan instrumentos acompa&ntilde;ando todas las celebraciones importantes de San Ignacio, tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el cajane o caja (tambor).</p>\n\n<p>Tamborita. Grupo musical que toca el sivivire, el sankuti, y la tampura, interpretando ritmos alegres t&iacute;picos de la zona.</p>\n\n<p>Banda. &nbsp;&nbsp;Grupo que toca la caja y la trompeta.</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momentos se incluye dentro los ritos religiosos de Semana Santa, las canciones, la m&uacute;sica interpretadas por el Coro Musical, la tamborita y la banda; y las danzas ejecutadas por los Macheteros y los Angelitos.</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, la tamborita y la banda, y cuando se ejecutan las danzas.</u></strong></p>\n\n<hr />\n<p><strong>SABADO SANTO</strong></p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que los d&iacute;as anteriores.</p>\n\n<hr />\n<p><strong>Bendici&oacute;n del fuego y del agua. Celebraci&oacute;n de la Vigilia Pascual - 20: 00</strong></p>\n\n<p>Se celebra que Cristo ha vencido a la muerte, &Eacute;l es la luz que ha vencido a las tinieblas, la luz, representada por el fuego, con el que se encender&aacute; el Cirio Pascual.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado se sit&uacute;a en el altar.</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar), ahora ya no la protege el baldaquino.</p>\n\n<p>A los pies de la Virgen Dolorosa y de la base del Santo Sepulcro, se colocan recipientes de todo tipo, llenos de agua, para que esta sea bendecida.</p>\n\n<p>Las im&aacute;genes de San Juan y la Ver&oacute;nica est&aacute;n en la nave de la ep&iacute;stola, y la imagen de la Virgen Mar&iacute;a, en el lado del evangelio.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco; Sacristanes; Monaguillos; Cabildo Indigenal; Mamitas abadesas (Memes), p&uacute;blico en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana roja y sobrepelliz blanco.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo ya no lleva la camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Porta Cirio, de madera torneada, de aproximadamente 1 metro de altura.</p>\n\n<p>Cirio, hecho de cera de abejas, de aproximadamente 1 metro de altura, lleva la imagen de Cristo, los s&iacute;mbolos Alfa y Omega, y el a&ntilde;o 2024.</p>\n\n<p>Pa&ntilde;o negro con cruz roja, que cubre el altar temporal.</p>\n\n<p>Participan: P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, pueblo en general.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza el encendido de una fogata en el atrio del templo, para luego prender el Cirio Pascual con este fuego. El Cirio se lleva al interior del templo y se coloca en el porta cirio ubicado al lado izquierdo del altar. Las personas encienden sus velas con la llama del Cirio, y se celebra la misa, luego se realiza la bendici&oacute;n del agua, y finalmente la procesi&oacute;n de Cristo Resucitado.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>El p&aacute;rroco bendice el fuego que se encendi&oacute; en el atrio del templo.</li>\n\t<li>Un monaguillo sostiene el Cirio Pascual, el p&aacute;rroco recoge la brasa del fuego y prende el cirio, recibe el Cirio y se dirige al interior del templo.</li>\n\t<li>En el trayecto, el p&aacute;rroco y el coro cantan &ldquo;la luz de Cristo, gracias a Dios&rdquo;, la gente se acerca a prender sus velas desde el Cirio.</li>\n\t<li>A medida que el p&aacute;rroco avanza, las luces del templo se van encendiendo.</li>\n\t<li>El p&aacute;rroco coloca el Cirio Pascual en el porta cirios.</li>\n\t<li>Los Sacristanes devuelven sus bastones a los Caciques del Cabildo, y encienden las dos velas del altar, mientras el p&aacute;rroco hace una oraci&oacute;n, acompa&ntilde;ando por el coro del templo.</li>\n\t<li>Se hacen las lecturas del Antiguo Testamento.</li>\n\t<li>Se canta el Gloria y repican las campanillas, al mismo tiempo, <strong><u>en el atrio comienza a tocar la tamborita, y los Chiripier&uacute;ana, bailan</u></strong>. En la plaza los miembros del Cabildo hacen estallar la camareta.&nbsp;</li>\n\t<li>Se descubre el altar, retirando el pa&ntilde;o negro que lo cubr&iacute;a.</li>\n\t<li>El p&aacute;rroco hace la oraci&oacute;n, y se procede a hacer las lecturas del Nuevo Testamento, en castellano y en moje&ntilde;o.</li>\n\t<li>Despu&eacute;s de la letan&iacute;a de los Santos, acompa&ntilde;ada del coro del templo, el p&aacute;rroco bendice el agua. Es la liturgia bautismal.</li>\n\t<li>P&aacute;rroco retira el Cirio Pascual, lo presenta al Cristo Resucitado, hace una reverencia y lo coloca nuevamente en el porta cirio, luego toma el recipiente que contiene el agua bendita y comienza a bendecir a la imagen de la Virgen Dolorosa, a los recipientes de agua, y va recorriendo todo el templo a los asistentes, echando agua bendita, como una renovaci&oacute;n de los votos del bautismo. El coro del templo acompa&ntilde;a toda esta ceremonia.</li>\n\t<li>Continua la misa, el p&aacute;rroco inciensa hacia todas direcciones y luego el sacrist&aacute;n a &eacute;l, mientras <strong><u>el Coro Musical canta el &ldquo;Hosanna&rdquo; en castellano, acompa&ntilde;ado de sivivires y caja.</u></strong></li>\n\t<li><strong><u>El coro musical acompa&ntilde;a el resto de la misa, cantando &ldquo;Amen&rdquo; y &ldquo;Cordero de dios...&rdquo; acompa&ntilde;ado de sivivires y caja.</u></strong></li>\n\t<li>Concluye la misa.</li>\n</ul>\n\n<hr />\n<p>&nbsp;</p>\n\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Claro Samuel, La M&uacute;sica en las Misiones Jesuitas de Moxos.&nbsp; Revista Musical Chilena. Santiago, 1969. pg. 11. Ss.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> D&rsquo;ORBIGNY ALCIDES, Viaje a la Am&eacute;rica meridional, Brasil&ndash;Rep&uacute;blica del Uruguay&ndash;Rep&uacute;blica Argentina&ndash;La Patagonia&ndash;Rep&uacute;blica de Chile&ndash; Rep&uacute;blica de Bolivia&ndash;Rep&uacute;blica del Per&uacute;, realizado de 1826 a 1833. Tomo IV. pg. 1309 ss.</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Claro Samuel, op. cit., pp. 13-16</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "e6323cbf-1077-4730-847e-7aa0919f202d"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["6734af3e-4791-4d75-82c4-3fb2b73aed20"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": null, "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": null}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "bb38948a-915b-4c40-afee-1ae42e6693c2"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las t&eacute;cnicas tradicionales de fabricaci&oacute;n, en este caso de instrumentos musicales, constituyen la manifestaci&oacute;n m&aacute;s tangible del patrimonio cultural inmaterial, el conocimiento de estas pr&aacute;cticas manuales ha pasado de generaci&oacute;n en generaci&oacute;n, dentro la comunidad moje&ntilde;a conect&aacute;ndola con su pasado.</p>\n\n<p>La construcci&oacute;n y empleo de instrumentos en Mojos data de la &eacute;poca prehisp&aacute;nica, y adquiere un gran desarrollo con la llegada de los jesuitas. Este tema ha sido investigado ampliamente por el antrop&oacute;logo Richard Mujica Angulo, a continuaci&oacute;n, adjunto una breve introducci&oacute;n y la descripci&oacute;n de los instrumentos musicales utilizados en San Ignacio, temas desarrollados en su art&iacute;culo:&nbsp; <em>El &ldquo;Juramento</em><em>&rdquo; </em><em>para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos</em> que forma parte de la Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es), 2013:</p>\n\n<p><em>Una de las principales referencia a los instrumentos musicales de Mojos son las de Alcides D&rsquo;orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de &ldquo;acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a 13 tubos, actualmente se registraron bajones de 10 tubos. Gran parte de los instrumentos de Mojos son precolombinos. Estos pueblos, adem&aacute;s de contar con estos instrumentos, hac&iacute;an uso del canto. Los misioneros decidieron adoptar los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena apoyando en su lugar m&uacute;sica concertada y poemas sagrados estrictamente religiosos.</em></p>\n\n<p><strong>Descripci&oacute;n de los instrumentos</strong></p>\n\n<p><strong><em>Sivivire.</em></strong><em> El Sivivire es un instrumento aer&oacute;fono&hellip; Es una flauta de tubo con embocadura lateral 0 (clasificado como 411.2 seg&uacute;n Hornbostel-Sachs) caracter&iacute;stico en la interpretaci&oacute;n de la m&uacute;sica, emple&aacute;ndose en diferentes g&eacute;neros musicales y danzas de San Ignacio de Mojos. El instrumento tiene siete orificios: seis digitables y uno que hace de embocadura&hellip;, el extremo base presenta el orificio de salida completo, y en el otro extremo se rellena la parte frontal con cera de abeja (lado embocadura). </em></p>\n\n<p><em>Esta flauta (se toma como base de descripci&oacute;n el Sivivire de los Macheteros) es interpretada pr&aacute;cticamente en todo el calendario anual festivo del lugar. En un conjunto de m&uacute;sicos se interpreta s&oacute;lo un Sivivire y generalmente est&aacute; acompa&ntilde;ado de membran&oacute;fonos: tampura, sankuti y caja... El ejecutante por lo general es var&oacute;n, lo denominan (flautero) y es &eacute;l mismo quien construye su flauta&hellip; </em></p>\n\n<p><em>Las piezas musicales localmente son denominadas &ldquo;toque&rdquo;. Por ello cada danza tiene diferentes &ldquo;toques&rdquo; de acuerdo a la situaci&oacute;n ritual o festiva en la cual se ejecuta. </em><em>De forma general el repertorio musical de cada danza est&aacute; conformado por la marcha (de uso ritual especialmente en procesiones), el tayr&rsquo;imarapi (taquirari &ldquo;especial&rdquo;) primera pieza interpretada luego de la marcha; y finalmente, el v&rsquo;irimarapi (taquirari &ldquo;festivo&rdquo;) que se interpreta como parte de la fiesta misma. Existe una melod&iacute;a espec&iacute;fica para cada santo o virgen, el cual se marca espec&iacute;ficamente en la marcha. Respecto de esto Cirilo Yaca afirma: &ldquo;tiene que acompa&ntilde;ar a las im&aacute;genes, a los santos. Para acompa&ntilde;ar y visitar a estos ocupan la Marcha&rdquo;; por ello nos habla de un principal elemento del repertorio musical &ldquo;la marcha&rdquo; m&uacute;sica de car&aacute;cter sagrado y ritual. Otro elemento que conforma este repertorio es el &ldquo;taquirari&rdquo; (v&rsquo;irimarapi): &ldquo;el que vale m&aacute;s es el taquirari (...) se cambia el toque y se toca el taquirari en la fiesta, es m&aacute;s bonito, m&aacute;s entrador (...) la Marcha tiene un s&oacute;lo paso (...) Cada conjunto tiene su entrada [la marcha] y tiene su taquirari&rdquo;. Este el papel del instrumento, la danza y el repertorio musical de las m&uacute;sicas y danzas de Mojos.</em></p>\n\n<p><em>Los materiales empleados en la realizaci&oacute;n de instrumentos de basa en la tsakana (takuara fina o &ldquo;castilla&rdquo;), ca&ntilde;a-bamb&uacute; empleada para construirlo. Este material antiguamente se encontraba en las regiones extensas del monte; posteriormente, por causa de la expansi&oacute;n de las tierras de pastoreo que los ganaderos deciden ampliar, se reducen los lugares donde se encontraba este material. La inexistencia del material obliga a utilizar tubos pl&aacute;sticos de ca&ntilde;er&iacute;a y otros materiales como el aluminio. Por otro lado, el M&aacute;paji (Cera de Abeja), empleado para tapar el extremo de la flauta. Luego, tambi&eacute;n se presentan flautas de pl&aacute;stico de </em><em>&ldquo;</em><em>ca&ntilde;er&iacute;a&rdquo;, empleadas por la falta de la takuara tradicional. </em></p>\n\n<p><em>La elaboraci&oacute;n de este instrumento es de dominio de todo flautero y est&aacute; muy vinculado al individuo. Las t&eacute;cnicas empleadas para su elaboraci&oacute;n iniciar&iacute;an con la recolecci&oacute;n de la ca&ntilde;a: se limpia el orificio central. Se inicia la medida desde la base (cola) marcando el primer orificio digitable (dista el ancho de tres dedos). Luego, desde esta marca, se toma la medida de </em><em>&ldquo;</em><em>mi cuarta&rdquo; (distancia entre los dedos me&ntilde;ique y pulgar de la palma abierta); y se marca el orificio central digitable. Se emplea la misma medida (&ldquo;mi cuarta&rdquo;) para marcar el orificio de la embocadura o boquilla. Realizadas estas tres primeras marcas se se&ntilde;ala equidistantemente los lugares donde se realizar&aacute;n las cuatro perforaciones necesarias para la digitaci&oacute;n de la flauta&hellip; Los orificios se hacen con el tumare, un cuchillo en punta; y la emisi&oacute;n del sonido se ajusta moviendo (hacia adentro o afuera) la cera de abeja que tapa el extremo de la embocadura, s&oacute;lo la correcta posici&oacute;n permitir&aacute; la emisi&oacute;n de octavas. Por tanto, las dimensiones del Sivivire depende de dos factores: (1) la danza o </em><em>&ldquo;</em><em>toque&rdquo; que se interpretar&aacute;; y (2) las caracter&iacute;sticas corporales (la mano) del instrumentista, ya que cada qui&eacute;n busca el tama&ntilde;o m&aacute;s c&oacute;modo para su interpretaci&oacute;n.</em></p>\n\n<p><strong><em>Sankuti. </em></strong><em>Instrumento musical membran&oacute;fono elaborado en base al </em><em>&ldquo;</em><em>coraz&oacute;n</em><em> </em><em>&ldquo;del tronco de &aacute;rboles como la mara y el juchi, considerados como </em><em>&ldquo;</em><em>finos</em><em>&rdquo;</em><em> &hellip; Las membranas del sankuti (Cavour, 2010:246-247) son hechas de </em><em>&ldquo;</em><em>cuero de res&rdquo; el cual tiene mucho grosor y es cambiado eventualmente. Las correas que sujetan las membranas as&iacute; como las empleadas para colgar el instrumento en el hombro tambi&eacute;n est&aacute;n hechas del mismo cuero&hellip;</em></p>\n\n<p><em>Para ta&ntilde;er este instrumento se emplea una baqueta denominada </em><em>&ldquo;</em><em>palitoke&rdquo; que los lugare&ntilde;os traducen como </em><em>&ldquo;</em><em>Palito que se toca</em><em>&rdquo;</em><em>. Este material le otorga gran durabilidad lo que hace que sea&rdquo; heredado</em><em> </em><em>&ldquo;de un m&uacute;sico a otro, y por otro lado, se le otorga el sentido de </em><em>&ldquo;</em><em>antiguo&rdquo; ya que se afirma que </em><em>&ldquo;</em><em>el antiguo lo hicieron</em><em>&rdquo;.</em><em> </em></p>\n\n<p><em>(foto)</em></p>\n\n<p><strong><em>Kajane o Caja (Tambor). </em></strong><em>Otro instrumento membran&oacute;fono muy empleado en las danzas es la caja o tambor. Sus dimensiones promedio son de 38 cm. de di&aacute;metro por 23 cm. de altura&hellip; La caja de resonancia est&aacute; hecha en base a corteza de &aacute;rbol de toco; para su obtenci&oacute;n es perforada y luego &ldquo;cavada&rdquo; con ayuda de cinceles artesanales. El cuero utilizado en las membranas es de sullu de vaca, vale decir de la cr&iacute;a del ganado bovino10 el cual es envuelto en un aro de bejuco que le da la forma circular. Y cuenta con un sobrearo o y&rsquo;ana de casi 5 cm. de ancho hecho de madera v&rsquo;i (jianaki). En la membrana posterior se sujeta una cuerda de algod&oacute;n a manera de </em><em>&ldquo;</em><em>charlera&rdquo; para que el instrumento aumente su vibraci&oacute;n. </em></p>\n\n<p><em>Para su interpretaci&oacute;n la caja es colgada del cuerpo con ayuda de una correa hecha de cuero de res; y se hace uso del palitoki tambi&eacute;n denominado cajaneraki,11 un par de baquetas de unos 34 cm. de largo hechos de madera de gabetillo, chonta y de cuchi. En algunas ocasiones a la buena interpretaci&oacute;n de los instrumentos musicales, en especial a los membran&oacute;fonos se hace menci&oacute;n a que &quot;Se tesa con una cuerda&hellip; ya lo hace rezar</em><em>&rdquo;</em></p>\n\n<p><strong><em>Tampura (bombo).</em></strong><em> La Tampura, es el membran&oacute;fono asemejado al bombo, el cual tiene mayores dimensiones que los otros, con un di&aacute;metro de 46 cm. y 22 cm. de alto (Fotograf&iacute;a N&ordm; 7). La caja de resonancia est&aacute; hecha en base a madera blanca de toco o jocho&rsquo;o. Las membranas generalmente son de cuero de res y en algunos casos presenta inscripciones pintadas; por otro lado, indican que este cuero es del cuello de la res, el cual es curtido lav&aacute;ndolo con ceniza para </em><em>&ldquo;</em><em>que no lo cambie el sereno</em><em>&rdquo;</em><em> o sea para que no cambie el sonido. El instrumento que ayuda a su interpretaci&oacute;n es una baqueta de madera de v&rsquo;idenominadata&rsquo;earaki o tampuraraki (&ldquo;toca bombo&rdquo;), el cual mide 26,5 cm. de largo, el mango tiene 3 cm. de grosor y tiene una especie de mazo de 6 cm. de di&aacute;metro.</em></p>\n\n<p><strong><em>Chonono o cascabelana.</em></strong><em> En un idi&oacute;fono empleado por los danzantes, especialmente hombres, de cada danza&hellip; Consiste en una trozo rectangular de cuero (de 10 por 64 cm.) al cual van sujetas semillas o cascabeles; la base rectangular tiene dos tiras laterales utilizadas para amarrarlas a las piernas justo en la articulaci&oacute;n de la rodilla. En el caso de las danzas del machetero las semillas utilizadas en el chonono son de chakai y para otras danzas se emplea el naviri. Y para danzas como los toritos y ciervos se emplean cascabeles de bronce. </em></p>\n\n<p><em>Estos instrumentos acompa&ntilde;an a la m&uacute;sica d&aacute;ndole un comp&aacute;s r&iacute;tmico a partir de la danza de sus int&eacute;rpretes, esto hace referencia a que los danzantes tambi&eacute;n tienen un papel importante como interpretes del chonono.</em></p>\n\n<p><strong><em>El Baj&oacute;n.</em></strong><em> Es uno de los instrumentos musicales m&aacute;s difundidos de la regi&oacute;n, por lo cual ampliar&eacute; su descripci&oacute;n&hellip; Este instrumento aer&oacute;fono, conformado por pares (machohembra) a primera vista se parece a una especie de flauta de pan pero con boquillas de madera en cada uno de los tubos; sin embargo, se trata de unas &ldquo;trompetas m&uacute;ltiples</em><em>&rdquo;</em><em>construidas a base de varios tubos de hojas enrolladas atadas en </em><em>&ldquo;</em><em>forma de balsa o ala&rdquo;, donde cada tubo es acomodado en una sola hilera (Waisman 2002:533). </em></p>\n\n<p><em>El Baj&oacute;n est&aacute; elaborado con los siguientes materiales: Hoja de Cusi, varas de cogollo que estructuran la parte interna de cada tubo; hilo de algod&oacute;n o hilo </em><em>&ldquo;</em><em>camba</em><em>&rdquo; (</em><em>itsepite cajare) mezclada con cera (M&aacute;paji) de abeja &ldquo;se&ntilde;orita&rdquo;. Las boquillas torneadas de madera de cedro para cada tubo; donde una </em><em>&lsquo;</em><em>peineta&rdquo; </em><em>(</em><em>de 56.5 x4 cm) hecha de madera sujeta a todos los tubos (de 56.5 x 4 cm). Cada uno de los tubos tiene asignado una sigla del alfabeto grabada en la </em><em>&ldquo;</em><em>peineta&rdquo; que hace referencia a la afinaci&oacute;n de cada uno de ellos. El tubo de mayor tama&ntilde;o tiene una base de goma sujetado en la parte inferior para facilitar su apoyo en el suelo. </em></p>\n\n<p><em>Los pasos empleados para la elaboraci&oacute;n del baj&oacute;n son el armado del soporte o estructura de cogollo; enrollado o superposici&oacute;n de hojas de Cusi, atado (liado) con cordel (pita) de algod&oacute;n hilado, embadurnado con cera de abeja para fortificar el hilo y apoyar el agarre. Y se emplean herramientas como el Tumare (cuchillo) y la Capotera (aguja). </em></p>\n\n<p><em>Este instrumento musical se interpreta de mediante la </em><em>&ldquo;</em><em>t&eacute;cnica dialogada&rdquo; entre el Baj&oacute;n macho y Baj&oacute;n hembra. Vale decir que la melod&iacute;a se entreteje de forma dialogada entre los dos int&eacute;rpretes del instrumento. El sonido que emite este instrumento es grave. La forma de interpretaci&oacute;n de los bajones se basa en el soplido. Cada int&eacute;rprete sujeta el baj&oacute;n horizontalmente con ambas manos apretando los labios en la boquilla para tocarlos de forma similar a una trompeta. Sin embargo, por el tama&ntilde;o del instrumento el ejecutante no puede sujetar solo el baj&oacute;n, por ello, requiere de la ayuda de otra persona que sostenga el instrumento desde el extremo inferior.</em></p>\n\n<p><em>El baj&oacute;n tiene un rol muy reconocido como parte de la orquesta t&iacute;pica de San Ignacio, orient&aacute;ndose su interpretaci&oacute;n para acompa&ntilde;ar los c&aacute;nticos sagrados de misas, procesiones religiosas y </em><em>&ldquo;</em><em>velorios</em><em>&rdquo;</em><em> de santos y v&iacute;rgenes. Los instrumentistas o ejecutantes del baj&oacute;n son especialistas y gozan de alto prestigio en la comunidad. Los bajones actualmente son acompa&ntilde;ados por un viol&iacute;n, dos flautas, caja y tampura.</em></p>\n\n<p><em>Una de las principales referencia son las de Alcides D</em><em>&rsquo;</em><em>orbigny, qui&eacute;n en 1832 observ&oacute; estos instrumentos en grupos de hasta 90 interpretes con instrumentos en distintos tama&ntilde;os y tonos, conformado una especie de </em><em>&ldquo;</em><em>acordes&rdquo;. Seg&uacute;n estos relatos, el baj&oacute;n ten&iacute;a </em><em>13</em><em> tubos, actualmente se registraron bajones de 10 tubos. Hip&oacute;tesis no confirmadas plantean que el nombre original de este instrumento podr&iacute;a ser </em><em>&ldquo;</em><em>ippij&iacute;raseco&rdquo; aunque actualmente s&oacute;lo se emplea el nombre de Baj&oacute;n (Waisman 2002:534).</em></p>\n\n<hr />\n<p><em>[[Ver foto: Instrumentos musicales - Coro Musical]]</em></p>\n\n<hr />\n<p>&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["a0e4f8bb-9310-4344-b025-2609c8a26ec2"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "746f71e7-7991-487e-9589-cdef31d377b7"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91", "3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del patrimonio cultural inmaterial, es esencial para su salvaguarda, los medios utilizados son: la tradici&oacute;n oral, historias, conocimientos transmitidos verbalmente de generaci&oacute;n en generaci&oacute;n; usos sociales, rituales y festivos; t&eacute;cnicas artesanales tradicionales, entre otros.&nbsp;</p>\n\n<p>En San Ignacio, la transmisi&oacute;n de la lengua moje&ntilde;a se ha efectuado de padres a hijos de forma oral. La cultura moje&ntilde;a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense&ntilde;an formalmente el idioma moje&ntilde;o, como medio de salvaguardar la cultura.</p>\n\n<p>Los conocimientos de m&uacute;sica y confecci&oacute;n de instrumentos, son inculcados de maestro a aprendiz, as&iacute; es como se forman los integrantes del Coro Musical del Cabildo Indigenal, quienes deben adem&aacute;s, realizar el &ldquo;juramento&rdquo; que los marca de por vida, es el compromiso solemne de interpretar un instrumento musical y pertenecer a un grupo de danza, &nbsp;esta responsabilidad se adquiere luego que los &ldquo;taytas&rdquo; m&uacute;sicos consideran que el aprendiz est&aacute; capacitado y cumple las expectativas de interpretaci&oacute;n. La ceremonia del &ldquo;juramento&rdquo;, se realiza en el templo en ocasi&oacute;n de la festividad de la Virgen de la Candelaria, recibiendo la bendici&oacute;n del Padre. &nbsp;</p>\n\n<p><em>Los m&uacute;sicos en San Ignacio de Mojos son muy respetados y reconocidos en la comunidad al grado incluso de los Caciques. Por un lado, este prestigio se eleva cuando el int&eacute;rprete adem&aacute;s de conocer detalladamente la construcci&oacute;n de su propio instrumento tambi&eacute;n realiza otros (como es el caso de Robin Cuellar pr&aacute;cticamente uno de los pocos m&uacute;sicos que adem&aacute;s de ser violinista fabrica e interpreta los bajones) y m&aacute;s a&uacute;n si compone sus m&uacute;sicas.<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>La creaci&oacute;n de la nueva escuela de m&uacute;sica, se ha convertido en factor importante de reproducci&oacute;n de la tradici&oacute;n musical moje&ntilde;a, adem&aacute;s de proveer oportunidades de conseguir un t&iacute;tulo profesional. El objetivo no es solamente recuperar la m&uacute;sica legado de la &eacute;poca misional y prehisp&aacute;nica, sino de proponer nueva m&uacute;sica popular.</p>\n\n<p>La m&uacute;sica que los ancianos ense&ntilde;an es m&aacute;s que todo religiosa, en cambio en la escuela se abarca un amplio espectro de estilos. Actualmente la escuela acoge a m&aacute;s de 300 alumnos en diferentes especialidades instrumentales.</p>\n\n<p>La participaci&oacute;n activa de la poblaci&oacute;n en las festividades religiosas es un reflejo del valor que se les atribuye. Desde los ancianos hasta los ni&ntilde;os, la poblaci&oacute;n moje&ntilde;a se involucra, esto es crucial para la transmisi&oacute;n de valores y la preservaci&oacute;n de las tradiciones.</p>\n\n<p>La transmisi&oacute;n de saberes y costumbres tiene tambi&eacute;n una base material, la que es indispensable para el mantenimiento de la manifestaci&oacute;n, sin duda, el&nbsp;objeto material&nbsp;es un testigo valioso y un documento que refleja el sentimiento colectivo de una sociedad. Como receptor y transmisor de m&uacute;ltiples significados culturales, est&aacute; arraigado en un tiempo y un espacio espec&iacute;ficos, su existencia nos conecta con la historia, las tradiciones y las creencias de quienes lo crearon y utilizaron. La tradici&oacute;n del uso de estos objetos se pasa entre generaciones y es promovido especialmente por el Cabildo Indigenal.&nbsp; Entre estos objetos destacan: el tocado de plumas de los Macheteros, sus machetes de madera; las im&aacute;genes religiosas; los instrumentos musicales; la vestimenta del Cabildo, Memes, Angelitos y Sargentos Jud&iacute;os, entre otros.</p>\n\n<p>Las danzas en San Ignacio poseen elementos simb&oacute;licos y rituales que se relacionan con un pasado hist&oacute;rico m&aacute;s extenso, incluso anterior a la llegada de los jesuitas. Estas danzas son expresi&oacute;n de la identidad cultural, que se transfirie de modo informal mediante la pr&aacute;ctica, la observaci&oacute;n y la imitaci&oacute;n, dentro la comunidad, y se conserva casi sin modificaciones.</p>\n\n<p>En las ceremonias de la festividad, especialmente en las procesiones, los mayores hacen referencia a la importancia de la participaci&oacute;n de los j&oacute;venes y ni&ntilde;os, el objetivo es que puedan aprender y dar continuidad a sus tradiciones, para que pervivan en el tiempo. Existe un sentimiento muy importante de aprecio de los mayores por la participaci&oacute;n de los ni&ntilde;os.</p>\n\n<p>Los Santos Varones y los miembros del Cabildo son los encargados de transmitir la memoria viva, los conocimientos y procedimientos que son parte de la celebraci&oacute;n de Semana Santa.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento&rdquo; para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "cca84d0a-1742-41b9-ae38-d2b6a43a6433"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>El patrimonio inmaterial est&aacute; expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici&oacute;n, por lo que est&aacute; sujeto a cambios y evoluciones.</p>\n\n<p>V&iacute;ctor Hugo limpias en su art&iacute;culo: Lo Infernal, lo Terrenal y lo Celestial en la Misi&oacute;n de Moxos<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\">[1]</a>, menciona las descripciones de Francisco J. Eder en 1772, sobre las ceremonias celebradas en Semana Santa:</p>\n\n<p><em>&ldquo;&hellip;Los d&iacute;as de la Semana Santa comienzan el Domingo de Ramos, con la procesi&oacute;n acostumbrada. Los d&iacute;as restantes todo se celebra con una exactitud tan grande, que no falta nada&hellip;Los tres d&iacute;as se entona el Oficio de Tinieblas; luego, la pasi&oacute;n en su lengua. Todos los indios visten de estricto negro desde el Mi&eacute;rcoles de Ceniza hasta el d&iacute;a de Pascua. Durante este periodo ni siquiera las mujeres utilizan el menor adorno. El Jueves Santo tiene lugar el tradicional lavatorio de los pies y la cena con doce indios. Pero nada dice tanto a favor de los indios como el silencio y la aplicaci&oacute;n en la procesi&oacute;n (del)&hellip; Viernes Santo, a los que contribuyen mucho la m&uacute;sica triste, la viveza de la escenograf&iacute;a con las estatuas&hellip; que representan los misterios del Se&ntilde;or&hellip; as&iacute; como los cantos que se repiten en cada parada...&rdquo; </em></p>\n\n<p>Francisco J. Eder, hace referencia tambi&eacute;n a las sangrientas flagelaciones que se infring&iacute;an los ind&iacute;genas tanto hombres como mujeres el d&iacute;a de Viernes Santo, si bien eran expresiones teatrales, estas eran exageradas e incluso implicaban a ni&ntilde;os, quienes llevaban sogas al cuello y coronas de espinas en la cabeza. &nbsp;As&iacute; mismo relata que la fiesta de Corpus Christi, era la de mayor alarde ornamental, donde los altares son adornados con hermosas palmas y flores, y que se hac&iacute;a explotar un peque&ntilde;o ca&ntilde;oncito delante de cada altar, los adornos del templo y la m&uacute;sica selecta, banderas de seda y los arcos triunfales le recordaban a Europa.</p>\n\n<p>Tomando como referencia estas descripciones se observa que, en la actualidad, la vestimenta de color negro se mantiene en los Sargentos jud&iacute;os y los Hermanos de la Pasi&oacute;n de Cristo, las Mamitas Abadesas cambian los colores de su tipoi, utilizan el blanco o morado y el negro &uacute;nicamente el Viernes Santo, mientras que los miembros del Cabildo visten siempre de blanco.</p>\n\n<p>El Oficio de Tinieblas, se sigue celebrando durante tres d&iacute;as, en la misa se lee la segunda lectura en lengua moje&ntilde;a, la ceremonia del lavatorio de los pies y la Ultima Cena se realiza con la participaci&oacute;n del Cabildo Indigenal, tal como se hac&iacute;a &nbsp;en el siglo XVIII.</p>\n\n<p>Las costumbres de Corpus Christi descritas por el jesuita, son muy similares a las que observamos hoy en Semana Santa, la profusa ornamentaci&oacute;n de altares, con flores (en su mayor&iacute;a con flores artificiales), y la explosi&oacute;n de un peque&ntilde;o ca&ntilde;&oacute;n, seria hoy la explosi&oacute;n de la &ldquo;camareta&rdquo;, la m&uacute;sica solemne es interpretada por la&nbsp; banda y por la tamborita de los Sargentos Jud&iacute;os, aunque tambi&eacute;n se interpreta m&uacute;sica alegre en el alba del Domingo de Resurrecci&oacute;n cuando se celebra el encuentro del Se&ntilde;or Resucitado con su Madre, ese momento de alegr&iacute;a cuando la banda toca y la im&aacute;genes se saludan y bailan, es una de las escenas m&aacute;s conmovedoras de la festividad.</p>\n\n<p>Algunos cambios se han observado en relaci&oacute;n a lo registrado el a&ntilde;o 2010, por la Direcci&oacute;n General de Patrimonio Cultural del Ministerio de Culturas, estos se describen a continuaci&oacute;n:</p>\n\n<ul>\n\t<li>En el centro del Cabildo se colocan dos mesas largas, en una mesa se instalan las autoridades ediles y del consejo, (esto desde el 2023), y en la otra los 12 ap&oacute;stoles representados por el Cabildo y el P&aacute;rroco en la cabecera.</li>\n\t<li>Se ha modificado tambi&eacute;n el d&iacute;a en que se instala el tel&oacute;n negro que cubre el altar y lleva una cruz roja al centro, que corresponde a &ldquo;Las Tinieblas&rdquo;, en 2010 se lo hac&iacute;a el Mi&eacute;rcoles Santo, en 2024 se coloca este tel&oacute;n el Lunes Santo.</li>\n\t<li>En el alba del Domingo de Resurrecci&oacute;n, cuando los Macheteros bailan en el atrio, en 2010 se registra que lo hacen acompa&ntilde;ados por los Toritos, mientras que, en 2024, los acompa&ntilde;an danzando los Angelitos.</li>\n</ul>\n\n<p>Se puede afirmar entonces, que las ceremonias celebradas en Semana Santa no han cambiado notoriamente desde el siglo XVIII hasta ahora, y se ha mantenido lo m&aacute;s significativo, que es la participaci&oacute;n de todos los miembros de la sociedad moje&ntilde;a, y el resguardo de su tradiciones, de la mano del Cabildo Indigenal.</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> Memoria del V encuentro internacional del barroco. Visi&oacute;n Cultural. 2010.</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "8783a625-524d-432a-9557-2386a702499b"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El patrimonio inmaterial transmitido de generaci\u00f3n en generaci\u00f3n, por la memoria viva de la comunidad, esta expuesto a selecciones y redefiniciones, basadas en las experiencias vividas por los portadores de la tradici\u00f3n y son confirmadas y revitalizadas en el presente. En San Ignacio de Mojos, la transmisi\u00f3n de tradiciones y costumbres ha conseguido salvaguardar el Patrimonio Cultural Inmaterial. Los portadores de la tradici\u00f3n desempe\u00f1an un papel crucial al confirmar y revitalizar estas pr\u00e1cticas en el presente. El \u00e9xito de la preservaci\u00f3n se basa en: Participaci\u00f3n de Ni\u00f1os y J\u00f3venes. Al involucrar a ni\u00f1os y j\u00f3venes en las festividades, se asegura que adquieran habilidades y saberes ancestrales. Esto garantiza la continuidad de las costumbres al transferir conocimientos de una generaci\u00f3n a otra. Transmisi\u00f3n desde la Infancia. La transmisi\u00f3n comienza desde temprana edad, lo que permite que los ni\u00f1os internalicen las tradiciones y se conviertan en futuros portadores. La participaci\u00f3n activa en rituales y pr\u00e1cticas culturales refuerza su identidad cultural. Sostenibilidad y Adaptaci\u00f3n. La transmisi\u00f3n de tradiciones, no implica una mera repetici\u00f3n, sino tambi\u00e9n adaptaci\u00f3n. Los portadores de la tradici\u00f3n han mantenido la autenticidad, pero tambi\u00e9n han permitido que evolucione para seguir siendo relevante. Existe un esfuerzo organizado de la comunidad y el Plan Misiones para preservar el patrimonio cultural, con este objetivo se est\u00e1 efectuando la elaboraci\u00f3n de registros del patrimonio cultural, material e inmaterial, como instrumento de salvaguardia de estos acervos.  La comunidad se apoya en el Cabildo Indigenal como responsable del mantenimiento y perpetuaci\u00f3n del conjunto de c\u00f3digos relacionados con la celebraci\u00f3n de las festividades. Estas manifestaciones siguen uniendo a sus miembros y reforzando sus lazos identitarios, los cuales pueden verse debilitados por los procesos de transculturaci\u00f3n a los que todas las comunidades est\u00e1n expuestas en la actualidad. En San Ignacio, la transmisi\u00f3n de la lengua moje\u00f1a se ha efectuado de padres a hijos de forma oral. La cultura moje\u00f1a es rica en leyendas, mitos y cuentos, por lo que es imprescindible registrarla y transmitirla a las nuevas generaciones. Actualmente se imparte cursos que ense\u00f1an formalmente el idioma moje\u00f1o, como medio de salvaguardar la cultura.  La creaci\u00f3n de la nueva escuela de m\u00fasica, se ha convertido en factor importante de reproducci\u00f3n de la tradici\u00f3n musical moje\u00f1a, adem\u00e1s de proveer oportunidades de conseguir un t\u00edtulo profesional. El objetivo no es solamente recuperar la m\u00fasica legado de la \u00e9poca misional y prehisp\u00e1nica, sino de proponer nueva m\u00fasica popular.  La confecci\u00f3n de instrumentos, es tambi\u00e9n parte de los conocimientos que se han transmitido por generaciones, y se han ido mejorando con el tiempo. Aunque actualmente la mayor\u00eda de los instrumentos son importados.   La Semana Santa es proclive a preservarse y transmitirse, por su car\u00e1cter festivo e interactivo, con la realizaci\u00f3n de bailes, danzas, ceremonias religiosas, representaciones esc\u00e9nicas, m\u00fasica, etc. Es gracias a la relaci\u00f3n del Cabildo con la comunidad que estas manifestaciones se han adaptado con facilidad a los modos de vida actual, y se mantienen como escenarios de encuentro y convivencia, del pueblo moje\u00f1o."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "993f63f2-9092-4391-83c5-4b69807dd79f"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las&nbsp;tradiciones y expresiones orales, transmitidas de generaci&oacute;n en generaci&oacute;n como parte de la memoria colectiva de la comunidad, forman parte fundamental del&nbsp;patrimonio cultural inmaterial.</p>\n\n<p>Los pueblos aut&oacute;ctonos de la regi&oacute;n moje&ntilde;a, antes de pertenecer a las reducciones jesu&iacute;ticas, hac&iacute;an uso del canto y usaban sus propios instrumentos, en rituales de car&aacute;cter m&iacute;tico. Los misioneros adoptaron los instrumentos musicales modific&aacute;ndolos a pautas europeas; pero se rechaz&oacute; la m&uacute;sica vocal ind&iacute;gena, ense&ntilde;ando en su lugar m&uacute;sica y poemas sagrados estrictamente religiosos.</p>\n\n<p>Las tradiciones del antiguo pueblo misional de San Ignacio de Mojos se conservan hasta hoy, gracias a su gente, que mantiene con mucho orgullo y esfuerzo sus costumbres y ceremonias. Dentro de estas arraigadas tradiciones, est&aacute; la celebraci&oacute;n de Semana Santa, que como en otras latitudes, se festeja durante diez d&iacute;as, comenzando con el Viernes de Dolores, y concluyendo en el Domingo de Resurrecci&oacute;n. Las ceremonias de esta festividad, siguen pr&aacute;cticamente los mismos ritos establecidos por la religi&oacute;n cristiana, pero en sincretismo con la cultura del lugar, por medio de la inclusi&oacute;n del idioma moje&ntilde;o, que est&aacute; presente en ciertos momentos de las celebraciones, as&iacute; como la inserci&oacute;n de m&uacute;sica y bailes propios.</p>\n\n<p>La lengua que se habla en San Ignacio de Mojos, es el castellano, pero se conserva todav&iacute;a la lengua Moje&ntilde;a Ignaciana, que corresponde a la familia ling&uuml;&iacute;stica Arawak, y se hace presente especialmente en la celebraci&oacute;n de la misa cuando se hace la segunda lectura del evangelio.</p>\n\n<p>El canto del Coro Musical, es parte infaltable de la misa y las procesiones, interpretando canciones religiosas acompa&ntilde;ado por sus instrumentos, si bien las canciones son interpretadas en castellano ya forman parte de su tradici&oacute;n. El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor).</p>\n\n<p>A continuaci&oacute;n, se detalla que d&iacute;as y en qu&eacute; momento se incluye dentro los ritos religiosos, la lengua moje&ntilde;a, y las canciones religiosas en castellano:</p>\n\n<p><strong><u>Se marca con negrita y subrayado, los momentos en los que interviene el Coro Musical, y cuando se hacen las lecturas en lengua moje&ntilde;a:</u></strong></p>\n\n<hr />\n<p><strong>SABADO SANTO</strong></p>\n\n<p><strong>Celebraci&oacute;n de Las Tinieblas - 9:00&nbsp; </strong></p>\n\n<p>Se realiza la celebraci&oacute;n de la misma manera que los d&iacute;as anteriores.</p>\n\n<hr />\n<p><strong>Bendici&oacute;n del fuego y del agua. Celebraci&oacute;n de la Vigilia Pascual - 20: 00</strong></p>\n\n<p>Se celebra que Cristo ha vencido a la muerte, &Eacute;l es la luz que ha vencido a las tinieblas, la luz, representada por el fuego, con el que se encender&aacute; el Cirio Pascual.</p>\n\n<p><strong>Lugar:</strong> Se realiza en el atrio del templo.</p>\n\n<p><strong>Ubicaci&oacute;n de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado se sit&uacute;a en el altar.</p>\n\n<p>La imagen de la Dolorosa, tambi&eacute;n sobre el anda, se ubica en el lado de la ep&iacute;stola, (lado derecho, mirando de frente al altar), ahora ya no la protege el baldaquino.</p>\n\n<p>A los pies de la Virgen Dolorosa y de la base del Santo Sepulcro, se colocan recipientes de todo tipo, llenos de agua, para que esta sea bendecida.</p>\n\n<p>Las im&aacute;genes de San Juan y la Ver&oacute;nica est&aacute;n en la nave de la ep&iacute;stola, y la imagen de la Virgen Mar&iacute;a, en el lado del evangelio.</p>\n\n<p><strong>Vestimenta de las im&aacute;genes</strong></p>\n\n<p>La imagen del Cristo resucitado con t&uacute;nica blanca, cinto y manto rojo, lleva en la mano izquierda un estandarte de color rojo con bordados dorados.</p>\n\n<p>La Virgen Dolorosa con vestido blanco y manto negro, sujeta con las manos un pa&ntilde;o de color morado.</p>\n\n<p>La Ver&oacute;nica, con vestido rosado y manto transparente con bordados, sostiene en las manos un lienzo con el rostro de Cristo.</p>\n\n<p>La Virgen Mar&iacute;a, con vestido blanco y manto celeste, sostiene en las manos un pa&ntilde;o blanco.</p>\n\n<p>San Juan, con t&uacute;nica y manto rojo, con nimbo; con las manos cruzadas y las palmas hacia arriba.</p>\n\n<p><strong>Participan</strong></p>\n\n<p>P&aacute;rroco; Sacristanes; Monaguillos; Cabildo Indigenal; Mamitas abadesas (Memes), p&uacute;blico en general.</p>\n\n<p><strong>Vestimenta</strong></p>\n\n<p>P&aacute;rroco con alba y estola de color blanco.</p>\n\n<p>Sacristanes, con sotana roja y sobrepelliz blanco.</p>\n\n<p>Monaguillos de blanco.</p>\n\n<p>Cabildo ya no lleva la camijeta.</p>\n\n<p>Memes de blanco.</p>\n\n<p><strong>Instrumentos</strong></p>\n\n<p>Coro del templo: Guitarra, tambor, pandereta.</p>\n\n<p><strong>Elementos destacados</strong></p>\n\n<p>Porta Cirio, de madera torneada, de aproximadamente 1 metro de altura.</p>\n\n<p>Cirio, hecho de cera de abejas, de aproximadamente 1 metro de altura, lleva la imagen de Cristo, los s&iacute;mbolos Alfa y Omega, y el a&ntilde;o 2024.</p>\n\n<p>Pa&ntilde;o negro con cruz roja, que cubre el altar temporal.</p>\n\n<p>Participan: P&aacute;rroco, Sacristanes, monaguillos, Cabildo indigenal, Memes, Macheteros o Chiripier&uacute;ana, pueblo en general.</p>\n\n<p><strong>Actividades</strong></p>\n\n<p>Se realiza el encendido de una fogata en el atrio del templo, para luego prender el Cirio Pascual con este fuego. El Cirio se lleva al interior del templo y se coloca en el porta cirio ubicado al lado izquierdo del altar. Las personas encienden sus velas con la llama del Cirio, y se celebra la misa, luego se realiza la bendici&oacute;n del agua, y finalmente la procesi&oacute;n de Cristo Resucitado.</p>\n\n<p><strong>Secuencia</strong></p>\n\n<ul>\n\t<li>El p&aacute;rroco bendice el fuego que se encendi&oacute; en el atrio del templo.</li>\n\t<li>Un monaguillo sostiene el Cirio Pascual, el p&aacute;rroco recoge la brasa del fuego y prende el cirio, recibe el Cirio y se dirige al interior del templo.</li>\n\t<li>En el trayecto, el p&aacute;rroco y el coro cantan &ldquo;la luz de Cristo, gracias a Dios&rdquo;, la gente se acerca a prender sus velas desde el Cirio.</li>\n\t<li>A medida que el p&aacute;rroco avanza, las luces del templo se van encendiendo.</li>\n\t<li>El p&aacute;rroco coloca el Cirio Pascual en el porta cirios.</li>\n\t<li>Los Sacristanes devuelven sus bastones a los Caciques del Cabildo, y encienden las dos velas del altar, mientras el p&aacute;rroco hace una oraci&oacute;n, acompa&ntilde;ando por el coro del templo.</li>\n\t<li>Se hacen las lecturas del Antiguo Testamento.</li>\n\t<li>Se canta el Gloria y repican las campanillas, al mismo tiempo, en el atrio comienza a tocar la tamborita, y los Chiripier&uacute;ana, bailan. En la plaza los miembros del Cabildo hacen estallar la camareta.&nbsp;</li>\n\t<li>Se descubre el altar, retirando el pa&ntilde;o negro que lo cubr&iacute;a.</li>\n\t<li>El p&aacute;rroco hace la oraci&oacute;n, y<strong><u> se procede a hacer las lecturas del Nuevo Testamento, en castellano y en moje&ntilde;o.</u></strong></li>\n\t<li>Despu&eacute;s de la letan&iacute;a de los Santos, acompa&ntilde;ada del coro del templo, el p&aacute;rroco bendice el agua. Es la liturgia bautismal.</li>\n\t<li>P&aacute;rroco retira el Cirio Pascual, lo presenta al Cristo Resucitado, hace una reverencia y lo coloca nuevamente en el porta cirio, luego toma el recipiente que contiene el agua bendita y comienza a bendecir a la imagen de la Virgen Dolorosa, a los recipientes de agua, y va recorriendo todo el templo a los asistentes, echando agua bendita, como una renovaci&oacute;n de los votos del bautismo. El coro del templo acompa&ntilde;a toda esta ceremonia.</li>\n\t<li>Continua la misa, el p&aacute;rroco inciensa hacia todas direcciones y luego el sacrist&aacute;n a &eacute;l, mientras <strong><u>el Coro Musical canta el &ldquo;Hosanna&rdquo; en castellano, acompa&ntilde;ado de sivivires y caja.</u></strong></li>\n\t<li><strong><u>El coro musical acompa&ntilde;a el resto de la misa, cantando &ldquo;Amen&rdquo; y &ldquo;Cordero de dios...&rdquo; acompa&ntilde;ado de sivivires y caja.</u></strong></li>\n\t<li>Concluye la misa.</li>\n</ul>\n\n<p>&nbsp;</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["d2a24278-85f8-422d-85c6-24e4009f191f", "b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "c6c1e775-adbe-4c9a-a064-a02cc7423f39"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["9c539c14-ff65-4565-85a2-2268e4fe36ed", "bf356c16-8705-42f9-8947-6abf28e51a73", "ac9bf7d5-5ebe-428c-b88f-bb7b2f644a87"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": "<p>Las formas tradicionales de organizaci&oacute;n socio cultural se sustentan en valores comunes establecidos y creencias compartidas, apoyadas por estructuras jer&aacute;rquicas, donde la transmisi&oacute;n oral de conocimientos se realiza de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>El Cabildo Indigenal es la organizaci&oacute;n m&aacute;s representativa y reconocida de la sociedad moje&ntilde;a, desde sus inicios hasta la actualidad.</p>\n\n<p>El origen del Cabildo se remonta a los reinos hisp&aacute;nicos del siglo XV, que luego de establecerse en Am&eacute;rica cumplieron un rol importante en las reducciones jesu&iacute;ticas de Mojos desde principios del siglo XVIII, con el fin de reforzar los puntos d&eacute;biles en las misiones jesu&iacute;ticas, que albergaban a miles de ind&iacute;genas de diferentes etnias, agrupados en una sola doctrina.</p>\n\n<p>Los cabildos fueron una parte esencial en los antiguos pueblos misionales, cumpliendo roles de gobierno local y manteniendo una estrecha relaci&oacute;n con la iglesia. Aquellos que formaban parte de esta instituci&oacute;n no solo administraban justicia y gestionaban los recursos de la comunidad, sino que tambi&eacute;n se encargaban de transmitir a las generaciones futuras sus conocimientos y responsabilidades. Esta transmisi&oacute;n de saberes y pr&aacute;cticas era fundamental para preservar la cohesi&oacute;n social y cultural, y se compart&iacute;a ampliamente con la comunidad, asegurando as&iacute; la continuidad de las tradiciones y valores que sustentaban la vida en los pueblos misionales. Los oficios y cargos que eran parte de su estructura estaban ocupados por m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes y otros, que se constituyeron en las diversas parcialidades que conformaban el Cabildo.</p>\n\n<p><em>La religi&oacute;n era la esencia en las poblaciones, la iglesia o templo era el edificio central de instrucci&oacute;n cristiana, junto con la casa del cabildo, donde se reun&iacute;an las autoridades elegidas, cargo que desempe&ntilde;aban por el periodo de un a&ntilde;o, &ldquo;quien el a&ntilde;o anterior hab&iacute;a cumplido con diligencia su cargo, era ascendido, quien no, deb&iacute;a hacer m&eacute;ritos para permanecer o llegar ejercer otro cargo (Eder, 1985: 362).<a href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"><strong>[1]</strong></a></em></p>\n\n<p>En el siglo XVIII, exist&iacute;an 21 reducciones, cada una estaba representada por un Cabildo con oficios como m&uacute;sicos, talladores, maestros de capilla, justicias, capitanes, entre otros, los que constituyeron las parcialidades del pueblo. Estos representantes gracias a su trabajo y dedicaci&oacute;n llegaron a gozar de gran prestigio, conformando una especie de &eacute;lite ind&iacute;gena, lo que deriv&oacute; en que la sociedad reduccional se dividiera en dos: la Familia, (miembros del Cabildo, los asistentes religiosos y los que ejerc&iacute;an alg&uacute;n oficio en las parcialidades y el templo, la escuela o los talleres), y el Pueblo, (los dem&aacute;s habitantes de la reducci&oacute;n).</p>\n\n<p>Los cargos del Cabildo estaban especificados en las <em>Leyes de las Reducciones y Pueblo de Indios</em>, que ordenaban la existencia de un indio Sacrist&aacute;n y dos o tres cantores, para la atenci&oacute;n del templo, y las ceremonias religiosas: &ldquo;<em>En todos los pueblos que pasaren de cien indios, haya dos o tres cantores, y en cada reducci&oacute;n un Sacrist&aacute;n, que tenga cuidado de guardar los ornamentos, y barrer la iglesia (Ley VI, Libro VI, Ti. III).&rdquo;</em><a href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"><em><strong>[2]</strong></em></a></p>\n\n<p>Tambi&eacute;n estas Leyes mencionan la necesidad que los ind&iacute;genas cumplan funciones de gobierno pol&iacute;tico, como alcaldes y regidores, que son las autoridades m&aacute;s importantes&nbsp; del pueblo:<em> &ldquo;Ordenamos que, en cada pueblo y reducci&oacute;n, haya un alcalde indio de la misma reducci&oacute;n, y si pasare de ochenta casas, dos alcaldes, y dos regidores, tambi&eacute;n indios, y aunque el pueblo sea muy grande, no haya m&aacute;s que dos alcaldes y cuatro regidores, los cuales han de elegir por a&ntilde;o nuevo otros, como se practica en los pueblos de espa&ntilde;oles en indios, en presencia de los curas (Libro VI, T&iacute;tulo III, Ley XV).&rdquo;</em><em> <a href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"><strong>[3]</strong></a></em></p>\n\n<p>El cabildo ya no desempe&ntilde;a funciones pol&iacute;ticas o administrativas como lo hizo en las reducciones jesu&iacute;ticas de los siglos XVII y XVIII, ya que fueron reemplazados por las instituciones republicanas. Sin embargo, desde finales del siglo XX, los cabildos se han restablecido con el prop&oacute;sito de mantener la representatividad de la comunidad, preservar las tradiciones culturales y religiosas, y proteger el patrimonio cultural. Adem&aacute;s, han tomado medidas para defender el territorio frente a la explotaci&oacute;n de empresas madereras y ganaderas.</p>\n\n<p><em>&nbsp;&ldquo;&hellip;Actualmente, siguiendo los criterios jesu&iacute;ticos el Cabildo Indigenal est&aacute; compuesto por &ldquo;un Capital Grande, dos caciques, dos intendentes, cuatro alf&eacute;reces, dos fiscales, dos polic&iacute;as, once comisarios, un camaretero y un secretario (Eyzaguirre 2012:55) cada uno lleva sus propias funciones en sus distintas &aacute;reas. Al Corregidor tradicionalmente se le denomina Tayta&oacute;Tata(persona sabia), quien integra a los sectores, organizaciones, instituciones y familias, el que encierra el respeto y educaci&oacute;n heredada por la cultura de los abuelos. El Cabildo no percibe ning&uacute;n ingreso, el Corregidor no tiene sueldo, por lo que muchas no todas las personas asumen la responsabilidad de este cargo, y por otro lado, el Corregidor debe ser una persona mayor de entre 40 a 50 a&ntilde;os, como garant&iacute;a de su responsabilidad (Parroquias de Mojos 1988:32). La autoridad del Corregidor es elegida en una gran reuni&oacute;n del Cabildo Indigenal incluyendo la participaci&oacute;n de las agrupaciones de las Danzas e incluso personas de las comunidades; esta es una pr&aacute;ctica que la realiza el cabildo sin ninguna intromisi&oacute;n de la junta la prefectura, subprefectura, Comit&eacute;s C&iacute;vicos u otros.&rdquo;<a href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"><strong>[4]</strong></a></em></p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo de San Ignacio de Mojos, actualmente cuenta con un espacio o centro de reuniones para la poblaci&oacute;n, &eacute;sta edificaci&oacute;n se ubica detr&aacute;s del templo misional: <em>La distribuci&oacute;n espacial del cabildo expresa el rol importante que tienen sus representantes en las sillas principales se sientan las Autoridades principales del Cabildo: Corregidor, Representante, Capit&aacute;n Grande, Cacique e Intendente, detr&aacute;s es las autoridades se ubica el Coro Musical de la Iglesia, al lado izquierdo de las sillas de las autoridades, se encuentran los Pasados que son los ex-caciques y Ex-Corregidores, al lado derecho se ubican el Polic&iacute;a, Comisario, Alf&eacute;rez y el Camaretero; m&aacute;s all&aacute;, sobre el mismo lado derecho, se sientan los Perpetuos y, en el mismo lado, las Mamitas Abadesas. </em></p>\n\n<hr />\n<p>[[Ver foto: Distribuci&oacute;n espacial - Cabildo indigenal]]</p>\n\n<hr />\n<p><em>De frente a las Autoridades del Cabildo se encuentra el altar donde se encuentran las im&aacute;genes de los Santos; al lado derecho del altar se colocan los bastones de mando que llevan las autoridades, luego se ubican otro grupo de Mamitas Abadesas y al continuaci&oacute;n los Chiripier&uacute;ana(macheteros).<a href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"><strong>[5]</strong></a></em></p>\n\n<p>El Cabildo de San Ignacio de Mojos posee personer&iacute;a jur&iacute;dica como organizaci&oacute;n, su rol principal es mantener sus tradiciones y dar continuidad a la cultura moje&ntilde;a, organizar todas las actividades festivas, y tienen competencia sobre diversos asuntos del pueblo.</p>\n\n<p>La composici&oacute;n del Cabildo es la siguiente:</p>\n\n<hr />\n<p>[[ Ver foto: Composicion del Cabildo]].</p>\n\n<hr />&nbsp;\n<p>El Cabildo est&aacute; presente y es parte de la organizaci&oacute;n de las festividades, gracias a su pervivencia se ha logrado conservar el patrimonio cultural material e inmaterial, ya que son celosos guardianes de su acervo, evitando adem&aacute;s las influencias for&aacute;neas o renovaciones culturales.</p>\n\n<p>Las agrupaciones que participan en la festividad de Semana Santa, que son parte inherente al Cabildo son:</p>\n\n<p><strong>SARGENTOS JUD&Iacute;OS</strong></p>\n\n<p>Los Sargentos Jud&iacute;os forman parte de la parcialidad de los valores espirituales del pueblo, son identificados como el pueblo jud&iacute;o, y al mismo tiempo representan a los soldados romanos que persiguieron y apresaron a Cristo.</p>\n\n<p><em>Estos personajes acompa&ntilde;an el desarrollo de casi toda la conmemoraci&oacute;n de la Semana Santa, hasta la muerte de Cristo; el rol de los Sargentos Jud&iacute;os es principal ya que hacen a una representaci&oacute;n militar que resguarda el orden, respeto y cuidado, controlan que se cumplan las prohibiciones; anta&ntilde;o el cumplimiento del ayuno, la restricci&oacute;n del encendido del fuego y el uso del agua, las que se hac&iacute;an cumplir de manera estricta, la falta a estas contravenciones era sancionada con &ldquo;huasca&rdquo;, latigazos a los infractores.</em></p>\n\n<p><em>La parcialidad de los Sargentos Jud&iacute;os, contempla en su interior rangos desde el nivel m&aacute;s inferior hasta el grado de Comisario. </em></p>\n\n<p><em>En la Semana Santa, cada d&iacute;a se turnan en el resguardo de la Cruz, para la cual se eligen responsables, llevar esta cruz es un reconocimiento de prestigio.<a href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"><strong>[6]</strong></a></em></p>\n\n<p>Su vestimenta consiste en: un traje negro, camisa blanca, bonete bordado con encaje blanco, llevan en las manos lanzas y blasones con las figuras que representan la pasi&oacute;n de Cristo. Uno de ellos porta la cruz que los representa, y a la que tienen gran respeto, por lo que la sujetan con un chal blanco teniendo cuidado de no tocarla con las manos. Esta cruz es de color negro, en la que se observa seis c&iacute;rculos plateados con cruces hechas con la bandera nacional, un c&iacute;rculo en la intersecci&oacute;n muestra el Sagrado coraz&oacute;n, y en la parte superior la tablilla de INRI.</p>\n\n<p>Las lanzas llevan los s&iacute;mbolos de la pasi&oacute;n de Cristo, y est&aacute;n <em>hechas </em>de madera marayau y la parte superior de madera jata.</p>\n\n<p><strong>LAS MAMITAS ABADESAS (MEMES)</strong></p>\n\n<p>Las Mamitas Abadesas o Memes, forman parte de la parcialidad de los valores espirituales del pueblo.</p>\n\n<p><em>Para ser Mamita abadesa existen ciertos requisitos, entre ellos est&aacute; el de tener m&aacute;s de cincuenta a&ntilde;os, estar &ldquo;bien casada&rdquo; o ser viuda, tener &ldquo;todos los hijos fuera de la casa&rdquo;, que no tenga ninguna</em> <em>trabajo y s&oacute;lo se dediquen a las responsabilidades de la iglesia. En la Iglesia se desarrollan distintas actividades: los d&iacute;as mi&eacute;rcoles y s&aacute;bados las Mamitas Abadesas se encargan de limpiar a el Templo, sacudir, lavar, cambiar la flores, colocar la velas, barren, cambian la ropa de los Santos; oran, cantan y acompa&ntilde;an al Coro de la iglesia, por lo que no tienen que tener otras responsabilidades. Dentro de las Mamitas Abadesas existen dos grupos: Las seguidoras de Cristo y las seguidoras de la Virgen; se distribuyen el cuidado del Cementerio y la Iglesia respectivamente; en la organizaci&oacute;n tienen rangos, la que dirige es la Cacique Mayor, luego est&aacute;n las comisarias, alf&eacute;rez y otras responsables.<a href=\"#_ftn7\" name=\"_ftnref7\" title=\"\"><strong>[7]</strong></a></em></p>\n\n<p><strong>CORO MUSICAL </strong></p>\n\n<p>El Coro Musical, est&aacute; compuesto por m&uacute;sicos ancianos, que son una parcialidad del Cabildo Indigenal, estos cantan y tocan instrumentos acompa&ntilde;ando las celebraciones importantes de San Ignacio de Mojos. Tocan los bajones (instrumento aer&oacute;fono de sonidos graves), violines, sivivire (flauta traversa hecha de tacuara generalmente), el sankuti (tambor peque&ntilde;o), el kajane o caja (tambor), visten camijeta tejida con hilos de algod&oacute;n, sombrero de jipijapa y abarcas.</p>\n\n<p>Los m&uacute;sicos se inician muy j&oacute;venes, pero cuando realmente se define su vida es cuando hacen el &ldquo;juramento&rdquo;, este paso se da luego de formar parte de uno de los grupos de danza provisionalmente. Finalmente, cuando est&aacute;n preparados adecuadamente y son aceptados por el grupo de &ldquo;taytas&rdquo; m&uacute;sicos, se realiza la ceremonia de &ldquo;juramento&rdquo; en el templo, donde el padre bendice la designaci&oacute;n que le han otorgado, para interpretar determinado instrumento musical, y su pertenencia a un grupo de danza.</p>\n\n<p><strong>LOS SACRISTANES</strong></p>\n\n<p>La cantidad e Sacristanes que colaboran en el templo, con los padres, es variable, ya que no existen requisitos exclusivos, solamente es necesario tener un gran aprecio por la iglesia. Algunos por su avanzada edad, solo asisten a ayudar algunos d&iacute;as de la semana.</p>\n\n<p><strong>LOS MACHETEROS O CHIRIPIERUANA </strong></p>\n\n<p>El nombre deriva de los &ldquo;machetes&rdquo; de madera, que portan en la mano derecha.</p>\n\n<p>La danza se ejecuta de forma marcial, en dos filas. Bailan con el acompa&ntilde;amiento de los m&uacute;sicos, visten camijeta larga y blanca, sin mangas ni cuello, y con franjas coloridas a los costados, portan en la cabeza un tocado hecho de plumas de parabas (ave amaz&oacute;nica), art&iacute;sticamente ordenado de acuerdo con la intensidad de los colores, sujeta al armaz&oacute;n del tocado de plumas, se extiende sobre la espalda del danzar&iacute;n un cuero de piel de tigre, que llega hasta los talones. En los pies se amarran semillas de paichachies, que asemejan el sonido de cascabeles.</p>\n\n<p>Los Macheteros se mueven ceremoniosamente, agachan la cabeza y la elevan, siguiendo el ritmo de la m&uacute;sica de la tamborita, que ejecuta el &ldquo;toque&rdquo; destinado a cada ocasi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<hr />\n<p><a href=\"#_ftnref1\" name=\"_ftn1\" title=\"\">[1]</a> <em>&nbsp;</em>Plan Mojos, Historia Cabildos. 2024. pg. 45.</p>\n\n<p><a href=\"#_ftnref2\" name=\"_ftn2\" title=\"\">[2]</a> Ibid, pg. 50.</p>\n\n<p><a href=\"#_ftnref3\" name=\"_ftn3\" title=\"\">[3]</a> Ibid., pg. 51</p>\n\n<p><a href=\"#_ftnref4\" name=\"_ftn4\" title=\"\">[4]</a> M&Uacute;JICA Angulo, Richard (2013). <em>El &ldquo;Juramento</em><em> </em><em>&ldquo;para el sivivire: Instrumentos musicales, danzas y m&uacute;sicas en San Ignacio de Moxos,</em> Reuni&oacute;n Anual de Etnolog&iacute;a N.&ordm; 26, La Paz: MUSEF, Tomo 2 &ndash; Cultura(s) Popular(es).</p>\n\n<p><a href=\"#_ftnref5\" name=\"_ftn5\" title=\"\">[5]</a> Fuente: Ministerio de Culturas Viceministerio de Interculturalidad, Direcci&oacute;n General de Patrimonio Cultural, UNACAT,2010, pg..20.</p>\n\n<p><a href=\"#_ftnref6\" name=\"_ftn6\" title=\"\">[6]</a> Direcci&oacute;n General de Patrimonio Cultural, Ministerio de Culturas Viceministerio de Interculturalidad (2010). Semana Santa San Ignacio de Mojos. pp. 8-9.</p>\n\n<p><a href=\"#_ftnref7\" name=\"_ftn7\" title=\"\">[7]</a> Ibid. p. 14</p>\n"}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": ""}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "81d0a600-fad1-4af4-98c8-3f4bfddb732f"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El conocimiento de los riesgos que puede afrontar el patrimonio inmaterial es una herramienta fundamental para su prevenci&oacute;n.</p>\n\n<p>Con la creaci&oacute;n de la nueva escuela de m&uacute;sica, se est&aacute; salvaguardando la tradici&oacute;n musical, pero tambi&eacute;n existe una falta de integraci&oacute;n con los miembros del Coro Musical, que interpretan sus instrumentos de la forma &ldquo;t&iacute;pica&rdquo;, mientras que en la escuela se tocan los instrumentos de manera formal. Esta situaci&oacute;n genera una brecha entre las pr&aacute;cticas tradicionales y las ense&ntilde;anzas acad&eacute;micas, lo que podr&iacute;a afectar la cohesi&oacute;n y la transmisi&oacute;n aut&eacute;ntica de la herencia musical. Es fundamental encontrar un equilibrio que permita la coexistencia y el enriquecimiento mutuo de ambas formas de interpretaci&oacute;n, asegurando as&iacute; la preservaci&oacute;n y evoluci&oacute;n de la tradici&oacute;n musical en su totalidad.</p>\n\n<p>Son pocas ya las personas que saben fabricar instrumentos, m&aacute;scaras, sombreros, entre otros objetos tradicionales, por lo que se est&aacute;n perdiendo estos saberes. La disminuci&oacute;n de artesanos y la falta de transmisi&oacute;n de estos conocimientos a las nuevas generaciones ponen en riesgo la continuidad de estas pr&aacute;cticas culturales. Es crucial implementar iniciativas que fomenten el aprendizaje y la preservaci&oacute;n de estas habilidades, asegurando as&iacute; que estas valiosas tradiciones no se pierdan y puedan ser apreciadas por futuras generaciones.</p>\n\n<p>El uso de instrumentos industrializados, o la construcci&oacute;n de instrumentos con materiales no tradicionales, por la facilidad de su manufactura, supone un riesgo de perder las &ldquo;formas de hacer&rdquo; tradicionales que son transmitidas usualmente de maestro a aprendiz.</p>\n\n<p>La utilizaci&oacute;n de nuevas tecnolog&iacute;as, como es el caso de las procesiones en Semana Santa, que ahora son acompa&ntilde;adas por una grabaci&oacute;n de la tamborita con el &ldquo;toque&rdquo; de los Sargentos Jud&iacute;os, ha reemplazado la interpretaci&oacute;n en vivo que antiguamente realizaban los m&uacute;sicos. Este cambio implica una p&eacute;rdida de una parte de la tradici&oacute;n moje&ntilde;a, ya que la m&uacute;sica en vivo era un elemento esencial de estas celebraciones.</p>\n\n<p>La declaraci&oacute;n como Patrimonio Cultural Inmaterial de la Humanidad a la Ichapekene Piesta, la fiesta mayor de San Ignacio de Moxos, es una forma de dar valor y gran visibilidad a la cultura moje&ntilde;a. Esta mayor atenci&oacute;n a todas sus expresiones culturales, como es la festividad de Semana Santa, puede conllevar una p&eacute;rdida de la esencia propia de las celebraciones, que est&aacute;n profundamente arraigadas en la poblaci&oacute;n, modificando las formas art&iacute;sticas tradicionales para convertirlas en &ldquo;productos tur&iacute;sticos&quot;.</p>\n\n<p>Otro riesgo probable, se presenta cuando instituciones dedicadas a la promoci&oacute;n del turismo difunden sin reservas una manifestaci&oacute;n que no cuenta con los recursos materiales ni humanos necesarios para satisfacer las demandas de los asistentes. La comunidad local carece de aforos adecuados y de procedimientos de organizaci&oacute;n interna necesarios para manejar una afluencia excesiva y no sostenible de visitantes. Adem&aacute;s, la comunidad no se beneficia de la presencia de estos p&uacute;blicos, ya que no se establece un contacto duradero, sino que se produce un impacto puntual y aislado que poco o nada contribuye a la perpetuaci&oacute;n del Patrimonio Cultural.</p>\n\n<p>Las amenazas para la transmisi&oacute;n del patrimonio cultural inmaterial provienen de diversos factores, entre ellos los cambios sociales y demogr&aacute;ficos que reducen el contacto intergeneracional, como ocurre con las migraciones y la urbanizaci&oacute;n. Adem&aacute;s, la imposici&oacute;n de sistemas educativos formales que subestiman los conocimientos y t&eacute;cnicas tradicionales, as&iacute; como la influencia de los medios de comunicaci&oacute;n masivos, tambi&eacute;n contribuyen a estos riesgos.</p>\n"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "ae18caa3-7c61-4bf6-bd05-f481bc63df3e"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Estructura de madera de seis niveles."}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Desde la ma\u00f1ana las Memes se encargan del arreglo del altar donde se colocar\u00e1 el Sagrario, este altar es una estructura de madera de seis pisos, construida de forma escalonada, profusamente ornamentado, utilizando telas, guirnaldas y flores de colores muy vibrantes y llamativos, en tonos verde, rosa, azul, amarillo, naranja y plateado, aunque tambi\u00e9n se colocan cintas y flores blancas. La elecci\u00f3n de las telas depende de la capacidad adquisitiva que se tuvo en al a\u00f1o.  En la base del altar se coloca la imagen de un cordero con las patas amarradas y sobre una cruz de madera, el cordero est\u00e1 envuelto en cintas de colores y cintas con los colores de la bandera nacional. Enmarcando este altar, se despliega una larga tela blanca, ornamentada con cintas de diversos colores y sostenida por el centro a la viga central de la cubierta, en este punto m\u00e1s elevado se ubica la imagen de un \u00e1ngel vestido de blanco. "}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Altar Mayor temporal"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 17, "tileid": "cf72762e-e562-4d4f-89c4-a70eacb4fba9"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de bulto redondo, hecha de madera maguey"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Viste t\u00fanica roja y manto color ciruela, con nimbo. Las manos cruzadas con las palmas hacia arriba"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de San Juan apostol"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8915b9f9-5256-4021-a723-f4b5b973ecb9", "provisionaledits": null, "resourceinstance_id": "c6e32b69-df4b-4922-9831-32da8db4e92a", "sortorder": 0, "tileid": "30f0514b-3c72-4701-9534-2d175db0dc26"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Custodia - cop\u00f3n de plata"}, "fr": {"direction": "ltr", "value": ""}, "pt": {"direction": "ltr", "value": ""}, "ru": {"direction": "ltr", "value": ""}, "zh": {"direction": "ltr", "value": ""}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"de": {"direction": "ltr", "value": ""}, "el": {"direction": "ltr", "value": ""}, "en": {"direction": "ltr", "value": ""}, "en-US": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Custodia de caja cerrada, se eleva sobre una base cuadrada con bordes mixtil\u00edneos, guarnecido con filigrana, en el centro, la base del cop\u00f3n es circular con molduras biseladas y en bocel. Un pie hexagonal se eleva hasta el cop\u00f3n, y en su sector intermedio sobresale un cuerpo bulbiforme ornamentado con cuatro asas con decoraci\u00f3n vegetal. El cop\u00f3n que alberga las hostias, tiene forma agallonada, con cuatro asas de ornamentaci\u00f3n fitomorfa, que rematan en angelitos alados, cuelga de las asas la cadena con la llave que abre la custodia. La parte superior es la tapa de la custodia presenta una base redonda, de la que surge con cuerpo tronco piramidal, decorado con cuatro figuras de angelitos alados, rematando todo en la figura de un ave sobre la que un angelito alado de pie, sostiene la cruz. 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Bajo este dosel se para y se sit\u00faa la imagen principal de la procesi\u00f3n. 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Miguel Uche</strong></p>\n\n<p>Miguel Uche es un maestro en la fabricaci&oacute;n de violines. Su trabajo se inscribe dentro de las tradiciones y expresiones orales, ya que su conocimiento ha sido adquirido y perfeccionado a trav&eacute;s de la pr&aacute;ctica y la ense&ntilde;anza de los mayores.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Materiales y procedencia</strong></p>\n\n<p>Utiliza maderas de mara, cedro y tajibo, seleccionadas por su calidad ac&uacute;stica y durabilidad. El tajibo, que ha demostrado ser resistente y eficaz, se emplea para el diapas&oacute;n. El cordal permite engarzar las cuerdas, mientras que los pasadores, clavijas y botones se fabrican con materiales resistentes para garantizar la estabilidad del instrumento. Para la caja arm&oacute;nica, se utiliza cedro para la tapa superior y mara para los aros y el mango.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Herramientas utilizadas</strong></p>\n\n<p>El proceso de fabricaci&oacute;n requiere de herramientas especializadas, como cepillos, formones planos, graniles para marcar, cuchillas afiladas y prensas peque&ntilde;as para sujetar las piezas. Dispone de una contraforma, tra&iacute;da por sus maestros, que permite sostener las piezas mientras trabaja en ellas. Tambi&eacute;n cuenta con moldes y plantillas que garantizan las medidas exactas de los violines y otros instrumentos. Para el acabado, utiliza barniz de goma laca; en caso de no encontrarlo, emplea barniz sint&eacute;tico. Adem&aacute;s, graba el nombre del due&ntilde;o en cada instrumento por encargo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>T&eacute;cnicas de fabricaci&oacute;n</strong></p>\n\n<p>La madera debe estar completamente seca antes de ser utilizada, ya que la humedad puede debilitar la estructura y afectar el sonido del instrumento. Se recomienda un secado de tres a cinco a&ntilde;os para garantizar su estabilidad. Miguel utiliza moldes para fabricar violines de distintos tama&ntilde;os y herramientas espec&iacute;ficas para cortar, horadar, pegar y dar forma al instrumento.</p>\n\n<p>&nbsp;</p>\n\n<p>Construy&oacute; su taller poco a poco, reinvirtiendo en herramientas con cada instrumento vendido, un proceso que le tom&oacute; diez a&ntilde;os.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Instrumentos que elabora</strong></p>\n\n<p>Adem&aacute;s de violines, Miguel Uche fabrica violonchelos, guitarras, mandolinas y charangos, adaptando cada pieza a las necesidades de los m&uacute;sicos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Destino de los instrumentos musicales</strong></p>\n\n<p>Sus violines y otros instrumentos tienen gran demanda tanto a nivel nacional como internacional. Recibe pedidos de Trinidad, Santa Cruz, La Paz y Sucre, as&iacute; como de Espa&ntilde;a, Italia, Francia y Argentina, donde existen escuelas de m&uacute;sica interesadas en su trabajo. Tambi&eacute;n realiza encargos para coros musicales y conjuntos locales.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Historia de vida del artesano</strong></p>\n\n<p>Desde ni&ntilde;o, Miguel Uche desarroll&oacute; una gran habilidad para el trabajo en madera. Comenz&oacute; tallando peque&ntilde;os juguetes con madera de balsa, que era blanda y f&aacute;cil de moldear con cuchillo. A medida que crec&iacute;a, trabaj&oacute; con su padre en la carpinter&iacute;a, donde observ&oacute; a su abuelo, quien era un talentoso tallador y carpintero. Su abuelo se destac&oacute; por tallar santos cristos, m&aacute;scaras y otros objetos de madera, lo que inspir&oacute; a Miguel a seguir sus pasos. As&iacute;, Miguel se convirti&oacute; en la cuarta generaci&oacute;n de talladores y carpinteros de su familia.</p>\n\n<p>&nbsp;</p>\n\n<p>A pesar de la falta de oportunidades para aprender m&uacute;sica en su juventud, fue la monja Marina Jes&uacute;s Echaraly quien lo inici&oacute; en la escuela de m&uacute;sica. La monja reun&iacute;a a los ni&ntilde;os en el cabildo para ense&ntilde;arles a tocar, y Miguel comenz&oacute; a asistir a sus clases. Sin embargo, debido a la falta de tiempo y la demanda de su trabajo artesanal, tuvo que abandonar los estudios musicales a los 21 o 22 a&ntilde;os.</p>\n\n<p>&nbsp;</p>\n\n<p>En su &eacute;poca, hab&iacute;a pocos violines disponibles, solo seis o siete, lo que despert&oacute; en Miguel el deseo de aprender a construirlos. As&iacute;, fabric&oacute; su primer viol&iacute;n, aunque no pudo tocarlo porque un argentino lo compr&oacute;. En 1996, su suerte cambi&oacute; cuando una pareja de Les Luthiers espa&ntilde;oles lleg&oacute; a San Ignacio. Ellos, como parte de un proyecto de la UNESCO para recuperar las tradiciones musicales misionales, le ense&ntilde;aron a Miguel a construir violines con las medidas, modelos y herramientas adecuadas. Este evento marc&oacute; la carrera de Miguel en la construcci&oacute;n de instrumentos musicales. Comenz&oacute; a trabajar con madera de cedro, mara y tajibo, materiales que le daban a sus violines una excelente sonoridad.</p>\n\n<p>&nbsp;</p>\n\n<p>El primer viol&iacute;n que fabric&oacute; con estas maderas fue llevado a Santa Cruz, donde un maestro checo lo toc&oacute; y qued&oacute; impresionado con su sonido. Este viol&iacute;n, que lleg&oacute; a ser utilizado en la Ruta Quetzal, incluso lleg&oacute; a ser tocado en un concierto para el rey de Espa&ntilde;a. La experiencia fue tan significativa que los m&uacute;sicos de la Ruta Quetzal dejaron a Miguel nuevas herramientas para que pudiera seguir construyendo violines.</p>\n\n<p>&nbsp;</p>\n\n<p>El proceso de creaci&oacute;n de un viol&iacute;n es, para Miguel, algo profundamente emocionante. Cuando su instrumento &quot;canta&quot;, como &eacute;l refiere al sonido, siente una gran satisfacci&oacute;n, especialmente al ver que m&uacute;sicos de diferentes partes del mundo lo tocan. En la actualidad, tiene la responsabilidad de entregar diez violines.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["e5270642-c871-4c8b-88af-3256b9e5ab85", "da719d9d-e927-4281-aeef-d551a1da07ff", "a0e4f8bb-9310-4344-b025-2609c8a26ec2"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "bc72bb39-c0f4-4337-af7d-a31c8ac8f719", "provisionaledits": null, "resourceinstance_id": "6bc0eff6-5f34-4e75-8bc9-bda8687199b2", "sortorder": 0, "tileid": "6c73ca3e-2565-4155-895a-4991137b394d"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos de Miguel Uche sobre la fabricaci&oacute;n de violines han sido transmitidos a trav&eacute;s de la tradici&oacute;n oral y la pr&aacute;ctica activa, dos mecanismos fundamentales en la ense&ntilde;anza artesanal. Desde su infancia, adquiri&oacute; destrezas en el trabajo con madera al observar y colaborar con su abuelo y su padre, quienes le ense&ntilde;aron t&eacute;cnicas de tallado y carpinter&iacute;a. Esta transmisi&oacute;n intergeneracional del conocimiento se consolid&oacute; con la llegada de artesanos espa&ntilde;oles que, mediante la observaci&oacute;n y la instrucci&oacute;n personalizada, le ense&ntilde;aron m&eacute;todos m&aacute;s precisos para la construcci&oacute;n de violines. As&iacute;, su aprendizaje se dio en un entorno de experimentaci&oacute;n y perfeccionamiento continuo, combinando el conocimiento heredado con nuevas t&eacute;cnicas adquiridas en contacto con expertos del oficio.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro mecanismo clave en la transmisi&oacute;n del conocimiento artesanal de Miguel Uche es la interacci&oacute;n con m&uacute;sicos y constructores de instrumentos. La retroalimentaci&oacute;n de violinistas y luthiers ha permitido que mejore sus t&eacute;cnicas y adapte sus creaciones a los requerimientos de los int&eacute;rpretes. Su participaci&oacute;n en proyectos internacionales, como el de la UNESCO, y el contacto con m&uacute;sicos de la Ruta Quetzal, le han proporcionado herramientas y referencias para optimizar su trabajo. Adem&aacute;s, al grabar el nombre del propietario en cada instrumento, establece un v&iacute;nculo personal con sus clientes, asegurando la difusi&oacute;n y el reconocimiento de su obra a nivel global. De este modo, el conocimiento artesanal de Uche no solo se preserva, sino que evoluciona y se proyecta a nuevas generaciones.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "bc72bb39-c0f4-4337-af7d-a31c8ac8f719", "provisionaledits": null, "resourceinstance_id": "6bc0eff6-5f34-4e75-8bc9-bda8687199b2", "sortorder": 0, "tileid": "318de9c9-fa56-49e8-9fba-3c8d3e8c2fcd"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica artesanal de Miguel Uche ha experimentado transformaciones significativas debido a la incorporaci&oacute;n de nuevas t&eacute;cnicas y herramientas en la fabricaci&oacute;n de violines. Si bien su formaci&oacute;n inicial estuvo marcada por la ense&ntilde;anza tradicional transmitida por su familia, su contacto con luthiers espa&ntilde;oles le permiti&oacute; adoptar m&eacute;todos m&aacute;s precisos y especializados. El acceso a herramientas modernas y moldes espec&iacute;ficos ha mejorado la calidad y la uniformidad de sus instrumentos, facilitando su reconocimiento en mercados nacionales e internacionales. Asimismo, la demanda de sus violines ha llevado a una mayor planificaci&oacute;n en la selecci&oacute;n y tratamiento de la madera, asegurando un proceso m&aacute;s eficiente y sostenible en la producci&oacute;n de sus piezas.</p>\n\n<p>&nbsp;</p>\n\n<p>Antes, la fabricaci&oacute;n de instrumentos se limitaba a un &aacute;mbito local, con escaso acceso a materiales o conocimientos externos. Sin embargo, la difusi&oacute;n de su trabajo a trav&eacute;s de m&uacute;sicos internacionales ha permitido que su arte trascienda fronteras y se integre en circuitos culturales m&aacute;s amplios. La personalizaci&oacute;n de sus violines, refuerza su identidad artesanal, los clientes buscan piezas &uacute;nicas y exclusivas.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "bc72bb39-c0f4-4337-af7d-a31c8ac8f719", "provisionaledits": null, "resourceinstance_id": "6bc0eff6-5f34-4e75-8bc9-bda8687199b2", "sortorder": 0, "tileid": "66ee12b3-9451-47d3-853a-2de6732a191e"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica artesanal de Miguel Uche es la transmisi\u00f3n intergeneracional del conocimiento, lo que garantiza la continuidad y el perfeccionamiento de su oficio. Su formaci\u00f3n comenz\u00f3 en el entorno familiar, donde aprendi\u00f3 el trabajo en madera de su abuelo y su padre, desarrollando desde ni\u00f1o una gran destreza manual. Esta herencia se complement\u00f3 con la instrucci\u00f3n de luthiers internacionales, lo que le permiti\u00f3 incorporar t\u00e9cnicas refinadas de la artesan\u00eda. La combinaci\u00f3n de saberes ancestrales con innovaciones t\u00e9cnicas ha consolidado su prestigio, haciendo que sus violines sean apreciados tanto en Bolivia como en otros pa\u00edses.  Otra fortaleza clave de su pr\u00e1ctica artesanal es la calidad y exclusividad de sus instrumentos. Miguel Uche selecciona con cuidado las maderas m\u00e1s adecuadas para cada parte del viol\u00edn, asegurando una excelente ac\u00fastica y durabilidad. Adem\u00e1s, cada instrumento es elaborado de manera personalizada, con detalles como la inscripci\u00f3n del nombre del propietario, lo que refuerza el valor \u00fanico de cada pieza. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "bc72bb39-c0f4-4337-af7d-a31c8ac8f719", "provisionaledits": null, "resourceinstance_id": "6bc0eff6-5f34-4e75-8bc9-bda8687199b2", "sortorder": 0, "tileid": "b0efd66d-c519-4194-b1d6-5254253b9418"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos de la pr&aacute;ctica artesanal de Miguel Uche es la dificultad para acceder a materiales de alta calidad. La disponibilidad de maderas como el mara, el cedro y el tajibo depende de factores ambientales y de regulaci&oacute;n, lo que podr&iacute;a afectar la continuidad en la producci&oacute;n de sus instrumentos. Adem&aacute;s, la escasez de ciertos barnices especializados, como la goma laca, lo obliga a recurrir a opciones sint&eacute;ticas, lo que puede influir en el acabado final de sus violines. Estas limitaciones materiales impactan en la calidad de los instrumentos.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza importante es la p&eacute;rdida progresiva de los saberes artesanales debido a la falta de nuevos aprendices. La fabricaci&oacute;n de violines requiere a&ntilde;os de pr&aacute;ctica y dedicaci&oacute;n, pero el inter&eacute;s de las nuevas generaciones en este tipo de oficios ha disminuido en favor de otras actividades con mayor rentabilidad o acceso a tecnolog&iacute;a. Sin una transmisi&oacute;n efectiva del conocimiento, existe el riesgo de que esta tradici&oacute;n artesanal se debilite con el tiempo. Adem&aacute;s, la competencia con instrumentos producidos en serie, que pueden ser m&aacute;s accesibles en t&eacute;rminos econ&oacute;micos, representa un desaf&iacute;o para los artesanos como Miguel Uche, quienes deben diferenciarse a trav&eacute;s de la calidad y exclusividad de sus creaciones para mantenerse en el mercado.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "bc72bb39-c0f4-4337-af7d-a31c8ac8f719", "provisionaledits": null, "resourceinstance_id": "6bc0eff6-5f34-4e75-8bc9-bda8687199b2", "sortorder": 0, "tileid": "aaa3cb01-e456-47cf-af0e-d958396c580c"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:48.534", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000041, "}, "es": {"description": "Trinidad. Celebraci\u00f3n del Corpus Christi", "map_popup": "Beni", "name": "PI-080101-00-00-000041, Trinidad. Celebraci\u00f3n del Corpus Christi"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000041, Trinidad. Celebraci\u00f3n del Corpus Christi", "principaluser_id": 26, "resourceinstanceid": "ac0a8539-e789-41a7-803b-3bac8ae783f0", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89578303300222, -14.836919523381411], "type": "Point"}, "id": "2c754e9bccc68bed346da7724de4e8c2", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000013'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ac0a8539-e789-41a7-803b-3bac8ae783f0", "sortorder": 0, "tileid": "7782139d-6e2e-4a4b-9d2d-266f5c05286a"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ac0a8539-e789-41a7-803b-3bac8ae783f0", "sortorder": 0, "tileid": "6690c180-1946-4217-9632-a99e2694acc7"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["f6149104-3d2f-4c31-8b0f-f58f7e19e8e1"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Celebraci&oacute;n del Corpus Christi</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado de la fiesta</strong></p>\n\n<p>La festividad del Corpus Christi constituye una de las celebraciones religiosas m&aacute;s importantes para la comunidad, ya que representa el cuerpo de Cristo hecho carne y su sangre transformada en vino, en el marco de una solemne misa eucar&iacute;stica. Esta ceremonia marca el acto culminante de la Chope Piesta, y se manifiesta con expresiones culturales propias de la regi&oacute;n, entre las que destaca la danza del machetero, s&iacute;mbolo del sacrificio de Jesucristo y de la solidaridad entre los pueblos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La festividad del Corpus Christi fue una de las celebraciones importantes de las reducciones jesu&iacute;ticas del siglo XVII, en el que destaca un despliegue colectivo de participaci&oacute;n de ind&iacute;genas y misioneros. Combinaba m&uacute;sica, ornamentos, procesiones y escenograf&iacute;as que involucraban a toda la comunidad. Esta celebraci&oacute;n, junto con otras del calendario lit&uacute;rgico como Pascua o Navidad, no solo marcaba las actividades religiosas del a&ntilde;o, eran actividades que romp&iacute;an con la vida cotidiana laboral de las misiones. La religiosidad cat&oacute;lica se viv&iacute;a de manera como parte de una organizaci&oacute;n social y cultural que articulaba elementos ind&iacute;genas y cristianos, era un proceso de transformaci&oacute;n espiritual y comunitaria.</p>\n\n<p>&nbsp;</p>\n\n<p>El prefacio a la gram&aacute;tica del P. Marb&aacute;n citado por Block (1997) registra once d&iacute;as festivos fueron los d&iacute;as de Pascua, Todos Santos, Epifan&iacute;a, Corpus Christi y Navidad. La Academia Boliviana de Historia Eclesi&aacute;stica (2019) describe la responsabilidad de Cabildo en la celebraci&oacute;n de las fiestas religiosas:</p>\n\n<p>&nbsp;</p>\n\n<p style=\"margin-left:47px\">&ldquo;Los Caciques son los responsables del trabajo del Cabildo; mantener vivas las costumbres y tradiciones que hacen la cultura de San Ignacio; el Cabildo estar&aacute; relacionado con las anteriores Autoridades; el Cabildo permanecer&aacute; bien organizado; celebrar las fiestas principales con los m&uacute;sicos y conjuntos; el Cabildo asistir&aacute; a misa con su Bast&oacute;n de Mando; mantener orden durante la liturgia de la Santa Misa [&hellip;] El Cabildo Indigenal, en coordinaci&oacute;n con la Parroquia, debe celebrar las fiestas importantes de las costumbres de los ignacianos: Navidad, Inocentes, A&ntilde;o Nuevo, Reyes, Los Barcos, La Candelaria, Carnaval, Semana Santa, Pascua de Resurrecci&oacute;n, Esp&iacute;ritu Santo, Corpus Christi, El Carmen, 31 de julio Fiesta Patronal, Todos los Santos, La Conmemoraci&oacute;n de los Fieles Difuntos, etc.&rdquo; (Academia Boliviana de Historia Eclesi&aacute;stica, 2019: 61)</p>\n\n<p>&nbsp;</p>\n\n<p>Hist&oacute;ricamente, el Cabildo ha sido la instituci&oacute;n representativa de los pueblos ind&iacute;genas, encargada de velar por sus costumbres y mantener vivas las festividades religiosas y culturales, muchas de las cuales nacieron del sincretismo entre las creencias cristianas impuestas durante la colonia y las expresiones propias de los pueblos originarios. Su continuidad en el tiempo demuestra la fuerza de una estructura organizativa que, m&aacute;s all&aacute; de su dimensi&oacute;n religiosa, reafirma la autonom&iacute;a cultural y la cohesi&oacute;n social de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Para la comunidad del Cabildo, la celebraci&oacute;n del Corpus Christi representa un momento de espiritualidad y reafirmaci&oacute;n cultural. La presencia de la danza del machetero, expresa la solemnidad de la actividad, tambi&eacute;n la fortaleza, resistencia y compromiso del pueblo con sus creencias y tradiciones. Esta danza acompa&ntilde;a a la comitiva del Cabildo hasta la Catedral, donde su presencia en la misa central adquiere un significado simb&oacute;lico: es la uni&oacute;n entre lo sagrado y lo ancestral, entre la fe cristiana y la herencia ind&iacute;gena. La participaci&oacute;n activa del Cabildo en esta ceremonia, con sus autoridades, el estandarte y los macheteros, resalta la espiritual y refuerza la identidad colectiva en torno a una festividad que, a&ntilde;o tras a&ntilde;o, fortalece los lazos de pertenencia y cohesi&oacute;n comunitaria.</p>\n\n<p>&nbsp;</p>\n\n<p>As&iacute; mismo Jauregu&iacute;zar detalla c&oacute;mo se realizaba la fiesta de Corpus Christi.</p>\n\n<p>&nbsp;</p>\n\n<p style=\"margin-left:47px\">&ldquo;La Festividad del Corpus Christi: Era, sin duda, la fiesta de mayor beato y esplender en les reducciones. Todas las calles estaban adornadas con alfombras de flores o pintadas, todos llevando cirios encendidos, con disparos de ca&ntilde;oncitos delante de cada altar... todo eso, unido a los adornos de los oficiantes, las m&uacute;sicas, las banderas as seda, los arcos triunfales, los &aacute;rboles trasplantados, las fieros encadenadas y los p&aacute;jaros enjaulados, las palmas entretejidas, etc&hellip;.hac&iacute;an de la festividad del Corpus algo excepcional, que sobrepasaba en esplendor al de la misma Europa.&rdquo; (Jauregu&iacute;zar, 1987: 8)</p>\n\n<p>&nbsp;</p>\n\n<p>Para los pueblos ind&iacute;genas de Mojos, estas festividades representaron un nuevo lenguaje simb&oacute;lico a trav&eacute;s del cual se canalizaron creencias, se reforz&oacute; la cohesi&oacute;n del grupo y se reinterpretaron pr&aacute;cticas tradicionales bajo la gu&iacute;a de las misiones jesu&iacute;ticas. Con el tiempo, estos rituales fueron apropiados y adaptados, convirti&eacute;ndose en expresiones propias de identidad. A trav&eacute;s del Cabildo Indigenal, que a&uacute;n hoy organiza y coordina estas celebraciones, las comunidades mantienen viva esta herencia con la memoria colectiva local. As&iacute;, el Corpus Christi contin&uacute;a siendo una muestra del proceso hist&oacute;rico religioso.</p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo Indigenal cumple un rol fundamental en la organizaci&oacute;n y realizaci&oacute;n de las festividades tradicionales, como el Corpus Christi, actuando como custodio de la memoria colectiva y la identidad cultural del pueblo. Su participaci&oacute;n no solo garantiza el orden y la coordinaci&oacute;n de los actos rituales, sino que tambi&eacute;n asegura la transmisi&oacute;n de saberes ancestrales vinculados a la espiritualidad, la m&uacute;sica, la danza y la organizaci&oacute;n comunitaria.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Referencias: </strong></p>\n\n<ul>\n\t<li>Jauregu&iacute;zar, Antonio Jes&uacute;s (1987). Organizaci&oacute;n socio - pol&iacute;tica de las reducciones Jesuitas y su espiritualidad. Ministerio de Relaciones Exteriores y Culto. Comisi&oacute;n Boliviana de Conmemoraci&oacute;n del V Centenario del Descubrimiento de Am&eacute;rica. Encuentro de Dos Mundos.</li>\n\t<li>Academia Boliviana de Historia Eclesi&aacute;stica (2019). Anuario de la Academia Boliviana de Historia Eclesi&aacute;stica. Departamento de Cultura y Arte. Universidad Cat&oacute;lica Boliviana &ldquo;San Pablo&rdquo; Sucre.</li>\n</ul>\n\n<ul>\n\t<li>Block, David (1997). La cultura reduccional de los Llanos de Mojos. Tradici&oacute;n aut&oacute;ctona, empresa jesu&iacute;tica &amp; pol&iacute;tica civil, 1660 &ndash; 1880. Universidad de Nebraska. Sucre.</li>\n</ul>\n\n<p><strong>Cronolog&iacute;a de la fiesta</strong></p>\n\n<p>La jornada festiva comienza muy temprano, cuando en el Cabildo Indigenal se organiza la salida de la danza del machetero. Los danzantes acompa&ntilde;an a la comitiva de autoridades del Cabildo, que se dirige hacia la Catedral para participar en la misa central. Aunque no se realiza una procesi&oacute;n formal, esta misa colectiva congrega a la poblaci&oacute;n en general, reafirmando el sentido de comunidad y espiritualidad.</p>\n\n<p>Durante el trayecto hacia la Catedral, el estandarte del Cabildo acompa&ntilde;a a la comitiva, reafirmando su presencia y liderazgo en esta festividad. Concluida la celebraci&oacute;n lit&uacute;rgica, las autoridades del Cabildo y los macheteros retornan a su sede, donde contin&uacute;a la danza hasta que la comida comunitaria, preparada con esmero por las <em>memes</em>, est&aacute; lista. Este alimento se comparte entre todos los miembros del Cabildo, en un acto que refuerza los lazos comunitarios y cierra con gratitud la jornada festiva. Al finalizar, cada participante retorna a su residencia, dando por concluida la celebraci&oacute;n del Corpus Christi.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Recorrido festivo</strong></p>\n\n<p>La procesi&oacute;n recorre las calles alrededor de la plaza y la Catedral. Desde el Cabildo Indigenal hasta la Catedral se atraviesan varias cuadras, tanto para la ida como para el retorno. Dentro del Cabildo, las actividades festivas se concentran en los alrededores de su iglesia y sede.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Sitio de la fiesta</strong></p>\n\n<p>Los espacios principales donde se desarrolla la festividad son: la Catedral y el Cabildo Indigenal.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Sitio ritual</strong></p>\n\n<p>Los lugares rituales clave por su contenido religioso, son la Catedral y el Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "6690c180-1946-4217-9632-a99e2694acc7", "provisionaledits": null, "resourceinstance_id": "ac0a8539-e789-41a7-803b-3bac8ae783f0", "sortorder": 0, "tileid": "03a57158-ced1-40bc-852d-41eb5f6945b9"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de Corpus Christi"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000041", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Celebraci\u00f3n del Corpus Christi"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ac0a8539-e789-41a7-803b-3bac8ae783f0", "sortorder": 0, "tileid": "29c3754a-ea79-490e-aa3e-1f7ba8cdd306"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de conocimientos en la celebraci&oacute;n del Corpus Christi se articula a trav&eacute;s de una red de pr&aacute;cticas rituales, liderazgos comunitarios y estructuras simb&oacute;licas arraigadas en la vida social del Cabildo Indigenal. En este contexto, el aprendizaje no se produce de manera formal, sino mediante la implicaci&oacute;n activa en las actividades festivas, donde los m&aacute;s j&oacute;venes observan y participan junto a los mayores. El recorrido hacia la Catedral, la participaci&oacute;n en la misa y la ejecuci&oacute;n de la danza del machetero no solo expresan una devoci&oacute;n religiosa, sino que funcionan como momentos pedag&oacute;gicos en los que se interiorizan valores comunitarios, roles de autoridad, formas de comportamiento ritual y expresiones est&eacute;ticas propias. La transmisi&oacute;n se sustenta en la repetici&oacute;n anual del rito, donde la experiencia compartida permite que los saberes se mantengan vivos y se reproduzcan con sentido dentro de una estructura social din&aacute;mica.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde una perspectiva antropol&oacute;gica, estos mecanismos pueden entenderse como procesos de reproducci&oacute;n cultural que integran elementos de sincretismo religioso con formas de organizaci&oacute;n tradicional. El papel del Cabildo Indigenal, en tanto instituci&oacute;n representativa, no se limita a coordinar las festividades, sino que act&uacute;a como un espacio de mediaci&oacute;n generacional en el que se encarnan normas, relatos hist&oacute;ricos, t&eacute;cnicas de organizaci&oacute;n y principios &eacute;ticos de convivencia. El uso del estandarte, la preparaci&oacute;n del alimento por las memes y la secuencia de la danza refuerzan un entramado simb&oacute;lico que permite a la comunidad reafirmar su identidad colectiva. As&iacute;, el saber transmitido no es &uacute;nicamente t&eacute;cnico o ritual, sino tambi&eacute;n social, moral y espiritual, con una fuerte carga de memoria hist&oacute;rica que vincula el presente con las luchas y resistencias del pasado.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "6690c180-1946-4217-9632-a99e2694acc7", "provisionaledits": null, "resourceinstance_id": "ac0a8539-e789-41a7-803b-3bac8ae783f0", "sortorder": 0, "tileid": "ad6f68d3-a09f-403b-b8cd-1b13a07735ed"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La misa central sigue siendo el eje de congregaci&oacute;n, pero se observa que su funci&oacute;n va m&aacute;s all&aacute; de la ritualidad cat&oacute;lica, ya que se convierte en un espacio donde se actualizan formas de liderazgo y presencia p&uacute;blica del Cabildo Indigenal, generando nuevas formas de legitimidad social y pol&iacute;tica para esta instituci&oacute;n ancestral.</p>\n\n<p>&nbsp;</p>\n\n<p>Son expresiones de continuidad adaptativa, donde las pr&aacute;cticas tradicionales se reformulan sin perder su sentido identitario. La preparaci&oacute;n colectiva del alimento por parte de las memes, el acompa&ntilde;amiento del estandarte y la permanencia de la danza se&ntilde;alan una voluntad comunitaria de mantener elementos estructurales del rito, pero ajust&aacute;ndolos a los tiempos actuales. Este proceso responde tanto a tensiones internas &mdash;como el relevo generacional o la movilidad social de los participantes&mdash; como a presiones externas derivadas de la globalizaci&oacute;n cultural o la institucionalizaci&oacute;n religiosa. As&iacute;, la festividad no se presenta como una r&eacute;plica exacta del pasado, sino como una pr&aacute;ctica viva que se reconfigura constantemente, preservando su funci&oacute;n como veh&iacute;culo de transmisi&oacute;n de la memoria, la autoridad simb&oacute;lica y la pertenencia colectiva.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "6690c180-1946-4217-9632-a99e2694acc7", "provisionaledits": null, "resourceinstance_id": "ac0a8539-e789-41a7-803b-3bac8ae783f0", "sortorder": 0, "tileid": "334aec49-b7a1-4934-9022-241f94934262"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las fortalezas m\u00e1s notables de la celebraci\u00f3n del Corpus Christi es su capacidad para integrar lo espiritual con lo comunitario a trav\u00e9s de un sistema ritual sostenido por el Cabildo Indigenal. Esta estructura no solo garantiza la continuidad de la pr\u00e1ctica, sino que tambi\u00e9n fortalece la autoridad simb\u00f3lica del Cabildo como custodio de la memoria hist\u00f3rica y de las formas propias de organizaci\u00f3n social. La danza del machetero, el uso del estandarte y la preparaci\u00f3n colectiva del alimento permiten que distintos segmentos de la comunidad se involucren en tareas complementarias, generando cohesi\u00f3n y reforzando v\u00ednculos intergeneracionales. La participaci\u00f3n activa de autoridades, danzantes y mujeres encargadas de la comida revela una distribuci\u00f3n equilibrada de responsabilidades que mantiene viva la pr\u00e1ctica y la dota de un sentido compartido.  Desde el enfoque del patrimonio cultural inmaterial, esta festividad representa una manifestaci\u00f3n viva que articula conocimientos, creencias, expresiones art\u00edsticas y sistemas de representaci\u00f3n social heredados. La vigencia del Corpus Christi como evento comunitario, aun en un entorno cambiante, demuestra su capacidad de adaptaci\u00f3n sin que ello implique la p\u00e9rdida de su valor cultural. Los mecanismos de salvaguarda est\u00e1n incorporados en la misma pr\u00e1ctica: la repetici\u00f3n ritual, la transmisi\u00f3n oral, la centralidad del Cabildo y la participaci\u00f3n colectiva act\u00faan como estrategias de preservaci\u00f3n. Desde una mirada antropol\u00f3gica, este tipo de celebraciones permite comprender c\u00f3mo las comunidades reinterpretan su pasado en el presente, reafirmando su identidad cultural frente a procesos hist\u00f3ricos de exclusi\u00f3n o transformaci\u00f3n social."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "6690c180-1946-4217-9632-a99e2694acc7", "provisionaledits": null, "resourceinstance_id": "ac0a8539-e789-41a7-803b-3bac8ae783f0", "sortorder": 0, "tileid": "0db1630c-6e90-4894-bd8d-14509150ee00"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica del Corpus Christi, tal como se realiza en el &aacute;mbito del Cabildo Indigenal, enfrenta riesgos que comprometen su continuidad a largo plazo. El impacto de la migraci&oacute;n, reduce la participaci&oacute;n activa de j&oacute;venes, quienes muchas veces se alejan de las pr&aacute;cticas culturales de sus comunidades de origen. La creciente influencia de modelos religiosos for&aacute;neos, que desvalorizan las expresiones sincr&eacute;ticas, representa una amenaza directa para el car&aacute;cter integrador de la festividad, que articula elementos cristianos con cosmovisiones ind&iacute;genas.</p>\n\n<p>Desde la perspectiva del patrimonio cultural inmaterial, estas amenazas exigen medidas de salvaguarda que partan del reconocimiento del Corpus Christi como una manifestaci&oacute;n viva y en constante transformaci&oacute;n. Resulta necesario fortalecer los procesos de transmisi&oacute;n intergeneracional mediante espacios formativos dentro del propio Cabildo, donde los saberes vinculados a la danza, la m&uacute;sica, la organizaci&oacute;n ritual y la preparaci&oacute;n comunitaria de alimentos puedan ser compartidos y asumidos por las nuevas generaciones. Se recomienda tambi&eacute;n generar documentaci&oacute;n audiovisual y escrita sobre la festividad, involucrando a los portadores del conocimiento para evitar interpretaciones externas que descontextualicen su sentido. La participaci&oacute;n activa de la comunidad en la definici&oacute;n de sus propias estrategias de preservaci&oacute;n es esencial, ya que garantiza la continuidad de pr&aacute;cticas que no solo constituyen patrimonio, sino tambi&eacute;n formas leg&iacute;timas de construcci&oacute;n de identidad, memoria colectiva y soberan&iacute;a cultural.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "6690c180-1946-4217-9632-a99e2694acc7", "provisionaledits": null, "resourceinstance_id": "ac0a8539-e789-41a7-803b-3bac8ae783f0", "sortorder": 0, "tileid": "e9ec43ba-8fe2-49aa-b02f-1f0dfdef435e"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:48.271", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000040, "}, "es": {"description": "Trinidad. Idioma Moje\u00f1o Trinitario", "map_popup": "Beni", "name": "PI-080101-00-00-000040, Trinidad. Idioma Moje\u00f1o Trinitario"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000040, Trinidad. Idioma Moje\u00f1o Trinitario", "principaluser_id": 26, "resourceinstanceid": "30929a9e-6b40-4aaf-9ac7-a6c183a90d9a", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Idioma originario"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000040", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Idioma Moje\u00f1o Trinitario"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "30929a9e-6b40-4aaf-9ac7-a6c183a90d9a", "sortorder": 0, "tileid": "d351e547-8e24-4b63-8fe3-e69a488551df"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89890123614983, -14.840120086624395], "type": "Point"}, "id": "db9a4f3efe0d06645ddbaf11f08dfc91", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000012'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "30929a9e-6b40-4aaf-9ac7-a6c183a90d9a", "sortorder": 0, "tileid": "40970344-98ff-4301-a7b2-2fc70a1efbd5"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "30929a9e-6b40-4aaf-9ac7-a6c183a90d9a", "sortorder": 0, "tileid": "02d99070-e66d-41c0-9733-c0a39db19bfb"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Idioma Moje&ntilde;o Trinitario</strong></p>\n\n<p>El moje&ntilde;o trinitario, perteneciente a la familia ling&uuml;&iacute;stica Arawak, representa uno de los pilares de identidad cultural para las comunidades del Beni. Su uso se mantiene como una herramienta fundamental de comunicaci&oacute;n cotidiana y de transmisi&oacute;n de conocimientos ancestrales. Este idioma no solo sirve para el intercambio entre personas, sino que tambi&eacute;n articula el conocimiento del entorno, la organizaci&oacute;n social y las formas de vida del pueblo moje&ntilde;o trinitario.</p>\n\n<p>&nbsp;</p>\n\n<p>En los &uacute;ltimos a&ntilde;os, se han desarrollado diversas iniciativas institucionales y comunitarias para revitalizar su uso, integr&aacute;ndolo en espacios educativos y programas de formaci&oacute;n. Sin embargo, los desaf&iacute;os persisten, especialmente entre las nuevas generaciones, lo cual obliga a pensar en estrategias sostenidas de fortalecimiento ling&uuml;&iacute;stico con enfoque intercultural.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Valor para la poblaci&oacute;n</strong></p>\n\n<p>La lengua moje&ntilde;o trinitario forma parte del tejido cultural del pueblo que la habla. Su valor no se limita al plano simb&oacute;lico, sino que est&aacute; directamente relacionado con la vida cotidiana, la organizaci&oacute;n comunitaria y la unidad del pueblo moje&ntilde;o trinitario. Para la poblaci&oacute;n, el idioma permite mantener viva la herencia de los abuelos y consolidar la comunicaci&oacute;n entre comunidades hermanas. Desde esta perspectiva, su conservaci&oacute;n responde no solo a una necesidad ling&uuml;&iacute;stica, sino tambi&eacute;n a un compromiso con la historia colectiva, la identidad compartida y el funcionamiento social dentro de su territorio.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Hablantes</strong></p>\n\n<p>Un precenso ha identificado a 3.622 hablantes del moje&ntilde;o trinitario, distribuidos en al menos 146 comunidades del departamento del Beni. Estas no se limitan &uacute;nicamente a la ciudad de Trinidad ni a la provincia Cercado. Existen comunidades con hablantes activos en San Ignacio de Mojos, como San Lorenzo, San Francisco y San Jos&eacute; de Cabrito, as&iacute; como en zonas del Timi y del Tipnis. Se trata del idioma ind&iacute;gena m&aacute;s hablado del Beni, dentro de una poblaci&oacute;n total estimada de 46.300 personas. Esta presencia territorial amplia permite visibilizar una comunidad ling&uuml;&iacute;stica viva, aunque en distintas etapas de uso y preservaci&oacute;n seg&uacute;n el grupo etario.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>El Instituto de Lengua Moje&ntilde;o Trinitario fue fundado en 2014 con el objetivo de fortalecer el idioma desde una perspectiva educativa y cultural. Entre los saberes que busca rescatar est&aacute; el conocimiento de la genealog&iacute;a local, es decir, el v&iacute;nculo con los ancestros y la memoria hist&oacute;rica del pueblo. El trabajo se enfoca principalmente en los ni&ntilde;os y sus familias, a quienes se motiva a superar el estigma asociado hist&oacute;ricamente al uso del idioma.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde la vigencia de la Ley 269, hablar una lengua originaria se ha convertido en un requisito para acceder a empleos en la administraci&oacute;n p&uacute;blica, lo que ha impulsado la creaci&oacute;n de cursos para adultos, incluidos funcionarios. Paralelamente, se capacita a los docentes en curr&iacute;culos regionalizados, que integran saberes propios como parte de los contenidos escolares. Esto permite que los ni&ntilde;os aprendan no solo el idioma, sino tambi&eacute;n elementos culturales como la simbolog&iacute;a del machetero, a trav&eacute;s de materiales did&aacute;cticos, se&ntilde;al&eacute;ticas, videos y audios.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Factores de fortalecimiento</strong></p>\n\n<p>Una de las mayores limitaciones detectadas es que muchos ni&ntilde;os no hablan el idioma, debido a que sus padres no se los ense&ntilde;an. Persiste el temor a la discriminaci&oacute;n, basado en experiencias negativas del pasado, cuando hablar una lengua originaria era motivo de castigo y exclusi&oacute;n. No obstante, algunas unidades educativas han comenzado a revertir este panorama. La Unidad Educativa Luis Espinal es uno de los llamados n&uacute;cleos referenciales que trabajan coordinadamente con el Instituto de Lengua.</p>\n\n<p>&nbsp;</p>\n\n<p>En Trinidad, 120 colegios han adoptado curr&iacute;culos regionalizados, aunque no todos los docentes aplican el contenido ling&uuml;&iacute;stico. Los esfuerzos incluyen el trabajo en los tres niveles del sistema educativo (inicial, primaria y secundaria), con elaboraci&oacute;n de cartillas pedag&oacute;gicas y recuperaci&oacute;n de saberes comunitarios. Tambi&eacute;n se aprovechan las tecnolog&iacute;as disponibles: radio, videos y clases grabadas para reforzar el aprendizaje en casa. Los cursos de idioma est&aacute;n abiertos a toda la poblaci&oacute;n, especialmente funcionarios p&uacute;blicos, y se imparten en dos periodos semestrales. El curso b&aacute;sico, de cuatro meses, es obligatorio, y si hay demanda, se organizan los niveles intermedio y avanzado.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Factores de riesgo</strong></p>\n\n<p>La mayor amenaza para la lengua moje&ntilde;o trinitario se encuentra en la franja de ni&ntilde;os y adolescentes menores de quince a&ntilde;os. La falta de motivaci&oacute;n por parte de los padres, combinada con el recuerdo de experiencias discriminatorias vividas en su infancia, limita la transmisi&oacute;n intergeneracional. En los adultos j&oacute;venes, de entre 30 y 40 a&ntilde;os, el n&uacute;mero de hablantes tambi&eacute;n es bajo, mientras que en los de entre 20 y 30 hay algunos participantes activos.</p>\n\n<p>&nbsp;</p>\n\n<p>Este debilitamiento progresivo del uso cotidiano del idioma refleja las consecuencias de la castellanizaci&oacute;n forzada durante la &eacute;poca republicana. La escuela y la iglesia cat&oacute;lica contribuyeron significativamente a esta p&eacute;rdida, al imponer el uso exclusivo del castellano y marginar las lenguas ind&iacute;genas. Para enfrentar estos riesgos, se han organizado cursos de verano espec&iacute;ficos para ni&ntilde;os, agrupados por edades, donde se trabaja con contenidos b&aacute;sicos como saludos y presentaciones.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Recomendaciones para la salvaguarda</strong></p>\n\n<p>Desde la perspectiva del patrimonio ling&uuml;&iacute;stico y la antropolog&iacute;a social, se recomienda reforzar las estrategias de revitalizaci&oacute;n desde una doble v&iacute;a: por un lado, pol&iacute;ticas p&uacute;blicas sostenidas que integren el moje&ntilde;o trinitario como componente estructural del sistema educativo en todo el territorio beniano; por otro, iniciativas comunitarias que devuelvan el prestigio al idioma y fortalezcan el orgullo identitario.</p>\n\n<p>&nbsp;</p>\n\n<p>Ser&iacute;a conveniente establecer un sistema permanente de monitoreo del uso ling&uuml;&iacute;stico en distintas edades, adem&aacute;s de promover incentivos para que las familias ense&ntilde;en el idioma en casa. La creaci&oacute;n de materiales culturales accesibles, la formaci&oacute;n de docentes hablantes y la inclusi&oacute;n de contenidos comunitarios en los medios de comunicaci&oacute;n local son medidas que contribuir&iacute;an a proteger este patrimonio. Tambi&eacute;n es necesario incrementar el presupuesto destinado al Instituto de Lengua para que pueda ampliar su cobertura, mejorar sus programas de formaci&oacute;n y garantizar continuidad en los procesos de ense&ntilde;anza y documentaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["e9e6832e-0883-48a5-ba21-5f851b7450ed", "d2a24278-85f8-422d-85c6-24e4009f191f", "009ee1ce-817d-434f-aaab-2d4a5dd352d1"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "02d99070-e66d-41c0-9733-c0a39db19bfb", "provisionaledits": null, "resourceinstance_id": "30929a9e-6b40-4aaf-9ac7-a6c183a90d9a", "sortorder": 0, "tileid": "a6704754-5ffd-430f-9de7-7d9cb58671ab"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el contexto del pueblo moje&ntilde;o trinitario, la lengua funciona como medio de articulaci&oacute;n de saberes y conocimientos vinculados a la vida cotidiana, a la organizaci&oacute;n social y a la cosmovisi&oacute;n local. Su uso se enmarca en la convivencia intergeneracional, en la cual los adultos mayores, portadores de la memoria ling&uuml;&iacute;stica y cultural, son actores fundamentales en la ense&ntilde;anza del idioma a ni&ntilde;os y j&oacute;venes. Este proceso de transmisi&oacute;n no ocurre de manera aislada, sino en interacci&oacute;n con pr&aacute;cticas comunitarias como la organizaci&oacute;n de actividades escolares, talleres familiares, producci&oacute;n de materiales pedag&oacute;gicos, y acciones formativas promovidas por el Instituto de Lengua Moje&ntilde;o Trinitario. La incorporaci&oacute;n del idioma en los tres niveles del sistema educativo y en espacios como los Nidos Biling&uuml;es evidencia c&oacute;mo el conocimiento se distribuye mediante estructuras institucionales que refuerzan el uso social del idioma dentro de un marco normativo.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde una mirada antropol&oacute;gica, la transmisi&oacute;n ling&uuml;&iacute;stica no solo responde a un proceso t&eacute;cnico de ense&ntilde;anza, sino que est&aacute; ligada a los sistemas simb&oacute;licos y a las formas en que las comunidades se representan a s&iacute; mismas en el tiempo. El idioma moje&ntilde;o trinitario, al formar parte de los contenidos educativos a trav&eacute;s de cartillas, se&ntilde;al&eacute;ticas, videos y audios, refleja un intento por desplazar las fronteras entre la lengua formal y la lengua vivida. Estas estrategias apuntan a resignificar el idioma como parte del proyecto colectivo del pueblo, enfrentando las huellas del trauma hist&oacute;rico de la castellanizaci&oacute;n. La pr&aacute;ctica del idioma en cursos comunitarios, teleclases y espacios institucionales contribuye as&iacute; a consolidar circuitos de transmisi&oacute;n que articulan tradici&oacute;n oral, mediaciones tecnol&oacute;gicas y pedagog&iacute;a cultural.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "02d99070-e66d-41c0-9733-c0a39db19bfb", "provisionaledits": null, "resourceinstance_id": "30929a9e-6b40-4aaf-9ac7-a6c183a90d9a", "sortorder": 0, "tileid": "d4871b15-1108-45d3-950c-460d99d0dfc7"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las transformaciones recientes en el uso y ense&ntilde;anza de la lengua moje&ntilde;o trinitario reflejan una transici&oacute;n desde un aprendizaje exclusivamente familiar hacia un modelo que integra espacios educativos formales e institucionales. A trav&eacute;s de la implementaci&oacute;n de curr&iacute;culos regionalizados en 120 colegios de Trinidad y de talleres impartidos por el Instituto de Lengua Moje&ntilde;o Trinitario, la lengua ha comenzado a formar parte de los contenidos escolares. Esta incorporaci&oacute;n ha generado nuevas formas de aprendizaje que combinan el enfoque tradicional con recursos tecnol&oacute;gicos como videos, audios y radioclases. Asimismo, la existencia de cursos para funcionarios p&uacute;blicos y poblaci&oacute;n en general sugiere una revalorizaci&oacute;n institucional del idioma que lo posiciona como un requisito funcional en el entorno laboral. Este desplazamiento de la ense&ntilde;anza oral comunitaria hacia escenarios pedag&oacute;gicos estructurados modifica no solo el canal de transmisi&oacute;n, sino tambi&eacute;n la percepci&oacute;n de prestigio del idioma entre ni&ntilde;os y j&oacute;venes.</p>\n\n<p>&nbsp;</p>\n\n<p>Se evidencia una reconfiguraci&oacute;n de los espacios simb&oacute;licos en los que el idioma circula. El aula, la se&ntilde;al&eacute;tica escolar y los medios tecnol&oacute;gicos se convierten en nuevos territorios para la revitalizaci&oacute;n ling&uuml;&iacute;stica, lo cual implica una adaptaci&oacute;n del lenguaje a formatos y contextos distintos a los tradicionales. Esta transformaci&oacute;n implica desaf&iacute;os, como la necesidad de garantizar coherencia entre el conocimiento ancestral y los materiales pedag&oacute;gicos elaborados. La emergencia de n&uacute;cleos referenciales como la Unidad Educativa Luis Espinal marca un punto de inflexi&oacute;n, al convertirse en escenarios donde se articula la ense&ntilde;anza del idioma con los valores culturales del pueblo moje&ntilde;o trinitario. En este proceso, la lengua no solo se conserva como medio de comunicaci&oacute;n, sino que se transforma en emblema de una identidad que busca posicionarse de forma activa en el marco de los derechos culturales establecidos por el Estado Plurinacional.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "02d99070-e66d-41c0-9733-c0a39db19bfb", "provisionaledits": null, "resourceinstance_id": "30929a9e-6b40-4aaf-9ac7-a6c183a90d9a", "sortorder": 0, "tileid": "ba12832f-8009-4c19-b3bb-c13b73813cc6"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica ling\u00fc\u00edstica del pueblo moje\u00f1o trinitario radica en la existencia del Instituto de Lengua Moje\u00f1o Trinitario, que desde 2014 promueve acciones para la ense\u00f1anza y revitalizaci\u00f3n del idioma. Este organismo no solo articula esfuerzos con unidades educativas, sino que tambi\u00e9n dise\u00f1a cursos para distintos sectores sociales, incluyendo funcionarios p\u00fablicos y poblaci\u00f3n general. El trabajo sistem\u00e1tico con los docentes, mediante talleres de capacitaci\u00f3n y elaboraci\u00f3n de cartillas pedag\u00f3gicas, garantiza la inserci\u00f3n del idioma en los tres ciclos escolares. La incorporaci\u00f3n de contenidos culturales como la simbolog\u00eda del machetero en los materiales educativos refuerza la transmisi\u00f3n de saberes vinculados al territorio, lo que favorece un aprendizaje enraizado en la cosmovisi\u00f3n del pueblo moje\u00f1o trinitario.  Desde una mirada patrimonial, la lengua se reconoce como un bien inmaterial que articula identidad, memoria colectiva y formas de organizaci\u00f3n social. El uso de tecnolog\u00edas como videos, audios y clases radiales ampl\u00eda las posibilidades de difusi\u00f3n, especialmente en contextos donde el acceso presencial puede ser limitado. La existencia de 146 comunidades donde a\u00fan se habla el idioma refleja una base comunitaria activa, lo que representa una ventaja en los procesos de salvaguarda. La implementaci\u00f3n de cursos escalonados (b\u00e1sico, intermedio y avanzado) permite que los hablantes se formen de manera progresiva, consolidando su competencia ling\u00fc\u00edstica y, al mismo tiempo, fortaleciendo su sentido de pertenencia cultural."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "02d99070-e66d-41c0-9733-c0a39db19bfb", "provisionaledits": null, "resourceinstance_id": "30929a9e-6b40-4aaf-9ac7-a6c183a90d9a", "sortorder": 0, "tileid": "a110680d-6b55-4a8e-9582-926479162a70"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos m&aacute;s significativos para la pr&aacute;ctica ling&uuml;&iacute;stica del moje&ntilde;o trinitario es la escasa transmisi&oacute;n del idioma a las nuevas generaciones, particularmente entre los ni&ntilde;os menores de 15 a&ntilde;os. A pesar de los esfuerzos por revitalizar el idioma a trav&eacute;s de cursos y materiales educativos, el desinter&eacute;s de algunos padres por ense&ntilde;ar el idioma a sus hijos, debido al temor a la discriminaci&oacute;n o al estigma de hablar una lengua originaria, sigue siendo un obst&aacute;culo considerable. Este fen&oacute;meno est&aacute; directamente relacionado con la historia de la castellanizaci&oacute;n y la marginaci&oacute;n cultural que vivieron las generaciones anteriores, quienes fueron forzadas a abandonar su lengua para integrarse a una sociedad que valoraba m&aacute;s el espa&ntilde;ol. El resultado es una dr&aacute;stica disminuci&oacute;n de hablantes j&oacute;venes, lo cual amenaza la continuidad intergeneracional de la lengua y, por ende, la conservaci&oacute;n de los conocimientos culturales asociados a ella.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde una perspectiva de salvaguarda del patrimonio cultural, este riesgo no solo pone en peligro la lengua como medio de comunicaci&oacute;n, sino tambi&eacute;n los saberes, pr&aacute;cticas y cosmovisi&oacute;n que la acompa&ntilde;an. La p&eacute;rdida de hablantes j&oacute;venes afecta directamente a la transmisi&oacute;n de conocimientos ancestrales, como las tradiciones vinculadas a la agricultura, la espiritualidad y las formas de organizaci&oacute;n comunitaria. La lengua es m&aacute;s que un veh&iacute;culo de comunicaci&oacute;n: es un depositario de identidad colectiva, valores y relatos hist&oacute;ricos que sustentan la cohesi&oacute;n social de la comunidad. Como recomendaci&oacute;n, es esencial seguir promoviendo la sensibilizaci&oacute;n entre los padres y la comunidad sobre la importancia de hablar y ense&ntilde;ar el idioma, as&iacute; como ampliar las oportunidades de formaci&oacute;n a trav&eacute;s de plataformas tecnol&oacute;gicas, que permitan una mayor interacci&oacute;n y acceso a contenidos ling&uuml;&iacute;sticos. Adicionalmente, deber&iacute;a fortalecerse el respaldo institucional mediante pol&iacute;ticas p&uacute;blicas que incentiven la ense&ntilde;anza del idioma y fomenten un entorno culturalmente inclusivo, eliminando barreras sociales que disuadan el uso del moje&ntilde;o trinitario.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "02d99070-e66d-41c0-9733-c0a39db19bfb", "provisionaledits": null, "resourceinstance_id": "30929a9e-6b40-4aaf-9ac7-a6c183a90d9a", "sortorder": 0, "tileid": "90a2657c-b0c7-423e-be42-302e552b5f29"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:49.525", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000037, "}, "es": {"description": "San Javier. Danza Los Herodes", "map_popup": "Beni", "name": "PI-080102-00-00-000037, San Javier. Danza Los Herodes"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000037, San Javier. Danza Los Herodes", "principaluser_id": 26, "resourceinstanceid": "c0f30392-e626-4c30-92f1-e42b5a930792", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta Virgen del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000037", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Danza Los Herodes"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 0, "tileid": "0435b30f-af20-42b9-8035-25943ae1b015"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.86835937500359, -14.603064316126122], "type": "Point"}, "id": "d0465a9e831bc8960a80e6228dc940db", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000002'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 0, "tileid": "3deb8465-dcb8-41b8-b26d-ac21cb069ed0"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 0, "tileid": "e40bf161-7360-4e6d-a3e1-c03216d74d67"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Danza Los Herodes</strong></p>\n\n<p>La danza Los Herodes est&aacute; vinculada a la Fiesta de la Virgen del Carmen, integrando elementos religiosos e hist&oacute;ricos en su representaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>Esta danza simboliza la persecuci&oacute;n de los ni&ntilde;os ordenada por el Rey Herodes. Los participantes son ni&ntilde;os vestidos de blanco, con trajes de tocuyo pl&aacute;stico. Las ni&ntilde;as llevan cors&eacute; y falda, mientras que los ni&ntilde;os usan falda con el torso descubierto. Todos portan espadas. En el centro, una ni&ntilde;a con vestido y un ni&ntilde;o con traje y corona representan figuras principales y encabezan la comitiva. Se baila el 28 de diciembre, D&iacute;a de los Inocentes.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Seg&uacute;n la tradici&oacute;n b&iacute;blica, el Rey Herodes orden&oacute; la matanza de todos los ni&ntilde;os varones reci&eacute;n nacidos para evitar la llegada del Mes&iacute;as. Los soldados, armadas con espadas, cumplieron esta orden en un acto de persecuci&oacute;n y violencia. En San Javier se baila desde la &eacute;poca jesu&iacute;tica, se ha transformado con el pasar del tiempo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>Los bailarines forman dos filas, encabezadas por una pareja infantil: una ni&ntilde;a con vestido y un ni&ntilde;o con traje y corona, representando al Rey Herodes. Los dem&aacute;s ni&ntilde;os y ni&ntilde;as, que simbolizan soldados, portan espadas y siguen el ritmo de la danza. El acompa&ntilde;amiento musical est&aacute; a cargo de la agrupaci&oacute;n Bombilla.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<p>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana. . Ellas llevaban el estandarte que data de 1957, estaban encargadas de atender a la virgen y atender necesidades de la iglesia y ayudar a la manutenci&oacute;n del templo y recaudar fondos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "e40bf161-7360-4e6d-a3e1-c03216d74d67", "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 0, "tileid": "072fe745-76e5-4627-9f93-c802826614e4"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Confeccionado con tela de yute pl\u00e1stico, un material liviano y resistente, adecuado para el movimiento durante la danza. T\u00e9cnica de elaboraci\u00f3n Elaborado de manera manual, lo que refleja la tradici\u00f3n artesanal de las comunidades que mantienen viva esta expresi\u00f3n cultural. Descripci\u00f3n de la pieza Es una prenda femenina que cubre la zona del busto. Su dise\u00f1o se adapta al cuerpo de la ni\u00f1a, formando parte del conjunto que se utiliza en una danza con fuerte carga simb\u00f3lica. Descripci\u00f3n de la funci\u00f3n/uso El cors\u00e9 es parte del vestuario de la danza que rememora la persecuci\u00f3n de los ni\u00f1os ordenada por el Rey Herodes. En esta representaci\u00f3n, los ni\u00f1os visten ropas blancas hechas de tocuyo pl\u00e1stico. Las ni\u00f1as llevan cors\u00e9 y falda, mientras que los ni\u00f1os utilizan una falda y permanecen con el torso desnudo. Todos portan una espada como parte de la escenificaci\u00f3n. En el centro de la comitiva caminan una ni\u00f1a con vestido y un ni\u00f1o con traje y corona, quienes encabezan el grupo. Esta danza se realiza el 28 de diciembre, D\u00eda de los Inocentes, como acto conmemorativo y devocional. Datos hist\u00f3ricos Seg\u00fan la tradici\u00f3n b\u00edblica, durante el reinado de Herodes se orden\u00f3 la matanza de todos los ni\u00f1os varones reci\u00e9n nacidos con el fin de eliminar al mes\u00edas, anunciado como nuevo rey. Los soldados salieron con sus espadas para cumplir esta orden, hecho que ha sido interpretado simb\u00f3licamente en esta danza ritual."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cors\u00e9 femenino"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "e40bf161-7360-4e6d-a3e1-c03216d74d67", "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 0, "tileid": "3dd5dec1-7557-4c0b-90c2-86fed9dbb8a7"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Hecha de madera de palo Mar\u00eda, material resistente y liviano que permite su manipulaci\u00f3n durante la danza. T\u00e9cnica de elaboraci\u00f3n Elaborada manualmente y decorada con pintura blanca, con l\u00edneas rojas, plomas o negras que realzan su dise\u00f1o. Descripci\u00f3n de la pieza Es una espada estilizada, pintada con colores simb\u00f3licos que evocan el dramatismo de la escena representada. Descripci\u00f3n de la funci\u00f3n/uso La espada forma parte esencial del atuendo de los ni\u00f1os en la danza del 28 de diciembre. Vestidos con ropas blancas, todos los participantes portan una espada que simboliza la persecuci\u00f3n de los inocentes. Al centro de la danza marchan una ni\u00f1a y un ni\u00f1o con vestimenta especial, liderando el grupo en esta representaci\u00f3n ritual que combina canto, danza y memoria. Datos hist\u00f3ricos La espada representa a los soldados enviados por Herodes, quienes deb\u00edan asesinar a los reci\u00e9n nacidos en un intento de impedir el nacimiento del nuevo rey anunciado. Esta escena ha sido reinterpretada a trav\u00e9s de generaciones en forma de danza, como una forma de recordar y reflexionar."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Espada"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "e40bf161-7360-4e6d-a3e1-c03216d74d67", "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 1, "tileid": "f0f5d43c-eb67-4a5c-9876-ea62a4eb3be7"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Confeccionada en tela de yute pl\u00e1stico, material com\u00fan en trajes festivos tradicionales por su ligereza y durabilidad. T\u00e9cnica de elaboraci\u00f3n Realizada manualmente, como parte de la indumentaria que acompa\u00f1a la danza conmemorativa. Descripci\u00f3n de la pieza Es una prenda femenina que se lleva desde la cintura. En la danza, la falda se complementa con el cors\u00e9 para formar el atuendo completo de las ni\u00f1as participantes. Descripci\u00f3n de la funci\u00f3n/uso La falda se utiliza en la danza que representa la persecuci\u00f3n de los ni\u00f1os por orden del Rey Herodes. Las ni\u00f1as la usan junto con el cors\u00e9, mientras los ni\u00f1os llevan falda y el torso desnudo. Todos portan espadas como s\u00edmbolo de la historia que se representa. La escena central est\u00e1 protagonizada por una ni\u00f1a con vestido y un ni\u00f1o con corona, quienes abren el desfile. La danza tiene lugar cada 28 de diciembre, D\u00eda de los Inocentes. Datos hist\u00f3ricos Inspirada en el relato b\u00edblico de la matanza de los inocentes durante el mandato del Rey Herodes, esta danza perpet\u00faa la memoria de aquellos hechos a trav\u00e9s de una coreograf\u00eda ceremonial que combina dramatizaci\u00f3n, m\u00fasica y tradici\u00f3n."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Falda femenina"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "e40bf161-7360-4e6d-a3e1-c03216d74d67", "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 2, "tileid": "d263ed51-bfd3-408e-a7ab-21b7ce9a5f41"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En su ejecuci&oacute;n, los movimientos y la vestimenta evocan hechos hist&oacute;ricos y religiosos, permitiendo que cada nueva generaci&oacute;n comprenda la narrativa de esta representaci&oacute;n. Los participantes, al interpretar personajes con roles definidos, interiorizan relatos sobre el pasado y refuerzan la memoria colectiva. La repetici&oacute;n anual de la danza fortalece el v&iacute;nculo entre la comunidad y su historia, convirti&eacute;ndose en un veh&iacute;culo de aprendizaje vivencial que trasciende las palabras.</p>\n\n<p>&nbsp;</p>\n\n<p>La vestimenta, los pasos y la estructura coreogr&aacute;fica son elementos que se transmiten de una generaci&oacute;n a otra. La m&uacute;sica de la agrupaci&oacute;n Bombilla no es la original, se desconoce el ritmo.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "e40bf161-7360-4e6d-a3e1-c03216d74d67", "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 0, "tileid": "a0b98fa0-9269-4003-a658-f8c1712443d0"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica artesanal de la danza Los Herodes ha experimentado transformaciones a lo largo del tiempo. La vestimenta, inicialmente elaborada con materiales tradicionales, ha sido modificada. Esta adaptaci&oacute;n refleja tanto el paso del tiempo como la respuesta de los artesanos a la disponibilidad de nuevos recursos.</p>\n\n<p>&nbsp;</p>\n\n<p>Con el tiempo, la agrupaci&oacute;n Bombilla ha aportado sus melod&iacute;as, estilo y el ritmo de la ejecuci&oacute;n musical, ha modificado el enfoque tradicional de la danza.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, esta danza que s&oacute;lo se interpretaba en diciembre, ahora est&aacute; presente en las festividades importantes de la comunidad.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "e40bf161-7360-4e6d-a3e1-c03216d74d67", "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 0, "tileid": "d26d1ba1-4257-4c0d-9aaa-a42f2bed775b"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la danza Los Herodes radica en su capacidad para mantener viva una tradici\u00f3n cultural que ha perdurado. La danza no solo preserva un relato hist\u00f3rico y religioso, sino que lo transmite de generaci\u00f3n en generaci\u00f3n, posibilita que los ni\u00f1os y las ni\u00f1as participen activamente en la recreaci\u00f3n de este acontecimiento. Esta conexi\u00f3n intergeneracional fortalece el sentido de identidad y pertenencia, permitiendo que cada nuevo participante se sienta parte de la historia colectiva. A trav\u00e9s de la pr\u00e1ctica anual, la danza se mantiene vigente, actuando como un veh\u00edculo que transmite conocimientos y valores fundamentales de la comunidad."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "e40bf161-7360-4e6d-a3e1-c03216d74d67", "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 0, "tileid": "2d4a643d-0553-4b4c-b0c5-b1029823ce1b"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos de la pr&aacute;ctica de la danza Los Herodes es la posible p&eacute;rdida de su autenticidad debido a las transformaciones constantes que enfrenta. La adaptaci&oacute;n a nuevos recursos y enfoques puede hacer que algunos aspectos simb&oacute;licos de la danza queden desvirtuados, lo que afectar&iacute;a la preservaci&oacute;n de su mensaje original. Esta p&eacute;rdida de identidad podr&iacute;a impactar en su funci&oacute;n educativa y cultural dentro de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>La falta de inter&eacute;s de las nuevas generaciones por participar es un problema latente. A medida que las costumbres y tradiciones cambian, hay una creciente desconexi&oacute;n entre los j&oacute;venes y las pr&aacute;cticas culturales tradicionales. La falta de involucramiento de la juventud puede amenazar la continuidad de la danza, ya que la transmisi&oacute;n de estos conocimientos depende en gran medida de la participaci&oacute;n activa de los ni&ntilde;os y ni&ntilde;as en la festividad. Si este inter&eacute;s disminuye, la danza podr&iacute;a enfrentar dificultades para mantenerse viva a largo plazo.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "e40bf161-7360-4e6d-a3e1-c03216d74d67", "provisionaledits": null, "resourceinstance_id": "c0f30392-e626-4c30-92f1-e42b5a930792", "sortorder": 0, "tileid": "9303dbd3-91ee-4314-8932-884ff00aaaf1"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:49.884", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000038, "}, "es": {"description": "San Javier. Danza La Vaca", "map_popup": "Beni", "name": "PI-080102-00-00-000038, San Javier. Danza La Vaca"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000038, San Javier. Danza La Vaca", "principaluser_id": 26, "resourceinstanceid": "fccd7351-c9df-4434-9fd7-8fca4eddfda6", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de la Virgen del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000038", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Danza La Vaca"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "fccd7351-c9df-4434-9fd7-8fca4eddfda6", "sortorder": 0, "tileid": "92fb44c4-5503-4603-8c7c-f9daed7c257c"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.87659912109712, -14.601735384305798], "type": "Point"}, "id": "24efe2d589acd363af008875f31a6296", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000003'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "fccd7351-c9df-4434-9fd7-8fca4eddfda6", "sortorder": 0, "tileid": "11074f97-094f-43a9-b0b9-93d7b9222ef7"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "fccd7351-c9df-4434-9fd7-8fca4eddfda6", "sortorder": 0, "tileid": "78894ceb-1b48-4fbd-89b4-b61696381b5c"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la danza La Vaca es su capacidad para mantener viva la conexi\u00f3n entre la comunidad y sus tradiciones. La pr\u00e1ctica no solo transmite conocimientos sobre la ganader\u00eda y las costumbres locales, sino que tambi\u00e9n promueve la cohesi\u00f3n social a trav\u00e9s de la participaci\u00f3n colectiva. Fortalece los lazos familiares y comunitarios, asegurando la continuidad de los valores culturales, por ser una representaci\u00f3n de la vida rural y las festividades religiosas. A trav\u00e9s de la danza y la m\u00fasica, enriquece la identidad de la comunidad."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "78894ceb-1b48-4fbd-89b4-b61696381b5c", "provisionaledits": null, "resourceinstance_id": "fccd7351-c9df-4434-9fd7-8fca4eddfda6", "sortorder": 0, "tileid": "a4c98272-7cd3-4c3b-8e34-60cd0cec157c"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A medida que la danza se adapta a nuevos p&uacute;blicos y se presenta en eventos tur&iacute;sticos o festivales urbanos, existe el peligro de que se transformen los elementos originales de la tradici&oacute;n para hacerla m&aacute;s accesible o atractiva a los turistas.</p>\n\n<p>&nbsp;</p>\n\n<p>La disminuci&oacute;n de la participaci&oacute;n activa de las nuevas generaciones es otra amenaza relevante. La modernizaci&oacute;n y la influencia de la cultura globalizada pueden generar un alejamiento de las tradiciones locales, como la danza La Vaca. Si las j&oacute;venes generaciones no se sienten identificadas con estas expresiones culturales, es probable que la pr&aacute;ctica se vea amenazada por la falta de renovaci&oacute;n de los conocimientos y la ejecuci&oacute;n. La continuidad de esta tradici&oacute;n depende en gran medida de la transmisi&oacute;n intergeneracional, y si no se fomenta el inter&eacute;s y la apropiaci&oacute;n por parte de los m&aacute;s j&oacute;venes, el riesgo de que la danza se pierda a lo largo del tiempo es elevado.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "78894ceb-1b48-4fbd-89b4-b61696381b5c", "provisionaledits": null, "resourceinstance_id": "fccd7351-c9df-4434-9fd7-8fca4eddfda6", "sortorder": 0, "tileid": "b076f506-7c5d-470d-b717-1f7fc6d1c746"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Danza La Vaca</strong></p>\n\n<p>La danza La Vaca forma parte de la Fiesta de la Virgen del Carmen.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La danza consiste en un grupo de personas que bailan alrededor de una vaca representada por un armaz&oacute;n cubierto con cuero de vaca y una cabeza tallada del animal. Dos personas sostienen el armaz&oacute;n desde adentro, mientras una ni&ntilde;a amarra a la vaca a un &aacute;rbol simulando que la orde&ntilde;a. Se baila en Navidad, en referencia a la presencia del toro y la vaca en el nacimiento del Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Esta danza representa la ganader&iacute;a de San Javier, una actividad econ&oacute;mica clave en la regi&oacute;n. Se incorpor&oacute; a la festividad navide&ntilde;a para simbolizar la presencia del toro y la vaca en el pesebre, vinculando la ganader&iacute;a con la adoraci&oacute;n del Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>La coreograf&iacute;a simula una vaca que c&oacute;rnea a su paso, mientras una persona intenta enlazarla para la orde&ntilde;a, recreando una escena propia de la actividad ganadera. El acompa&ntilde;amiento musical est&aacute; a cargo del grupo musical Bombilla.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<p>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana. . Ellas llevaban el estandarte que data de 1957, estaban encargadas de atender a la virgen y atender necesidades de la iglesia y ayudar a la manutenci&oacute;n del templo y recaudar fondos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "78894ceb-1b48-4fbd-89b4-b61696381b5c", "provisionaledits": null, "resourceinstance_id": "fccd7351-c9df-4434-9fd7-8fca4eddfda6", "sortorder": 0, "tileid": "e425ada3-0ea3-4e80-94c9-d27bbd30daa9"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales La montura est\u00e1 elaborada con una combinaci\u00f3n de materiales tradicionales: la cabeza se talla en madera balsa, mientras que el cuerpo est\u00e1 cubierto con cuero de toro. El armaz\u00f3n se sostiene con una estructura hecha de chuch\u00edo y tela, otorg\u00e1ndole ligereza y resistencia para el baile. T\u00e9cnica de elaboraci\u00f3n Su fabricaci\u00f3n es completamente manual, resultado del trabajo artesanal que conserva los saberes ancestrales de la regi\u00f3n. Descripci\u00f3n de la pieza Se trata de un armaz\u00f3n cubierto con cuero verdadero de vaca, cuya parte frontal exhibe una cabeza tallada que representa fielmente al toro. La figura se completa con cuernos reales, lo que le otorga una presencia imponente y realista durante la danza. Descripci\u00f3n de la funci\u00f3n/uso La pieza forma parte central de la danza conocida como \u201cLa Vaca\u201d, interpretada por un grupo de personas que giran y bailan en torno al armaz\u00f3n que representa a este animal. Dos personas, ocultas dentro de la estructura, cargan y animan a la vaca durante la danza. En un momento simb\u00f3lico, una ni\u00f1a se encarga de atarla a un \u00e1rbol, simulando la acci\u00f3n de orde\u00f1ar. Esta representaci\u00f3n se realiza durante las celebraciones navide\u00f1as, evocando la presencia del toro y la vaca en el pesebre donde naci\u00f3 el ni\u00f1o Jes\u00fas. Datos hist\u00f3ricos La danza de La Vaca es una expresi\u00f3n cultural profundamente vinculada con la identidad ganadera de San Javier, uno de los municipios con mayor producci\u00f3n de ganado en la regi\u00f3n. Esta representaci\u00f3n transforma simb\u00f3licamente la actividad econ\u00f3mica local en un acto de adoraci\u00f3n y participaci\u00f3n en el nacimiento de Jes\u00fas. La presencia del toro y la vaca en el pesebre es retomada en esta danza, que fusiona la espiritualidad con la cotidianidad del trabajo ganadero."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Montura danza La Vaca"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "78894ceb-1b48-4fbd-89b4-b61696381b5c", "provisionaledits": null, "resourceinstance_id": "fccd7351-c9df-4434-9fd7-8fca4eddfda6", "sortorder": 0, "tileid": "eb1c8b41-f8dc-431b-98e5-4e9902099e20"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de conocimientos en comunidades rurales se ha dado a trav&eacute;s de pr&aacute;cticas que vinculan la memoria colectiva con la oralidad, la observaci&oacute;n directa y la participaci&oacute;n activa. Un ejemplo de esto es la danza La Vaca, en la que los miembros de la comunidad no solo rememoran sobre la tradici&oacute;n de la ganader&iacute;a, sino tambi&eacute;n sobre los valores espirituales que se entrelazan con la celebraci&oacute;n de la Navidad. Este tipo de danzas permite que los conocimientos sobre las costumbres y la vida cotidiana se transmitan de generaci&oacute;n en generaci&oacute;n, fortaleciendo el sentido de identidad y pertenencia.</p>\n\n<p>&nbsp;</p>\n\n<p>En este contexto, la danza se convierte en un medio eficaz de ense&ntilde;anza, donde la acci&oacute;n simb&oacute;lica y la representaci&oacute;n coreogr&aacute;fica permiten a los participantes, tanto j&oacute;venes como adultos, integrar el conocimiento relacionado con la ganader&iacute;a y las tradiciones religiosas. Los movimientos de los bailarines, la interacci&oacute;n con la figura de la vaca y la recreaci&oacute;n de escenas propias del &aacute;mbito rural son formas vivas de ense&ntilde;anza, que aseguran la preservaci&oacute;n de la cultura local.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "78894ceb-1b48-4fbd-89b4-b61696381b5c", "provisionaledits": null, "resourceinstance_id": "fccd7351-c9df-4434-9fd7-8fca4eddfda6", "sortorder": 0, "tileid": "aeb876fc-898f-494e-8b61-6de842300f14"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>No se tiene datos&nbsp; al respecto.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "78894ceb-1b48-4fbd-89b4-b61696381b5c", "provisionaledits": null, "resourceinstance_id": "fccd7351-c9df-4434-9fd7-8fca4eddfda6", "sortorder": 0, "tileid": "4b9fda87-9168-44ce-9f60-5e434bd7a4dc"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:50.168", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080501-00-00-000016, "}, "es": {"description": "Artesana de velas de sebo. Mar\u00eda Luisa Apace", "map_popup": "Beni", "name": "PI-080501-00-00-000016, Artesana de velas de sebo. Mar\u00eda Luisa Apace"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080501-00-00-000016, Artesana de velas de sebo. Mar\u00eda Luisa Apace", "principaluser_id": 26, "resourceinstanceid": "94d58765-b28e-456a-9c14-be3dfcae0436", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "T\u00e9cnicas artesanales"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080501-00-00-000016", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Artesana de velas de sebo. Mar\u00eda Luisa Apace"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "94d58765-b28e-456a-9c14-be3dfcae0436", "sortorder": 0, "tileid": "fcb71316-3475-4d03-b976-92ed75e7c0b6"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-65.64083599251398, -14.995427496811914], "type": "Point"}, "id": "64da138e9d35fa33fd361147acf5f0ce", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "7c630574-4bde-4beb-92f4-d7e3a4b4c5fe", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080501', 'num': '000003'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "94d58765-b28e-456a-9c14-be3dfcae0436", "sortorder": 0, "tileid": "de516b31-1274-41ae-9bab-ac642b326972"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "94d58765-b28e-456a-9c14-be3dfcae0436", "sortorder": 0, "tileid": "dab29b5b-951c-4b51-a5f2-78c81c681d14"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Artesana de velas de sebo Mar&iacute;a Luisa Apace</strong></p>\n\n<p>Mar&iacute;a Luisa Apace ha dedicado su vida a la elaboraci&oacute;n de velas de sebo, una tradici&oacute;n que ha perdurado por generaciones. La producci&oacute;n de estas velas se intensifica durante las fiestas principales de San Ignacio.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Materiales y procedencia</strong></p>\n\n<p>Su trabajo est&aacute; basado en el aprovechamiento de recursos naturales y el conocimiento de t&eacute;cnicas ancestrales. Para la elaboraci&oacute;n de las velas, Mar&iacute;a Luisa adquiere el cebo de vaca en los friales. Compra entre media y una arroba, lo pica y muele antes de hervirlo. Con aproximadamente seis kilos de cebo de buena calidad puede producir hasta 150 velas, mientras que si el cebo es m&aacute;s flaco, la producci&oacute;n se reduce a unas 80 unidades. Adem&aacute;s, reutiliza restos de velas de candelabros y sobras de otras velas para optimizar los materiales.</p>\n\n<p>&nbsp;</p>\n\n<p>El pabilo se fabrica hilando algod&oacute;n con una hiladora de palanca. Luego, con la ayuda de un palo con un clavo, da tres vueltas al hilo para formar el pabilo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Herramientas utilizadas</strong></p>\n\n<p>El proceso requiere una serie de herramientas espec&iacute;ficas para elaborar velas y jab&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Para las velas, utiliza baldes, ollas, vigas y cebo de vaca.</p>\n\n<p>Para el jab&oacute;n, utiliza lej&iacute;a y cebo, adem&aacute;s de recipientes adecuados para la cocci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>T&eacute;cnica de elaboraci&oacute;n</strong></p>\n\n<p>La fabricaci&oacute;n de velas comienza sancochando (hacer cocer) el cebo. Una vez que adquiere una consistencia similar a la manteca, se cuela con un trapo y se mezcla con agua caliente. Luego, el pabilo se sumerge repetidamente en el cebo caliente, permitiendo que la vela adquiera grosor progresivamente, una y otra vez. Este proceso dura varias horas y debe realizarse con precauci&oacute;n, ya que los residuos pueden explotar y causar quemaduras. Finalmente, las velas se cuelgan en vigas para enfriarse y solidificarse.</p>\n\n<p>&nbsp;</p>\n\n<p>El jab&oacute;n de lej&iacute;a, por otro lado, se elabora destilando la lej&iacute;a con ceniza y mezcl&aacute;ndola con cebo en un proceso que puede durar entre cuatro y quince d&iacute;as, dependiendo de la cantidad. Se cuece lentamente en turriles o latas hasta obtener un jab&oacute;n duro y amarillo, que es apreciado por su efectividad para lavar ropa y tratar la caspa.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Tipos y destino de la artesan&iacute;a</strong></p>\n\n<p>Mar&iacute;a Luisa produce velas de sebo y jab&oacute;n de lej&iacute;a, para su propio consumo, principalmente para la iglesia y el Cabildo. Aunque ya no fabrica jab&oacute;n con frecuencia, sigue elaborando velas y, en ocasiones, las vende a quienes las buscan. Su jab&oacute;n, reconocido por su poder blanqueador y propiedades medicinales, fue aprendido en su adultez, pero actualmente su producci&oacute;n ha disminuido debido a la falta de encargos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vida de la artesana</strong></p>\n\n<p>Mar&iacute;a Luisa Apace ha dedicado gran parte de su vida a la elaboraci&oacute;n de velas de sebo, un arte que aprendi&oacute; a los quince a&ntilde;os de la experiencia de su madre. Durante a&ntilde;os trabajaron juntas, hasta que, con el tiempo, comenz&oacute; a hacerlas sola. Hoy, con setenta y cuatro a&ntilde;os, sigue elaborando velas.</p>\n\n<p>&nbsp;</p>\n\n<p>A lo largo de su vida, Mar&iacute;a Luisa form&oacute; una familia. Se cas&oacute; a los veinti&uacute;n a&ntilde;os y tuvo dos hijos, aunque el destino le arrebat&oacute; a su esposo, quedando viuda. A pesar de las dificultades, ha encontrado en su labor artesanal y en su fe. Ella ocupa el importante rol de Abadesa del Cabildo Indigenal de San Ignacio, una posici&oacute;n que la vincula estrechamente con las costumbres religiosas y responsabilidades de su comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>En su hogar, Mar&iacute;a Luisa ha construido un espacio sagrado donde honra su fe y sus tradiciones. En su altar destaca la imagen de San Ignacio, junto con las m&aacute;scaras de Achu, a las que ha dado nombres propios: Juli&aacute;n, Gustavo y Wilfredo. Cada noche, enciende velas en honor a sus creencias. Este a&ntilde;o, planea construir un nacimiento y realizar un velorio en Navidad, reafirmando su devoci&oacute;n y compromiso con sus costumbres.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["da719d9d-e927-4281-aeef-d551a1da07ff", "237ed805-e832-4979-80cb-8d2f6d646d28", "e5270642-c871-4c8b-88af-3256b9e5ab85"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "dab29b5b-951c-4b51-a5f2-78c81c681d14", "provisionaledits": null, "resourceinstance_id": "94d58765-b28e-456a-9c14-be3dfcae0436", "sortorder": 0, "tileid": "b88a8901-d7b8-4e93-a6da-bc0558d891d8"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Transmisi&oacute;n del conocimiento</strong></p>\n\n<p>A pesar de su profundo conocimiento, ninguno de sus hijos ha aprendido el oficio de la fabricaci&oacute;n de velas. Sin embargo, en San Ignacio, muchas de las Abadesas del Cabildo Indigenal dominan la elaboraci&oacute;n de velas de sebo y jab&oacute;n de lej&iacute;a, ya que es parte de sus funciones dentro de la comunidad. De esta manera, aunque su propia descendencia no contin&uacute;e con la tradici&oacute;n, el saber artesanal que Mar&iacute;a Luisa ha practicado por d&eacute;cadas sigue siendo transmitido y preservado por el grupo de las Abadesas.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "dab29b5b-951c-4b51-a5f2-78c81c681d14", "provisionaledits": null, "resourceinstance_id": "94d58765-b28e-456a-9c14-be3dfcae0436", "sortorder": 0, "tileid": "bec685b0-6e53-42f2-810a-8d22f3f6c823"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica artesanal de Mar\u00eda Luisa Apace es su inter\u00e9s en el conocimiento ancestral y el aprovechamiento de recursos naturales. La elaboraci\u00f3n de velas de sebo y jab\u00f3n de lej\u00eda se basa en t\u00e9cnicas transmitidas de generaci\u00f3n en generaci\u00f3n, lo que garantiza la preservaci\u00f3n de un saber tradicional. Adem\u00e1s, la capacidad de Mar\u00eda Luisa para reutilizar materiales, como restos de velas y cebo reciclado, demuestra un enfoque sustentable que optimiza los recursos disponibles. Esta adaptaci\u00f3n no solo reduce el desperdicio, sino que tambi\u00e9n refuerza la viabilidad de la artesan\u00eda en un contexto donde los insumos pueden ser limitados. Otra fortaleza clave es el papel de la pr\u00e1ctica artesanal dentro de la vida comunitaria y religiosa de San Ignacio. La elaboraci\u00f3n de velas no es solo una actividad econ\u00f3mica o dom\u00e9stica, sino que est\u00e1 vinculada con las festividades, el culto y las funciones del Cabildo Indigenal. Las abadesas ocupan un lugar central en la preservaci\u00f3n de estas tradiciones, manteniendo viva la conexi\u00f3n entre la artesan\u00eda y la identidad cultural de su comunidad. Aunque sus hijos no han continuado con el oficio, la transmisi\u00f3n del conocimiento a otras Abadesas asegura que esta pr\u00e1ctica siga vigente, fortaleciendo la cohesi\u00f3n social y el sentido de pertenencia a trav\u00e9s de una herencia compartida."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "dab29b5b-951c-4b51-a5f2-78c81c681d14", "provisionaledits": null, "resourceinstance_id": "94d58765-b28e-456a-9c14-be3dfcae0436", "sortorder": 0, "tileid": "f061c308-c69f-461e-9b83-ffe232b0e321"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos para la pr&aacute;ctica artesanal de Mar&iacute;a Luisa Apace es la disminuci&oacute;n en la demanda de velas de sebo y jab&oacute;n de lej&iacute;a debido a la disponibilidad de productos industriales m&aacute;s accesibles y de producci&oacute;n masiva. A medida que el uso de velas comunes y jabones comerciales se vuelve m&aacute;s com&uacute;n, la necesidad de estos productos artesanales se reduce, afectando la continuidad de su elaboraci&oacute;n. Adem&aacute;s, la falta de encargos para la producci&oacute;n de jab&oacute;n ha llevado a que Mar&iacute;a Luisa deje de fabricarlo con regularidad, lo que evidencia c&oacute;mo los cambios en los h&aacute;bitos de consumo pueden poner en peligro la permanencia de este conocimiento tradicional.</p>\n\n<p>Otro riesgo importante es la falta de herederos directos dentro de la familia de Mar&iacute;a Luisa que contin&uacute;en con la tradici&oacute;n. Aunque el conocimiento sobre la fabricaci&oacute;n de velas y jab&oacute;n a&uacute;n se mantiene en la comunidad, su transmisi&oacute;n ya no ocurre dentro de su n&uacute;cleo familiar. Esto podr&iacute;a derivar en una p&eacute;rdida progresiva del oficio si las nuevas generaciones no se interesan en aprenderlo. Adem&aacute;s, al tratarse de un trabajo que requiere esfuerzo f&iacute;sico y tiempo, el envejecimiento de las artesanas sin un relevo generacional representa una amenaza para la preservaci&oacute;n de la pr&aacute;ctica. Sin medidas de transmisi&oacute;n m&aacute;s estructuradas, como talleres o programas de ense&ntilde;anza comunitaria, este saber ancestral podr&iacute;a verse cada vez m&aacute;s reducido a un grupo limitado de personas. Las velas poseen un significado religioso desconocido por lo visitantes a las fiestas patronales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "dab29b5b-951c-4b51-a5f2-78c81c681d14", "provisionaledits": null, "resourceinstance_id": "94d58765-b28e-456a-9c14-be3dfcae0436", "sortorder": 0, "tileid": "c379e4dd-9e0e-4df3-a204-475ddffdeca4"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:50.409", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000039, "}, "es": {"description": "San Pedro. Artesana tejedora Ana Flores Arteaga", "map_popup": "Beni", "name": "PI-080102-00-00-000039, San Pedro. Artesana tejedora Ana Flores Arteaga"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000039, San Pedro. Artesana tejedora Ana Flores Arteaga", "principaluser_id": 26, "resourceinstanceid": "ed3101cb-b325-4a8e-90a6-38b4f888331c", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "T\u00e9cnicas artesanales"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000039", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Artesana tejedora Ana Flores Arteaga"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ed3101cb-b325-4a8e-90a6-38b4f888331c", "sortorder": 0, "tileid": "c42d918a-4005-4bc8-a94f-02f523279b29"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89445190429815, -14.339780059670375], "type": "Point"}, "id": "a51856dc6a07d47066d96fd658559380", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000004'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ed3101cb-b325-4a8e-90a6-38b4f888331c", "sortorder": 0, "tileid": "bee2b29b-b393-4fdc-b4bf-1902f1605672"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ed3101cb-b325-4a8e-90a6-38b4f888331c", "sortorder": 0, "tileid": "995208a6-19a0-4b4a-a9c8-7f4306efa9c2"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Artesana tejedora Ana Flores Arteaga</strong></p>\n\n<p>Ana Flores Arteaga es una destacada artesana tejedora cuya labor se inscribe en la preservaci&oacute;n y transmisi&oacute;n de conocimientos ancestrales. Su trabajo no solo refleja una destreza t&eacute;cnica excepcional, sino que tambi&eacute;n constituye un medio de expresi&oacute;n de las tradiciones y narrativas orales heredadas de generaci&oacute;n en generaci&oacute;n. A trav&eacute;s de sus tejidos, Ana Flores Arteaga mantiene viva la memoria colectiva de su comunidad, integrando s&iacute;mbolos, colores y t&eacute;cnicas que cuentan historias, transmiten valores y refuerzan la identidad cultural.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de los materiales que utiliza/procedencia</strong></p>\n\n<p>Ana Flores Arteaga trabaja con hilo de algod&oacute;n, el cual adquiere en la ciudad de Trinidad. Este hilo es delgado y, aunque en el mercado se encuentran hilos m&aacute;s modernos, para el tejido tradicional se requiere espec&iacute;ficamente de algod&oacute;n. A veces, debes buscar en diferentes tiendas, ya que no todos los comercios ofrecen este tipo de material.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de las herramientas que utiliza</strong></p>\n\n<p>Raspador, para acomodar los hilos y asegurarse de que queden bien ajustados.</p>\n\n<p>Bejuco, es una herramienta para ordenar los hilos en el telar y alzarlos para facilitar la selecci&oacute;n durante el tejido.</p>\n\n<p>Espada, es una madera plana con punta c&oacute;ncava, se usa para separar los hilos en el telar.</p>\n\n<p>Travesa&ntilde;o, su funci&oacute;n es mantener en orden todos los hilos para luego colocar el bejuco. Al finalizar el tejido, se suelta para extraer la pieza terminada del telar.</p>\n\n<p>Uso o varita con hilo, es un ovillo que se pasa por el tejido en cada pasada para avanzar en el proceso.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la t&eacute;cnica/s</strong></p>\n\n<p>El proceso de tejido comienza con la preparaci&oacute;n del telar, en un paso llamado &ldquo;parar el telar&rdquo;, donde todos los hilos se sujetan al travesa&ntilde;o, formando dos capas. Luego, se separan los hilos alternando capas y organiz&aacute;ndolos con el bejuco.</p>\n\n<p>&nbsp;</p>\n\n<p>El tejido se realiza seleccionando los hilos con el bejuco y pasando el uso con el hilo, mientras que el raspador se emplea para ajustar los hilos en cada pasado. Este procedimiento se repite hasta completar la pieza. El telar debe mantenerse firme para evitar movimientos durante el tejido, asegurando que los hilos est&eacute;n bien sujetos.</p>\n\n<p>&nbsp;</p>\n\n<p>Para elaborar una alforja, se requiere una mayor cantidad de hilos y colores, aplicando una t&eacute;cnica de doble cara, lo que implica el uso de tres bejucos.</p>\n\n<p>&nbsp;</p>\n\n<p>En tiempos pasados, el hilo se hilaba manualmente con un uso, un proceso que consist&iacute;a en hilar y torcer el algod&oacute;n previamente preparado. Este procedimiento inclu&iacute;a la eliminaci&oacute;n de semillas golpeando o esponjando el algod&oacute;n con un palito y un abanico, dejando el material fino para hilar. Tambi&eacute;n se utilizaba una m&aacute;quina con manubrio para facilitar el hilado.</p>\n\n<p>&nbsp;</p>\n\n<p>Actualmente, Ana Flores Arteaga est&aacute; tejiendo una bolsa que comenz&oacute; hace tiempo, pero a&uacute;n no ha finalizado por falta de hilos de colores. La arm&oacute; con restos de lana y decidi&oacute; elaborar un bols&oacute;n con los materiales disponibles. El tiempo de elaboraci&oacute;n de una pieza var&iacute;a seg&uacute;n su complejidad.</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Una alforja, invierte aproximadamente cuatro d&iacute;as, siempre que cuente con todos los materiales.</li>\n\t<li>Una hamaca requiere alrededor de veinticinco d&iacute;as, debido a su mayor tama&ntilde;o.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Tipos de artesan&iacute;a</strong></p>\n\n<p>Ana Flores Arteaga elabora diferentes productos tejidos a mano, entre ellos:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Bolsones y bolsitas peque&ntilde;as</li>\n\t<li>Individuos</li>\n\t<li>Hamacas</li>\n\t<li>Alforjas</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Utiliza t&eacute;cnicas que permiten elaborar tejidos m&aacute;s flexibles y detallados, incorporando dise&ntilde;os como rombos, flores y letras. Sus patrones los ha aprendido de manera autodidacta.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Destino de la artesan&iacute;a</strong></p>\n\n<p>Las piezas tejidas por Ana Flores Arteaga se comercializan en ferias y tambi&eacute;n se realizan por encargo, de acuerdo con las necesidades de los clientes.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la vida del artesano</strong></p>\n\n<p>Ana Flores Arteaga aprendi&oacute; el arte del tejido gracias a la instituci&oacute;n Tijaray Pase, dependiente de C&aacute;ritas, que operaba en Trinidad. Para acceder a la capacitaci&oacute;n, debi&oacute; viajar desde su comunidad hasta la ciudad. En la instituci&oacute;n se ofrecen diversos cursos, como tejido en algod&oacute;n, crochet, reposter&iacute;a y artesan&iacute;as en corteza de pl&aacute;tano.</p>\n\n<p>&nbsp;</p>\n\n<p>En 2005, se inscribi&oacute; en el curso de tejido en algod&oacute;n, el cual tuvo una duraci&oacute;n de dos a&ntilde;os, hasta 2007. Inicialmente, fueron cuatro voluntarias las que participaron en la formaci&oacute;n, y posteriormente, ellas mismas capacitaron a otras cuatro personas en C&aacute;ritas. Sin embargo, Ana fue la &uacute;nica que concluy&oacute; la capacitaci&oacute;n y recibi&oacute; su certificado.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s del tejido en algod&oacute;n, Ana adquiri&oacute; habilidades en la elaboraci&oacute;n de artesan&iacute;as con corteza de pl&aacute;tano y chala de choclo. Durante los descansos de su curso, observaba a los instructores de otras &aacute;reas y aprend&iacute;a por cuenta propia. Con estos materiales, confecciona canastitas y joyeritos para guardar aretes.</p>\n\n<p>&nbsp;</p>\n\n<p>Ana participa en diversas ferias en San Pedro y Trinidad, representando a su municipio en eventos culturales. Sin embargo, enfrenta el desaf&iacute;o de no recibir apoyo del municipio para la adquisici&oacute;n de materiales, lo que dificulta la continuidad de su producci&oacute;n artesanal.</p>\n\n<p>&nbsp;</p>\n\n<p>Su inter&eacute;s por el tejido comenz&oacute; en la infancia, inspirado por su abuela, quien se dedicaba a este trabajo. Aunque su abuela no le ense&ntilde;&oacute; directamente, Ana la observaba trabajar y as&iacute; fue aprendiendo. Tambi&eacute;n recuerda a otra se&ntilde;ora de su comunidad que tej&iacute;a, pero que ya falleci&oacute;.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde temprana edad, Ana ten&iacute;a el deseo de tejer, pero no lograba armar el telar correctamente. Fue en el curso que finalmente comprendi&oacute; c&oacute;mo organizar los hilos y perfeccionar su t&eacute;cnica.</p>\n\n<p>&nbsp;</p>\n\n<p>Uno de sus recuerdos m&aacute;s v&iacute;vidos es haber visto en Trinidad a una anciana de la naci&oacute;n Movima tejiendo con un telar r&uacute;stico hecho de palos. La anciana cavaba la tierra con un machete y clavaba su telar en el suelo para trabajar. Ana aprendi&oacute; de ella c&oacute;mo parar el tejido, aunque en ese momento a&uacute;n no entend&iacute;a c&oacute;mo se separaban los hilos. M&aacute;s adelante, en su capacitaci&oacute;n formal, adquiri&oacute; ese conocimiento y perfeccion&oacute; su t&eacute;cnica con el uso del bejuco.</p>\n\n<p>&nbsp;</p>\n\n<p>Su abuela vivi&oacute; hasta los 93 a&ntilde;os y tej&iacute;a alforjas con macram&eacute;, hilando su propio hilo de algod&oacute;n. Adem&aacute;s, ten&iacute;a conocimientos en la elaboraci&oacute;n de productos tradicionales como aceite de motac&uacute;, aceite de tota&iacute;, cosecha de uruc&uacute;, y jab&oacute;n de lej&iacute;a con cebo de res. Tambi&eacute;n fabricaba y vend&iacute;a velas de cebo, que ofrec&iacute;a en la iglesia y en su comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Con el tiempo, muchos de estos saberes se han ido perdiendo. Hoy en d&iacute;a, el cebo es dif&iacute;cil de conseguir, ya que los estancieros lo emplean en el mantenimiento de sogas y otras tareas, lo que limita la producci&oacute;n artesanal de velas.</p>\n\n<p>&nbsp;</p>\n\n<p>Lamentablemente, Ana ya no conserva ninguna de las piezas o herramientas que pertenecieron a su abuela, pues todo fue vendido o extraviado con el paso de los a&ntilde;os. Recuerda que el aceite de tota&iacute; ten&iacute;a m&uacute;ltiples usos, serv&iacute;a para lavar el cabello, hidratarlo cuando estaba seco y como remedio para frotar el cuerpo en caso de fiebre.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["237ed805-e832-4979-80cb-8d2f6d646d28", "da719d9d-e927-4281-aeef-d551a1da07ff", "e5270642-c871-4c8b-88af-3256b9e5ab85"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "995208a6-19a0-4b4a-a9c8-7f4306efa9c2", "provisionaledits": null, "resourceinstance_id": "ed3101cb-b325-4a8e-90a6-38b4f888331c", "sortorder": 0, "tileid": "1857c34c-e697-4822-951b-4e99e2b7f6ff"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91", "3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En la experiencia de Ana Flores Arteaga, los conocimientos se han compartido a partir de un conjunto de experiencias vivenciales, encuentros intergeneracionales y espacios de formaci&oacute;n no escolarizados. Su inter&eacute;s por el tejido se despert&oacute; observando a su abuela y a otras mujeres mayores de su comunidad, cuyo ejemplo silencioso fue sembrando una comprensi&oacute;n intuitiva del oficio. No hubo una instrucci&oacute;n directa en sus primeros a&ntilde;os; sin embargo, el contacto constante con estos referentes permiti&oacute; que las primeras nociones se fijaran en su memoria. Posteriormente, al ver a una anciana movima tejiendo sobre la tierra, Ana incorpor&oacute; nuevas formas de trabajo, a&uacute;n sin comprenderlas del todo en ese momento. Fue reci&eacute;n en los talleres de C&aacute;ritas cuando logr&oacute; articular ese c&uacute;mulo de observaciones con t&eacute;cnicas estructuradas, desarrollando una comprensi&oacute;n integral del tejido en telar y sus procedimientos.</p>\n\n<p>El proceso de aprendizaje continu&oacute; enriquecido por la pr&aacute;ctica constante, la experimentaci&oacute;n personal y la interacci&oacute;n con otras artesanas. Aunque Ana recibi&oacute; una capacitaci&oacute;n formal durante dos a&ntilde;os, tambi&eacute;n aprendi&oacute; de manera autodidacta, explorando t&eacute;cnicas con otros materiales como la chala de choclo o la corteza de pl&aacute;tano. Esta disposici&oacute;n a observar y probar ha sido clave para su crecimiento. Su manera de ense&ntilde;ar sigue esa misma l&oacute;gica: transmite su conocimiento mediante la demostraci&oacute;n y el acompa&ntilde;amiento, tal como lo vivi&oacute;. El saber no circula solo en manuales ni en aulas, sino en los espacios de feria, en los viajes para buscar hilo, en los encuentros con clientas o en los momentos de conversaci&oacute;n donde se explican patrones, se comparten an&eacute;cdotas o se recuerdan modos de vida que poco a poco se desvanecen. As&iacute;, Ana entreteje su memoria con cada pieza que produce, dejando una huella que espera sea recogida por nuevas generaciones.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "995208a6-19a0-4b4a-a9c8-7f4306efa9c2", "provisionaledits": null, "resourceinstance_id": "ed3101cb-b325-4a8e-90a6-38b4f888331c", "sortorder": 0, "tileid": "4813f38f-c85d-4b45-b234-466dd04e43ca"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de Ana Flores Arteaga ha atravesado distintos momentos de cambio impulsados tanto por factores personales como por transformaciones en el entorno. Uno de los primeros giros importantes fue su paso de la observaci&oacute;n familiar al aprendizaje estructurado en la ciudad de Trinidad. Al incorporarse al curso ofrecido por C&aacute;ritas, no solo logr&oacute; perfeccionar t&eacute;cnicas tradicionales, sino tambi&eacute;n ampliar su repertorio incorporando nuevos materiales y procesos, como el tejido en algod&oacute;n con bejuco, la elaboraci&oacute;n de canastitas con corteza de pl&aacute;tano o los joyeritos con chala de choclo. Este tr&aacute;nsito desde un conocimiento emp&iacute;rico hacia una formaci&oacute;n m&aacute;s formal no implic&oacute; el abandono de lo aprendido en su entorno comunitario, sino que le permiti&oacute; profundizar, diversificar y sistematizar su oficio con mayores herramientas.</p>\n\n<p>Las condiciones materiales tambi&eacute;n han influido en las adaptaciones que ha debido realizar. Por ejemplo, el acceso limitado a hilos espec&iacute;ficos la ha llevado a reutilizar restos de lana y modificar sus dise&ntilde;os en funci&oacute;n de lo disponible. Esto ha dado lugar a nuevas formas de creatividad, como la confecci&oacute;n de bolsitas con sobrantes, que no estaban previstas en su pr&aacute;ctica inicial. Por otra parte, la p&eacute;rdida de herramientas y piezas heredadas, sumada a la desaparici&oacute;n de ciertos saberes como la fabricaci&oacute;n de velas de cebo o la obtenci&oacute;n de aceite de tota&iacute;, ha modificado el alcance de su producci&oacute;n artesanal. Aun as&iacute;, Ana mantiene su inter&eacute;s en rescatar t&eacute;cnicas que formaron parte de la vida de su abuela, como una manera de revalorizar el legado de la Naci&oacute;n Canichana. Las ferias donde participa representan hoy no solo un espacio de venta, sino tambi&eacute;n una oportunidad para sostener vivas estas formas de hacer, incluso cuando se ven tensionadas por la falta de apoyo institucional o el desuso de ciertas pr&aacute;cticas ancestrales.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "995208a6-19a0-4b4a-a9c8-7f4306efa9c2", "provisionaledits": null, "resourceinstance_id": "ed3101cb-b325-4a8e-90a6-38b4f888331c", "sortorder": 0, "tileid": "2a960851-771f-469b-8388-92b7ac869d35"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Uno de los aspectos m\u00e1s s\u00f3lidos de la labor de Ana Flores Arteaga es su v\u00ednculo con la memoria de su comunidad. Cada tejido que realiza est\u00e1 cargado de significados que remiten a vivencias compartidas, a s\u00edmbolos culturales y a formas de vida que se resisten al olvido. Su capacidad para integrar t\u00e9cnicas tradicionales como el uso del bejuco y el telar con patrones que ella misma ha perfeccionado con el tiempo, revela un dominio t\u00e9cnico que se combina con sensibilidad art\u00edstica. A esto se suma su habilidad para adaptar las piezas seg\u00fan el uso que se les dar\u00e1, creando desde hamacas hasta alforjas con doble cara y m\u00faltiples colores. La precisi\u00f3n con la que manipula las herramientas \u2014raspador, espada, travesa\u00f1o, entre otras\u2014 demuestra un conocimiento minucioso del proceso artesanal. A lo largo de su trayectoria, ha desarrollado tambi\u00e9n una notable autonom\u00eda. Fue la \u00fanica participante de su grupo en concluir la formaci\u00f3n completa en tejido, lo que da cuenta de su compromiso y perseverancia. Su capacidad para transmitir lo aprendido, tanto en cursos como en ferias, fortalece su papel como referente dentro y fuera de su comunidad. No se limita a reproducir saberes, sino que los reinventa al incorporar materiales nuevos cuando los tradicionales escasean. Su formaci\u00f3n autodidacta en el uso de corteza de pl\u00e1tano y chala de choclo, as\u00ed como su inter\u00e9s por recuperar pr\u00e1cticas vinculadas a los aceites naturales o al tejido en macram\u00e9 que usaba su abuela, muestra una b\u00fasqueda constante por mantener vigente una pr\u00e1ctica cargada de historia, pero tambi\u00e9n abierta a la renovaci\u00f3n."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "995208a6-19a0-4b4a-a9c8-7f4306efa9c2", "provisionaledits": null, "resourceinstance_id": "ed3101cb-b325-4a8e-90a6-38b4f888331c", "sortorder": 0, "tileid": "0ebf399f-6d3d-4fde-9308-8e82e95c6555"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La continuidad del trabajo de Ana Flores Arteaga enfrenta dificultades relacionadas con el acceso a insumos espec&iacute;ficos. El hilo de algod&oacute;n, indispensable para la elaboraci&oacute;n de tejidos tradicionales, no se encuentra con facilidad en los comercios, lo que la obliga a buscar en varias tiendas o a posponer la finalizaci&oacute;n de sus piezas. Esta escasez no solo interrumpe el proceso creativo, sino que tambi&eacute;n limita la posibilidad de cumplir con encargos o presentar variedad en las ferias. A esto se suma la falta de respaldo por parte del municipio, lo que deja a Ana sin recursos para adquirir materiales o renovar sus herramientas, debilitando su capacidad de producci&oacute;n frente a una demanda creciente o en contextos de visibilizaci&oacute;n cultural como los eventos locales.</p>\n\n<p>Tambi&eacute;n persiste una amenaza vinculada a la p&eacute;rdida de saberes antiguos. Pr&aacute;cticas como la elaboraci&oacute;n de velas de cebo, el hilado manual o la preparaci&oacute;n de aceite de tota&iacute; est&aacute;n desapareciendo por la dificultad de conseguir ciertos ingredientes y por el desuso generalizado de estos conocimientos. La venta o p&eacute;rdida de las piezas que pertenecieron a su abuela ha dificultado la preservaci&oacute;n material de esa herencia, mientras que la muerte de las tejedoras mayores de la comunidad reduce las posibilidades de consulta directa o aprendizaje entre generaciones. Si bien Ana mantiene viva la tradici&oacute;n mediante su experiencia y motivaci&oacute;n por ense&ntilde;ar, la falta de j&oacute;venes interesadas en aprender y la escasa valorizaci&oacute;n de estos saberes en espacios oficiales pueden debilitar el futuro de una pr&aacute;ctica que, pese a su riqueza, a&uacute;n se sostiene con esfuerzo individual.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "995208a6-19a0-4b4a-a9c8-7f4306efa9c2", "provisionaledits": null, "resourceinstance_id": "ed3101cb-b325-4a8e-90a6-38b4f888331c", "sortorder": 0, "tileid": "3cd887cf-39ec-4573-8ab0-47898e415b1e"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:51.076", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000041, "}, "es": {"description": "San Pedro. Danza B\u00e1rbaros", "map_popup": "Beni", "name": "PI-080102-00-00-000041, San Pedro. Danza B\u00e1rbaros"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000041, San Pedro. Danza B\u00e1rbaros", "principaluser_id": 26, "resourceinstanceid": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de San Pedro y San Pablo"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000041", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Danza B\u00e1rbaros"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 0, "tileid": "b2eb8ebc-3617-4a0b-965e-32779e5f3998"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 0, "tileid": "10fcce90-c0d0-4ec7-8c0b-64e98df064d9"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Danza B&aacute;rbaros</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La danza de los B&aacute;rbaros es una manifestaci&oacute;n cultural que se presenta en diversas festividades religiosas, destac&aacute;ndose en la Festividad de San Pedro y San Pablo, as&iacute; como en otras fiestas patronales.</p>\n\n<p>La danza es ejecutada por una tropa de hombres y mujeres, quienes visten trajes caracter&iacute;sticos. Las mujeres usan un atuendo de dos piezas, una para el torso y otra para la cintura. Los hombres llevan una &uacute;nica pieza en la cintura. Todos portan arco y flechas como parte de la representaci&oacute;n.</p>\n\n<p>La coreograf&iacute;a se desarrolla en cuatro filas que se mueven al ritmo de su m&uacute;sica tradicional. Esta danza tambi&eacute;n es representada durante la celebraci&oacute;n de Semana Santa, manteniendo as&iacute; una conexi&oacute;n con las costumbres religiosas de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Las danzas tradicionales, incluyendo la de los B&aacute;rbaros, han estado en proceso de recuperaci&oacute;n en los &uacute;ltimos a&ntilde;os. Durante mucho tiempo, varias de estas expresiones culturales dejaron de ser representadas, lo que amenazaba con su desaparici&oacute;n. Sin embargo, se han vuelto a presentar en las festividades, reafirmando su importancia en la identidad de las fiestas religiosas.</p>\n\n<p>En el pasado, cada danza ten&iacute;a su momento espec&iacute;fico, por lo que no pod&iacute;a ejecutarse en cualquier fecha fuera de su contexto festivo y ritual.</p>\n\n<p>El esfuerzo por rescatar estas danzas ha sido impulsado por las profesoras del colegio Juan Maraza, quienes trabajan en coordinaci&oacute;n con el Instituto de Lengua y Cultura Canichana. Este instituto proporciona la m&uacute;sica tradicional a los docentes, permitiendo as&iacute; la ense&ntilde;anza y transmisi&oacute;n de estos bailes a las nuevas generaciones.</p>\n\n<p>Para fomentar la preservaci&oacute;n y difusi&oacute;n de estas danzas, se ha creado un festival anual de danzas, que se celebra el 23 de julio, justo antes de la festividad de San Pedro y San Pablo.</p>\n\n<p>Hace dos d&eacute;cadas, la m&uacute;sica tradicional de la danza de los B&aacute;rbaros fue distribuida entre algunos pobladores de San Pedro por la familia Dur&aacute;n, quienes resguardaban estas melod&iacute;as. No obstante, con el tiempo, varios de estos registros se perdieron, principalmente debido a inundaciones que afectaron los materiales, incluido el CD que conten&iacute;a la m&uacute;sica.</p>\n\n<p>Ante esta p&eacute;rdida, el Instituto de Lengua y Cultura Canichana emprendi&oacute; una investigaci&oacute;n para recuperar estas melod&iacute;as. Pedro y Segundo Dur&aacute;n fueron quienes finalmente proporcionaron nuevas grabaciones, las cuales actualmente est&aacute;n resguardadas por el instituto. Durante este proceso, se identific&oacute; la existencia de otras m&uacute;sicas sin nombre, lo que ha motivado nuevas investigaciones para determinar su origen y relaci&oacute;n con otras danzas.</p>\n\n<p>La danza de los B&aacute;rbaros representa a un grupo cultural ancestral que se dedicaba a la caza y pesca en el monte. Sus vestimentas originales estaban confeccionadas con fibras vegetales de motac&uacute;. Como parte de su tradici&oacute;n, realizaban una ofrenda a los dioses en agradecimiento por los recursos naturales obtenidos del bosque. Estas ofrendas consist&iacute;an en animales y frutas recolectadas en su entorno.</p>\n\n<p>Un relato cuenta que hace 70 a&ntilde;os, en San Pedro, se produjo un enfrentamiento con los b&aacute;rbaros. Sin embargo, esta guerra no dur&oacute; mucho tiempo, ya que este grupo finalmente se traslad&oacute; a otra regi&oacute;n. Los b&aacute;rbaros viv&iacute;an en grandes chozas comunitarias y practicaban la agricultura, sembrando chuch&iacute;o, una especie de ca&ntilde;a que florece una sola vez antes de secarse.</p>\n\n<p>El chuch&iacute;o ten&iacute;a una gran importancia en la construcci&oacute;n de viviendas, ya que sus tallos trenzados serv&iacute;an como base para techos cubiertos con barro, tejas o calamina. Adem&aacute;s, los b&aacute;rbaros utilizaban las flores del chuch&iacute;o para fabricar sus flechas, logrando que fueran m&aacute;s veloces y precisas. Sus arcos eran elaborados con madera de chonta.</p>\n\n<p>Otro elemento caracter&iacute;stico de este grupo era la confecci&oacute;n de bolsas de palma de motac&uacute;, utilizadas para cargar herramientas y provisiones en la espalda.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la coreograf&iacute;a</strong></p>\n\n<p>La danza se estructura en cuatro filas, conformadas por, dos filas de hombres y dos filas de mujeres. Los bailarines siguen el ritmo de la m&uacute;sica mientras portan arcos y flechas, evocando la memoria de los antiguos cazadores y guerreros de la regi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La m&uacute;sica que acompa&ntilde;a la danza de los B&aacute;rbaros es interpretada con los siguientes instrumentos tradicionales:</p>\n\n<ul>\n\t<li>Flauta</li>\n\t<li>Caja</li>\n\t<li>Bomb&oacute;n</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Estos instrumentos son ejecutados por&nbsp; la agrupaci&oacute;n denominada La Bombilla.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "10fcce90-c0d0-4ec7-8c0b-64e98df064d9", "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 0, "tileid": "c277400d-dec5-47ff-a832-e08872450f59"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cors\u00e9 femenino \u2013 Danza de los B\u00e1rbaros Materiales El cors\u00e9 femenino utilizado en la danza de los B\u00e1rbaros est\u00e1 elaborado a partir de rafia de motac\u00fa y tela de yute. Estos materiales naturales evocan las antiguas fibras vegetales que eran com\u00fanmente utilizadas por los pueblos originarios de la regi\u00f3n, especialmente por aquellos dedicados a la caza y pesca en el monte. T\u00e9cnica de elaboraci\u00f3n La pieza es confeccionada de forma manual mediante t\u00e9cnicas tradicionales de costura. El proceso conserva el valor artesanal y cultural de la prenda, transmitido entre generaciones. Descripci\u00f3n de la pieza El cors\u00e9 es una prenda que cubre y adorna el torso de las mujeres danzantes. Forma parte de un traje de dos piezas: una destinada al torso y otra a la cintura. Su dise\u00f1o remite a una est\u00e9tica ancestral, representando la indumentaria de un grupo cultural originario. Descripci\u00f3n del contexto La danza de los B\u00e1rbaros se presenta en el marco de una festividad religiosa que conmemora la fundaci\u00f3n de la poblaci\u00f3n de San Pedro. Se celebra en honor a los santos San Pedro y San Pablo, una fecha que adquiere mayor simbolismo por el compromiso asumido por el Papa Francisco, sucesor del ap\u00f3stol Pedro, de anunciar la buena nueva, tal como lo hizo su antecesor. Descripci\u00f3n de la funci\u00f3n/uso Durante la danza, tanto hombres como mujeres forman una tropa, organizada en cuatro filas que bailan al ritmo de su propia m\u00fasica. Las mujeres visten trajes de dos piezas \u2014una para el torso y otra para la cintura\u2014 mientras que los hombres utilizan una sola pieza a la cintura. Todos portan arcos y flechas, rememorando a los antiguos grupos cazadores. Esta danza se presenta durante la Semana Santa y en otras festividades religiosas de gran importancia en la regi\u00f3n. Datos hist\u00f3ricos La danza de los B\u00e1rbaros, como muchas otras manifestaciones culturales locales, estuvo en riesgo de desaparecer. Durante a\u00f1os, estas expresiones dejaron de representarse, hasta que recientemente comenzaron a ser recuperadas y valoradas nuevamente en los escenarios festivos. Cada danza posee su propio tiempo sagrado y no puede ejecutarse fuera de su contexto espec\u00edfico. Este proceso de recuperaci\u00f3n ha sido liderado por las profesoras del colegio Juan Maraza en coordinaci\u00f3n con el Instituto de Lengua y Cultura Canichana, que proporciona la m\u00fasica tradicional para las presentaciones escolares y comunitarias. Para fortalecer esta iniciativa, se ha creado un festival de danzas tradicionales que se celebra cada 23 de julio, justo antes de la fiesta patronal de San Pedro y San Pablo. Hace aproximadamente veinte a\u00f1os, la m\u00fasica de estas danzas fue distribuida por la familia Dur\u00e1n a varios pobladores de San Pedro. Sin embargo, una gran inundaci\u00f3n provoc\u00f3 la p\u00e9rdida de los CD en los que estaban grabadas. Ante esta p\u00e9rdida, el Instituto Canichana se moviliz\u00f3 para localizar nuevamente a los miembros de la familia Dur\u00e1n, quienes conservaban parte del archivo. Pedro y Segundo Dur\u00e1n entregaron copias de las grabaciones que actualmente son resguardadas por el instituto. En estas colecciones tambi\u00e9n se identificaron m\u00fasicas que podr\u00edan corresponder a otras danzas a\u00fan no identificadas, por lo que se iniciar\u00e1n investigaciones para determinar su origen y pertenencia. La danza de los B\u00e1rbaros representa a un grupo cultural antiguo que habitaba en la selva y cuya vida giraba en torno a la caza, la pesca y la recolecci\u00f3n. Estos pobladores elaboraban su vestimenta a partir de fibras vegetales del motac\u00fa y ofrec\u00edan tributos a los dioses en agradecimiento por los frutos del monte: animales y frutas silvestres. Se cuenta que, hace unos 70 a\u00f1os, en San Pedro se produjo un enfrentamiento con los llamados \u201cb\u00e1rbaros\u201d, aunque este conflicto fue breve, pues el grupo se traslad\u00f3 posteriormente a otra regi\u00f3n. Se sabe que viv\u00edan en chozas grandes, de uso comunal, y cultivaban el \u201cchuch\u00edo\u201d, una ca\u00f1a que florece una sola vez antes de secarse. Esta planta era utilizada en la construcci\u00f3n de techos, trenzada junto con barro, y cubierta con tejas o calamina. Los b\u00e1rbaros aprovechaban la flor del chuch\u00edo para elaborar flechas m\u00e1s r\u00e1pidas y certeras, complementadas con arcos de chonta. Tambi\u00e9n confeccionaban bolsas con palma de motac\u00fa para transportar sus pertenencias durante sus desplazamientos por el bosque."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cors\u00e9 femenino \u2013 Danza de los B\u00e1rbaros"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "10fcce90-c0d0-4ec7-8c0b-64e98df064d9", "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 0, "tileid": "b64615e7-5ed0-4284-9fec-1a376a05ecc7"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Falda \u2013 Danza de los B\u00e1rbaros Materiales La falda femenina y masculina utilizada en la danza de los B\u00e1rbaros est\u00e1 elaborada con rafia de motac\u00fa, una fibra vegetal tradicional de la regi\u00f3n. Este material natural refleja los antiguos conocimientos del manejo del entorno y la vinculaci\u00f3n de los pueblos originarios con los recursos del bosque. T\u00e9cnica de elaboraci\u00f3n Su confecci\u00f3n es completamente manual, utilizando t\u00e9cnicas de costura tradicionales. Este proceso artesanal permite mantener viva la memoria de las formas de vestir ancestrales, rescatando los saberes de las mujeres que han transmitido estas habilidades de generaci\u00f3n en generaci\u00f3n. Descripci\u00f3n de la pieza Se trata de una falda que se utiliza alrededor de la cintura, como parte del vestuario femenino y masculino de la danza. Es una de las dos piezas que componen el traje de las mujeres danzantes, acompa\u00f1ando al cors\u00e9 que cubre el torso.  Descripci\u00f3n del contexto La danza se presenta en el marco de la festividad en honor a San Pedro y San Pablo, conmemorando la fundaci\u00f3n de la poblaci\u00f3n de San Pedro. Esta celebraci\u00f3n adquiere un significado espiritual especial, en relaci\u00f3n con el encargo recibido por el ap\u00f3stol Pedro de anunciar la buena noticia, misi\u00f3n que contin\u00faa hoy el Papa Francisco como su sucesor. Descripci\u00f3n de la funci\u00f3n/uso La falda es utilizada por las mujeres durante la ejecuci\u00f3n de la danza de los B\u00e1rbaros, una representaci\u00f3n tradicional en la que participan hombres y mujeres organizados como una tropa ceremonial. Las mujeres visten dos piezas \u2014una para el torso y otra para la cintura\u2014 mientras que los hombres llevan una sola pieza en la cintura. Todos portan arcos y flechas, y se disponen en cuatro filas para bailar al ritmo de su m\u00fasica caracter\u00edstica. Esta danza forma parte de las celebraciones de Semana Santa, as\u00ed como de otras festividades significativas para la comunidad. Datos hist\u00f3ricos Las danzas como la de los B\u00e1rbaros son parte de un legado cultural que durante a\u00f1os estuvo en riesgo de desaparecer. Muchas de estas expresiones dejaron de practicarse durante largo tiempo, pero en la actualidad est\u00e1n siendo recuperadas y reintroducidas en los festejos religiosos. Cada danza estaba ligada a un momento espec\u00edfico del calendario festivo y no pod\u00eda bailarse fuera de su tiempo. La recuperaci\u00f3n de esta danza ha sido impulsada por las profesoras del colegio Juan Maraza, en coordinaci\u00f3n con el Instituto de Lengua y Cultura Canichana, que proporciona la m\u00fasica necesaria para las presentaciones. En ese marco se ha creado un festival de danzas tradicionales que se celebra anualmente el 23 de julio, d\u00edas antes de la fiesta de San Pedro y San Pablo. Este festival tiene como objetivo revitalizar danzas que estaban siendo olvidadas, devolvi\u00e9ndoles su espacio en la memoria colectiva. Hace unas dos d\u00e9cadas, la familia Dur\u00e1n comparti\u00f3 copias de las m\u00fasicas tradicionales con algunos pobladores de San Pedro. Sin embargo, una inundaci\u00f3n caus\u00f3 la p\u00e9rdida de los CD originales, tanto en la familia Dur\u00e1n como en otras que los ten\u00edan. El Instituto Canichana emprendi\u00f3 la tarea de recuperar estos registros, localizando a Pedro y Segundo Dur\u00e1n, quienes entregaron nuevamente las grabaciones. Estas est\u00e1n ahora resguardadas en el instituto, que adem\u00e1s ha identificado otras m\u00fasicas a\u00fan sin nombre, las cuales podr\u00edan corresponder a otras danzas y que ser\u00e1n objeto de futuras investigaciones. La danza de los B\u00e1rbaros representa a un grupo cultural antiguo, cazadores y pescadores del monte, quienes vest\u00edan ropas hechas de fibra vegetal del motac\u00fa. Estos pueblos realizaban ofrendas a sus dioses en agradecimiento por lo que el bosque les ofrec\u00eda, como frutas silvestres y animales. Se relata que hace aproximadamente 70 a\u00f1os, en San Pedro ocurri\u00f3 un breve enfrentamiento con este grupo. Luego de este episodio, los b\u00e1rbaros se trasladaron a otra regi\u00f3n. Se sabe que viv\u00edan en grandes chozas compartidas, y cultivaban el \"chuch\u00edo\", una ca\u00f1a que florece una sola vez antes de secarse. Esta planta era empleada para la construcci\u00f3n de techos, trenzada junto con barro, y sobre ella se colocaban tejas o calamina. Utilizaban la flor del chuch\u00edo para fabricar flechas, que resultaban m\u00e1s veloces y precisas, acompa\u00f1adas por arcos elaborados en madera de chonta. Adem\u00e1s, confeccionaban bolsas con palma de motac\u00fa, \u00fatiles para transportar provisiones en la espalda durante sus recorridos por el bosque."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Falda \u2013 Danza de los B\u00e1rbaros"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "10fcce90-c0d0-4ec7-8c0b-64e98df064d9", "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 1, "tileid": "7d9baf01-ff88-4963-a619-9d22131fcd93"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Flechas \u2013 Danza de los B\u00e1rbaros Materiales Las flechas utilizadas en la danza de los B\u00e1rbaros est\u00e1n elaboradas a partir de cart\u00f3n y palitos de tacuara. Estos materiales, permiten representar simb\u00f3licamente las armas tradicionales empleadas por los antiguos habitantes del monte, evocando su v\u00ednculo con la caza, la defensa y la subsistencia. T\u00e9cnica de elaboraci\u00f3n Su confecci\u00f3n se realiza de manera manual, mediante t\u00e9cnicas artesanales que implican el ensamblaje y la costura de los elementos que conforman cada flecha. Este proceso es ejecutado por miembros de la comunidad para la fabricaci\u00f3n de objetos simb\u00f3licos para las danzas ceremoniales. Descripci\u00f3n de la pieza Se trata de una pieza que los danzantes sostienen con la mano durante la ejecuci\u00f3n de la coreograf\u00eda. Las flechas complementan el arco y forman parte esencial del vestuario, reforzando la identidad visual y simb\u00f3lica del grupo representado en la danza. Descripci\u00f3n del contexto La danza de los B\u00e1rbaros se presenta durante la festividad en conmemoraci\u00f3n de la fundaci\u00f3n de la poblaci\u00f3n de San Pedro, celebrada en honor a los santos San Pedro y San Pablo. Esta fiesta religiosa tiene una dimensi\u00f3n espiritual que remite al encargo dado a San Pedro, considerado el primer Papa, de anunciar la buena nueva, misi\u00f3n que hoy contin\u00faa el Papa Francisco como su sucesor. Descripci\u00f3n de la funci\u00f3n/uso Las flechas son utilizadas por hombres y mujeres en la danza de los B\u00e1rbaros, quienes se presentan como una tropa organizada en cuatro filas. Las mujeres visten dos piezas \u2014una al torso y otra a la cintura\u2014 mientras que los hombres llevan una prenda alrededor de la cintura. Todos portan arcos y flechas como elementos distintivos. La danza se interpreta durante la Semana Santa y otras fechas religiosas significativas, acompa\u00f1ada por su m\u00fasica tradicional. Datos hist\u00f3ricos La danza de los B\u00e1rbaros, como otras expresiones culturales de la regi\u00f3n, hab\u00eda dejado de representarse durante varios a\u00f1os. En la actualidad, est\u00e1 siendo recuperada como parte de un proceso de revalorizaci\u00f3n de las tradiciones locales. Cada danza ten\u00eda su momento en el calendario festivo y no deb\u00eda bailarse fuera de su tiempo establecido. La recuperaci\u00f3n ha sido impulsada por las profesoras del colegio Juan Maraza, en coordinaci\u00f3n con el Instituto de Lengua y Cultura Canichana, que proporciona la m\u00fasica para estas expresiones culturales. En ese marco, se ha establecido un festival anual de danzas tradicionales que se celebra el 23 de julio, como antesala a la fiesta de San Pedro y San Pablo, con el objetivo de revitalizar danzas que estaban en riesgo de desaparecer. Hace aproximadamente dos d\u00e9cadas, la familia Dur\u00e1n comparti\u00f3 grabaciones de las m\u00fasicas tradicionales con algunos pobladores. Sin embargo, una inundaci\u00f3n provoc\u00f3 la p\u00e9rdida de estos registros. El Instituto Canichana localiz\u00f3 nuevamente a Pedro y Segundo Dur\u00e1n, quienes entregaron las grabaciones que hoy forman parte del archivo del instituto. Durante este proceso, tambi\u00e9n se hallaron otras m\u00fasicas sin nombre, posiblemente pertenecientes a danzas a\u00fan no identificadas, lo que ha motivado nuevas investigaciones. La danza de los B\u00e1rbaros representa a un antiguo grupo cultural de cazadores y pescadores del monte, quienes vest\u00edan con fibras vegetales del motac\u00fa. Como muestra de gratitud a los dioses, ofrec\u00edan animales y frutas que recolectaban en el bosque. Seg\u00fan relatos locales, hace unos 70 a\u00f1os, la poblaci\u00f3n de San Pedro tuvo un breve enfrentamiento con los llamados b\u00e1rbaros, quienes posteriormente se trasladaron a otra regi\u00f3n. Se sabe que viv\u00edan en grandes chozas comunales y cultivaban \"chuch\u00edo\", una ca\u00f1a que florece una sola vez antes de secarse, utilizada en la construcci\u00f3n de techos. Estos eran elaborados con una estructura trenzada, recubierta con barro, y sobre ella se colocaban tejas o calamina. Los b\u00e1rbaros utilizaban la flor del chuch\u00edo para fabricar flechas de mayor velocidad y precisi\u00f3n, mientras que los arcos eran hechos de chonta. Tambi\u00e9n tej\u00edan bolsas con palma de motac\u00fa para llevar consigo lo necesario en sus recorridos por el bosque. Las flechas que hoy se emplean en la danza evocan estos conocimientos ancestrales y su v\u00ednculo con la naturaleza, la destreza y la resistencia de este grupo cultural."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Flechas \u2013 Danza de los B\u00e1rbaros"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "10fcce90-c0d0-4ec7-8c0b-64e98df064d9", "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 2, "tileid": "62f0868b-e62a-4327-af86-2a60527ccc31"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Manilla \u2013 Danza de los B\u00e1rbaros Materiales La manilla que se utiliza en la danza de los B\u00e1rbaros est\u00e1 hecha de tela de yute, plumas de pato y semillas. T\u00e9cnica de elaboraci\u00f3n La elaboraci\u00f3n de la manilla se realiza a mano, mediante costura manual, siguiendo t\u00e9cnicas tradicionales que garantiza que cada pieza sea \u00fanica, respetando el proceso artesanal. Descripci\u00f3n de la pieza La manilla es un accesorio que se sujeta alrededor de la mu\u00f1eca, complementando el traje de los danzantes. Su dise\u00f1o incorpora plumas y semillas, que no solo embellecen la pieza. Descripci\u00f3n del contexto La danza de los B\u00e1rbaros se interpreta durante las festividades de San Pedro, en conmemoraci\u00f3n de la fundaci\u00f3n de la poblaci\u00f3n de San Pedro y en honor a los santos San Pedro y San Pablo. Este evento tiene un trasfondo religioso profundo, inspirado en el legado del Papa Francisco, sucesor de San Pedro, quien sigue con el encargo de anunciar la buena noticia, como lo hizo San Pedro en su tiempo. Descripci\u00f3n de la funci\u00f3n/uso La manilla es parte integral del vestuario en la Danza de los B\u00e1rbaros, en la que hombres y mujeres se visten con trajes de dos piezas: las mujeres con una prenda en el torso y otra a la cintura, mientras que los hombres llevan una pieza a la cintura. Ambos grupos portan arcos y flechas. La danza se realiza en cuatro filas, ejecutando movimientos al ritmo de la m\u00fasica. Esta danza tiene lugar durante la Semana Santa y otras festividades religiosas importantes. Datos hist\u00f3ricos Las danzas tradicionales, como la de los B\u00e1rbaros, estaban en peligro de desaparecer debido a que dejaron de representarse durante muchos a\u00f1os. Sin embargo, en la actualidad, se est\u00e1n recuperando y volviendo a ser parte de las festividades religiosas, jugando un rol crucial en la identidad cultural de la regi\u00f3n. Cada danza ten\u00eda un momento espec\u00edfico para ser bailada, lo que daba un sentido profundo al calendario festivo. La recuperaci\u00f3n de estas danzas ha sido posible gracias al trabajo conjunto de las profesoras del colegio Juan Maraza y el Instituto de Lengua y Cultura Canichana, que proporcionan las m\u00fasicas necesarias para la ejecuci\u00f3n de las danzas. Para incentivar la representaci\u00f3n de estas tradiciones, se ha creado un festival anual de danzas que se celebra el 23 de julio, justo antes de la fiesta de San Pedro y San Pablo. Este evento busca revivir danzas que estaban siendo olvidadas. Hace m\u00e1s de dos d\u00e9cadas, la m\u00fasica tradicional fue distribuida por la familia Dur\u00e1n a algunos habitantes de San Pedro. Sin embargo, debido a una inundaci\u00f3n, el CD que conten\u00eda la m\u00fasica se perdi\u00f3, y lo mismo ocurri\u00f3 con las copias en otras familias. En respuesta a esta p\u00e9rdida, el Instituto Canichana se encarg\u00f3 de localizar a la familia Dur\u00e1n, quienes finalmente entregaron nuevamente las grabaciones, las cuales se conservan actualmente en los archivos del instituto. Durante este proceso, se descubri\u00f3 que existen otras piezas musicales que podr\u00edan ser de origen diferente, pero que a\u00fan no han sido identificadas, lo que ha impulsado nuevas investigaciones para su catalogaci\u00f3n. La danza de los B\u00e1rbaros representa a un grupo cultural ancestral que se dedicaba a la caza y pesca en el monte. Estos antiguos habitantes utilizaban tela de fibra vegetal del motac\u00fa para confeccionar su vestimenta, y realizaban ofrendas a los dioses como acto de agradecimiento por los recursos que el bosque les proporcionaba, tales como animales y frutas. Hace 70 a\u00f1os, se cuenta que San Pedro vivi\u00f3 un enfrentamiento con los b\u00e1rbaros. Esta confrontaci\u00f3n no dur\u00f3 mucho, ya que el grupo b\u00e1rbaro decidi\u00f3 trasladarse a otra regi\u00f3n. Viv\u00edan en chozas grandes, en comunidades organizadas. Adem\u00e1s, cultivaban \"chuch\u00edo\", una especie de ca\u00f1a que florece solo una vez en su vida antes de secarse, y que era utilizada en la construcci\u00f3n de techos. Estos techos eran trenzados con las ca\u00f1as de chuch\u00edo, cubiertos con barro y luego protegidos con tejas o calamina. Los b\u00e1rbaros usaban la flor del chuch\u00edo para hacer sus flechas, las cuales resultaban ser m\u00e1s veloces y precisas, mientras que sus arcos estaban hechos de chonta. Tambi\u00e9n tej\u00edan bolsas con palma de motac\u00fa para llevar los utensilios necesarios en sus recorridos por el monte. La manilla, como pieza representativa en la danza, hace eco de esta tradici\u00f3n, recordando la conexi\u00f3n de los danzantes con la naturaleza y su herencia cultural."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Manilla \u2013 Danza de los B\u00e1rbaros"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "10fcce90-c0d0-4ec7-8c0b-64e98df064d9", "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 3, "tileid": "3ab61587-d75e-4f74-b45d-74531dc3b858"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.8920079098253, -14.337722245246766], "type": "Point"}, "id": "69771c4f9ed0cb9e93e050ca9be7f3ab", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000006'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 0, "tileid": "e1fda0f6-8dfc-43f0-b33c-d17fc4d6cef7"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, la representaci&oacute;n de la danza de los B&aacute;rbaros ha experimentado cambios significativos que responden tanto a la p&eacute;rdida de elementos materiales como a la necesidad de adaptarse a nuevas formas de ense&ntilde;anza. Por ejemplo, las vestimentas originales confeccionadas con fibras vegetales de motac&uacute; han sido reemplazadas por atuendos m&aacute;s accesibles, conservando parcialmente la simbolog&iacute;a de los antiguos cazadores y recolectores, pero modificando sus materiales. La m&uacute;sica, que en alg&uacute;n momento estuvo a punto de desaparecer tras la p&eacute;rdida del CD entregado por la familia Dur&aacute;n, fue recuperada gracias a nuevas grabaciones facilitadas por Pedro y Segundo Dur&aacute;n. Esta situaci&oacute;n ha influido en la forma en que las melod&iacute;as se interpretan hoy en d&iacute;a, generando versiones m&aacute;s recientes basadas en registros orales o adaptaciones de archivo.</p>\n\n<p>La pr&aacute;ctica tambi&eacute;n se ha transformado al incorporarse como parte de un programa educativo que permite a los estudiantes conocer y ejecutar la danza dentro de un espacio formal, lo que modifica el modo tradicional de aprendizaje que se daba de manera vivencial y comunitaria. Asimismo, la creaci&oacute;n del festival de danzas del 23 de julio ha ampliado el calendario de presentaciones, ya que hist&oacute;ricamente estas expresiones solo se realizaban en momentos rituales determinados, sin posibilidad de ser representadas fuera de su contexto festivo. La institucionalizaci&oacute;n de la pr&aacute;ctica, a trav&eacute;s del colegio y el Instituto de Lengua y Cultura Canichana, ha implicado una reorganizaci&oacute;n del conocimiento, permitiendo su preservaci&oacute;n pero tambi&eacute;n dando lugar a reinterpretaciones que responden a nuevas necesidades sociales y culturales.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "10fcce90-c0d0-4ec7-8c0b-64e98df064d9", "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 0, "tileid": "11a97878-cbb9-4ecd-8484-5310af9157c8"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La pr\u00e1ctica vinculada a la danza de los B\u00e1rbaros se sostiene con firmeza gracias al compromiso colectivo de docentes, instituciones culturales y familias que han asumido un rol activo en su preservaci\u00f3n. El trabajo de las profesoras del colegio Juan Maraza, en alianza con el Instituto de Lengua y Cultura Canichana, ha sido determinante para revitalizar esta expresi\u00f3n en un contexto donde muchas manifestaciones similares han ca\u00eddo en el olvido. Esta coordinaci\u00f3n ha permitido que se retome la ense\u00f1anza de la danza, no solo como acto esc\u00e9nico, sino como parte de un legado que incluye m\u00fasica, vestimenta, historia oral y conocimientos sobre el entorno natural. El hecho de que las nuevas generaciones est\u00e9n involucradas en su aprendizaje dentro de un espacio educativo fortalece la transmisi\u00f3n intergeneracional, asegurando su continuidad. Uno de los pilares que sostiene esta manifestaci\u00f3n es su v\u00ednculo con las festividades religiosas, en especial con la celebraci\u00f3n de San Pedro y San Pablo, lo que mantiene su vigencia dentro de la comunidad. La integraci\u00f3n de un festival anual ha permitido reforzar su presencia p\u00fablica, d\u00e1ndole un lugar destacado dentro del calendario cultural local. La agrupaci\u00f3n musical La Bombilla, que interpreta la flauta, la caja y el bomb\u00f3n, tambi\u00e9n representa un componente esencial para que la danza mantenga su sonoridad aunque no es la m\u00fasica original. Esta pr\u00e1ctica, cargada de memoria colectiva, resalta por su capacidad de adaptaci\u00f3n frente a la p\u00e9rdida de registros y materiales, demostrando que a\u00fan en contextos adversos puede reconstruirse con el apoyo de quienes reconocen su valor."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "10fcce90-c0d0-4ec7-8c0b-64e98df064d9", "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 0, "tileid": "a9f481d0-d9f8-4090-b19f-9b7a4ec72f27"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales peligros que enfrenta la danza de los B&aacute;rbaros es la p&eacute;rdida de sus registros musicales originales, varios de los cuales fueron da&ntilde;ados por inundaciones, afectando incluso el CD que conten&iacute;a las melod&iacute;as tradicionales distribuidas por la familia Dur&aacute;n. Este hecho evidenci&oacute; la fragilidad del archivo sonoro que sostiene la pr&aacute;ctica, ya que sin la m&uacute;sica, la danza corre el riesgo de desvincularse de su esencia ceremonial. La desaparici&oacute;n de materiales tambi&eacute;n ha significado la interrupci&oacute;n de una continuidad hist&oacute;rica, lo que obliga a reconstruir desde la memoria oral o desde nuevas grabaciones, las cuales pueden no capturar con fidelidad los matices originales.</p>\n\n<p>Si bien el vestuario y los elementos simb&oacute;licos han sido adaptados, su distanciamiento respecto a los materiales y t&eacute;cnicas ancestrales puede conducir a una p&eacute;rdida progresiva del sentido original. A esto se suma la posibilidad de que, fuera del contexto ritual y agr&iacute;cola en que surgi&oacute;, la pr&aacute;ctica se reduzca a una escenificaci&oacute;n, especialmente si no se acompa&ntilde;a de procesos formativos que incluyan su historia, sus relatos y el significado de cada uno de sus componentes.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "10fcce90-c0d0-4ec7-8c0b-64e98df064d9", "provisionaledits": null, "resourceinstance_id": "854fbfbd-26f4-4c3b-8b2d-e69645e5aa76", "sortorder": 0, "tileid": "178b3254-f2d0-4888-ab53-616406df652a"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:50.704", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000040, "}, "es": {"description": "San Pedro. Cabildo Ind\u00edgena de San Pedro", "map_popup": "Beni", "name": "PI-080102-00-00-000040, San Pedro. 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Cabildo Ind\u00edgena de San Pedro"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["ddf3995c-dec2-4682-8889-94924a5fb6fc"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "09294307-f107-4dc8-a600-01fb9f3654c8", "sortorder": 0, "tileid": "fb154b78-f7aa-43f4-afb7-29674e58bc2e"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["9c539c14-ff65-4565-85a2-2268e4fe36ed"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Cabildo Ind&iacute;gena de San Pedro</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>El Cabildo Ind&iacute;genal de San Pedro se encuentra en un proceso de reconstituci&oacute;n, si bien siempre existi&oacute; como representaci&oacute;n tradicional, en las &uacute;ltimas d&eacute;cadas se debilit&oacute; considerablemente.</p>\n\n<p>Uno de los corregidores m&aacute;s recordados por su liderazgo fue Jos&eacute; Notu, un hombre de car&aacute;cter fuerte y respetado en la comunidad. Durante su gesti&oacute;n, el cabildo ten&iacute;a un papel fundamental en la organizaci&oacute;n de las festividades, la administraci&oacute;n del corral y la regulaci&oacute;n de las normas comunitarias, especialmente durante la Semana Santa, cuando se aseguraba de que la poblaci&oacute;n respetara las normas de no consumir carne ni encender fuego. A pesar de su avanzada edad, hasta el 2008 Jos&eacute; Notu continu&oacute; ejerciendo como cacique, organizando celebraciones y manteniendo el orden en la comunidad.</p>\n\n<p>El cabildo mantuvo una presencia relevante hasta 2010, aunque ya desde los a&ntilde;os 2005 y 2008 su influencia comenz&oacute; a decaer debido a la irrupci&oacute;n de la pol&iacute;tica en la comunidad. La divisi&oacute;n interna se hizo evidente cuando algunos pobladores comenzaron a identificarse como ind&iacute;genas, mientras que otros se reconoc&iacute;an como campesinos, a pesar de compartir el mismo origen canichana y apellidos ind&iacute;genas.</p>\n\n<p>En la actualidad, el cabildo no cuenta con una sede oficial. Anteriormente, no exist&iacute;a la subalcald&iacute;a, la cual fue creada hace aproximadamente veinte a&ntilde;os. Antes de ello, el cabildo coordinaba directamente con el gobernador del departamento. En sus mejores tiempos, el cabildo se sosten&iacute;a gracias a las contribuciones de la comunidad, donde cada familia aportaba alimentos y trabajo.</p>\n\n<p>Las autoridades del cabildo se renovaban cada a&ntilde;o, aunque si desempe&ntilde;aban bien su trabajo, pod&iacute;an continuar en sus funciones. Los ancianos de la comunidad ten&iacute;an un papel crucial en la evaluaci&oacute;n de la gesti&oacute;n de las autoridades, reuni&eacute;ndose al finalizar cada fiesta importante, como Semana Santa, San Pedro y Navidad.</p>\n\n<p>El cabildo organizaba con gran detalle las festividades, asignando tareas a distintos grupos de la comunidad. Algunas de las responsabilidades incluyen, la organizaci&oacute;n de la fiesta del Palo encebado, preparaci&oacute;n del corral, recolecci&oacute;n de madera, organizaci&oacute;n del jocheo de toros, preparaci&oacute;n de caballos</p>\n\n<p>Uno de los aspectos fundamentales era la distribuci&oacute;n de carne entre todas las familias. En el pasado, los ganaderos de la regi&oacute;n donaron hasta seis reses, garantizando que la celebraci&oacute;n se beneficiar&aacute; a toda la comunidad. Sin embargo, en la actualidad, la pol&iacute;tica ha interferido en estas din&aacute;micas, y ahora solo se dona una res si el donante pertenece a una determinada l&iacute;nea pol&iacute;tica.</p>\n\n<p>A pesar de estos desaf&iacute;os, el cabildo est&aacute; en proceso de renovaci&oacute;n y se espera que se retomen reuniones peri&oacute;dicas para fortalecer la organizaci&oacute;n. La abadesa Ana Flores enfatiza la importancia de recuperar la fortaleza del cabildo, afirmando que: &ldquo;Donde no hay mujeres, no hay valor; si no hay hombres, no hay fuerza.&rdquo;</p>\n\n<p>Uno de los mayores desaf&iacute;os del cabildo es la falta de estatutos propios. En un intento de restaurarlo, en el pasado se solicit&oacute; al Cabildo Indigenal de la Sant&iacute;sima Trinidad que diera posesi&oacute;n a sus autoridades. Aunque esto se concret&oacute;, diversos problemas impidieron que la restauraci&oacute;n se consolidara por completo. Sin embargo, hoy en d&iacute;a se busca recuperar el papel que el cabildo desempe&ntilde;aba en la comunidad.</p>\n\n<p>Hist&oacute;ricamente, la estructura del cabildo estaba conformada por 27 autoridades, pero en la actualidad el n&uacute;mero se ha reducido a ocho representantes, quienes son:</p>\n\n<ul>\n\t<li>Corregidor</li>\n\t<li>Capit&aacute;n Grande</li>\n\t<li>Cacique</li>\n\t<li>Alcalde</li>\n\t<li>Juez de Justicia</li>\n\t<li>Teniente</li>\n\t<li>Albacea</li>\n\t<li>M&uacute;sico</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>El cabildo es el encargado de la organizaci&oacute;n de las fiestas patronales. No obstante, debido a su proceso de reestructuraci&oacute;n, la fiesta de San Pedro y San Pablo fue organizada por un Comit&eacute; de Fiestas, a la espera de que el cabildo retome plenamente sus responsabilidades tanto con la comunidad como con la iglesia.</p>\n\n<p>En San Pedro tambi&eacute;n existe una organizaci&oacute;n de representaci&oacute;n pol&iacute;tica: la Subcentral del Pueblo Ind&iacute;gena Canichana, que est&aacute; dividida en dos sectores, uno para mujeres y otro para varones. A su vez, esta subcentral forma parte de una estructura superior, la Central de Pueblos Ind&iacute;genas del Beni (dividida en una central masculina y otra femenina)</p>\n\n<p>CIDOB (Confederaci&oacute;n de Pueblos Ind&iacute;genas de Bolivia), que representa a los 32 pueblos ind&iacute;genas del pa&iacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la organizaci&oacute;n</strong></p>\n\n<p>Actualmente, el cabildo cuenta con ocho autoridades, organizados de la siguiente manera:</p>\n\n<ul>\n\t<li>Corregidor</li>\n\t<li>Capit&aacute;n Grande</li>\n\t<li>Cacique</li>\n\t<li>Alcalde</li>\n\t<li>Juez de Justicia</li>\n\t<li>Teniente</li>\n\t<li>Albacea</li>\n\t<li>M&uacute;sico</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Aunque el cabildo cuenta con una sede, su funcionamiento a&uacute;n est&aacute; en proceso de consolidaci&oacute;n. Las reuniones se realizan en este espacio, pero todav&iacute;a es necesario establecer una din&aacute;mica de encuentros peri&oacute;dicos y definir estrategias para fortalecer la organizaci&oacute;n.</p>\n\n<p>Despu&eacute;s de cada festividad, especialmente la Fiesta de San Pedro y San Pablo, se lleva a cabo una evaluaci&oacute;n del desempe&ntilde;o de las autoridades del cabildo. Algunas de las actuales autoridades han estado en el cargo desde 2019, y su objetivo principal es unificar nuevamente al pueblo.</p>\n\n<p>Durante la cuarentena por la pandemia de COVID-19 en 2020, el cabildo asumi&oacute; un papel fundamental en la protecci&oacute;n de la comunidad, estableciendo medidas para evitar contagios. Se encargaron de que la poblaci&oacute;n permaneciera en sus hogares y que los j&oacute;venes evitaran reunirse en grupos.</p>\n\n<p>A pesar de los desaf&iacute;os que enfrenta, el Cabildo Indigenal de San Pedro se encuentra en un proceso de recuperaci&oacute;n y fortalecimiento, con el objetivo de restaurar su importancia hist&oacute;rica y cultural en la comunidad.</p>\n"}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "c36e6bb1-c570-4569-a4d6-6eeacb2f2469", "provisionaledits": null, "resourceinstance_id": "09294307-f107-4dc8-a600-01fb9f3654c8", "sortorder": 0, "tileid": "a11f390f-077a-4887-b313-b7ed0f8b1d15"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Bast\u00f3n Corregidor Materiales La pieza est\u00e1 elaborada en madera pintada, elaborada acorde a la funci\u00f3n dentro de las celebraciones y actos de autoridad. T\u00e9cnica de elaboraci\u00f3n T\u00e9cnica de tallado en madera con elementos decorativos ensamblados. Descripci\u00f3n de la pieza Este bast\u00f3n cuenta con una agarradera dise\u00f1ada para la mano, desde la cual cuelgan cinco llaves met\u00e1licas unidas mediante un cord\u00f3n. Estas llaves est\u00e1n fijadas en la parte baja del mango, constituy\u00e9ndose como uno de los elementos m\u00e1s representativos del bast\u00f3n. Descripci\u00f3n del contexto La pieza se utiliza en el marco de la fiesta patronal que conmemora la fundaci\u00f3n de la poblaci\u00f3n de San Pedro, una celebraci\u00f3n dedicada a los santos San Pedro y San Pablo. En esta festividad se recuerda el compromiso del ap\u00f3stol Pedro \u2014considerado el primer Papa\u2014 con la difusi\u00f3n del mensaje cristiano, misi\u00f3n que hoy contin\u00faa en la figura del Papa Francisco, su sucesor. Descripci\u00f3n de la funci\u00f3n/uso El bast\u00f3n tiene uso ceremonial en actos festivos religiosos y eventos de representaci\u00f3n del Cabildo Indigenal Canichana. Es uno de los s\u00edmbolos que distingue la autoridad junto con la camijeta, la calatrava. Durante estos actos, la figura de autoridad lleva un cord\u00f3n de algod\u00f3n atado a la cintura, cuyos extremos est\u00e1n decorados con pimpollos. Datos hist\u00f3ricos El bast\u00f3n corregidor fue introducido durante la \u00e9poca misional. Las llaves que cuelgan de \u00e9l simbolizan las llaves del cielo, entregadas a San Pedro por Dios seg\u00fan la tradici\u00f3n cristiana. Este objeto no solo representa autoridad, sino tambi\u00e9n virtud y antig\u00fcedad en el cargo de corregidor dentro del Cabildo, convirti\u00e9ndose en una marca visible de jerarqu\u00eda y respeto en la comunidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Bast\u00f3n Corregidor"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "c36e6bb1-c570-4569-a4d6-6eeacb2f2469", "provisionaledits": null, "resourceinstance_id": "09294307-f107-4dc8-a600-01fb9f3654c8", "sortorder": 0, "tileid": "280b3f2f-a32c-4864-b261-0bf8bebb2d3c"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vesimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Calatrava Materiales Esta pieza est\u00e1 confeccionada en tela popelina, un material ligero y resistente que le da firmeza al objeto. T\u00e9cnica de elaboraci\u00f3n Su elaboraci\u00f3n se realiza mediante costura en m\u00e1quina, lo que permite dar forma precisa a los detalles. Descripci\u00f3n de la pieza La calatrava tiene la forma tradicional de una insignia militar del mismo nombre. Es de color blanco y presenta bordes decorados con cinta roja, lo que le da un fuerte contraste visual. En la parte frontal se encuentra una cruz, mientras que en su extremo superior se ha colocado un pimpollo como adorno distintivo. Descripci\u00f3n del contexto Esta pieza se utiliza durante la fiesta patronal en honor a San Pedro y San Pablo, que conmemora la fundaci\u00f3n de la poblaci\u00f3n de San Pedro. La festividad evoca el compromiso del ap\u00f3stol Pedro \u2014primer Papa\u2014 con el anuncio de la buena nueva, misi\u00f3n que hoy contin\u00faa el Papa Francisco como su sucesor. Descripci\u00f3n de la funci\u00f3n/uso La calatrava es empleada en actos religiosos festivos y en ceremonias de representaci\u00f3n de autoridad dentro del Cabildo Indigenal Canichana. Forma parte del conjunto de s\u00edmbolos que distinguen a la camijeta, junto con el bast\u00f3n de mando. Adem\u00e1s, quien porta estos atributos lleva atado a la cintura un cord\u00f3n de algod\u00f3n adornado en sus extremos con pimpollos, reforzando as\u00ed la imagen de autoridad tradicional. Datos hist\u00f3ricos Aunque no se conoce con certeza la fecha de su incorporaci\u00f3n, se presume que la calatrava fue introducida durante la \u00e9poca republicana, dado su parecido con las insignias militares utilizadas en ese periodo. Su presencia en las festividades refleja un proceso de apropiaci\u00f3n y resignificaci\u00f3n cultural dentro de las estructuras de poder ind\u00edgena."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Calatrava Corregidor"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "c36e6bb1-c570-4569-a4d6-6eeacb2f2469", "provisionaledits": null, "resourceinstance_id": "09294307-f107-4dc8-a600-01fb9f3654c8", "sortorder": 1, "tileid": "64c1ba36-0539-4701-80ac-201e6a971386"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Camijeta Corregidor Materiales La camijeta est\u00e1 confeccionada en tela de poli\u00e9ster, un material sint\u00e9tico que aporta ligereza, resistencia. T\u00e9cnica de elaboraci\u00f3n Esta prenda se elabora mediante costura a m\u00e1quina, lo que permite un acabado uniforme, especialmente en los bordes y en los detalles decorativos que destacan su funci\u00f3n ceremonial. Descripci\u00f3n de la pieza Se trata de una vestimenta sin mangas, de un solo corte, cuyo largo llega hasta la media pantorrilla. Los costados est\u00e1n unidos por una cinta roja, lo que permite ajustarla al cuerpo del portador. La tela es blanca y en la zona del cuello presenta dibujos de llaves cruzadas, representando las llaves de San Pedro. El cuello tiene forma de \u201cV\u201d y est\u00e1 delineado con cinta roja, al igual que los bordes de la prenda. En la parte posterior, justo en el centro a la altura del cuello, se encuentra una cruz. Esta camijeta se distingue de otras similares en distintas regiones por el dise\u00f1o espec\u00edfico de las llaves cruzadas y la cruz, s\u00edmbolos de la autoridad espiritual que emana de San Pedro. Descripci\u00f3n del contexto La camijeta se utiliza durante la festividad que conmemora la fundaci\u00f3n de la poblaci\u00f3n de San Pedro, dedicada a los santos San Pedro y San Pablo. Esta celebraci\u00f3n no solo recuerda el origen de la comunidad, sino que tambi\u00e9n resalta la misi\u00f3n espiritual encomendada a San Pedro, considerada hoy vigente a trav\u00e9s de la figura del Papa Francisco, su sucesor en el anuncio del mensaje cristiano. Descripci\u00f3n de la funci\u00f3n/uso La camijeta es usada en actos festivos religiosos y en eventos de representaci\u00f3n de autoridad del Cabildo Indigenal Canichana. Su uso distingue a la figura de la camijeta como autoridad, junto al bast\u00f3n de mando y la calatrava. Esta indumentaria se complementa con un cord\u00f3n de algod\u00f3n atado a la cintura, cuyos extremos llevan pimpollos, peque\u00f1os adornos que realzan su valor simb\u00f3lico. Datos hist\u00f3ricos El origen de esta forma de camijeta se remonta a la \u00e9poca de las misiones jesu\u00edticas. En ese entonces, se elaboraban utilizando materiales naturales como la corteza de pl\u00e1tano, fibra vegetal, cuero de anta (tapir) y de ciervo. Con el tiempo, estas camijetas fueron confeccionadas en algod\u00f3n tejido y m\u00e1s adelante en telas sint\u00e9ticas, adaptando su dise\u00f1o y materiales sin perder su carga simb\u00f3lica como emblema de autoridad y legado cultural del pueblo Canichana."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Camijeta Corregidor"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "c36e6bb1-c570-4569-a4d6-6eeacb2f2469", "provisionaledits": null, "resourceinstance_id": "09294307-f107-4dc8-a600-01fb9f3654c8", "sortorder": 2, "tileid": "c914ba6b-437d-4a73-85b9-2d1b9b50470b"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el Cabildo Ind&iacute;genal de San Pedro, la transmisi&oacute;n de conocimientos se ha desarrollado principalmente a trav&eacute;s de pr&aacute;cticas comunitarias y estructuras tradicionales de liderazgo. Las festividades religiosas y comunitarias han sido espacios importantes para el aprendizaje colectivo, donde las autoridades del cabildo &mdash;como el corregidor, el cacique o el capit&aacute;n grande&mdash; asignaban tareas espec&iacute;ficas a los distintos grupos y guiaban a la poblaci&oacute;n en la ejecuci&oacute;n de actividades como el jocheo de toros, la preparaci&oacute;n del corral o la distribuci&oacute;n de carne. A lo largo de estas celebraciones, los saberes eran compartidos entre generaciones mediante la acci&oacute;n compartida, la repetici&oacute;n de roles, y el ejemplo directo de los mayores, en especial durante las festividades de San Pedro, San Pablo y Semana Santa. En estos espacios, las normas comunitarias tambi&eacute;n se reforzaban mediante la regulaci&oacute;n de comportamientos, como la prohibici&oacute;n de encender fuego o consumir carne, pr&aacute;cticas que eran observadas con atenci&oacute;n por las nuevas generaciones.</p>\n\n<p>Otro mecanismo ha sido la evaluaci&oacute;n colectiva del desempe&ntilde;o de las autoridades, un momento en el que los ancianos de la comunidad juegan un papel determinante. Estas reuniones, que se realizan luego de las festividades, permiten no solo juzgar la gesti&oacute;n de los l&iacute;deres, sino tambi&eacute;n transmitir criterios de autoridad, justicia y responsabilidad comunal. Durante la pandemia de 2020, el cabildo retom&oacute; su rol protector, organizando acciones preventivas que reforzaron su legitimidad y reactivaron formas tradicionales de control social. Aunque actualmente el cabildo enfrenta dificultades por divisiones internas y falta de estatutos propios, las pr&aacute;cticas de liderazgo comunitario, la participaci&oacute;n activa en festividades y las evaluaciones colectivas contin&uacute;an siendo canales vigentes para preservar y revitalizar los saberes ancestrales.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "c36e6bb1-c570-4569-a4d6-6eeacb2f2469", "provisionaledits": null, "resourceinstance_id": "09294307-f107-4dc8-a600-01fb9f3654c8", "sortorder": 0, "tileid": "f79f044a-8fcf-4f33-b2ee-839f5392b616"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica del Cabildo Ind&iacute;genal de San Pedro ha experimentado cambios importantes en las &uacute;ltimas d&eacute;cadas. Si bien durante el liderazgo de figuras como Jos&eacute; Notu el cabildo ejerc&iacute;a autoridad plena en la organizaci&oacute;n de las festividades, el control de normas comunitarias y la administraci&oacute;n de bienes comunes, su influencia comenz&oacute; a reducirse a partir del a&ntilde;o 2005, coincidiendo con el avance de estructuras pol&iacute;ticas externas a la comunidad. Esta transformaci&oacute;n se profundiz&oacute; con la creaci&oacute;n de la subalcald&iacute;a, que reemplaz&oacute; el v&iacute;nculo directo que exist&iacute;a entre el cabildo y el gobernador departamental. La aparici&oacute;n de nuevas identidades pol&iacute;ticas, donde parte de la poblaci&oacute;n se reconoc&iacute;a como campesina y no como ind&iacute;gena, fragment&oacute; la cohesi&oacute;n que sustentaba al cabildo y debilit&oacute; su legitimidad como instancia organizativa ancestral.</p>\n\n<p>La forma de organizar las festividades tambi&eacute;n se ha visto afectada. Tradicionalmente, cada familia aportaba con alimentos y trabajo, y los ganaderos ofrec&iacute;an reses para asegurar una celebraci&oacute;n inclusiva; en cambio, hoy este gesto depende de afinidades pol&iacute;ticas. El hecho de que la fiesta de San Pedro y San Pablo haya sido organizada por un Comit&eacute; de Fiestas y no por el cabildo, refleja la p&eacute;rdida de sus funciones originales. La reducci&oacute;n del n&uacute;mero de autoridades de veintisiete a ocho es otra se&ntilde;al de esta transformaci&oacute;n, al igual que la ausencia de estatutos claros que orienten su funcionamiento. A pesar de ello, algunas pr&aacute;cticas persisten, como la evaluaci&oacute;n del desempe&ntilde;o de las autoridades despu&eacute;s de cada festividad, lo que muestra que, aunque debilitado, el cabildo a&uacute;n conserva espacios de acci&oacute;n que pueden ser fortalecidos en este proceso de recuperaci&oacute;n institucional.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "c36e6bb1-c570-4569-a4d6-6eeacb2f2469", "provisionaledits": null, "resourceinstance_id": "09294307-f107-4dc8-a600-01fb9f3654c8", "sortorder": 0, "tileid": "4d13f180-0fd2-4548-ac50-88e13393f7d6"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales virtudes del Cabildo Ind\u00edgenal de San Pedro radica en su capacidad para mantener la cohesi\u00f3n comunitaria a trav\u00e9s de la organizaci\u00f3n de festividades religiosas y sociales. La distribuci\u00f3n equitativa que realiza el Corregidor de la carne donada por los ganaderos, la asignaci\u00f3n de tareas espec\u00edficas durante las celebraciones, y la participaci\u00f3n colectiva en actividades como el jocheo de toros y la preparaci\u00f3n del corral, son expresiones de un sistema que favorece la reciprocidad y el compromiso de sus miembros y son mecanismos de reconocimiento de la autoridad del Corregidor. Estas acciones no solo refuerzan el sentido de pertenencia, sino que tambi\u00e9n permiten que el conocimiento se transmita a trav\u00e9s del hacer compartido, integrando a j\u00f3venes y adultos en roles activos. Incluso en los a\u00f1os m\u00e1s recientes, durante la cuarentena por la pandemia en 2020, el cabildo logr\u00f3 reorganizarse y asumir un rol protector para evitar contagios, lo que demuestra su capacidad de respuesta en situaciones cr\u00edticas. La estructura jer\u00e1rquica del cabildo, compuesta por figuras como el corregidor, el capit\u00e1n grande, el cacique o el juez de justicia, permite distribuir responsabilidades y conservar la autoridad tradicional. La pr\u00e1ctica de renovar a sus autoridades cada a\u00f1o, con la posibilidad de extender el mandato si su labor es bien valorada, fortalece la continuidad y el compromiso comunitario. Las evaluaciones realizadas por los ancianos tras las festividades son otro elemento que refuerza la vigilancia colectiva y permite corregir el rumbo de la organizaci\u00f3n. La participaci\u00f3n de mujeres en instancias paralelas, como la Subcentral del Pueblo Ind\u00edgena Canichana, muestra que existen caminos complementarios desde los cuales se sigue cultivando el liderazgo dentro del pueblo. Esta base organizativa, pese a los desaf\u00edos, contin\u00faa ofreciendo un punto de encuentro donde la memoria, la autoridad y las formas de vida comunitarias a\u00fan encuentran un lugar de expresi\u00f3n. Un rasgo importante es que las autoridades y la organizaci\u00f3n del Cabildo a\u00fan son reconocidas por la comunidad y las instituciones. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "c36e6bb1-c570-4569-a4d6-6eeacb2f2469", "provisionaledits": null, "resourceinstance_id": "09294307-f107-4dc8-a600-01fb9f3654c8", "sortorder": 0, "tileid": "b624418d-5b2b-4578-b611-f38e8b13ed08"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El debilitamiento del Cabildo Ind&iacute;genal de San Pedro se ha visto acelerado por tensiones internas que han fragmentado su base social. La creciente identificaci&oacute;n de algunos miembros de la comunidad como campesinos, a pesar de compartir origen canichana y apellidos ind&iacute;genas, ha generado divisiones que obstaculizan la unidad necesaria para sostener la estructura organizativa tradicional. La intromisi&oacute;n de intereses pol&iacute;ticos externos tambi&eacute;n ha provocado una p&eacute;rdida de autonom&iacute;a; un ejemplo claro es la donaci&oacute;n condicionada de ganado para las festividades, que antes era un acto colectivo y desinteresado, pero que ahora responde a afinidades partidarias. Este tipo de interferencias transforma pr&aacute;cticas comunitarias que funcionaban con base en la reciprocidad y debilita los lazos que manten&iacute;an al cabildo como una instituci&oacute;n respetada y activa.</p>\n\n<p>La falta de estatutos propios dificulta la consolidaci&oacute;n de la organizaci&oacute;n y limita la capacidad del cabildo para responder con claridad ante situaciones complejas. La reducci&oacute;n en el n&uacute;mero de autoridades &mdash;de veintisiete a ocho&mdash; tambi&eacute;n compromete la posibilidad de cumplir con todas las funciones que antes se distribu&iacute;an entre m&aacute;s representantes. La inexistencia de una sede establecida durante varios a&ntilde;os afect&oacute; la continuidad de las reuniones, y aunque actualmente cuentan con un espacio, todav&iacute;a no se ha logrado instaurar una rutina s&oacute;lida de encuentros. A esto se suma la presencia de nuevas estructuras como la subalcald&iacute;a y la Subcentral del Pueblo Ind&iacute;gena Canichana, que si bien representan a la poblaci&oacute;n, tienden a desplazar el papel del cabildo. Sin una estrategia clara para restablecer su rol central en la vida comunitaria, el riesgo de una p&eacute;rdida progresiva de su legitimidad sigue latente.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "c36e6bb1-c570-4569-a4d6-6eeacb2f2469", "provisionaledits": null, "resourceinstance_id": "09294307-f107-4dc8-a600-01fb9f3654c8", "sortorder": 0, "tileid": "322900e8-0526-4215-9ed9-7e86cf19bf19"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:51.447", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000042, "}, "es": {"description": "San Pedro. Danza del Ciervo", "map_popup": "Beni", "name": "PI-080102-00-00-000042, San Pedro. Danza del Ciervo"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000042, San Pedro. Danza del Ciervo", "principaluser_id": 26, "resourceinstanceid": "d4b9b4bd-79bf-4758-a813-02d24cfd91af", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de San Pedro y San Pablo"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000042", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Danza del Ciervo"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d4b9b4bd-79bf-4758-a813-02d24cfd91af", "sortorder": 0, "tileid": "d03bedbf-ce22-4520-9187-684ea9e05314"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.88880895246774, -14.336328879563084], "type": "Point"}, "id": "7aced180bb0dfdaa455d827158f16219", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000007'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d4b9b4bd-79bf-4758-a813-02d24cfd91af", "sortorder": 0, "tileid": "728d196a-0ccf-4e7a-8a10-61c15ff2c2a3"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d4b9b4bd-79bf-4758-a813-02d24cfd91af", "sortorder": 0, "tileid": "9cd8bff5-bc56-4d3f-b041-0f8d59f2f6f0"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Danza del Ciervo</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La Danza del Ciervo es una representaci&oacute;n simb&oacute;lica de este animal, inspirada en la tradici&oacute;n que cuenta que diversos animales acudieron a presenciar el nacimiento del Ni&ntilde;o Jes&uacute;s. Se baila principalmente en la Navidad, formando parte de las festividades religiosas de la comunidad.</p>\n\n<p>El traje de los danzantes est&aacute; dise&ntilde;ado para parecerse a un ciervo, con los siguientes elementos distintivos:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Cuernos verdaderos de ciervo.</li>\n\t<li>M&aacute;scara de madera tallada, que asemeja la cabeza del ciervo.</li>\n\t<li>Capa roja, sujeta desde la m&aacute;scara y colgando sobre la espalda.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Las danzas tradicionales, como la del Ciervo, han sido objeto de un proceso de recuperaci&oacute;n, ya que durante muchos a&ntilde;os dejaron de representarse. En el pasado, cada danza ten&iacute;a su propio momento espec&iacute;fico, por lo que no pod&iacute;a ejecutarse en cualquier fecha fuera de su contexto festivo ritual.</p>\n\n<p>El rescate de estas danzas ha sido impulsado por las profesoras del colegio Juan Maraza, quienes, en coordinaci&oacute;n con el Instituto de Lengua y Cultura Canichana, trabajan en la ense&ntilde;anza de estos bailes. El instituto proporciona las melod&iacute;as tradicionales a los docentes para su interpretaci&oacute;n y difusi&oacute;n.</p>\n\n<p>Para fortalecer la representaci&oacute;n de estas danzas, se cre&oacute; un festival anual de danzas tradicionales, celebrado cada 23 de julio, antes de la festividad de San Pedro y San Pablo.</p>\n\n<p>Hace dos d&eacute;cadas, la m&uacute;sica de la Danza del Ciervo fue distribuida por la familia Dur&aacute;n entre algunos pobladores de San Pedro. Sin embargo, con el tiempo, las grabaciones se perdieron debido a inundaciones que afectar&aacute;n los registros originales.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana emprendi&oacute; una b&uacute;squeda para recuperar la m&uacute;sica, logrando obtener nuevas grabaciones gracias a Pedro y Segundo Dur&aacute;n. Actualmente, el instituto resguarda este material. Adem&aacute;s, se identificaron otras melod&iacute;as sin nombre que podr&iacute;an pertenecer a danzas a&uacute;n no documentadas, por lo que se realizar&aacute;n investigaciones para su reconocimiento.</p>\n\n<p>La Danza del Ciervo mantiene su significado original, representando la historia del animal que, junto con otros, acudi&oacute; a ver al Ni&ntilde;o Jes&uacute;s tras su nacimiento.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la coreograf&iacute;a</strong></p>\n\n<p>La danza se caracteriza por saltos r&iacute;tmicos, que evocan los movimientos &aacute;giles del ciervo.</p>\n\n<p>El sonido de los cascabeles, que marca el comp&aacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La m&uacute;sica que acompa&ntilde;a la Danza del Ciervo es interpretada con los siguientes instrumentos tradicionales:</p>\n\n<ul>\n\t<li>Flauta transversal</li>\n\t<li>Caja</li>\n\t<li>Bombo</li>\n</ul>\n\n<p>Estos instrumentos son ejecutados por La Bombilla, una agrupaci&oacute;n dedicada a la interpretaci&oacute;n de m&uacute;sicas tradicionales.</p>\n\n<p>Audio de referencia: M&uacute;sica COD.CI. MU_ciervo (Soporte digital &ndash; Carpeta: M&uacute;sica de danzas Canichana).</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "9cd8bff5-bc56-4d3f-b041-0f8d59f2f6f0", "provisionaledits": null, "resourceinstance_id": "d4b9b4bd-79bf-4758-a813-02d24cfd91af", "sortorder": 0, "tileid": "b0cdd09c-edec-400a-9f21-4c132f53c7fc"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Ciervo \u2013 Danza El Ciervo Materiales La m\u00e1scara est\u00e1 elaborada con madera de balsa, un material conocido por su ligereza y resistencia.  T\u00e9cnica de elaboraci\u00f3n La pieza se trabaja de manera artesanal, mediante tallado manual. El oficio requiere precisi\u00f3n para reproducir los rasgos del ciervo y asegurar que el resultado sea funcional y representativo. Descripci\u00f3n de la pieza La m\u00e1scara adopta la forma de la cabeza de un animal similar al ciervo. Incorpora cuernos reales, lo que refuerza su realismo y conexi\u00f3n con el personaje representado. Las orejas est\u00e1n confeccionadas con suela o cuero, adheridas cuidadosamente para completar la apariencia del animal. Dos orificios tallados permiten la visi\u00f3n del danzante. En la parte superior de la m\u00e1scara, una tela est\u00e1 sujeta con clavos y lleva un nudo que permite ajustarla a la cabeza. De esa misma secci\u00f3n se prende una tela roja que cae sobre la espalda, simulando el cuero del ciervo. Durante la danza, el portador viste camisa y pantal\u00f3n como parte del atuendo completo. El tallador que realiza estas piezas tiene actualmente 74 a\u00f1os. Suele elaborarlas con el fin de prestarlas para las festividades, aunque con frecuencia no le son devueltas y debe hacer nuevas. En toda la comunidad de San Pedro, no hay otra persona que conserve este saber, lo que coloca en riesgo la continuidad del oficio. Descripci\u00f3n del contexto Esta manifestaci\u00f3n tiene lugar durante la conmemoraci\u00f3n de la fundaci\u00f3n de San Pedro, festividad religiosa dedicada a los santos San Pedro y San Pablo. La celebraci\u00f3n est\u00e1 asociada al legado del Papa Francisco, considerado sucesor de San Pedro, quien recibi\u00f3 el encargo de anunciar la buena noticia, como lo hace actualmente el pont\u00edfice. Descripci\u00f3n del uso La m\u00e1scara forma parte de la danza que representa al ciervo, animal que, seg\u00fan la tradici\u00f3n, acudi\u00f3 junto a otros seres del bosque a contemplar al Ni\u00f1o Jes\u00fas reci\u00e9n nacido. Su uso se concentra en las celebraciones navide\u00f1as. Los elementos esenciales del disfraz \u2014los cuernos verdaderos, la m\u00e1scara tallada en madera con rasgos del animal y la capa roja que cuelga desde la parte superior\u2014 refuerzan el sentido simb\u00f3lico de la representaci\u00f3n. Datos hist\u00f3ricos Durante varios a\u00f1os, danzas como la del Ciervo dejaron de representarse. Cada una ten\u00eda un momento espec\u00edfico en el calendario festivo, y no era com\u00fan ejecutarlas fuera de su contexto ritual. El olvido amenazaba con hacerlas desaparecer por completo. Sin embargo, las profesoras del colegio Juan Maraza iniciaron un proceso de recuperaci\u00f3n en colaboraci\u00f3n con el Instituto de Lengua y Cultura Canichana, que les entrega las melod\u00edas tradicionales para su ense\u00f1anza. Para fortalecer su reintroducci\u00f3n, se instituy\u00f3 un festival anual de danzas tradicionales, celebrado cada 23 de julio, justo antes de la festividad de San Pedro y San Pablo. Hace unos veinte a\u00f1os, la familia Dur\u00e1n comparti\u00f3 las grabaciones musicales con algunos pobladores. Sin embargo, una inundaci\u00f3n provoc\u00f3 la p\u00e9rdida de los discos, tanto en su hogar como en el de quienes tambi\u00e9n los hab\u00edan recibido. El Instituto de Lengua y Cultura Canichana busc\u00f3 nuevamente a la familia y logr\u00f3 recuperar el material gracias a Pedro y Segundo Dur\u00e1n, quienes entregaron nuevas grabaciones. Actualmente, el instituto las resguarda. Durante este proceso, se identificaron otras melod\u00edas sin nombre, que podr\u00edan pertenecer a danzas a\u00fan no registradas, por lo que se planea realizar investigaciones para definir su procedencia. La danza del Ciervo sigue siendo una representaci\u00f3n del animal que, en tiempos sagrados, sali\u00f3 al encuentro del Ni\u00f1o Jes\u00fas reci\u00e9n nacido."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Ciervo \u2013 Danza El Ciervo"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "9cd8bff5-bc56-4d3f-b041-0f8d59f2f6f0", "provisionaledits": null, "resourceinstance_id": "d4b9b4bd-79bf-4758-a813-02d24cfd91af", "sortorder": 0, "tileid": "88adff75-f548-4316-bde3-6cfc88f68ccd"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La revitalizaci&oacute;n de la Danza del Ciervo ha sido posible gracias a un conjunto de acciones que vinculan directamente a la escuela, la comunidad y las instituciones culturales. Son las profesoras del colegio Juan Maraza quienes, en colaboraci&oacute;n con el Instituto de Lengua y Cultura Canichana, han asumido el papel de transmisoras activas, ense&ntilde;ando a las nuevas generaciones no solo la coreograf&iacute;a, sino tambi&eacute;n los significados que acompa&ntilde;an a esta expresi&oacute;n. La entrega de las melod&iacute;as tradicionales por parte del instituto permite a los docentes interpretar fielmente la m&uacute;sica y reforzar su sentido original en las pr&aacute;cticas escolares. Esta articulaci&oacute;n ha dado lugar a un festival de danzas tradicionales, instaurado el 23 de julio, que crea un espacio espec&iacute;fico para la representaci&oacute;n, asegurando que la danza se mantenga en su contexto ritual y no pierda su valor simb&oacute;lico.</p>\n\n<p>La memoria colectiva tambi&eacute;n se reconstruye desde los testimonios y los aportes familiares. Tal es el caso de la familia Dur&aacute;n, que comparti&oacute; copias de las grabaciones musicales hace m&aacute;s de veinte a&ntilde;os. Aunque muchas de estas se perdieron, los esfuerzos recientes por recuperar el material a trav&eacute;s de Pedro y Segundo Dur&aacute;n han permitido al instituto reconstruir parte del repertorio original. Este proceso ha revelado, incluso, composiciones no identificadas que podr&iacute;an corresponder a otras danzas a&uacute;n no investigadas, lo que abre la posibilidad de expandir el conocimiento en torno a las manifestaciones tradicionales de la regi&oacute;n. La m&uacute;sica, la confecci&oacute;n del vestuario &mdash;con cuernos reales, m&aacute;scaras talladas y capas distintivas&mdash;, y la ejecuci&oacute;n de los saltos r&iacute;tmicos con cascabeles, se ense&ntilde;an a trav&eacute;s de una transmisi&oacute;n que conjuga el trabajo intergeneracional, la observaci&oacute;n directa y la reconstrucci&oacute;n a partir de fuentes orales y sonoras.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "9cd8bff5-bc56-4d3f-b041-0f8d59f2f6f0", "provisionaledits": null, "resourceinstance_id": "d4b9b4bd-79bf-4758-a813-02d24cfd91af", "sortorder": 0, "tileid": "9f0c331f-95ca-47ef-87c6-4ad6ce412433"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de la Danza del Ciervo ha experimentado modificaciones vinculadas tanto al contexto en el que se ejecuta como a las formas en que se transmite. En tiempos pasados, este tipo de manifestaciones solo pod&iacute;an presentarse durante celebraciones precisas, respetando su car&aacute;cter ritual. Con el paso de los a&ntilde;os y la interrupci&oacute;n de su ejecuci&oacute;n, fue necesario crear un nuevo espacio para su desarrollo: el festival anual de danzas tradicionales, fijado el 23 de julio. Este evento, que antecede a la fiesta de San Pedro y San Pablo, funciona como una estrategia de revitalizaci&oacute;n, permitiendo que la danza vuelva a representarse, aunque ya no en su fecha original. La introducci&oacute;n de este festival implica una adaptaci&oacute;n del calendario festivo a las din&aacute;micas actuales de la comunidad.</p>\n\n<p>Tambi&eacute;n se observa una transformaci&oacute;n en los medios utilizados para preservar y difundir esta expresi&oacute;n cultural. La m&uacute;sica que acompa&ntilde;a la danza, originalmente conservada por la familia Dur&aacute;n y compartida de manera informal, se vio afectada por la p&eacute;rdida de registros debido a inundaciones. A ra&iacute;z de ello, el Instituto de Lengua y Cultura Canichana asumi&oacute; la tarea de recopilar nuevamente los sonidos, logrando grabaciones actuales gracias al aporte de miembros de la misma familia. Estas nuevas versiones no solo permiten recuperar la pr&aacute;ctica, sino que tambi&eacute;n introducen elementos que podr&iacute;an no haber estado presentes en las interpretaciones antiguas. A su vez, la participaci&oacute;n de agrupaciones como La Bombilla en la interpretaci&oacute;n musical refuerza la permanencia del acompa&ntilde;amiento instrumental, aunque con una ejecuci&oacute;n adaptada al contexto esc&eacute;nico contempor&aacute;neo.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "9cd8bff5-bc56-4d3f-b041-0f8d59f2f6f0", "provisionaledits": null, "resourceinstance_id": "d4b9b4bd-79bf-4758-a813-02d24cfd91af", "sortorder": 0, "tileid": "53864388-fca2-4dfd-a486-24ba2326cb79"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Uno de los aspectos m\u00e1s s\u00f3lidos de la Danza del Ciervo es su estrecha vinculaci\u00f3n con la identidad religiosa y simb\u00f3lica de la comunidad. La representaci\u00f3n del animal que acude al nacimiento del Ni\u00f1o Jes\u00fas, acompa\u00f1ada de un vestuario elaborado con cuernos reales, m\u00e1scara de madera y una capa roja, otorga profundidad a su significado. Esta carga simb\u00f3lica ha logrado mantenerse vigente a pesar de los periodos de inactividad, lo que demuestra un fuerte arraigo cultural. La continuidad de los elementos visuales y sonoros, como los saltos r\u00edtmicos acompa\u00f1ados del sonido de los cascabeles, permite que la esencia del relato original se proyecte en cada ejecuci\u00f3n. El compromiso colectivo en su recuperaci\u00f3n refuerza tambi\u00e9n la persistencia de esta expresi\u00f3n. Las profesoras del colegio Juan Maraza, junto con el Instituto de Lengua y Cultura Canichana, han asumido un rol clave en la ense\u00f1anza del repertorio, apoy\u00e1ndose en melod\u00edas tradicionales entregadas por el propio instituto. La participaci\u00f3n activa de la familia Dur\u00e1n en la recolecci\u00f3n y conservaci\u00f3n de la m\u00fasica tradicional ha sido determinante para reconstruir el acompa\u00f1amiento original. Gracias a este esfuerzo conjunto, la pr\u00e1ctica no solo se ha salvado del olvido, sino que cuenta con un espacio propio dentro del calendario festivo comunitario. La creaci\u00f3n del festival anual ha generado nuevas motivaciones para que j\u00f3venes y adultos se involucren, fortaleciendo as\u00ed la transmisi\u00f3n intergeneracional."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "9cd8bff5-bc56-4d3f-b041-0f8d59f2f6f0", "provisionaledits": null, "resourceinstance_id": "d4b9b4bd-79bf-4758-a813-02d24cfd91af", "sortorder": 0, "tileid": "22479291-8d7c-4cd9-8338-629f22df0cbd"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales peligros que enfrenta la Danza del Ciervo est&aacute; relacionado con la p&eacute;rdida de registros sonoros originales. Hace dos d&eacute;cadas, la familia Dur&aacute;n comparti&oacute; grabaciones que permitieron mantener viva la m&uacute;sica que acompa&ntilde;a esta manifestaci&oacute;n.. Aunque se logr&oacute; una nueva recopilaci&oacute;n gracias a Pedro y Segundo Dur&aacute;n, el hecho de que parte del patrimonio haya desaparecido pone en evidencia la necesidad de implementar sistemas de conservaci&oacute;n m&aacute;s seguros y accesibles para la comunidad.</p>\n\n<p>A esto se suma la interrupci&oacute;n en la pr&aacute;ctica durante varios a&ntilde;os, lo que gener&oacute; un vac&iacute;o generacional dif&iacute;cil de revertir. Muchas de estas expresiones dejaron de representarse en su tiempo habitual, y fue necesario reinsertarlas mediante iniciativas escolares y festivales comunitarios. El hecho de que algunas melod&iacute;as halladas recientemente no cuenten con identificaci&oacute;n plantea una incertidumbre sobre cu&aacute;ntas danzas podr&iacute;an haber desaparecido sin haber sido documentadas. Sin una continuidad sostenida en su ejecuci&oacute;n y sin mecanismos que garanticen la transmisi&oacute;n constante, la pr&aacute;ctica corre el riesgo de quedar relegada al &aacute;mbito de las recreaciones espor&aacute;dicas, perdiendo su v&iacute;nculo con el ciclo festivo y con el sentido religioso que le dio origen.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "9cd8bff5-bc56-4d3f-b041-0f8d59f2f6f0", "provisionaledits": null, "resourceinstance_id": "d4b9b4bd-79bf-4758-a813-02d24cfd91af", "sortorder": 0, "tileid": "b15fbeba-1ed8-4ac3-b8e3-5f59df71b749"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:52.314", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000043, "}, "es": {"description": "San Pedro. Danza de la Gaviota", "map_popup": "Beni", "name": "PI-080102-00-00-000043, San Pedro. Danza de la Gaviota"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000043, San Pedro. Danza de la Gaviota", "principaluser_id": 26, "resourceinstanceid": "3a414b14-dcdd-4593-9e64-395da80ebce8", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de San Pedro y San Pablo"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000043", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Danza de la Gaviota"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "3a414b14-dcdd-4593-9e64-395da80ebce8", "sortorder": 0, "tileid": "d3a3741a-c0e9-4cf9-8e8b-ca3751ce27f0"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "3a414b14-dcdd-4593-9e64-395da80ebce8", "sortorder": 0, "tileid": "a117371b-766f-4aac-a565-9eab663a4074"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Danza de la Gaviota</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La Danza de la Gaviota representa a las aves que volaron en el cielo cuando naci&oacute; el Ni&ntilde;o Jes&uacute;s. Tradicionalmente, se bailaba en Navidad, pero con el tiempo se ha integrado tambi&eacute;n en la festividad de San Pedro y San Pablo el 29 de junio.</p>\n\n<p>Esta danza se ejecuta en tropa, con los participantes vestidos en tonos blancos que evocan el vuelo de las gaviotas.</p>\n\n<p>Las ni&ntilde;as visten tipoy blanco, todos los danzantes llevan en la cabeza una figura de ave hecha de cart&oacute;n. Poseen alas blancas, que simbolizan el vuelo de las gaviotas.</p>\n\n<p>Un elemento particular de esta danza es la presencia de una ni&ntilde;a que porta una tabla con arena y huevos, en referencia a la forma en que la gaviota del r&iacute;o Mamor&eacute; deposita sus huevos en la arena. Esta figura dentro de la danza representa la protecci&oacute;n de los huevos, un gesto maternal de resguardo ante otras aves que intentan llev&aacute;rselos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Las danzas tradicionales han sido objeto de recuperaci&oacute;n, ya que durante muchos a&ntilde;os dejaron de ejecutarse. Su reintroducci&oacute;n en las festividades religiosas ha sido clave para fortalecer la identidad cultural de la comunidad.</p>\n\n<p>En el pasado, cada danza ten&iacute;a su momento espec&iacute;fico, por lo que no pod&iacute;a bailarse en una fecha distinta a la establecida.</p>\n\n<p>El rescate de estas danzas ha sido promovido por las profesoras del colegio Juan Maraza, en colaboraci&oacute;n con el Instituto de Lengua y Cultura Canichana, que provee la m&uacute;sica tradicional a los docentes para su ense&ntilde;anza.</p>\n\n<p>Para fomentar la representaci&oacute;n de las danzas, se cre&oacute; un festival anual de danzas tradicionales, celebrado cada 23 de julio , como antesala a la festividad de San Pedro y San Pablo .</p>\n\n<p>Hace dos d&eacute;cadas, la m&uacute;sica de la Danza de la Gaviota fue distribuida por la familia Dur&aacute;n entre algunos pobladores de San Pedro. Sin embargo, con el tiempo, las grabaciones se perdieron debido a inundaciones que afectar&aacute;n los registros originales.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana emprendi&oacute; la b&uacute;squeda de la m&uacute;sica y logr&oacute; recuperarla gracias a Pedro y Segundo Dur&aacute;n. Actualmente, el instituto resguarda este material. Adem&aacute;s, se identificaron otras melod&iacute;as sin nombre que podr&iacute;an pertenecer a danzas a&uacute;n no documentadas, por lo que se iniciar&aacute;n investigaciones para su reconocimiento.</p>\n\n<p>Esta danza mantiene su significado original, evocando a las gaviotas que volaron cuando naci&oacute; el Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la coreograf&iacute;a</strong></p>\n\n<p>Actualmente, la coreograf&iacute;a ha sido creada bas&aacute;ndose en registros y conocimientos recopilados. No obstante, se ha identificado que a&uacute;n existen personas dentro de la comunidad que poseen informaci&oacute;n sobre la forma original del baile.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana tiene el desaf&iacute;o de reunir a estos conocedores para reconstruir y establecer la forma real del baile tradicional.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La danza es interpretada con una m&uacute;sica tradicional grabada, ejecutada con los siguientes instrumentos:</p>\n\n<ul>\n\t<li>Flauta transversal</li>\n\t<li>Caja</li>\n\t<li>Bombo</li>\n</ul>\n\n<p>Estos instrumentos son interpretados por la agrupaci&oacute;n La Bombilla. Audio de referencia: COD.GA.MU_la gaviota (Soporte digital &ndash; Carpeta: M&uacute;sica de danzas Canichana).</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "a117371b-766f-4aac-a565-9eab663a4074", "provisionaledits": null, "resourceinstance_id": "3a414b14-dcdd-4593-9e64-395da80ebce8", "sortorder": 0, "tileid": "e9fa0dc5-dfb1-446f-92fc-1c748ebb2265"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89571479356931, -14.33569638117136], "type": "Point"}, "id": "2c059f3750bdf41a6e14f0c2f96ceb36", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000008'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "3a414b14-dcdd-4593-9e64-395da80ebce8", "sortorder": 0, "tileid": "e59b89a2-b315-49d7-98d2-2cb1440e022e"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En la revitalizaci&oacute;n de la Danza de la Gaviota, el traspaso de saberes se ha sostenido principalmente a trav&eacute;s del compromiso comunitario y escolar. Las profesoras del colegio Juan Maraza han jugado un papel fundamental al incorporar esta expresi&oacute;n cultural en el &aacute;mbito educativo, apoyadas por el Instituto de Lengua y Cultura Canichana, que facilita las melod&iacute;as originales para su ense&ntilde;anza. El festival de danzas tradicionales del 23 de julio se ha consolidado como un espacio clave donde los aprendizajes esc&eacute;nicos y simb&oacute;licos se ejercitan colectivamente, permitiendo que ni&ntilde;as, ni&ntilde;os y j&oacute;venes reproduzcan, comprendan y valoren la memoria de sus antepasados a trav&eacute;s de la pr&aacute;ctica viva de la danza.</p>\n\n<p>La transmisi&oacute;n tambi&eacute;n se ha nutrido del rescate de materiales sonoros y del testimonio oral de pobladores que a&uacute;n conservan fragmentos del conocimiento ancestral. El esfuerzo por recuperar la m&uacute;sica, liderado por el Instituto con apoyo de Pedro y Segundo Dur&aacute;n, ha permitido restaurar una parte esencial del patrimonio local. La reciente identificaci&oacute;n de personas conocedoras de la coreograf&iacute;a original abre una nueva fase en el proceso de reconstrucci&oacute;n, en la que la escucha activa, el reconocimiento de saberes individuales y la documentaci&oacute;n minuciosa se convierten en herramientas esenciales para preservar la autenticidad de esta expresi&oacute;n cultural.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "a117371b-766f-4aac-a565-9eab663a4074", "provisionaledits": null, "resourceinstance_id": "3a414b14-dcdd-4593-9e64-395da80ebce8", "sortorder": 0, "tileid": "172ed84d-6aa5-4332-a120-f24fb669127a"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de la Danza de la Gaviota ha experimentado modificaciones significativas a lo largo del tiempo, influida tanto por el abandono como por los esfuerzos de recuperaci&oacute;n. En sus or&iacute;genes, esta manifestaci&oacute;n ten&iacute;a una temporalidad estricta vinculada a la celebraci&oacute;n navide&ntilde;a, mientras que en la actualidad ha sido incorporada tambi&eacute;n a la festividad de San Pedro y San Pablo. La adaptaci&oacute;n del calendario ritual refleja una resignificaci&oacute;n del contexto religioso y cultural en el que se inserta la danza, permitiendo su permanencia dentro del tejido comunitario. El vestuario, que conserva los tonos blancos y las representaciones de aves, mantiene el simbolismo original, pero ha sido estandarizado para facilitar su uso colectivo en actividades escolares y festivales.</p>\n\n<p>El proceso de reconstrucci&oacute;n de la m&uacute;sica y la coreograf&iacute;a tambi&eacute;n ha dado lugar a reinterpretaciones. Las melod&iacute;as que acompa&ntilde;an la danza provienen de grabaciones recuperadas por el Instituto de Lengua y Cultura Canichana, luego de que las originales se perdieran por inundaciones. La creaci&oacute;n coreogr&aacute;fica actual se basa en registros disponibles y aportes recientes, sin embargo, se reconoce que a&uacute;n persisten variaciones no documentadas que podr&iacute;an aportar mayor fidelidad a la forma antigua. La reintroducci&oacute;n de la danza en el espacio escolar ha implicado una sistematizaci&oacute;n que responde a fines pedag&oacute;gicos, pero que tambi&eacute;n abre interrogantes sobre los elementos que podr&iacute;an haberse transformado para hacerla viable en contextos contempor&aacute;neos.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "a117371b-766f-4aac-a565-9eab663a4074", "provisionaledits": null, "resourceinstance_id": "3a414b14-dcdd-4593-9e64-395da80ebce8", "sortorder": 0, "tileid": "1f853d05-42d5-486c-a736-de36ed32eeda"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la Danza de la Gaviota radica en su capacidad para mantener una conexi\u00f3n con las tradiciones y los s\u00edmbolos ancestrales, a pesar de los desaf\u00edos que ha enfrentado. La continuidad de la danza en las festividades religiosas, como la de San Pedro y San Pablo, asegura que este acto de expresi\u00f3n cultural no solo persista, sino que tambi\u00e9n se fortalezca en su rol dentro de la identidad comunitaria. La participaci\u00f3n activa de las generaciones m\u00e1s j\u00f3venes en la interpretaci\u00f3n de la danza, facilitada por el apoyo educativo de las profesoras del colegio Juan Maraza y el Instituto de Lengua y Cultura Canichana, contribuye a que los elementos simb\u00f3licos y musicales se mantengan vivos y sean comprendidos de manera profunda por los miembros de la comunidad. Otro punto fuerte de la pr\u00e1ctica es el proceso de recuperaci\u00f3n de las melod\u00edas y la coreograf\u00eda, que ha permitido que la danza regrese con una base s\u00f3lida y aut\u00e9ntica. La colaboraci\u00f3n con figuras clave, como Pedro y Segundo Dur\u00e1n, ha sido crucial para recuperar la m\u00fasica tradicional, la cual es ahora resguardada por el Instituto. Este esfuerzo, junto con el inter\u00e9s de los conocedores locales para reconstruir la coreograf\u00eda original, refleja una clara determinaci\u00f3n por preservar la danza en su forma m\u00e1s fiel posible. El festival anual, celebrado cada 23 de julio, no solo sirve como un espacio de celebraci\u00f3n, sino tambi\u00e9n como un medio para compartir, ense\u00f1ar y reforzar los valores culturales que nutren la pr\u00e1ctica."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "a117371b-766f-4aac-a565-9eab663a4074", "provisionaledits": null, "resourceinstance_id": "3a414b14-dcdd-4593-9e64-395da80ebce8", "sortorder": 0, "tileid": "156c2ddc-837f-4747-bd07-db614b9f31f8"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos m&aacute;s importantes para la Danza de la Gaviota es la p&eacute;rdida de su esencia original debido a las transformaciones que ha experimentado a lo largo del tiempo. La introducci&oacute;n de la danza en nuevas festividades y su reconfiguraci&oacute;n para adaptarse a contextos educativos podr&iacute;a llevar a un distanciamiento de los significados y formas que originalmente la caracterizaban. La coreograf&iacute;a actual, basada en registros recopilados, corre el riesgo de no reflejar fielmente la danza en su versi&oacute;n tradicional, especialmente si no se logran recuperar todos los elementos que a&uacute;n est&aacute;n presentes en los recuerdos de algunos miembros de la comunidad. Esta discrepancia entre la versi&oacute;n moderna y la ancestral podr&iacute;a generar una desconexi&oacute;n cultural para las futuras generaciones.</p>\n\n<p>Otro factor que representa una amenaza para la pr&aacute;ctica es la vulnerabilidad de los registros sonoros, coreogr&aacute;ficos e hist&oacute;ricos. La p&eacute;rdida de las grabaciones originales por inundaciones es un ejemplo de c&oacute;mo los materiales que contienen las claves de la danza pueden desaparecer con el tiempo, dejando vac&iacute;os en la transmisi&oacute;n del conocimiento. Aunque se ha hecho un esfuerzo por recuperar parte de la m&uacute;sica tradicional, el riesgo de que otros elementos fundamentales se pierdan sigue presente. La falta de documentaci&oacute;n precisa de todas las variaciones de la coreograf&iacute;a y la m&uacute;sica podr&iacute;a limitar la capacidad de preservar la danza tal como exist&iacute;a en sus inicios, afectando su autenticidad y su continuidad como una pr&aacute;ctica cultural vivencial.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "a117371b-766f-4aac-a565-9eab663a4074", "provisionaledits": null, "resourceinstance_id": "3a414b14-dcdd-4593-9e64-395da80ebce8", "sortorder": 0, "tileid": "bc7d61cc-297d-417f-8888-861c48990652"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:52.959", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000044, "}, "es": {"description": "San Pedro. Danza de Los Graciosos", "map_popup": "Beni", "name": "PI-080102-00-00-000044, San Pedro. Danza de Los Graciosos"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000044, San Pedro. Danza de Los Graciosos", "principaluser_id": 26, "resourceinstanceid": "6206865e-7a3a-4c3c-a0bc-7bcb02ab0720", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de San Pedro y San Pablo"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000044", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Danza de Los Graciosos"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "6206865e-7a3a-4c3c-a0bc-7bcb02ab0720", "sortorder": 0, "tileid": "78d27dcc-a4c3-4f66-9f53-592b9a664778"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89678591000816, -14.337980584864283], "type": "Point"}, "id": "a2ab78a4f24e72efd8b89cd9cb2e5e20", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000009'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "6206865e-7a3a-4c3c-a0bc-7bcb02ab0720", "sortorder": 0, "tileid": "4ee7f892-fde0-414b-bb9e-ad222cd88f3e"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "6206865e-7a3a-4c3c-a0bc-7bcb02ab0720", "sortorder": 0, "tileid": "e7bf3665-9fbf-483c-9fa0-05712eba59ca"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Danza de Los Graciosos</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La Danza de Los Graciosos se baila cada 28 de diciembre, en la conmemoraci&oacute;n del D&iacute;a de los Santos Inocentes. Esta danza representa a las personas pobres que, a pesar de sus limitaciones, tambi&eacute;n acudieron a adorar al Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>Los danzantes llevan una vestimenta particular que simboliza la humildad. Sus ropas est&aacute;n remendadas con retazos de tela, simulando parches. Portan una gaveta o caja, donde llevan ofrendas para el Ni&ntilde;o Jes&uacute;s, como frutas, pan y bizcochos. Como parte de la tradici&oacute;n, reparten estos alimentos al p&uacute;blico, simbolizando la generosidad y el esp&iacute;ritu de compartir.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Las danzas tradicionales, incluida la de Los Graciosos, han estado en proceso de recuperaci&oacute;n, ya que por muchos a&ntilde;os dejaron de representarse. En la actualidad, han vuelto a ser parte de las festividades religiosas.</p>\n\n<p>Cada danza ten&iacute;a su tiempo espec&iacute;fico y no pod&iacute;a bailarse en una fecha distinta.</p>\n\n<p>El rescate de estas expresiones culturales ha sido posible gracias a la labor de las profesoras del colegio Juan Maraza, en coordinaci&oacute;n con el Instituto de Lengua y Cultura Canichana, que ha proporcionado la m&uacute;sica para su ense&ntilde;anza.</p>\n\n<p>En este contexto, se cre&oacute; un festival anual de danzas tradicionales, celebrado cada 23 de julio, en preparaci&oacute;n para la festividad de San Pedro y San Pablo.</p>\n\n<p>Hace dos d&eacute;cadas, la m&uacute;sica de esta danza fue distribuida por la familia Dur&aacute;n entre algunos pobladores de San Pedro. Sin embargo, con el paso del tiempo, las grabaciones se perdieron debido a una inundaci&oacute;n, lo que afect&oacute; su preservaci&oacute;n.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana emprendi&oacute; la b&uacute;squeda de este material y logr&oacute; recuperarlo gracias a Pedro y Segundo Dur&aacute;n, quienes entregaron nuevas grabaciones. Actualmente, el instituto resguarda este valioso archivo.</p>\n\n<p>Adem&aacute;s, se han identificado otras m&uacute;sicas que no tienen un nombre definido, por lo que se llevar&aacute;n a cabo investigaciones para determinar su procedencia y contexto.</p>\n\n<p>Los Graciosos representan a las personas m&aacute;s humildes que, con alegr&iacute;a y devoci&oacute;n, llevaron sus regalos al Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la coreograf&iacute;a</strong></p>\n\n<p>La coreograf&iacute;a actual ha sido creada recientemente, ya que no se cuenta con registros exactos sobre el baile original. Los bailarines forman rondas y ejecutan pasos al ritmo de la tamborita, combinando movimientos festivos y espont&aacute;neos que reflejan la alegr&iacute;a y picard&iacute;a de los personajes que representan.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La m&uacute;sica de esta danza se encuentra grabada y es interpretada con instrumentos tradicionales:</p>\n\n<ul>\n\t<li>Flauta transversal</li>\n\t<li>Caja</li>\n\t<li>Bombo</li>\n</ul>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "e7bf3665-9fbf-483c-9fa0-05712eba59ca", "provisionaledits": null, "resourceinstance_id": "6206865e-7a3a-4c3c-a0bc-7bcb02ab0720", "sortorder": 0, "tileid": "db572b1b-548f-41db-aba3-7c90d7e6efcd"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la danza de Los Graciosos radica en el compromiso de la comunidad para preservar y revivir esta tradici\u00f3n. A trav\u00e9s de la labor de las profesoras del colegio Juan Maraza y la colaboraci\u00f3n con el Instituto de Lengua y Cultura Canichana, se ha logrado rescatar y transmitir la m\u00fasica y los movimientos de la danza a las nuevas generaciones. Este esfuerzo colectivo ha sido fundamental para mantener la danza viva y vigente, permitiendo que no solo se mantenga en el contexto religioso del D\u00eda de los Santos Inocentes, sino tambi\u00e9n que se convierta en una expresi\u00f3n cultural de gran relevancia en la regi\u00f3n. La creaci\u00f3n del festival anual de danzas tradicionales es otro factor que fortalece la pr\u00e1ctica, pues proporciona un espacio para la ense\u00f1anza y difusi\u00f3n de esta y otras danzas locales. Celebrado cada 23 de julio, este evento no solo promueve la participaci\u00f3n activa de los habitantes, sino que tambi\u00e9n act\u00faa como un catalizador para el rescate de otras tradiciones culturales. Al reunir a la comunidad en torno a la danza, se fomenta el sentido de pertenencia y la valorizaci\u00f3n de la identidad cultural, lo que contribuye al fortalecimiento de las pr\u00e1cticas ancestrales en el \u00e1mbito contempor\u00e1neo."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "e7bf3665-9fbf-483c-9fa0-05712eba59ca", "provisionaledits": null, "resourceinstance_id": "6206865e-7a3a-4c3c-a0bc-7bcb02ab0720", "sortorder": 0, "tileid": "ef9a1f3a-e7e3-4783-af54-ef5dd1b532ae"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de los conocimientos sobre la danza de Los Graciosos ha estado ligada a una combinaci&oacute;n de esfuerzo comunitario y compromiso educativo. A lo largo de los a&ntilde;os, la labor de rescatar esta danza ha sido posible gracias a la colaboraci&oacute;n de las profesoras del colegio Juan Maraza y al trabajo conjunto con el Instituto de Lengua y Cultura Canichana. Este esfuerzo ha permitido revitalizar una tradici&oacute;n que estuvo en el olvido, con la m&uacute;sica transmitida a trav&eacute;s de grabaciones que fueron inicialmente distribuidas por la familia Dur&aacute;n. Aunque estas grabaciones se perdieron debido a una inundaci&oacute;n, la intervenci&oacute;n del Instituto permiti&oacute; su recuperaci&oacute;n, lo que subraya la importancia de la colaboraci&oacute;n intergeneracional y el trabajo en equipo para preservar las tradiciones.</p>\n\n<p>El proceso de ense&ntilde;anza y aprendizaje de esta danza tambi&eacute;n se ha alimentado de la creaci&oacute;n de espacios como el festival anual de danzas tradicionales, que se celebra cada 23 de julio en preparaci&oacute;n para la festividad de San Pedro y San Pablo. Este evento ha brindado una oportunidad clave para que los habitantes de la regi&oacute;n revivan y contin&uacute;en con las ense&ntilde;anzas de la danza. La coreograf&iacute;a actual, aunque no existe documentaci&oacute;n sobre la versi&oacute;n original, se ha formado a partir de la investigaci&oacute;n y las interpretaciones modernas, reflejando la alegr&iacute;a y el esp&iacute;ritu de generosidad de los personajes representados. As&iacute;, la danza no solo sobrevive, sino que se adapta, manteniendo viva una parte fundamental de la identidad cultural local.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "e7bf3665-9fbf-483c-9fa0-05712eba59ca", "provisionaledits": null, "resourceinstance_id": "6206865e-7a3a-4c3c-a0bc-7bcb02ab0720", "sortorder": 0, "tileid": "247e5a58-c6e0-452e-a51b-d2188adaf5fe"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del proceso de recuperaci&oacute;n de la danza de Los Graciosos, se han observado varios cambios en su pr&aacute;ctica. Uno de los m&aacute;s significativos es la adaptaci&oacute;n de la coreograf&iacute;a, ya que no se cuentan con registros exactos sobre los pasos originales. Esto ha llevado a la creaci&oacute;n de una nueva versi&oacute;n del baile, donde los danzantes forman rondas y ejecutan movimientos festivos y espont&aacute;neos, reflejando la alegr&iacute;a y picard&iacute;a de los personajes que representan. Esta transformaci&oacute;n, aunque basada en los elementos tradicionales, es un ejemplo claro de c&oacute;mo una pr&aacute;ctica cultural puede reinventarse para mantenerse vigente en el tiempo, a la vez que conserva su esencia.</p>\n\n<p>La recuperaci&oacute;n de la m&uacute;sica y la creaci&oacute;n de nuevas grabaciones tambi&eacute;n han influido en la transformaci&oacute;n de esta danza. Originalmente, las grabaciones fueron distribuidas por la familia Dur&aacute;n, pero la p&eacute;rdida de las mismas por una inundaci&oacute;n afect&oacute; la conservaci&oacute;n de este patrimonio. Gracias al esfuerzo del Instituto de Lengua y Cultura Canichana, las grabaciones fueron recuperadas, y con ello, la m&uacute;sica pudo ser reinterpretada y preservada. Esta revitalizaci&oacute;n de los sonidos tradicionales ha permitido que la danza se mantenga conectada con sus ra&iacute;ces, pero tambi&eacute;n refleja la capacidad de adaptaci&oacute;n de la pr&aacute;ctica a los desaf&iacute;os contempor&aacute;neos, garantizando su supervivencia y fortaleciendo la identidad cultural local.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "e7bf3665-9fbf-483c-9fa0-05712eba59ca", "provisionaledits": null, "resourceinstance_id": "6206865e-7a3a-4c3c-a0bc-7bcb02ab0720", "sortorder": 0, "tileid": "0d05ed44-6dfc-433f-8dfd-dd696a0c7ea3"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos m&aacute;s importantes para la pr&aacute;ctica de la danza de Los Graciosos es la p&eacute;rdida de su m&uacute;sica tradicional, que ha sido decisivo para la identidad de la danza. La desaparici&oacute;n de las primeras grabaciones, que fueron distribuidas por la familia Dur&aacute;n y que se perdieron debido a una inundaci&oacute;n, pone en evidencia la vulnerabilidad del patrimonio cultural cuando no se cuenta con los medios adecuados para su conservaci&oacute;n. Aunque el Instituto de Lengua y Cultura Canichana logr&oacute; recuperar parte de este material, las investigaciones a&uacute;n deben abordar otras composiciones que no tienen un nombre definido, lo que representa un desaf&iacute;o en cuanto a la preservaci&oacute;n del patrimonio musical de la danza.</p>\n\n<p>Otro desaf&iacute;o importante es la adaptaci&oacute;n de la coreograf&iacute;a, que ha sido reconstruida sin registros exactos sobre los pasos originales. Aunque la reinterpretaci&oacute;n de los movimientos ha permitido que la danza siga viva, esta transformaci&oacute;n podr&iacute;a llevar a una distorsi&oacute;n de su esencia si no se mantienen los principios fundamentales que caracterizan la representaci&oacute;n original. A medida que la danza se adapta a nuevas generaciones y contextos, existe el riesgo de que sus elementos m&aacute;s representativos se diluyan o se modifiquen demasiado, perdiendo su conexi&oacute;n con el significado cultural y religioso que ha acompa&ntilde;ado esta tradici&oacute;n a lo largo del tiempo.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "e7bf3665-9fbf-483c-9fa0-05712eba59ca", "provisionaledits": null, "resourceinstance_id": "6206865e-7a3a-4c3c-a0bc-7bcb02ab0720", "sortorder": 0, "tileid": "2bb391ae-e51e-4b9f-a521-1c68879406d2"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:53.248", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000025, "}, "es": {"description": "Loreto. Danzas tradicionales de Loreto", "map_popup": "Beni", "name": "PI-080601-00-00-000025, Loreto. Danzas tradicionales de Loreto"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080601-00-00-000025, Loreto. Danzas tradicionales de Loreto", "principaluser_id": 26, "resourceinstanceid": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta del Primer Hato Ganadero"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080601-00-00-000025", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto. Danzas tradicionales de Loreto"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["13752e2b-a73b-47dc-89a8-97b96ddaa54c"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 0, "tileid": "647aa0fa-7c5d-4ee7-bf2d-6bf2510d582c"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 0, "tileid": "1f6a984f-b699-453a-b4b5-11e2c493efcd"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Loreto. Las danzas tradicionales de Loreto</strong></p>\n\n<p>Las danzas formaron parte de la tradici&oacute;n festiva de Loreto, a trav&eacute;s de la oralidad se recuerdan esperando puedan volverse a bailar.&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Portadores de la historia</strong></p>\n\n<p>Esta historia ha sido compartida por Elva Conorio y Roman Ojara, quienes recuerdan las danzas que antiguamente se realizaban en las festividades de Loreto.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la historia</strong></p>\n\n<p>En el pasado, en Loreto se celebraban diversas fiestas religiosas en honor a santos y v&iacute;rgenes, donde las danzas ten&iacute;an un papel fundamental. Se festejaban fechas como la Virgen de la Candelaria, Santa Rosa, San Pedro (donde se realizaban velorios), y San Rafael.</p>\n\n<p>&nbsp;</p>\n\n<p>Las festividades comenzaban en enero con la celebraci&oacute;n de los Reyes, que inclu&iacute;a la danza de El Barco, donde se representaba un carret&oacute;n jalado por personas mientras remaban simb&oacute;licamente, con un rey y una reina en la embarcaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Otras danzas tradicionales eran:</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Los Herodes</strong>, una representaci&oacute;n que evocaba la degollaci&oacute;n de los ni&ntilde;os, recordando la matanza del Rey Herodes seg&uacute;n los relatos de la biblia.</p>\n\n<p><strong>El Machetero</strong>, una danza guerrera con machetes en mano.</p>\n\n<p><strong>Los Toritos</strong>, donde los bailarines representaban la bravura de los toros.</p>\n\n<p><strong>Las Abadesas</strong>, con mujeres vestidas con tipoy blanco, acompa&ntilde;aban la procesi&oacute;n.</p>\n\n<p><strong>El Sarao</strong>, una danza festiva con movimientos r&iacute;tmicos.</p>\n\n<p><strong>El Ciervo</strong>, evocando la agilidad del venado.</p>\n\n<p><strong>El Achu,</strong> una danza protagonizada por adultos hombres.</p>\n\n<p>&nbsp;</p>\n\n<p>Dentro de estas festividades, destacaban algunas danzas que imitaban los movimientos de los animales del monte:</p>\n\n<p>&nbsp;</p>\n\n<p><strong>El Tigre</strong>, que representaba a un jaguar con piel aut&eacute;ntica y grandes dientes. Su baile era lento y majestuoso, pase&aacute;ndose en medio de la multitud, mientras los dem&aacute;s danzaban con saltos alegres.</p>\n\n<p><strong>La Garza Blanca</strong>, con plumaje natural y un pez en el pico, que el bailar&iacute;n dejaba caer al suelo y recog&iacute;a, imitando el movimiento de la garza real.</p>\n\n<p><strong>El Marimono</strong>, que evocaba a los primeros habitantes de Loreto. Se usaban pieles de mono negro y los bailarines se pintaban el cuerpo de negro. En tiempos recientes, esta danza fue recuperada por estudiantes de un colegio.</p>\n\n<p><strong>El Cochopillu,</strong> que combinaba la imagen del cerdo de monte (taitet&uacute;) con el pillu, un ave similar al avestruz. Los bailarines llevaban una m&aacute;scara r&uacute;stica de cuero de taitet&uacute;, con hocico largo y cintas multicolores. Su atuendo consist&iacute;a en una falda de plumas y una tela en el torso con m&aacute;s plumas. La danza del Cochopillu se caracterizaba por su movimiento r&aacute;pido, corriendo de un lado a otro como un pillu asustado y cayendo de espaldas al suelo.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["29a2ed34-bbc1-4132-b95f-96d7b7013e10"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 0, "tileid": "62885ab2-c8aa-4bb0-a281-c694508ca190"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Chononos Materiales Los chononos est\u00e1n elaborados con tejido de hilo grueso y semillas del \u00e1rbol conocido como leche leche. Estas semillas, duras y sonoras, cumplen una funci\u00f3n esencial tanto est\u00e9tica como musical dentro del contexto festivo y ritual de Loreto. T\u00e9cnica de elaboraci\u00f3n La fabricaci\u00f3n de los chononos es completamente manual. El proceso comienza con la recolecci\u00f3n de las semillas del \u00e1rbol leche leche, llamado as\u00ed porque al ser cortado exuda un l\u00edquido blanco parecido a la leche. Estas semillas se dejan secar al sol para reducir su humedad natural. Luego, se fr\u00eden en aceite o manteca durante aproximadamente diez minutos; este paso es crucial, ya que endurece las semillas para que resistan los golpes constantes que reciben durante la danza. El choque entre semillas genera un sonido r\u00edtmico caracter\u00edstico que acompa\u00f1a el movimiento del danzante, por ello deben ser lo suficientemente resistentes para soportar su uso prolongado. Despu\u00e9s del proceso de fritura, se dejan enfriar completamente antes de ser ensartadas. Con aguja e hilo, cada semilla es cuidadosamente atravesada y fijada al tejido base. El artesano recolecta una cantidad considerable de semillas, suficientes para elaborar varios pares. Es importante se\u00f1alar que el \u00e1rbol leche leche da frutos dos veces al a\u00f1o, en los meses de enero y agosto. Si en alguna temporada no se consiguen semillas, los artesanos recurren a cascabeles met\u00e1licos como sustituto. Descripci\u00f3n de la pieza La pieza consiste en una banda rectangular tejida con hilo grueso. Sobre esta base se fijan las semillas del \u00e1rbol leche leche, colocadas de forma sim\u00e9trica para generar sonido al chocar entre s\u00ed. Este dise\u00f1o permite que la pieza se sujete firmemente alrededor de los tobillos del danzante. Su funci\u00f3n principal es ac\u00fastica, aunque tambi\u00e9n aporta un valor simb\u00f3lico al conjunto ritual de la danza. Descripci\u00f3n del contexto Los chononos se emplean en celebraciones tradicionales donde se presentan danzas como la del machetero y la del Torito. Sujetos a los tobillos, suenan a cada paso y marcan el ritmo durante el baile. Estas danzas son expresiones culturales profundamente ligadas a la identidad de Loreto, aunque hoy en d\u00eda se enfrentan a la p\u00e9rdida de algunos de sus elementos originales. En la actualidad, los j\u00f3venes de los colegios participan en estas danzas, pero se ha perdido el conocimiento de los pasos y de la m\u00fasica propia de la comunidad. Aun as\u00ed, el uso de los chononos se mantiene como un v\u00ednculo sonoro con el pasado. Descripci\u00f3n de la funci\u00f3n/uso Los chononos son parte integral del atuendo de los danzantes en actos festivos. Se utilizan espec\u00edficamente en la danza del machetero y en la danza del Torito, donde cumplen una doble funci\u00f3n: adornan y marcan el ritmo del baile mediante su sonido. Referencias hist\u00f3ricas Antiguamente, en la localidad de Loreto se bailaba la danza del machetero como parte de sus tradiciones festivas. En la actualidad, ante la p\u00e9rdida del conocimiento local sobre esta danza, se suele invitar a grupos de danzantes provenientes de Camiaco \u2014nombre que en lengua loretana significa tierra roja o barranco rojo\u2014 para que participen en las celebraciones. En un esfuerzo por mantener viva la tradici\u00f3n, las unidades educativas han comenzado a ense\u00f1ar esta danza a sus estudiantes. Como parte de esta transmisi\u00f3n, se han desarrollado talleres en los que se elabora plumaje alternativo para el vestuario. Sin embargo, los pasos originales y la m\u00fasica aut\u00f3ctona de Loreto ya no se conocen con precisi\u00f3n. Algo similar ocurre con la danza del Torito. Aunque no es tan com\u00fan verla en las calles, a\u00fan puede presentarse en el contexto de las festividades religiosas. A trav\u00e9s de estas pr\u00e1cticas se mantienen vivos, al menos en parte, los ecos de un patrimonio que sigue presente en los materiales, sonidos y movimientos que acompa\u00f1an al danzante. Los chononos, en este sentido, son una pieza clave en la memoria sonora de Loreto."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Chononos"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 0, "tileid": "9dce2b47-ebbc-42bf-b0a2-4919bb1fd818"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Achu Materiales Esta m\u00e1scara se elabora en madera de cedro, una especie utilizada por su resistencia y facilidad de tallado, adem\u00e1s de su textura suave y aroma caracter\u00edstico. Este material natural permite que la pieza conserve un acabado fino y duradero, ideal para su uso en contextos rituales y festivos. T\u00e9cnica de elaboraci\u00f3n La m\u00e1scara de Achu es tallada de forma completamente manual, en un proceso que requiere gran destreza y paciencia. Actualmente, solo existe una persona en la comunidad que conserva el conocimiento y la habilidad para su elaboraci\u00f3n, lo que convierte a esta pieza en un bien cultural de transmisi\u00f3n restringida y en riesgo de desaparecer. Cada m\u00e1scara es esculpida a partir de un bloque de cedro, siguiendo el contorno de un rostro humano, espec\u00edficamente el de una persona de edad avanzada. Descripci\u00f3n de la pieza La m\u00e1scara presenta los rasgos faciales de un adulto mayor, con expresi\u00f3n serena o reflexiva. El tallado resalta arrugas, p\u00f3mulos, ojos hundidos y otras caracter\u00edsticas asociadas con la vejez, logrando un efecto realista que representa simb\u00f3licamente la sabidur\u00eda y la experiencia de los ancianos en la comunidad. Su tama\u00f1o es adecuado para cubrir completamente el rostro del danzante, y est\u00e1 dise\u00f1ada para ser usada durante las festividades. Descripci\u00f3n del contexto La m\u00e1scara de Achu est\u00e1 vinculada al imaginario cultural de Loreto, en la provincia Marb\u00e1n del departamento del Beni, una regi\u00f3n hist\u00f3ricamente asociada a la ganader\u00eda. Esta actividad, que representa la principal fuente de ingresos de la provincia, tuvo sus or\u00edgenes en Loreto con la llegada del primer hato ganadero, desde donde se expandi\u00f3 al resto del departamento. Dentro de este contexto, la danza del Achu, en la cual se utilizaba esta m\u00e1scara, puede entenderse como una forma simb\u00f3lica de rendir homenaje a las personas mayores, reconocidas como depositarias de la memoria colectiva y del conocimiento sobre las pr\u00e1cticas productivas, sociales y rituales de la regi\u00f3n. Descripci\u00f3n de la funci\u00f3n/uso La m\u00e1scara se utilizaba principalmente durante actos festivos, como parte del vestuario de la danza del Achu. Adem\u00e1s de su uso ritual, tambi\u00e9n ha adquirido una funci\u00f3n ornamental, debido a su expresividad y la calidad de su tallado artesanal. La pieza representa no solo un elemento est\u00e9tico, sino tambi\u00e9n un s\u00edmbolo de respeto y reconocimiento a la poblaci\u00f3n anciana. Referencias hist\u00f3ricas La m\u00e1scara del Achu est\u00e1 profundamente vinculada a la memoria de una danza que hoy en d\u00eda ya no se practica con regularidad. Esta danza, que rend\u00eda homenaje a los adultos mayores, era organizada por Rub\u00e9n Vaca, una figura recordada en la comunidad por su dedicaci\u00f3n a preservar esta tradici\u00f3n. \u00c9l reun\u00eda a un grupo numeroso de danzantes y dirig\u00eda los ensayos y las presentaciones durante las festividades. Se conoce que esta danza tambi\u00e9n se representaba en San Ignacio de Moxos, donde, al igual que en Loreto, los danzantes llevaban una mu\u00f1eca en la mano mientras bailaban, lo que podr\u00eda aludir a una dimensi\u00f3n simb\u00f3lica relacionada con la infancia, la memoria o el paso del tiempo. No se cuenta con documentaci\u00f3n detallada sobre su origen ni sobre el significado espec\u00edfico de la mu\u00f1eca, pero su inclusi\u00f3n sugiere elementos comunes en las danzas rituales del territorio moxe\u00f1o. La desaparici\u00f3n de esta pr\u00e1ctica tras el fallecimiento de Rub\u00e9n Vaca deja en evidencia la fragilidad de estas expresiones culturales cuando no existe un relevo generacional que garantice su continuidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Achu"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 1, "tileid": "c4784c86-468b-41c6-b7d3-d7b2e88221a8"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Torito 1 Materiales La m\u00e1scara es elaborada con madera de balsa o cedro, dos tipos de madera que combinan resistencia y ligereza, esenciales para el uso prolongado durante las danzas. Estas maderas permiten ser talladas con precisi\u00f3n, facilitando el modelado de formas complejas y la incorporaci\u00f3n de detalles en la pieza. T\u00e9cnica de elaboraci\u00f3n La confecci\u00f3n de la m\u00e1scara es totalmente manual, a trav\u00e9s de un proceso de tallado. El artesano, con herramientas tradicionales, esculpe la forma deseada directamente en la madera, dando lugar a una figura robusta que represente con fidelidad la cabeza de un toro. Esta labor exige conocimiento profundo del material y gran destreza t\u00e9cnica, especialmente para lograr una pieza equilibrada y c\u00f3moda para el danzante. Descripci\u00f3n de la pieza La m\u00e1scara presenta una forma que representa la cabeza de un toro. Su fisonom\u00eda es imponente: cuenta con cuernos curvos o rectos seg\u00fan el dise\u00f1o, ojos bien definidos y hocico marcado, lo que la convierte en una figura simb\u00f3licamente fuerte dentro del conjunto de vestimenta del danzante. Se sujeta firmemente al rostro o cabeza del portador, permiti\u00e9ndole ejecutar la danza con libertad de movimiento. Descripci\u00f3n del contexto La m\u00e1scara se utiliza en las festividades que integran el calendario anual del pueblo de Loreto, ubicado en la provincia Marb\u00e1n del departamento del Beni. Estas celebraciones re\u00fanen a la comunidad en torno a expresiones culturales, religiosas y tradicionales, donde las danzas cumplen una funci\u00f3n central de identidad y memoria colectiva. Descripci\u00f3n de la funci\u00f3n/uso Esta pieza forma parte esencial de la danza del Torito, en la que los participantes representan la figura simb\u00f3lica del toro. El torito, al ritmo de la m\u00fasica y los pasos coreogr\u00e1ficos con saltos a manera de cornear. Referencias hist\u00f3ricas La danza del Torito tiene una fuerte carga simb\u00f3lica relacionada con la historia de la ganader\u00eda en el territorio beniano. Representa la llegada del primer hato ganadero al Beni, evento que tuvo como epicentro inicial al pueblo de Loreto. Desde all\u00ed, la actividad ganadera se expandi\u00f3 a todo el departamento, convirti\u00e9ndose en la principal fuente de producci\u00f3n y de ingresos econ\u00f3micos hasta la actualidad. En San Ignacio de Moxos tambi\u00e9n existe una danza relacionada, denominada Los Loretanos, donde los danzantes representan al Torito. Esta manifestaci\u00f3n naci\u00f3 entre los residentes loretanos que se establecieron en San Ignacio. Estos, en su deseo de mantener viva su devoci\u00f3n a la Virgen de Loreto y expresar su identidad cultural, formaron un conjunto de danza que lleva el nombre de su lugar de origen. La peregrinaci\u00f3n desde San Ignacio hacia Loreto durante la celebraci\u00f3n de las L\u00e1grimas de la Virgen de Loreto era una pr\u00e1ctica habitual, que inicialmente se realizaba a pie y, con el tiempo, en veh\u00edculos. Con el fallecimiento de los fundadores de esta danza, el conjunto fue asumido por nuevas generaciones, muchas de ellas nacidas en Trinidad o San Ignacio. Actualmente, el grupo Los Loretanos ya no hace alusi\u00f3n exclusivamente a los antiguos residentes de Loreto, sino que representa a los devotos de la Virgen de Loreto en general. El actual presidente del conjunto es Octavio Ove, hijo de loretanos nacido en Trinidad, quien contin\u00faa la tradici\u00f3n y lidera la danza que honra tanto la historia ganadera de Loreto como la devoci\u00f3n religiosa que la acompa\u00f1a."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Torito 1"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 3, "tileid": "ac4cfb0b-391a-4c93-958d-036e8aa3515d"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Torito 2 Materiales La m\u00e1scara es elaborada con madera de balsa o cedro, dos tipos de madera que combinan resistencia y ligereza, esenciales para el uso prolongado durante las danzas. Estas maderas permiten ser talladas con precisi\u00f3n, facilitando el modelado de formas complejas y la incorporaci\u00f3n de detalles en la pieza. T\u00e9cnica de elaboraci\u00f3n La confecci\u00f3n de la m\u00e1scara es totalmente manual, a trav\u00e9s de un proceso de tallado. El artesano, con herramientas tradicionales, esculpe la forma deseada directamente en la madera, dando lugar a una figura robusta que represente con fidelidad la cabeza de un toro. Esta labor exige conocimiento profundo del material y gran destreza t\u00e9cnica, especialmente para lograr una pieza equilibrada y c\u00f3moda para el danzante. Descripci\u00f3n de la pieza La m\u00e1scara presenta una forma que representa la cabeza de un toro. Su fisonom\u00eda es imponente: cuenta con cuernos curvos o rectos seg\u00fan el dise\u00f1o, ojos bien definidos y hocico marcado, lo que la convierte en una figura simb\u00f3licamente fuerte dentro del conjunto de vestimenta del danzante. Se sujeta firmemente al rostro o cabeza del portador, permiti\u00e9ndole ejecutar la danza con libertad de movimiento. Descripci\u00f3n del contexto La m\u00e1scara se utiliza en las festividades que integran el calendario anual del pueblo de Loreto, ubicado en la provincia Marb\u00e1n del departamento del Beni. Estas celebraciones re\u00fanen a la comunidad en torno a expresiones culturales, religiosas y tradicionales, donde las danzas cumplen una funci\u00f3n central de identidad y memoria colectiva. Descripci\u00f3n de la funci\u00f3n/uso Esta pieza forma parte esencial de la danza del Torito, en la que los participantes representan la figura simb\u00f3lica del toro. El torito, al ritmo de la m\u00fasica y los pasos coreogr\u00e1ficos con saltos a manera de cornear. Referencias hist\u00f3ricas La danza del Torito tiene una fuerte carga simb\u00f3lica relacionada con la historia de la ganader\u00eda en el territorio beniano. Representa la llegada del primer hato ganadero al Beni, evento que tuvo como epicentro inicial al pueblo de Loreto. Desde all\u00ed, la actividad ganadera se expandi\u00f3 a todo el departamento, convirti\u00e9ndose en la principal fuente de producci\u00f3n y de ingresos econ\u00f3micos hasta la actualidad. En San Ignacio de Moxos tambi\u00e9n existe una danza relacionada, denominada Los Loretanos, donde los danzantes representan al Torito. Esta manifestaci\u00f3n naci\u00f3 entre los residentes loretanos que se establecieron en San Ignacio. Estos, en su deseo de mantener viva su devoci\u00f3n a la Virgen de Loreto y expresar su identidad cultural, formaron un conjunto de danza que lleva el nombre de su lugar de origen. La peregrinaci\u00f3n desde San Ignacio hacia Loreto durante la celebraci\u00f3n de las L\u00e1grimas de la Virgen de Loreto era una pr\u00e1ctica habitual, que inicialmente se realizaba a pie y, con el tiempo, en veh\u00edculos. Con el fallecimiento de los fundadores de esta danza, el conjunto fue asumido por nuevas generaciones, muchas de ellas nacidas en Trinidad o San Ignacio. Actualmente, el grupo Los Loretanos ya no hace alusi\u00f3n exclusivamente a los antiguos residentes de Loreto, sino que representa a los devotos de la Virgen de Loreto en general. El actual presidente del conjunto es Octavio Ove, hijo de loretanos nacido en Trinidad, quien contin\u00faa la tradici\u00f3n y lidera la danza que honra tanto la historia ganadera de Loreto como la devoci\u00f3n religiosa que la acompa\u00f1a."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Torito 2"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 4, "tileid": "89a2b5b3-b0fb-4ab6-a495-836fa2df0d25"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Torito 3 Materiales La m\u00e1scara es elaborada con madera de balsa o cedro, dos tipos de madera que combinan resistencia y ligereza, esenciales para el uso prolongado durante las danzas. Estas maderas permiten ser talladas con precisi\u00f3n, facilitando el modelado de formas complejas y la incorporaci\u00f3n de detalles en la pieza. T\u00e9cnica de elaboraci\u00f3n La confecci\u00f3n de la m\u00e1scara es totalmente manual, a trav\u00e9s de un proceso de tallado. El artesano, con herramientas tradicionales, esculpe la forma deseada directamente en la madera, dando lugar a una figura robusta que represente con fidelidad la cabeza de un toro. Esta labor exige conocimiento profundo del material y gran destreza t\u00e9cnica, especialmente para lograr una pieza equilibrada y c\u00f3moda para el danzante. Descripci\u00f3n de la pieza La m\u00e1scara presenta una forma que representa la cabeza de un toro. Su fisonom\u00eda es imponente: cuenta con cuernos curvos o rectos seg\u00fan el dise\u00f1o, ojos bien definidos y hocico marcado, lo que la convierte en una figura simb\u00f3licamente fuerte dentro del conjunto de vestimenta del danzante. Se sujeta firmemente al rostro o cabeza del portador, permiti\u00e9ndole ejecutar la danza con libertad de movimiento. Descripci\u00f3n del contexto La m\u00e1scara se utiliza en las festividades que integran el calendario anual del pueblo de Loreto, ubicado en la provincia Marb\u00e1n del departamento del Beni. Estas celebraciones re\u00fanen a la comunidad en torno a expresiones culturales, religiosas y tradicionales, donde las danzas cumplen una funci\u00f3n central de identidad y memoria colectiva. Descripci\u00f3n de la funci\u00f3n/uso Esta pieza forma parte esencial de la danza del Torito, en la que los participantes representan la figura simb\u00f3lica del toro. El torito, al ritmo de la m\u00fasica y los pasos coreogr\u00e1ficos con saltos a manera de cornear. Referencias hist\u00f3ricas La danza del Torito tiene una fuerte carga simb\u00f3lica relacionada con la historia de la ganader\u00eda en el territorio beniano. Representa la llegada del primer hato ganadero al Beni, evento que tuvo como epicentro inicial al pueblo de Loreto. Desde all\u00ed, la actividad ganadera se expandi\u00f3 a todo el departamento, convirti\u00e9ndose en la principal fuente de producci\u00f3n y de ingresos econ\u00f3micos hasta la actualidad. En San Ignacio de Moxos tambi\u00e9n existe una danza relacionada, denominada Los Loretanos, donde los danzantes representan al Torito. Esta manifestaci\u00f3n naci\u00f3 entre los residentes loretanos que se establecieron en San Ignacio. Estos, en su deseo de mantener viva su devoci\u00f3n a la Virgen de Loreto y expresar su identidad cultural, formaron un conjunto de danza que lleva el nombre de su lugar de origen. La peregrinaci\u00f3n desde San Ignacio hacia Loreto durante la celebraci\u00f3n de las L\u00e1grimas de la Virgen de Loreto era una pr\u00e1ctica habitual, que inicialmente se realizaba a pie y, con el tiempo, en veh\u00edculos. Con el fallecimiento de los fundadores de esta danza, el conjunto fue asumido por nuevas generaciones, muchas de ellas nacidas en Trinidad o San Ignacio. Actualmente, el grupo Los Loretanos ya no hace alusi\u00f3n exclusivamente a los antiguos residentes de Loreto, sino que representa a los devotos de la Virgen de Loreto en general. El actual presidente del conjunto es Octavio Ove, hijo de loretanos nacido en Trinidad, quien contin\u00faa la tradici\u00f3n y lidera la danza que honra tanto la historia ganadera de Loreto como la devoci\u00f3n religiosa que la acompa\u00f1a."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Torito 3"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 5, "tileid": "90d99310-5f7a-4f6e-99dc-ddc480b2495b"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La memoria colectiva de Loreto ha encontrado en sus portadores culturales un medio importante para la preservaci&oacute;n de las danzas tradicionales. Figuras como Elva Conorio y Roman Ojara han compartido las representaciones festivas que acompa&ntilde;aban las celebraciones religiosas del pueblo, constituy&eacute;ndose en referentes vivos de ese conocimiento. La transmisi&oacute;n de estas danzas se ha sostenido en el relato de las festividades y personajes que las protagonizaban, como el Rey y la Reina del Barco en la celebraci&oacute;n de Reyes, o las mujeres vestidas con tipoy blanco en la danza de Las Abadesas. Estas evocaciones no son solo recuerdos personales, sino fragmentos de una tradici&oacute;n que se resiste al olvido y que a&uacute;n espera su renacer en el cuerpo de nuevas generaciones.</p>\n\n<p>Los conocimientos sobre estas expresiones no fueron sistematizados en registros escritos ni institucionalizados en espacios formales. Han pervivido gracias al relato oral de los mayores y a la puesta en pr&aacute;ctica en los contextos festivos de hace a&ntilde;os. La forma en que se describen danzas como El Tigre, El Marimono o el Cochopillu, evidencia un aprendizaje basado en la observaci&oacute;n, la participaci&oacute;n directa y la imitaci&oacute;n. En tiempos recientes, algunas de estas representaciones han comenzado a ser reactivadas por j&oacute;venes estudiantes, como ocurri&oacute; con El Marimono, cuya recuperaci&oacute;n demuestra c&oacute;mo la revitalizaci&oacute;n cultural tambi&eacute;n puede surgir desde la escuela, si se articula con la memoria viva de la comunidad.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 0, "tileid": "160a5a80-41b0-4e48-a9a2-d7a52c2af6b3"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Ciervo Materiales Esta pieza es elaborada con madera de balsa o cedro, ambas seleccionadas por su ligereza y facilidad para ser talladas. Estos materiales naturales permiten la creaci\u00f3n de m\u00e1scaras de gran tama\u00f1o sin comprometer la comodidad del danzante, a la vez que ofrecen una superficie adecuada para detallar los rasgos del animal representado. Los cuernos que se incorporan a la pieza son aut\u00e9nticos, obtenidos del propio ciervo, lo cual intensifica su valor simb\u00f3lico y est\u00e9tico. T\u00e9cnica de elaboraci\u00f3n La m\u00e1scara es confeccionada mediante una t\u00e9cnica manual de tallado, en la que el artesano da forma a la madera hasta lograr la fisonom\u00eda de una cabeza de ciervo. El trabajo requiere precisi\u00f3n para esculpir detalles como los ojos, la nariz alargada y la estructura que sostendr\u00e1 los cuernos reales. Descripci\u00f3n de la pieza La m\u00e1scara representa la cabeza de un ciervo, con un rostro alargado, ojos expresivos y una estructura robusta que permite la inserci\u00f3n de cuernos verdaderos del animal. Estos cuernos aportan un realismo particular a la pieza y aumentan su presencia visual durante la danza. Por su tama\u00f1o y forma, cubre por completo el rostro del danzante, transform\u00e1ndolo simb\u00f3licamente en el animal que representa. Descripci\u00f3n del contexto La m\u00e1scara de ciervo se utiliza en el marco de las festividades del calendario anual de Loreto, en el departamento del Beni. Estas celebraciones combinan elementos religiosos, comunitarios y de reafirmaci\u00f3n identitaria, en las que la danza, la m\u00fasica y las representaciones animales cumplen un papel central. En este contexto, el uso de la m\u00e1scara de ciervo cobra sentido dentro de una visi\u00f3n del mundo en la que los animales del monte forman parte de la cosmovisi\u00f3n loretana. Descripci\u00f3n de la funci\u00f3n/uso La m\u00e1scara es un componente esencial de la danza del ciervo, una manifestaci\u00f3n festiva en la que los participantes evocan la presencia de animales del monte. Al portar la m\u00e1scara, el danzante asume el rol del ciervo, movi\u00e9ndose con agilidad para representar los movimientos de este animal. Referencias hist\u00f3ricas La danza del ciervo est\u00e1 vinculada a una visi\u00f3n simb\u00f3lica del monte y sus habitantes. Representa no solo al ciervo como especie, sino a la totalidad del mundo animal silvestre que rodea a las poblaciones loretanas. Su inclusi\u00f3n en las festividades apunta a una herencia cultural que reconoce la coexistencia entre el ser humano y la fauna del entorno. "}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara de Ciervo"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 2, "tileid": "63d3a015-9c46-4b47-be11-a9e37951cc84"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las pr&aacute;cticas danc&iacute;sticas tradicionales de Loreto han experimentado un proceso de transformaci&oacute;n vinculado al recuerdo y la transmisi&oacute;n oral. La ausencia de registros escritos o visuales ha relegado las danzas al &aacute;mbito de la memoria colectiva, donde figuras como Elva Conorio y Roman Ojara han asumido un papel esencial como portadores de saberes. Lo que antes constitu&iacute;a un calendario festivo nutrido &mdash;con celebraciones que iniciaban en enero con la fiesta de Reyes y recorr&iacute;an todo el a&ntilde;o lit&uacute;rgico con homenajes a la Virgen de la Candelaria, Santa Rosa, San Pedro y San Rafael&mdash; hoy sobrevive en relatos que evocan con nostalgia la riqueza y variedad de representaciones. Este tr&aacute;nsito del cuerpo al recuerdo sugiere un desplazamiento de lo ritual hacia lo testimonial, en un intento por preservar la identidad loretana a trav&eacute;s de la evocaci&oacute;n.</p>\n\n<p>En a&ntilde;os recientes se han producido intentos puntuales de revitalizaci&oacute;n, como el rescate de la danza del Marimono por parte de estudiantes de una unidad educativa, lo que refleja una transformaci&oacute;n del espacio festivo tradicional hacia el &aacute;mbito pedag&oacute;gico y escolar. Algunas danzas, que antes eran manifestaciones org&aacute;nicas dentro de las festividades religiosas, han comenzado a reinterpretarse en nuevos escenarios, separadas de su funci&oacute;n original. Esta resignificaci&oacute;n tambi&eacute;n se observa en la forma de reconstruir los atuendos y movimientos, como sucede con el Cochopillu, cuya compleja mezcla de s&iacute;mbolos animales y expresividad corporal ha sido documentada en detalle por quienes lo recuerdan. A trav&eacute;s de estos esfuerzos de recuperaci&oacute;n, se vislumbra la posibilidad de que las danzas no solo se recuerden, sino que encuentren nuevas formas de existencia.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 0, "tileid": "6a1a3ddb-75d3-4e80-ae54-a1e5bfdd7e5c"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.75986938476296, -15.193632297779388], "type": "Point"}, "id": "30c4832522b8d81afcbde25c69199a1d", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "230359b9-1b01-4cea-881d-e54daf949019", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080601', 'num': '000009'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 0, "tileid": "67048dc9-a794-4827-a2f9-189bd95deabc"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Las danzas tradicionales de Loreto muestran una riqueza simb\u00f3lica que se manifiesta en la diversidad de personajes y en la estrecha relaci\u00f3n con el entorno natural y espiritual. Cada danza representa no solo una expresi\u00f3n art\u00edstica, sino tambi\u00e9n un v\u00ednculo con la historia, la cosmovisi\u00f3n y la vida cotidiana de la comunidad. La presencia de figuras como el Tigre, la Garza Blanca, el Cochopillu y el Marimono evidencia una conexi\u00f3n con los animales del monte, integrando elementos como pieles, plumajes y m\u00e1scaras que reflejan el conocimiento del ecosistema local El calendario festivo donde estas danzas ten\u00edan lugar revela una estructura comunitaria organizada en torno a la fe y la celebraci\u00f3n. Fiestas como la de la Virgen de la Candelaria, San Pedro o Santa Rosa ofrec\u00edan un marco donde se articulaban la devoci\u00f3n religiosa y las expresiones corporales. Danzas como El Barco, Los Herodes, Las Abadesas y El Sarao combinaban narrativas b\u00edblicas, roles sociales definidos y expresiones de alegr\u00eda compartida, fortaleciendo los lazos entre los habitantes. La permanencia de estos recuerdos en la voz de portadores como Elva Conorio y Roman Ojara demuestra que, m\u00e1s all\u00e1 de su pr\u00e1ctica activa, las danzas han logrado mantenerse como parte del patrimonio cultural vivo, disponible para su transmisi\u00f3n y recreaci\u00f3n en nuevas generaciones."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 0, "tileid": "9509e214-38f2-4950-83a8-fffce393c643"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la pr&aacute;ctica de las danzas tradicionales de Loreto es su dependencia casi exclusiva de la memoria oral. Al no contar con registros escritos, audiovisuales ni archivos comunitarios, la continuidad de estas expresiones queda sujeta a la voluntad y capacidad de los portadores de recordar y transmitir los detalles. La informaci&oacute;n compartida por Elva Conorio y Roman Ojara permite constatar que gran parte del conocimiento permanece en el recuerdo individual. La p&eacute;rdida de estos referentes humanos significar&iacute;a la desaparici&oacute;n de coreograf&iacute;as, significados y elementos visuales, como los trajes elaborados con pieles aut&eacute;nticas, m&aacute;scaras de cuero o faldas de plumas, que no se encuentran documentados de manera formal.</p>\n\n<p>La desvinculaci&oacute;n entre las festividades religiosas y la ejecuci&oacute;n de las danzas es otra amenaza relevante. En el pasado, cada celebraci&oacute;n ten&iacute;a una danza asociada, lo que garantizaba su repetici&oacute;n y aprendizaje dentro de la comunidad. Actualmente, muchas de estas fiestas han dejado de incluir las representaciones tradicionales o han sido reemplazadas por pr&aacute;cticas m&aacute;s contempor&aacute;neas. Si bien se han dado intentos de recuperaci&oacute;n, como el caso del Marimono retomado por estudiantes, estas acciones siguen siendo aisladas y carecen de una estrategia de revitalizaci&oacute;n sostenida. La falta de espacios comunitarios de ensayo, apoyo institucional o integraci&oacute;n en procesos educativos formales limita las posibilidades de restaurar estas danzas como pr&aacute;cticas vivas dentro del tejido cultural de Loreto.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "1f6a984f-b699-453a-b4b5-11e2c493efcd", "provisionaledits": null, "resourceinstance_id": "2a46bfe0-b3fb-48a9-a484-d35c81baa527", "sortorder": 0, "tileid": "a6e2754d-4d7b-4ce0-b273-43d44dc85416"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:53.722", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000045, "}, "es": {"description": "San Pedro. Danza Japutuki", "map_popup": "Beni", "name": "PI-080102-00-00-000045, San Pedro. 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Danza Japutuki"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Danza Japutuki"}}, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "deb6971d-fda7-445e-a6ab-1c05286ead70", "sortorder": 0, "tileid": "a87376e4-7d57-4605-8ac0-0cfb1a90d092"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "deb6971d-fda7-445e-a6ab-1c05286ead70", "sortorder": 0, "tileid": "42463d8d-9539-4ab8-af9d-1b92eaae9659"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Danza Japutuki</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La Danza Japutuki representa a un hombre curioso y gracioso que se integra a bailar en todas las danzas de su comunidad, es un personaje motivado por su deseo de conocer todo lo que sucede a su alrededor.</p>\n\n<p>El Japutuki se caracteriza por su vestimenta, un pantal&oacute;n y camisa, m&aacute;scara negra , que oculta su rostro, hebras de motac&uacute; que simulan el cabello, tambi&eacute;n largos retazos de nylon negro, de aproximadamente medio metro, que cuelgan del traje.</p>\n\n<p>Esta danza se presenta en la festividad de San Pedro y San Pablo y otras fiestas patronales, enriqueciendo las celebraciones con su presencia.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Las danzas tradicionales, incluida la de Japutuki, han sido objeto de un proceso de recuperaci&oacute;n debido a que dejaron de representarse por muchos a&ntilde;os. Su reintroducci&oacute;n en las festividades ha sido importante para fortalecer la identidad cultural de la comunidad.</p>\n\n<p>Cada danza tiene su momento espec&iacute;fico y no se puede interpretar fuera de su fecha festiva ritual.</p>\n\n<p>El rescate de estas danzas ha sido liderado por las profesoras del colegio Juan Maraza, en colaboraci&oacute;n con el Instituto de Lengua y Cultura Canichana, que proporciona la m&uacute;sica tradicional necesaria para su ense&ntilde;anza y difusi&oacute;n.</p>\n\n<p>Para promover la preservaci&oacute;n de estas expresiones culturales, se desarroll&oacute; un festival anual de danzas tradicionales, que se celebra el 23 de julio, antes de la festividad de San Pedro y San Pablo.</p>\n\n<p>Hace dos d&eacute;cadas, la m&uacute;sica de la Danza Japutuki fue compartida por la familia Dur&aacute;n entre algunos pobladores de San Pedro. Sin embargo, las grabaciones se perdieron debido a una inundaci&oacute;n, afectando su conservaci&oacute;n.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana se encarg&oacute; de recuperar estas melod&iacute;as, obteniendo nuevas grabaciones gracias a Pedro y Segundo Dur&aacute;n, quienes contribuyeron con sus archivos. Actualmente, el instituto guarda este material valioso.</p>\n\n<p>Adem&aacute;s, se identificaron otras m&uacute;sicas sin nombre que podr&iacute;an pertenecer a danzas no documentadas. Por ello, se realizar&aacute;n investigaciones para su identificaci&oacute;n y catalogaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la coreograf&iacute;a</strong></p>\n\n<p>La coreograf&iacute;a de la Danza Japutuki consiste en movimientos que se ajustan al ritmo de la danza en la que participa.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La m&uacute;sica que acompa&ntilde;a la Danza Japutuki es interpretada con los siguientes instrumentos tradicionales:</p>\n\n<ul>\n\t<li>Flauta</li>\n\t<li>Caja</li>\n\t<li>Bombo</li>\n</ul>\n\n<p>Estos instrumentos son tocados por La Bombilla, una agrupaci&oacute;n de m&uacute;sica.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "42463d8d-9539-4ab8-af9d-1b92eaae9659", "provisionaledits": null, "resourceinstance_id": "deb6971d-fda7-445e-a6ab-1c05286ead70", "sortorder": 0, "tileid": "2e2f3aa6-365c-43b0-9599-e86028009c40"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara Japutuki de San Pedro  Materiales La m\u00e1scara Japutuki est\u00e1 elaborada principalmente con madera de balsa, un material liviano y duradero que le confiere resistencia sin comprometer su ligereza. T\u00e9cnica de elaboraci\u00f3n El proceso de creaci\u00f3n de la m\u00e1scara se realiza mediante tallado manual. El artesano, con habilidad y dedicaci\u00f3n, da forma a la pieza utilizando herramientas tradicionales, asegurando que cada detalle sea \u00fanico. Descripci\u00f3n de la pieza Esta m\u00e1scara presenta la forma de un rostro adulto pintado de negro, con una expresi\u00f3n caracter\u00edstica de seriedad y curiosidad. La madera de balsa utilizada en su fabricaci\u00f3n asegura que la pieza sea resistente y no se rompa f\u00e1cilmente. Dos orificios son tallados para los ojos, permitiendo que quien la use pueda ver. Alrededor de la cabeza de la m\u00e1scara, se colocan hebras de motac\u00fa, simulando el cabello, y retazos de nylon negro, que cuelgan a modo de flequillo. En la parte superior de la m\u00e1scara, un borde de tela est\u00e1 sujeto con clavos, y cuenta con un nudo que permite ajustar la pieza al tama\u00f1o de la cabeza del portador. Este conjunto es utilizado junto con un pantal\u00f3n y una camiseta durante las festividades. El tallador de la m\u00e1scara realiza estas piezas para ser prestadas durante las celebraciones; sin embargo, muchas veces las m\u00e1scaras no son devueltas y se pierden, lo que obliga al artesano a tallar nuevas. Actualmente, el tallador tiene 74 a\u00f1os y es el \u00fanico en San Pedro que conserva este oficio. Descripci\u00f3n del contexto La festividad en la que se utiliza la m\u00e1scara Japutuki tiene lugar en conmemoraci\u00f3n de la fundaci\u00f3n de la poblaci\u00f3n de San Pedro, en honor a los santos San Pedro y San Pablo. En este contexto, la figura del Papa Francisco, sucesor de San Pedro, adquiere relevancia, ya que simboliza el compromiso de anunciar la buena nueva, tal como lo hizo San Pedro, el primer Papa. Descripci\u00f3n de la funci\u00f3n/uso La m\u00e1scara representa a un hombre gracioso y curioso que participa en todas las danzas del pueblo. Su presencia en las festividades simboliza el deseo de conocer todo lo que ocurre en el entorno, haciendo de \u00e9l una figura alegre y siempre presente en las celebraciones. Datos hist\u00f3ricos Las danzas tradicionales, entre ellas la que incluye la m\u00e1scara Japutuki, son parte de una rica herencia cultural que estuvo en riesgo de perderse por muchos a\u00f1os. Estas danzas, que originalmente solo pod\u00edan bailarse en fechas espec\u00edficas, estaban siendo olvidadas, pero recientemente han sido recuperadas gracias al esfuerzo conjunto de las profesoras del colegio Juan Maraza y el Instituto de Lengua y Cultura Canichana, que proveen la m\u00fasica necesaria para su ense\u00f1anza. Para incentivar la recuperaci\u00f3n de estas tradiciones, se ha creado el festival anual de danzas, que se celebra cada 23 de julio, antes de la festividad de San Pedro y San Pablo. Hace unas dos d\u00e9cadas, la m\u00fasica de estas danzas fue distribuida por la familia Dur\u00e1n entre los pobladores de San Pedro, pero una inundaci\u00f3n destruy\u00f3 las grabaciones. El Instituto de Lengua y Cultura Canichana, al enterarse de este hecho, busc\u00f3 a la familia Dur\u00e1n, quienes amablemente entregaron nuevas grabaciones. Actualmente, el instituto conserva este valioso material y ha identificado que existen otras composiciones cuya procedencia a\u00fan est\u00e1 por determinar. Para ello, se llevar\u00e1n a cabo investigaciones con el fin de identificar su origen. La danza representa a los hombres curiosos y graciosos, quienes, por su actitud, pueden participar en cualquier danza del pueblo. "}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara Japutuki de San Pedro "}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "42463d8d-9539-4ab8-af9d-1b92eaae9659", "provisionaledits": null, "resourceinstance_id": "deb6971d-fda7-445e-a6ab-1c05286ead70", "sortorder": 0, "tileid": "d1f74669-3b2b-45fc-a583-025df49ac860"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El conocimiento relacionado con la Danza Japutuki se mantiene gracias a din&aacute;micas comunitarias que involucran tanto la participaci&oacute;n activa como la recuperaci&oacute;n consciente de las pr&aacute;cticas festivas. La figura del Japutuki, con su papel inquieto y su vestimenta singular, vuelve a cobrar vida gracias a los esfuerzos colectivos que aseguran su presencia en las celebraciones. Es en el contexto de las festividades patronales donde se reactiva su interpretaci&oacute;n, pues cada danza tiene un momento ritual preciso, lo que otorga un marco leg&iacute;timo para su representaci&oacute;n. As&iacute;, la continuidad de estas pr&aacute;cticas depende de la voluntad de los actores locales para mantenerlas vivas en su calendario ceremonial, y de su compromiso por respetar el sentido original de cada expresi&oacute;n.</p>\n\n<p>Este proceso de reactivaci&oacute;n no ha sido espont&aacute;neo, sino impulsado por agentes educativos y culturales que decidieron intervenir ante el riesgo de desaparici&oacute;n. Las profesoras del colegio Juan Maraza, junto al Instituto de Lengua y Cultura Canichana, lideraron acciones para reintegrar la danza a la vida comunitaria, recurriendo incluso a la recuperaci&oacute;n de registros sonoros que estuvieron a punto de perderse por completo. Gracias a las grabaciones aportadas por miembros de la familia Dur&aacute;n, se logr&oacute; preservar la m&uacute;sica interpretada con flauta, caja y bombo. La creaci&oacute;n de un festival de danzas tradicionales, celebrado cada 23 de julio, ha permitido compartir estos saberes con nuevas generaciones. En ese espacio se fortalecen las capacidades de interpretaci&oacute;n, se ensaya la memoria, y se abren posibilidades para descubrir otras piezas musicales a&uacute;n no documentadas.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "42463d8d-9539-4ab8-af9d-1b92eaae9659", "provisionaledits": null, "resourceinstance_id": "deb6971d-fda7-445e-a6ab-1c05286ead70", "sortorder": 0, "tileid": "e69d8528-4d42-439a-9bbe-67c2551c6172"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89561723594583, -14.337622949578204], "type": "Point"}, "id": "506c3fd6d29710fe9be11965be9dd184", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000010'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "deb6971d-fda7-445e-a6ab-1c05286ead70", "sortorder": 0, "tileid": "0310952c-a37e-4755-815a-61f8eb5c1c35"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de la Danza Japutuki ha atravesado momentos de interrupci&oacute;n que afectaron su continuidad, lo que ha dado paso a ciertos cambios en su forma de transmisi&oacute;n y presentaci&oacute;n. La p&eacute;rdida temporal de sus melod&iacute;as originales, a causa de una inundaci&oacute;n que destruy&oacute; las grabaciones compartidas por la familia Dur&aacute;n, marc&oacute; un punto de inflexi&oacute;n en su historia. Esta situaci&oacute;n oblig&oacute; a la comunidad a emprender una tarea de reconstrucci&oacute;n que implic&oacute; no solo recuperar archivos, sino tambi&eacute;n reinterpretar sonidos y movimientos a partir de la memoria de quienes a&uacute;n conservaban fragmentos del conocimiento. El uso de grabaciones actuales y la incorporaci&oacute;n de agrupaciones musicales como La Bombilla en las presentaciones refleja una adaptaci&oacute;n a nuevas condiciones para asegurar su permanencia.</p>\n\n<p>La inclusi&oacute;n del personaje en diversas danzas del calendario festivo local tambi&eacute;n ha ampliado su funci&oacute;n dentro de las celebraciones. Aunque originalmente vinculado a la festividad de San Pedro y San Pablo, hoy su presencia se extiende a otras fiestas patronales, lo cual puede estar modificando su sentido dentro del imaginario colectivo. La creaci&oacute;n del festival anual de danzas tradicionales, impulsado por el colegio Juan Maraza y el Instituto de Lengua y Cultura Canichana, ha contribuido a la reconfiguraci&oacute;n del espacio en el que se comparte esta expresi&oacute;n. En estos nuevos escenarios, el Japutuki adquiere una dimensi&oacute;n pedag&oacute;gica, convirti&eacute;ndose en un puente entre generaciones y en un s&iacute;mbolo de recuperaci&oacute;n cultural en constante evoluci&oacute;n.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "42463d8d-9539-4ab8-af9d-1b92eaae9659", "provisionaledits": null, "resourceinstance_id": "deb6971d-fda7-445e-a6ab-1c05286ead70", "sortorder": 0, "tileid": "e696a1e6-8e37-41d1-9d84-336408541dd8"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales virtudes de la Danza Japutuki radica en su capacidad para enriquecer las celebraciones con un personaje singular, cuya curiosidad y simpat\u00eda despiertan el inter\u00e9s tanto de la comunidad como de quienes observan desde fuera. Su vestimenta distintiva \u2014m\u00e1scara negra, retazos de nylon, hebras de motac\u00fa\u2014 lo convierte en una figura f\u00e1cilmente reconocible dentro del conjunto festivo, lo que refuerza su valor como s\u00edmbolo local. Al integrarse a diversas danzas, se transforma en un elemento que articula m\u00faltiples expresiones culturales, manteniendo un esp\u00edritu l\u00fadico y de participaci\u00f3n abierta, que favorece la cohesi\u00f3n entre los participantes. Tambi\u00e9n resulta clave el impulso sostenido que ha recibido por parte de instituciones locales. El trabajo conjunto entre el colegio Juan Maraza y el Instituto de Lengua y Cultura Canichana demuestra una organizaci\u00f3n comunitaria comprometida con la preservaci\u00f3n de sus expresiones festivas. La recuperaci\u00f3n de las melod\u00edas originales por medio del aporte de Pedro y Segundo Dur\u00e1n permiti\u00f3 reconstruir parte del patrimonio sonoro perdido, asegurando as\u00ed una base s\u00f3lida para la ense\u00f1anza. La creaci\u00f3n de un festival espec\u00edfico, celebrado cada 23 de julio, ha reforzado esta din\u00e1mica, generando un espacio anual donde se cultiva la memoria colectiva y se revitalizan las pr\u00e1cticas vinculadas a esta representaci\u00f3n."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "42463d8d-9539-4ab8-af9d-1b92eaae9659", "provisionaledits": null, "resourceinstance_id": "deb6971d-fda7-445e-a6ab-1c05286ead70", "sortorder": 0, "tileid": "72fbced6-0bae-4c05-93b6-06be390a92fc"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La Danza Japutuki enfrenta riesgos vinculados a la fragilidad de su transmisi&oacute;n intergeneracional. Durante a&ntilde;os, dej&oacute; de representarse en las festividades, lo que interrumpi&oacute; el proceso de aprendizaje directo entre mayores y j&oacute;venes. Esta pausa prolongada debilit&oacute; la continuidad de saberes como la coreograf&iacute;a, la interpretaci&oacute;n musical y el sentido ritual de su aparici&oacute;n en celebraciones espec&iacute;ficas. La p&eacute;rdida de las grabaciones originales, ocasionada por una inundaci&oacute;n, puso en evidencia la falta de resguardo adecuado de los archivos comunitarios, dejando en manos de la memoria oral y de esfuerzos particulares la responsabilidad de mantener viva esta manifestaci&oacute;n.</p>\n\n<p>Tambi&eacute;n se perciben amenazas relacionadas con la p&eacute;rdida de sentido de su contexto ceremonial. Aunque su participaci&oacute;n se mantiene ligada a la festividad de San Pedro y San Pablo, su presencia en otras celebraciones podr&iacute;a conducir a una desconexi&oacute;n con su funci&oacute;n original. El hecho de que a&uacute;n existan m&uacute;sicas no identificadas sugiere que podr&iacute;an haberse perdido m&aacute;s expresiones sin que se lograra documentarlas a tiempo. Esta situaci&oacute;n refleja una urgencia: la necesidad de investigaciones sistem&aacute;ticas que no solo identifiquen el repertorio restante, sino que tambi&eacute;n restituyan su valor cultural antes de que desaparezcan completamente.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "42463d8d-9539-4ab8-af9d-1b92eaae9659", "provisionaledits": null, "resourceinstance_id": "deb6971d-fda7-445e-a6ab-1c05286ead70", "sortorder": 0, "tileid": "2a8b6212-53d4-492a-b440-44b45ec41ea3"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:54.067", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080501-00-00-000017, "}, "es": {"description": "San Ignacio. Artesano tallador. Alfredo Usere", "map_popup": "Beni", "name": "PI-080501-00-00-000017, San Ignacio. Artesano tallador. Alfredo Usere"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080501-00-00-000017, San Ignacio. Artesano tallador. Alfredo Usere", "principaluser_id": 26, "resourceinstanceid": "9d25fa6f-5be9-4e9f-9fa0-7dae246ad632", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "T\u00e9cnicas artesanales"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080501-00-00-000017", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio. Artesano tallador. Alfredo Usere"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "9d25fa6f-5be9-4e9f-9fa0-7dae246ad632", "sortorder": 0, "tileid": "08a8525c-44d6-4aeb-8df2-9d085245a6b9"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "9d25fa6f-5be9-4e9f-9fa0-7dae246ad632", "sortorder": 0, "tileid": "5aeee4cd-48b5-490f-a657-f62c9f12ad26"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Artesano tallador. Alfredo Usere</strong></p>\n\n<p>Alfredo Usere es un h&aacute;bil artesano tallador que se dedica a crear piezas para el conjunto de los Achu. Su trabajo, que abarca la creaci&oacute;n de m&aacute;scaras utilizadas en las festividades y celebraciones.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Materiales utilizados y procedencia</strong></p>\n\n<p>Alfredo Usere utiliza madera de cedro. Este tipo de madera es blanda para tallar y tiene la ventaja de no rajarse, lo que facilita el proceso de esculpido. La madera de cedro es especialmente valorada por su facilidad para ser trabajada y por el acabado natural que permite conseguir al final.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Herramientas utilizadas</strong></p>\n\n<p>El taller de Alfredo no cuenta con herramientas especializadas para tallar. &Eacute;l trabaja principalmente con un cuchillo, que utiliza tanto para tallar y lija para lijar la madera. Para asegurar que las m&aacute;scaras se ajusten bien a la cabeza de la persona que las va a usar, tambi&eacute;n utiliza una tela para sujetarlas. Su t&eacute;cnica es tradicional.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>T&eacute;cnica de trabajo </strong></p>\n\n<p>El proceso de creaci&oacute;n de una m&aacute;scara comienza en la mente del artesano, quien visualiza c&oacute;mo la va a esculpir observando y analizando el rostro de una persona. En un solo d&iacute;a, Alfredo es capaz de tallar la m&aacute;scara. Posteriormente, la pinta y la barniza, un proceso que toma dos d&iacute;as. El barnizado se hace con moderaci&oacute;n, para preservar el color natural del cedro. Adem&aacute;s, algunos pedidos especiales incluyen detalles adicionales como cejas o barbas, los cuales tambi&eacute;n se terminan en el mismo d&iacute;a de trabajo.</p>\n\n<p>&nbsp;</p>\n\n<p>Tipos de <strong>artesan&iacute;a</strong></p>\n\n<p>Alfredo Usere se especializa en la creaci&oacute;n de m&aacute;scaras de Achu y llaveros con la figura de m&aacute;scara de Achu, los cuales son altamente demandados por la agrupaci&oacute;n, la comunidad local como por los visitantes interesados en estas piezas culturales.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Destino de la artesan&iacute;a </strong></p>\n\n<p>Vende las m&aacute;scaras a sus compa&ntilde;eros del Achu por cien bolivianos y a particulares por ciento cincuenta bolivianos. Adem&aacute;s, los llaveros con la figura de las m&aacute;scaras se venden durante la fiesta de San Ignacio a treinta o treinta y cinco bolivianos, siendo una opci&oacute;n popular entre los asistentes a las festividades.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Historia de vida del artesano</strong></p>\n\n<p>Alfredo Usere lleva diecisiete a&ntilde;os dedic&aacute;ndose al tallado de m&aacute;scaras. Su pasi&oacute;n por este arte comenz&oacute; de forma autodidacta, cuando siendo joven observ&oacute; una m&aacute;scara antigua y sinti&oacute; la necesidad de intentar crear algo similar. Sin recibir formaci&oacute;n de ning&uacute;n maestro, comenz&oacute; a tallar una pieza de madera, de la cual surgi&oacute;, poco a poco, la figura de una cara. Inspirado por las expresiones y rasgos de las personas que lo rodeaban, Alfredo comenz&oacute; a observar atentamente los rostros de los dem&aacute;s para comprender c&oacute;mo tallar sus m&aacute;scaras. Despu&eacute;s de dos a&ntilde;os de pr&aacute;ctica, ya estaba lo suficientemente habilidoso como para recibir encargos de sus compa&ntilde;eros.</p>\n\n<p>&nbsp;</p>\n\n<p>Hoy en d&iacute;a, Alfredo Usere es reconocido como el tallador oficial de los Achu, siendo responsable de la creaci&oacute;n de las m&aacute;scaras que acompa&ntilde;an a los integrantes de este tradicional conjunto. Sus compa&ntilde;eros, al ver la calidad de su trabajo, comenzaron a encargarle m&aacute;scaras, y con el tiempo, Alfredo se gan&oacute; su confianza y el respeto del grupo. Adem&aacute;s, es el padrino de los Achu, un rol que desempe&ntilde;a con honor y compromiso.</p>\n\n<p>&nbsp;</p>\n\n<p>Las m&aacute;scaras que Alfredo crea est&aacute;n inspiradas en personas mayores, principalmente en figuras respetadas dentro del conjunto, como su abuelo y su padre, quienes fueron pilares del grupo. Su padre, en particular, fue un miembro activo del conjunto, y Alfredo se uni&oacute; al grupo a los catorce a&ntilde;os.</p>\n\n<p>&nbsp;</p>\n\n<p>Alfredo ha tallado doce m&aacute;scaras para la fiesta de San Ignacio de 2022, aunque realiza m&aacute;s seg&uacute;n le encarguen. Uno de los momentos m&aacute;s especiales del proceso es el bautizo de las m&aacute;scaras, una tradici&oacute;n que &eacute;l mismo ha instaurado. Durante este ritual, la m&aacute;scara es bautizada con un apodo o nombre elegido por el due&ntilde;o, un acto que simboliza el compromiso de bailar en el conjunto. Este bautizo se realiza en la Sede de los Achu, donde Alfredo coloca la m&aacute;scara ante la imagen de San Ignacio, imitando el rito de un sacerdote. Despu&eacute;s de echar agua sobre la m&aacute;scara, le asigna su nombre o apodo. Las m&aacute;scaras de Achu son consideradas portadoras de un esp&iacute;ritu que representa la alegr&iacute;a y el humor, roles fundamentales en la fiesta.</p>\n\n<p>&nbsp;</p>\n\n<p>Alfredo tiene tres m&aacute;scaras personales. Una de ellas se llama el rompedor, otra denominada chiquitito, que pertenec&iacute;a a su padre, y la &uacute;ltima a&uacute;n no tiene nombre. Las m&aacute;scaras de Alfredo son detalladas y tienen caracter&iacute;sticas como dientes tallados, imitando a los dientes carcomidos de los antiguos, lo que refleja las costumbres y la vida de los abuelos de la comunidad. Adem&aacute;s, algunas de las m&aacute;scaras tienen huequitos, para que los bailarines puedan fumar o beber agua sin tener que quitarse la m&aacute;scara.</p>\n\n<p>&nbsp;</p>\n\n<p>En la estructura organizativa de los conjuntos de danza, existen roles espec&iacute;ficos, como el corregidor del conjunto, el padrino, el cacique y el segundo cacique. Aunque actualmente no hay corregidor debido a su fallecimiento, el padrino sigue siendo una figura clave. Este tiene la responsabilidad de bautizar las m&aacute;scaras y de dar consejos a los bailarines, ellos le tienen un profundo respeto.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["da719d9d-e927-4281-aeef-d551a1da07ff", "237ed805-e832-4979-80cb-8d2f6d646d28", "e5270642-c871-4c8b-88af-3256b9e5ab85"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "5aeee4cd-48b5-490f-a657-f62c9f12ad26", "provisionaledits": null, "resourceinstance_id": "9d25fa6f-5be9-4e9f-9fa0-7dae246ad632", "sortorder": 0, "tileid": "06981605-4e97-4305-87d5-0f04cabbb3ff"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-65.63465576172003, -15.00137828363259], "type": "Point"}, "id": "8e8c772876518ac49805d7be9a943557", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "7c630574-4bde-4beb-92f4-d7e3a4b4c5fe", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080501', 'num': '000004'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "9d25fa6f-5be9-4e9f-9fa0-7dae246ad632", "sortorder": 0, "tileid": "cc59bc2b-8e7d-4067-864a-fbbed98273ac"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje autodidacta"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos sobre el tallado de m&aacute;scaras en la comunidad de los Achu se transmiten principalmente a trav&eacute;s de la observaci&oacute;n y la pr&aacute;ctica autodidacta. Alfredo Usere, al no haber recibido formaci&oacute;n directa de un maestro, aprendi&oacute; a tallar por cuenta propia al estudiar una m&aacute;scara antigua y experimentar con la madera. Su proceso de aprendizaje se bas&oacute; en la repetici&oacute;n y la observaci&oacute;n de los rasgos faciales de las personas a su alrededor, lo que le permiti&oacute; desarrollar su estilo y t&eacute;cnica con el tiempo. Este mecanismo de transmisi&oacute;n de conocimientos es caracter&iacute;stico de los saberes tradicionales, en los que la destreza y la creatividad se cultivan a partir de la experiencia personal y la interacci&oacute;n con la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s del aprendizaje autodidacta, la transmisi&oacute;n de conocimientos tambi&eacute;n ocurre mediante el reconocimiento y la pr&aacute;ctica dentro del grupo cultural. Como tallador oficial de los Achu y padrino del conjunto, Alfredo no solo provee m&aacute;scaras, sino que tambi&eacute;n ha instaurado rituales como el bautizo de las piezas, fortaleciendo as&iacute; la identidad cultural del grupo. A trav&eacute;s de estos actos, las nuevas generaciones pueden absorber los conocimientos y el significado simb&oacute;lico de las m&aacute;scaras, asegurando la continuidad de la tradici&oacute;n.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "5aeee4cd-48b5-490f-a657-f62c9f12ad26", "provisionaledits": null, "resourceinstance_id": "9d25fa6f-5be9-4e9f-9fa0-7dae246ad632", "sortorder": 0, "tileid": "d34bc86f-9384-45d0-8be5-161a985290c7"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica artesanal de Alfredo Usere podr&iacute;a experimentar transformaciones a medida que se incorporan nuevos materiales y herramientas en el proceso de tallado. Actualmente, &eacute;l trabaja con madera de cedro y herramientas b&aacute;sicas, como un cuchillo y lija. El uso de herramientas especializadas podr&iacute;a dirigir la elaboraci&oacute;n de piezas con mejor calidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro aspecto de transformaci&oacute;n est&aacute; relacionado con la transmisi&oacute;n del conocimiento. Actualmente, Alfredo ha aprendido de manera autodidacta y su arte se mantiene dentro de un c&iacute;rculo cercano, pero en el futuro podr&iacute;a surgir la necesidad de formalizar la ense&ntilde;anza, ya sea mediante talleres comunitarios o a trav&eacute;s del inter&eacute;s de j&oacute;venes aprendices. Adem&aacute;s &eacute;l ha diversificado su arte con la elaboraci&oacute;n de llaveros. Ser&iacute;a importante explorar est&eacute; conocimiento para ampliar la elaboraci&oacute;n de otras piezas de artesan&iacute;a.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "5aeee4cd-48b5-490f-a657-f62c9f12ad26", "provisionaledits": null, "resourceinstance_id": "9d25fa6f-5be9-4e9f-9fa0-7dae246ad632", "sortorder": 0, "tileid": "8b34bb1b-e8b8-4966-bcb9-8c6e29898b27"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica artesanal de Alfredo Usere es su arraigo en la tradici\u00f3n y la identidad cultural de los Achu. Su t\u00e9cnica de tallado, basada en la observaci\u00f3n y en la representaci\u00f3n de rostros de personas, le otorga un valor simb\u00f3lico a cada m\u00e1scara. Las pr\u00e1cticas rituales dotan a cada pieza de un significado que va m\u00e1s all\u00e1 de su funci\u00f3n est\u00e9tica. Esta conexi\u00f3n con la historia y las costumbres locales no solo garantiza la autenticidad de su trabajo, sino que tambi\u00e9n fortalece su reconocimiento dentro de la comunidad.  Otra fortaleza radica en la sostenibilidad de su producci\u00f3n. Su trabajo es apreciado tanto por los integrantes del conjunto como por la comunidad y los visitantes, lo que le asegura un mercado estable. La funcionalidad de sus creaciones, adaptadas a las necesidades de los bailarines, y la posibilidad de diversificar su producci\u00f3n con llaveros, ampl\u00edan su alcance y garantizan la continuidad de su oficio.  Por otro lado, todos los conjuntos de danzas, tienen cada uno su propio artesano, ellos producen m\u00e1scaras para los danzantes. Esto hace que la artesan\u00eda sea una actividad especializada determinada por el contexto de los conjuntos de danza y es un medio de fortalecimiento de la identidad de los danzantes. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "5aeee4cd-48b5-490f-a657-f62c9f12ad26", "provisionaledits": null, "resourceinstance_id": "9d25fa6f-5be9-4e9f-9fa0-7dae246ad632", "sortorder": 0, "tileid": "8cc3f6fc-937a-48e5-9734-94c3d33bed5c"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la pr&aacute;ctica artesanal de Alfredo Usere es la falta de relevo generacional en el oficio del tallado de m&aacute;scaras. Al haber aprendido de manera autodidacta y no contar con aprendices formales, existe la posibilidad de que su conocimiento no se transmita a las futuras generaciones, poniendo en riesgo la continuidad de esta tradici&oacute;n dentro del conjunto de los Achu. Adem&aacute;s, si no se implementan estrategias para documentar y compartir sus t&eacute;cnicas, el arte del tallado podr&iacute;a perderse con el tiempo. Lo mismo sucede en el caso de los artesanos de cada conjunto de danza.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza es la posible escasez o encarecimiento de la madera de cedro, su principal materia prima. Si las regulaciones ambientales restringen su acceso o si la sobreexplotaci&oacute;n del recurso limita su disponibilidad, Alfredo podr&iacute;a verse obligado a buscar alternativas que podr&iacute;an afectar la calidad y la autenticidad de sus m&aacute;scaras. Asimismo, la comercializaci&oacute;n de imitaciones en mercados tur&iacute;sticos o la introducci&oacute;n de m&aacute;scaras producidas en serie podr&iacute;an disminuir la demanda de su trabajo artesanal, afectando tanto su sustento econ&oacute;mico como el valor cultural de sus creaciones dentro de la comunidad.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "5aeee4cd-48b5-490f-a657-f62c9f12ad26", "provisionaledits": null, "resourceinstance_id": "9d25fa6f-5be9-4e9f-9fa0-7dae246ad632", "sortorder": 0, "tileid": "91fec080-a5b2-4efc-aef2-9f48c03ea514"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:54.326", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000046, "}, "es": {"description": "San Pedro. Danza Mocho", "map_popup": "Beni", "name": "PI-080102-00-00-000046, San Pedro. 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Danza Mocho"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "fba9729c-0ec5-4aa3-9bb3-80afa572e168", "sortorder": 0, "tileid": "c508f3b3-244d-49e0-98b2-42479c2332d6"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89445190429701, -14.33711903432905], "type": "Point"}, "id": "12db9d2f2c7ceff40621faeb8a3d902a", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000011'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "fba9729c-0ec5-4aa3-9bb3-80afa572e168", "sortorder": 0, "tileid": "6003a002-f800-4e50-95a9-7335f1017b44"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "fba9729c-0ec5-4aa3-9bb3-80afa572e168", "sortorder": 0, "tileid": "ab53f31d-0862-4478-8f99-3fd0f9ee4c32"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Danza Mocho</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La Danza Mocho representa a un personaje inspirado en el ovejo, un animal cuya caracter&iacute;stica principal son sus cuernos en forma de espiral. Su nombre &quot;mocho&quot; hace referencia a esta particularidad.</p>\n\n<p>El bailar&iacute;n viste con elementos que evocan a este animal, m&aacute;scara que cubre su rostro asemeja la cabeza del animal, piel de ovejo en el pecho y la espalda, sujetas a la cintura con un cintur&oacute;n, cascabeles en la pantorrilla, que suenan con cada movimiento.</p>\n\n<p>A pesar de su parecido con el ovejo dom&eacute;stico, el mocho representa a un cabrito salvaje, un animal del monte alto, que no ha sido domesticado.</p>\n\n<p>Esta danza se baila en Navidad, pero con el tiempo ha sido incorporada en otras festividades como la fiesta de San Pedro y San Pablo , celebrada el 29 de junio.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La Danza Mocho, al igual que otras danzas tradicionales, estuvo en riesgo de desaparecer. Sin embargo, su recuperaci&oacute;n ha sido fundamental para mantener vivas las expresiones culturales de la comunidad.</p>\n\n<p>Las danzas sol&iacute;an tener fechas espec&iacute;ficas en las que pod&iacute;an ser representadas, y su ejecuci&oacute;n fuera de ese contexto no era permitida.</p>\n\n<p>El proceso de recuperaci&oacute;n ha sido impulsado por las profesoras del colegio Juan Maraza, en coordinaci&oacute;n con el Instituto de Lengua y Cultura Canichana, que proporciona la m&uacute;sica tradicional para su ense&ntilde;anza y difusi&oacute;n.</p>\n\n<p>Para fomentar la pr&aacute;ctica de estas danzas, se inici&oacute; un festival anual de danzas tradicionales, que se celebra el 23 de julio, antes de la festividad de San Pedro y San Pablo.</p>\n\n<p>Hace dos d&eacute;cadas, la m&uacute;sica de la Danza Mocho fue distribuida por la familia Dur&aacute;n entre algunos pobladores de San Pedro. Sin embargo, las grabaciones se perdieron a causa de una inundaci&oacute;n, al igual que ocurri&oacute; con otras familias que la pose&iacute;an.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana asumi&oacute; la tarea de recuperar estas melod&iacute;as, logrando obtener nuevas grabaciones gracias a Pedro y Segundo Dur&aacute;n, quienes compartieron su material. Actualmente, el instituto guarda estos archivos como parte de su trabajo de preservaci&oacute;n cultural.</p>\n\n<p>Durante este proceso, se identificaron otras m&uacute;sicas sin nombre, que podr&iacute;an corresponder a danzas a&uacute;n no documentadas. Por ello, se realizar&aacute;n investigaciones para su identificaci&oacute;n.</p>\n\n<p>La Danza Mocho representa a los animales que salieron a festejar el nacimiento del Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la coreograf&iacute;a</strong></p>\n\n<p>La coreograf&iacute;a se basa en saltos y movimientos r&iacute;tmicos, que permiten hacer sonar los cascabeles al comp&aacute;s de la m&uacute;sica.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La Danza Mocho es interpretada con los siguientes instrumentos tradicionales:</p>\n\n<ul>\n\t<li>Flauta</li>\n\t<li>Caja</li>\n\t<li>Bombo</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>La m&uacute;sica es ejecutada por La Bombilla, una agrupaci&oacute;n&nbsp; de m&uacute;sica.</p>\n\n<p>AUDIO: M&uacute;sica COD. MES. MU_Mocho (soporte digital CARPETA: m&uacute;sica de danzas canichana).</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "ab53f31d-0862-4478-8f99-3fd0f9ee4c32", "provisionaledits": null, "resourceinstance_id": "fba9729c-0ec5-4aa3-9bb3-80afa572e168", "sortorder": 0, "tileid": "52be6dfc-d42b-4421-840c-f691fd9b6b40"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara Mocho de San Pedro Materiales La pieza est\u00e1 elaborada principalmente con madera de balsa, un material liviano y resistente que no se rompe con facilidad. Para complementar su estructura, se utilizan tambi\u00e9n cuernos verdaderos, cuero y suela, que dan forma a otros detalles como la lengua y las orejas. T\u00e9cnica de elaboraci\u00f3n El proceso es completamente artesanal. La m\u00e1scara es tallada a mano por un solo maestro de San Pedro, quien ha preservado este conocimiento a lo largo del tiempo. Actualmente, tiene 74 a\u00f1os y no hay otra persona en la comunidad que domine esta t\u00e9cnica. Descripci\u00f3n de la pieza La m\u00e1scara tiene la forma del rostro de un animal silvestre, similar a un cabrito o \"ovejo\" del monte. Su estructura destaca por la incorporaci\u00f3n de cuernos reales que sobresalen en la parte superior. Los ojos est\u00e1n tallados con precisi\u00f3n para permitir la visi\u00f3n de quien la usa. En la parte superior del rostro, una tela es fijada con clavos; esta incluye un nudo que permite ajustarla al tama\u00f1o de la cabeza. De este mismo punto cuelga una tela roja que cae sobre la espalda, imitando un cuero protector. El traje que acompa\u00f1a la m\u00e1scara se completa con cuero de ovejo que cubre el pecho y la espalda, todo ello sujeto con un cintur\u00f3n. El tallador elabora las m\u00e1scaras con la intenci\u00f3n de prestarlas para las festividades. Sin embargo, muchas veces no son devueltas, por lo que debe rehacerlas constantemente. Descripci\u00f3n del contexto La danza asociada a la M\u00e1scara Mocho se interpreta en la festividad de San Pedro y San Pablo, celebraci\u00f3n que conmemora la fundaci\u00f3n de la comunidad de San Pedro. Esta fiesta honra a los santos patronos, vinculando su significado al legado del ap\u00f3stol Pedro y su encargo de anunciar el evangelio, compromiso que, en la actualidad, representa el Papa Francisco como sucesor. Descripci\u00f3n de la funci\u00f3n/uso La m\u00e1scara representa a un animal que habita en el monte alto, no domesticado, con caracter\u00edsticas similares a las del cabrito. La danza en la que se emplea se caracteriza por su energ\u00eda festiva y se interpreta especialmente en Navidad, rememorando a los animales que salieron a celebrar el nacimiento del ni\u00f1o Jes\u00fas. Tambi\u00e9n aparece en otras fechas importantes del calendario festivo, como el 29 de junio durante la fiesta de San Pedro y San Pablo. Datos hist\u00f3ricos Durante a\u00f1os, varias de las danzas tradicionales de San Pedro dejaron de representarse, lo que amenaz\u00f3 con hacerlas desaparecer. En los \u00faltimos tiempos, han vuelto a formar parte de las festividades religiosas, recuperando su lugar en la vida comunitaria. Cada expresi\u00f3n tiene un momento espec\u00edfico del calendario ritual y no se interpreta fuera de ese marco. El trabajo de recuperaci\u00f3n ha sido asumido por las profesoras del colegio Juan Maraza en coordinaci\u00f3n con el Instituto de Lengua y Cultura Canichana, que proporciona la m\u00fasica necesaria para la ense\u00f1anza y difusi\u00f3n. Con el prop\u00f3sito de reforzar este proceso, se instituy\u00f3 un festival anual de danzas tradicionales que se realiza el 23 de julio, justo antes de la fiesta de San Pedro y San Pablo. Hace aproximadamente veinte a\u00f1os, la m\u00fasica que acompa\u00f1aba estas danzas fue compartida por la familia Dur\u00e1n con algunos habitantes de San Pedro. Con el paso del tiempo, una inundaci\u00f3n destruy\u00f3 los CDs en los que se almacenaban estas grabaciones, lo que tambi\u00e9n ocurri\u00f3 con los archivos de otras familias. El Instituto de Lengua y Cultura Canichana logr\u00f3 contactar nuevamente a la familia Dur\u00e1n, y fue gracias a Pedro y Segundo Dur\u00e1n que se recuperaron las melod\u00edas. Actualmente, el instituto conserva este material. Durante este proceso, se identificaron otras composiciones que no tienen nombre ni registro, lo que ha motivado el inicio de nuevas investigaciones para su reconocimiento y preservaci\u00f3n."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara Mocho de San Pedro"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "ab53f31d-0862-4478-8f99-3fd0f9ee4c32", "provisionaledits": null, "resourceinstance_id": "fba9729c-0ec5-4aa3-9bb3-80afa572e168", "sortorder": 0, "tileid": "5d6b9a38-00c9-4de9-a78c-9fe1647e3e32"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La preservaci&oacute;n de la Danza Mocho ha sido posible gracias a una articulaci&oacute;n entre esfuerzos comunitarios, institucionales y educativos que propician su continuidad generacional. La ense&ntilde;anza de esta manifestaci&oacute;n cultural se realiza en espacios escolares, donde maestras del colegio Juan Maraza han asumido un rol esencial en la transmisi&oacute;n del saber danzante, vinculando a estudiantes con las tradiciones de su entorno. Estos aprendizajes no se limitan al movimiento corporal: abarcan tambi&eacute;n la confecci&oacute;n del vestuario, el simbolismo del personaje y la comprensi&oacute;n del contexto ritual. La participaci&oacute;n del Instituto de Lengua y Cultura Canichana ha sido decisiva, al proporcionar la m&uacute;sica original para el aprendizaje y apoyar procesos de recuperaci&oacute;n sonora, fortaleciendo as&iacute; los v&iacute;nculos entre memoria y pr&aacute;ctica.</p>\n\n<p>Adem&aacute;s del &aacute;mbito escolar, se han generado encuentros comunitarios que revitalizan la danza a trav&eacute;s de la experiencia directa. La organizaci&oacute;n de un festival anual, cada 23 de julio, ha permitido que el baile vuelva a formar parte de la vida p&uacute;blica, involucrando a nuevas generaciones en su ejecuci&oacute;n. Las grabaciones rescatadas por miembros de la familia Dur&aacute;n y compartidas con el instituto tambi&eacute;n han sido claves para reconstruir el repertorio musical perdido por desastres naturales. Este tipo de iniciativas revela c&oacute;mo el conocimiento se guarda y se reactiva por medio del involucramiento afectivo, el trabajo colectivo y el compromiso con la historia local, sin depender exclusivamente de registros escritos.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "ab53f31d-0862-4478-8f99-3fd0f9ee4c32", "provisionaledits": null, "resourceinstance_id": "fba9729c-0ec5-4aa3-9bb3-80afa572e168", "sortorder": 0, "tileid": "ea0a2c5b-cbd7-4011-ae74-69ea8e18c320"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de la Danza Mocho ha atravesado diversas modificaciones que reflejan los cambios en el contexto social y cultural de la comunidad. Originalmente vinculada de manera exclusiva a las celebraciones navide&ntilde;as, con el tiempo se ha incorporado a nuevas festividades, como San Pedro y San Pablo. Esta ampliaci&oacute;n del calendario festivo ha permitido que el baile se mantenga vigente y se revalorice fuera de su marco inicial. El proceso de reintroducci&oacute;n en distintos eventos responde a un esfuerzo consciente por recuperar expresiones culturales que hab&iacute;an quedado relegadas o en riesgo de olvido. Su presencia en escenarios m&aacute;s amplios ha abierto caminos para su resignificaci&oacute;n dentro de la identidad local.</p>\n\n<p>La transmisi&oacute;n que antes depend&iacute;a de la pr&aacute;ctica vivencial dentro del hogar o la comunidad inmediata, ahora se extiende a espacios institucionales como el colegio Juan Maraza y eventos p&uacute;blicos como el festival del 23 de julio. Este tipo de recontextualizaci&oacute;n transforma la forma en que se aprende y se comparte la danza, haci&eacute;ndola parte de programas educativos y actividades culturales. El uso de grabaciones musicales recuperadas &mdash;tras la p&eacute;rdida de archivos por una inundaci&oacute;n&mdash; tambi&eacute;n modifica la manera en que se accede a los sonidos tradicionales, pasando de una escucha directa y comunitaria a un formato registrado y archivado. Tales adaptaciones no implican una ruptura, sino una estrategia para resguardar la vigencia de una expresi&oacute;n que sigue enraizada en la memoria colectiva.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ab53f31d-0862-4478-8f99-3fd0f9ee4c32", "provisionaledits": null, "resourceinstance_id": "fba9729c-0ec5-4aa3-9bb3-80afa572e168", "sortorder": 0, "tileid": "371842d5-ff51-4048-a6a6-c515ece65a71"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Uno de los aspectos m\u00e1s s\u00f3lidos de la Danza Mocho es su fuerte v\u00ednculo con la identidad territorial y con la memoria simb\u00f3lica de la comunidad. Representar a un cabrito salvaje del monte alto, distinto del ovejo domesticado, le confiere un car\u00e1cter particular que dialoga con el entorno natural y con los imaginarios locales. El uso de materiales como la piel, el cintur\u00f3n y los cascabeles no solo da forma al personaje, sino que activa una conexi\u00f3n sensorial entre el cuerpo del danzante y la geograf\u00eda cultural que habita. Esta cercan\u00eda con lo propio ha permitido que la pr\u00e1ctica conserve su sentido ritual, a pesar de los cambios que ha enfrentado. Otro elemento que fortalece su continuidad es la participaci\u00f3n articulada de diferentes actores sociales. Las profesoras del colegio Juan Maraza han generado un espacio de aprendizaje formal donde se valora la danza como parte del conocimiento colectivo, mientras que el Instituto de Lengua y Cultura Canichana ha contribuido con la recuperaci\u00f3n de los archivos musicales y la difusi\u00f3n de los saberes tradicionales. La existencia del festival anual del 23 de julio tambi\u00e9n refuerza su visibilidad y renueva el inter\u00e9s por parte de ni\u00f1as, ni\u00f1os y j\u00f3venes. Esta capacidad de adaptarse sin perder el lazo con su origen convierte a la Danza Mocho en una manifestaci\u00f3n resistente, que se regenera con el impulso compartido de la comunidad."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "ab53f31d-0862-4478-8f99-3fd0f9ee4c32", "provisionaledits": null, "resourceinstance_id": "fba9729c-0ec5-4aa3-9bb3-80afa572e168", "sortorder": 0, "tileid": "c539527b-ddd3-468d-bc87-311458f47abc"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Entre los factores que han puesto en peligro la continuidad de la Danza Mocho se encuentra la p&eacute;rdida de grabaciones musicales esenciales para su ejecuci&oacute;n. Varias familias que conservaban estos archivos sonoros los vieron desaparecer a causa de una inundaci&oacute;n, lo que redujo significativamente el acceso a las melod&iacute;as originales. Esta situaci&oacute;n evidenci&oacute; la fragilidad de la pr&aacute;ctica frente a fen&oacute;menos naturales y la falta de resguardo sistem&aacute;tico de los registros culturales. Aunque parte del material fue recuperado gracias al aporte de Pedro y Segundo Dur&aacute;n, a&uacute;n existen composiciones sin nombre cuya relaci&oacute;n con danzas no documentadas sigue siendo incierta.</p>\n\n<p>Tambi&eacute;n resulta preocupante que durante un tiempo se limitara su presentaci&oacute;n &uacute;nicamente a fechas religiosas espec&iacute;ficas, lo que redujo su exposici&oacute;n y restringi&oacute; su aprendizaje a momentos puntuales del a&ntilde;o. Esta rigidez dificult&oacute; que las nuevas generaciones se familiarizaran con la danza de forma constante. La necesidad de una reactivaci&oacute;n desde las instituciones educativas y culturales revela que, sin estos esfuerzos coordinados, la pr&aacute;ctica podr&iacute;a haberse desvanecido. A pesar del entusiasmo actual, la ausencia de sistemas de documentaci&oacute;n permanentes o de planes de formaci&oacute;n sostenidos podr&iacute;a generar nuevas pausas o retrocesos en su transmisi&oacute;n.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ab53f31d-0862-4478-8f99-3fd0f9ee4c32", "provisionaledits": null, "resourceinstance_id": "fba9729c-0ec5-4aa3-9bb3-80afa572e168", "sortorder": 0, "tileid": "d3eaf6f6-18f8-4ed7-b0e0-8db968f4b2fd"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:54.935", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000047, "}, "es": {"description": "San Pedro. Danza Murci\u00e9lago", "map_popup": "Beni", "name": "PI-080102-00-00-000047, San Pedro. Danza Murci\u00e9lago"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000047, San Pedro. Danza Murci\u00e9lago", "principaluser_id": 26, "resourceinstanceid": "830c7af8-030d-49e9-b23b-d32df6686dfc", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de San Pedro y San Pablo"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000047", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Danza Murci\u00e9lago"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "830c7af8-030d-49e9-b23b-d32df6686dfc", "sortorder": 0, "tileid": "48892890-ec5d-4c36-9b7a-f8621369c875"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "830c7af8-030d-49e9-b23b-d32df6686dfc", "sortorder": 0, "tileid": "2c06de31-65b1-4a90-b5ca-d479c83066c2"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Danza Murci&eacute;lago</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La Danza Murci&eacute;lago representa a los murci&eacute;lagos que volaron cuando naci&oacute; el Ni&ntilde;o Jes&uacute;s. Este animal es com&uacute;n en la comunidad de San Pedro, donde suele habitar en los tejados de las casas y salir durante la noche, como es su costumbre.</p>\n\n<p>Originalmente, esta danza se interpretaba durante Navidad, pero con el tiempo ha sido incorporada en otras festividades, incluyendo la celebraci&oacute;n de San Pedro y San Pablo el 29 de junio.</p>\n\n<p>Los bailarines participan en tropa, vistiendo trajes negros, con m&aacute;scaras o telas que cubren su rostro y alas negras que representan a los murci&eacute;lagos en vuelo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Las danzas tradicionales de San Pedro, como la Danza Murci&eacute;lago, estuvieron en riesgo de desaparecer debido a la falta de transmisi&oacute;n generacional. Sin embargo, han sido recuperadas en los &uacute;ltimos a&ntilde;os, reafirmando su importancia en las fiestas religiosas de la comunidad.</p>\n\n<p>Cada danza ten&iacute;a una funci&oacute;n espec&iacute;fica dentro de las festividades y no pod&iacute;a ejecutarse fuera de su contexto tradicional.</p>\n\n<p>El proceso de recuperaci&oacute;n ha sido impulsado por las profesoras del colegio Juan Maraza, en coordinaci&oacute;n con el Instituto de Lengua y Cultura Canichana, que ha proporcionado la m&uacute;sica tradicional para su ense&ntilde;anza y difusi&oacute;n.</p>\n\n<p>Para preservar y promover estas expresiones culturales, se ha creado un festival anual de danzas tradicionales&nbsp; que se celebra el 23 de julio, antes de la festividad de San Pedro y San Pablo.</p>\n\n<p>Hace dos d&eacute;cadas, la m&uacute;sica de la Danza Murci&eacute;lago fue distribuida por la familia Dur&aacute;n entre algunos pobladores de San Pedro. Sin embargo, las grabaciones se perdieron debido a una inundaci&oacute;n, al igual que ocurri&oacute; con otras familias que la pose&iacute;an.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana asumi&oacute; la tarea de recuperar estas melod&iacute;as, logrando obtener nuevas grabaciones gracias a Pedro y Segundo Dur&aacute;n, quienes compartieron su material. Actualmente, el instituto guarda estos archivos como parte de su labor de conservaci&oacute;n cultural.</p>\n\n<p>Durante este proceso, se identificaron otras m&uacute;sicas sin nombre, que podr&iacute;an corresponder a danzas a&uacute;n no documentadas. Por ello, se realizar&aacute;n investigaciones para su identificaci&oacute;n.</p>\n\n<p>La Danza Murci&eacute;lago simboliza el movimiento y la vida nocturna de estos animales en el momento del nacimiento del Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la coreograf&iacute;a</strong></p>\n\n<p>Actualmente, la coreograf&iacute;a de la Danza Murci&eacute;lago ha sido creada debido a la falta de registros precisos sobre su forma original. Sin embargo, se reconoce que en la comunidad a&uacute;n existen personas que recuerdan la manera en que se bailaba antiguamente.</p>\n\n<p>&nbsp;</p>\n\n<p>El Instituto de Lengua y Cultura Canichana tiene la responsabilidad de reunir a estos conocedores para establecer la forma tradicional del baile y garantizar su transmisi&oacute;n a las futuras generaciones.</p>\n\n<p>________________________________________</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La Danza Murci&eacute;lago se interpreta con los siguientes instrumentos tradicionales:</p>\n\n<ul>\n\t<li>Flauta</li>\n\t<li>Caja</li>\n\t<li>Bombo</li>\n</ul>\n\n<p>La m&uacute;sica es ejecutada por La Bombilla, &nbsp;una agrupaci&oacute;n de m&uacute;sica.</p>\n\n<p>AUDIO: BACALAO. MUR. MU_Murci&eacute;lago (soporte digital CARPETA: m&uacute;sica de danzas canichana).</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "2c06de31-65b1-4a90-b5ca-d479c83066c2", "provisionaledits": null, "resourceinstance_id": "830c7af8-030d-49e9-b23b-d32df6686dfc", "sortorder": 0, "tileid": "a42efe88-c00b-4ef5-82b2-71074c50640f"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En la revitalizaci&oacute;n de la Danza Murci&eacute;lago, se identifican diversas formas mediante las cuales se mantiene viva la memoria colectiva. El conocimiento relacionado con esta expresi&oacute;n cultural ha sido compartido dentro de la comunidad a trav&eacute;s de experiencias directas, reuniones intergeneracionales y el esfuerzo de instituciones locales comprometidas con la preservaci&oacute;n cultural. La participaci&oacute;n activa de las profesoras del colegio Juan Maraza, en colaboraci&oacute;n con el Instituto de Lengua y Cultura Canichana, ha permitido estructurar espacios educativos en los que la m&uacute;sica y la danza tradicional se aprenden mediante la repetici&oacute;n pr&aacute;ctica, el testimonio oral y la reconstrucci&oacute;n colectiva. Esta labor ha permitido integrar a estudiantes, sabios locales y m&uacute;sicos, propiciando un entorno de aprendizaje que parte de la reconstrucci&oacute;n y la pr&aacute;ctica colaborativa.</p>\n\n<p>Al tratarse de una danza cuya ejecuci&oacute;n hab&iacute;a disminuido notablemente, fue necesario reconstruir tanto la m&uacute;sica como los movimientos, a partir de la memoria de personas mayores que a&uacute;n conservaban fragmentos del conocimiento original. La recopilaci&oacute;n de melod&iacute;as por parte del Instituto de Lengua y Cultura Canichana, con el apoyo de miembros de la familia Dur&aacute;n, ha sido fundamental en este proceso, as&iacute; como la creaci&oacute;n de un festival anual que convoca a la comunidad en torno a estas manifestaciones. Estas acciones han generado nuevas din&aacute;micas de participaci&oacute;n, donde los recuerdos individuales se integran en un proceso colectivo de recuperaci&oacute;n, asegurando as&iacute; su permanencia y continuidad en las celebraciones religiosas de San Pedro.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "2c06de31-65b1-4a90-b5ca-d479c83066c2", "provisionaledits": null, "resourceinstance_id": "830c7af8-030d-49e9-b23b-d32df6686dfc", "sortorder": 0, "tileid": "c18e75c6-d6e6-4fbb-8944-a7e624a2314e"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89033203124963, -14.337119034336027], "type": "Point"}, "id": "282617a9c459701a940a6d01354e3e16", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000012'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "830c7af8-030d-49e9-b23b-d32df6686dfc", "sortorder": 0, "tileid": "0a9dd5c3-a08b-496a-9155-c02905327c37"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La interpretaci&oacute;n de la Danza Murci&eacute;lago ha atravesado modificaciones notables a lo largo del tiempo, tanto en su contexto como en su ejecuci&oacute;n. Originalmente asociada exclusivamente con la Navidad, en la actualidad forma parte de varias festividades, incluyendo la celebraci&oacute;n de San Pedro y San Pablo. Este cambio en el calendario de presentaci&oacute;n sugiere una adaptaci&oacute;n de la pr&aacute;ctica a los espacios religiosos m&aacute;s representativos de la comunidad. Tambi&eacute;n se ha incorporado una coreograf&iacute;a dise&ntilde;ada recientemente, dado que no se conservaban registros claros de su forma original. Esta creaci&oacute;n contempor&aacute;nea responde a la necesidad de mantener viva la danza en ausencia de documentaci&oacute;n precisa, aunque a&uacute;n existen personas en San Pedro que recuerdan c&oacute;mo se bailaba en el pasado.</p>\n\n<p>Los trajes y elementos visuales tambi&eacute;n han sido estandarizados: se emplean vestimentas negras con alas que evocan el vuelo nocturno del murci&eacute;lago, lo que apunta a una reinterpretaci&oacute;n simb&oacute;lica m&aacute;s marcada que posiblemente no exist&iacute;a en sus formas anteriores. En paralelo, la p&eacute;rdida y posterior recuperaci&oacute;n de las grabaciones musicales demuestra una ruptura en la continuidad de la pr&aacute;ctica, lo que motiv&oacute; una reconstrucci&oacute;n parcial desde la memoria oral y los archivos familiares. Estas transformaciones han sido acompa&ntilde;adas por un proceso institucional que busca garantizar su sostenibilidad, impulsando espacios de formaci&oacute;n y eventos anuales como el festival del 23 de julio, que refuerzan la presencia de esta danza en el imaginario colectivo local.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "2c06de31-65b1-4a90-b5ca-d479c83066c2", "provisionaledits": null, "resourceinstance_id": "830c7af8-030d-49e9-b23b-d32df6686dfc", "sortorder": 0, "tileid": "e5637717-5bed-4b2d-a132-e50c48712a9d"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales virtudes de la Danza Murci\u00e9lago radica en su profundo v\u00ednculo con el entorno y la identidad local. El hecho de que esta representaci\u00f3n est\u00e9 inspirada en un animal com\u00fan de San Pedro refleja una relaci\u00f3n cercana entre la pr\u00e1ctica cultural y la vida cotidiana de sus habitantes. Este anclaje simb\u00f3lico ha permitido que la danza conserve su significado incluso frente al paso del tiempo. Su presencia en celebraciones como la de San Pedro y San Pablo ha reforzado su funci\u00f3n comunitaria, ya que sigue siendo parte activa de los momentos m\u00e1s importantes del calendario festivo. La forma en que los bailarines se presentan en tropa, con indumentaria oscura y alas que sugieren el movimiento del murci\u00e9lago en vuelo, revela una capacidad de expresi\u00f3n colectiva que favorece la cohesi\u00f3n social. El proceso de recuperaci\u00f3n ha sido posible gracias a una red de actores locales comprometidos con la continuidad de las expresiones culturales. El colegio Juan Maraza, por ejemplo, ha desempe\u00f1ado un papel esencial en la ense\u00f1anza de la danza, creando espacios donde las nuevas generaciones pueden apropiarse de este legado. El Instituto de Lengua y Cultura Canichana, por su parte, no solo ha rescatado las melod\u00edas que se cre\u00edan perdidas, sino que tambi\u00e9n ha asumido la responsabilidad de resguardar los archivos sonoros, incluyendo composiciones a\u00fan no identificadas que podr\u00edan ampliar el repertorio local. La existencia del festival del 23 de julio fortalece este proceso, ya que proporciona una plataforma estable de visibilidad y reafirma el valor simb\u00f3lico de estas manifestaciones en el tejido cultural de San Pedro."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "2c06de31-65b1-4a90-b5ca-d479c83066c2", "provisionaledits": null, "resourceinstance_id": "830c7af8-030d-49e9-b23b-d32df6686dfc", "sortorder": 0, "tileid": "1d69d50f-f9ce-4157-b3b9-e1185c298ede"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales factores que ha puesto en peligro la continuidad de la Danza Murci&eacute;lago es la interrupci&oacute;n en la transferencia intergeneracional de saberes. Durante a&ntilde;os, esta expresi&oacute;n estuvo a punto de desaparecer debido a que no se encontraba presente en los espacios formativos ni contaba con un entorno comunitario que favoreciera su pr&aacute;ctica constante. La p&eacute;rdida de las grabaciones musicales, dej&oacute; a la danza sin un componente esencial para su ejecuci&oacute;n. Este tipo de eventos, sumado a la falta de documentaci&oacute;n sistem&aacute;tica en el pasado, dificult&oacute; la conservaci&oacute;n de su forma original, obligando a reconstruir elementos fundamentales desde fragmentos de memoria oral.</p>\n\n<p>A pesar de los esfuerzos actuales por revitalizarla, persisten desaf&iacute;os importantes. La coreograf&iacute;a vigente fue creada recientemente por ausencia de referencias precisas, lo que plantea el riesgo de que la danza se distancie de su forma tradicional si no se logra identificar y recuperar fielmente su estructura original. Aunque existen personas en la comunidad que a&uacute;n recuerdan c&oacute;mo se bailaba, el paso del tiempo puede hacer que esos conocimientos desaparezcan si no se documentan de manera oportuna. Por otra parte, la identificaci&oacute;n de melod&iacute;as sin nombre evidencia la posibilidad de que existan expresiones a&uacute;n no reconocidas que podr&iacute;an perderse antes de ser comprendidas o incorporadas a la memoria colectiva local.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "2c06de31-65b1-4a90-b5ca-d479c83066c2", "provisionaledits": null, "resourceinstance_id": "830c7af8-030d-49e9-b23b-d32df6686dfc", "sortorder": 0, "tileid": "18aa72c7-4941-4aa5-b97f-199e2bcf3ed3"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:55.474", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000049, "}, "es": {"description": "San Pedro. Danza Torito", "map_popup": "Beni", "name": "PI-080102-00-00-000049, San Pedro. Danza Torito"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000049, San Pedro. Danza Torito", "principaluser_id": 26, "resourceinstanceid": "0825139d-0508-4491-9f8d-05e8515c4ff5", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de San Pedro y San Pablo"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000049", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Danza Torito"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "0825139d-0508-4491-9f8d-05e8515c4ff5", "sortorder": 0, "tileid": "2b3755dd-60aa-4c34-a568-799b63ce3ed0"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "0825139d-0508-4491-9f8d-05e8515c4ff5", "sortorder": 0, "tileid": "3151b2cc-08e8-4a48-80d5-3e9b532ba4d0"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Danza Torito</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La Danza Torito representa al ganado vac&iacute;o introducido por los jesuitas en el territorio canichana. Se trata de una danza alegre y festiva, que se baila en diversas celebraciones religiosas y comunitarias, destacando su participaci&oacute;n en la festividad de San Pedro y San Pablo, cada 29 de junio.</p>\n\n<p>Los danzantes utilizan una m&aacute;scara en forma de toro, de color rojo y blanco. Adem&aacute;s, llevan una pa&ntilde;oleta roja en la cintura como adorno del traje y otra pa&ntilde;oleta roja m&aacute;s grande sujeta a la m&aacute;scara, la cual cubre la espalda del bailar&iacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La Danza Torito, al igual que otras danzas tradicionales de la regi&oacute;n, se dej&oacute; de representar por muchos a&ntilde;os, pero en la actualidad est&aacute; siendo recuperada como parte de las festividades religiosas y culturales. Cada danza ten&iacute;a una fecha espec&iacute;fica para su ejecuci&oacute;n, lo que reflejaba su importancia dentro del calendario festivo.</p>\n\n<p>Las profesoras del colegio Juan Maraza, en coordinaci&oacute;n con el Instituto de Lengua y Cultura Canichana, han trabajado en la recuperaci&oacute;n y ense&ntilde;anza de estas expresiones culturales, brindando la m&uacute;sica a los estudiantes y fomentando su difusi&oacute;n.</p>\n\n<p>Con el prop&oacute;sito de mantener vivas estas danzas, se ha creado un festival anual, celebrado el 23 de julio, en v&iacute;speras de la festividad de San Pedro y San Pablo.</p>\n\n<p>Hace aproximadamente dos d&eacute;cadas, la m&uacute;sica de la Danza Torito fue distribuida por la familia Dur&aacute;n entre algunos pobladores de San Pedro. Sin embargo, una inundaci&oacute;n provoc&oacute; la p&eacute;rdida de estas grabaciones.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana emprendi&oacute; una labor de recuperaci&oacute;n de las melod&iacute;as, contactando nuevamente a la familia Dur&aacute;n. Gracias a Pedro y Segundo Dur&aacute;n, se logr&oacute; rescatar las grabaciones, que ahora se encuentran resguardadas por el instituto.</p>\n\n<p>Durante este proceso, se identificar&aacute; en otras m&uacute;sicas desconocidas, por lo que se iniciar&aacute;n investigaciones para determinar si pertenecen a danzas a&uacute;n no documentadas.</p>\n\n<p>En el pasado, la tropa de toritos era numerosa, pero con el tiempo ha disminuido. Actualmente, el corregidor del Cabildo Indigenal Canichana, quien es tallador en madera y orfebre, se encarga de elaborar las m&aacute;scaras y los cascabeles, llamados chononos.</p>\n\n<p>Durante las festividades, el corregidor re&uacute;ne a los j&oacute;venes para prestarles las m&aacute;scaras y cascabeles, permitiendo as&iacute; la formaci&oacute;n de una tropa de bailarines que mantenga viva la tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la coreograf&iacute;a</strong></p>\n\n<p>La coreograf&iacute;a de la Danza Torito se caracteriza por saltos r&iacute;tmicos y el sonido de los cascabeles, que marcan el comp&aacute;s de la m&uacute;sica.</p>\n\n<p>Los bailarines imitan cornadas, representando la actitud desafiante de un toro bravo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La m&uacute;sica de la Danza Torito es interpretada con los siguientes instrumentos tradicionales:</p>\n\n<ul>\n\t<li>Flauta</li>\n\t<li>Caja</li>\n\t<li>Bombo</li>\n</ul>\n\n<p>La ejecuci&oacute;n musical est&aacute; a cargo de La Bombilla, agrupaci&oacute;n musical.</p>\n\n<p>AUDIO: COD.TO.MU_Torito (soporte digital CARPETA: m&uacute;sica de danzas canichana).</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "3151b2cc-08e8-4a48-80d5-3e9b532ba4d0", "provisionaledits": null, "resourceinstance_id": "0825139d-0508-4491-9f8d-05e8515c4ff5", "sortorder": 0, "tileid": "7da5638d-0cf3-4e6e-93f6-1974596666b4"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Chononos de Torito Materiales Los chononos, que forman parte esencial de la danza del torito, est\u00e1n elaborados con una combinaci\u00f3n de materiales. Se utilizan latas de pantalla de luz, bolitas de rodamiento de motocicleta y suela de cuero de vaca, lo que garantiza un sonido vibrante y duradero. Estos elementos se ensamblan cuidadosamente para crear las piezas que se usan en cada pie del danzante. T\u00e9cnica de elaboraci\u00f3n La elaboraci\u00f3n de los chononos es un proceso artesanal que requiere de una habilidad especial en el tallado. El tallador de m\u00e1scaras, quien tambi\u00e9n es orfebre, realiza estas piezas con destreza, asegurando que cada cascabel est\u00e9 perfectamente ajustado a la suela de cuero para producir el sonido deseado al ritmo de la m\u00fasica. Este oficio, transmitido de generaci\u00f3n en generaci\u00f3n, es realizado por una sola persona en la comunidad, destac\u00e1ndose su conocimiento \u00fanico en el \u00e1rea. Descripci\u00f3n de la pieza Cada danzante usa un par de chononos, uno para cada pie. Estas piezas son cascabeles que se colocan sobre una suela de cuero, y su sonido, fuerte y r\u00edtmico, marca el comp\u00e1s de la danza. Los chononos no solo se utilizan en la danza del torito, sino que tambi\u00e9n forman parte de otras danzas tradicionales, como la del mocho. El tallador, ahora de 74 a\u00f1os, se encarga de prestarlas a los j\u00f3venes durante las festividades, aunque muchas veces no se devuelven, lo que lo obliga a crear nuevas piezas. La tradici\u00f3n de fabricar estos chononos data de hace 34 a\u00f1os, siendo una pieza clave de las festividades locales. Descripci\u00f3n del contexto La danza del torito y los chononos son parte de las celebraciones que conmemoran la fundaci\u00f3n de la poblaci\u00f3n de San Pedro, en honor a los santos San Pedro y San Pablo. La fiesta se celebra en un contexto de profundo compromiso religioso, vinculado al mandato papal de anunciar la buena nueva, tarea que, en la actualidad, el Papa Francisco contin\u00faa en la tradici\u00f3n de San Pedro. Descripci\u00f3n de la funci\u00f3n/uso Los chononos desempe\u00f1an una funci\u00f3n crucial en la danza del torito, la cual simboliza el ganado vacuno introducido por los jesuitas en el territorio. Esta danza alegre se baila en diversas festividades, y los chononos marcan el ritmo de la m\u00fasica, guiando el paso de los bailarines con el sonido que producen al pisar al comp\u00e1s de la m\u00fasica. Su uso en la danza no solo tiene un prop\u00f3sito est\u00e9tico, sino que tambi\u00e9n refuerza el v\u00ednculo cultural y ritual de la comunidad. Datos hist\u00f3ricos La danza del torito y otras expresiones culturales tradicionales, que estuvieron en desuso durante a\u00f1os, est\u00e1n siendo recuperadas con esfuerzo por diversas instituciones y actores comunitarios. Las profesoras del colegio Juan Maraza, en colaboraci\u00f3n con el Instituto de Lengua y Cultura Canichana, han trabajado en la reactivaci\u00f3n de estas danzas, brindando la m\u00fasica necesaria para que los estudiantes puedan aprenderlas y ejecutarlas. Un hito importante en este proceso es el festival anual de danzas, celebrado cada 23 de julio, justo antes de la festividad de San Pedro y San Pablo, que busca incentivar la representaci\u00f3n de estas tradiciones olvidadas. Hace m\u00e1s de dos d\u00e9cadas, la m\u00fasica de la danza del torito fue distribuida por la familia Dur\u00e1n a algunos pobladores de San Pedro. Sin embargo, una inundaci\u00f3n caus\u00f3 la p\u00e9rdida de esos CD, afectando a varias familias que tambi\u00e9n los pose\u00edan. Afortunadamente, el Instituto de Lengua y Cultura Canichana logr\u00f3 contactar nuevamente con la familia Dur\u00e1n, quienes cedieron las grabaciones originales. Actualmente, el instituto resguarda este valioso material, y se est\u00e1n llevando a cabo investigaciones para identificar otras melod\u00edas que podr\u00edan pertenecer a danzas a\u00fan no documentadas. El corregidor del Cabildo Indigenal Canichana, quien tambi\u00e9n es tallador de madera y orfebre, es el encargado de crear las m\u00e1scaras y los chononos. Durante las festividades, se re\u00fane con los j\u00f3venes para prestarles estos elementos y permitirles formar una tropa de bailarines, asegurando as\u00ed la continuidad de esta tradici\u00f3n que se vive con gran devoci\u00f3n y alegr\u00eda en la comunidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Chononos de Torito"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3151b2cc-08e8-4a48-80d5-3e9b532ba4d0", "provisionaledits": null, "resourceinstance_id": "0825139d-0508-4491-9f8d-05e8515c4ff5", "sortorder": 0, "tileid": "06d01559-4768-4766-92f2-f678d7cafb30"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara Torito Materiales La m\u00e1scara del torito est\u00e1 elaborada con madera de balsa, un material ligero pero resistente, ideal para crear una pieza duradera y f\u00e1cil de llevar durante las danzas. Esta madera es utilizada por su capacidad para mantenerse firme y no romperse, proporcionando una estructura s\u00f3lida para la m\u00e1scara. T\u00e9cnica de elaboraci\u00f3n El proceso de fabricaci\u00f3n de la m\u00e1scara es un trabajo artesanal de tallado meticuloso. El tallador, experto en su oficio, crea cada m\u00e1scara con precisi\u00f3n, d\u00e1ndole la forma de la cara de un toro. Los detalles de la m\u00e1scara, como los cuernos reales, las cintas que imitan la soga con la cual se ata al toro y las orejas y lengua de suela y cuero, reflejan un profundo conocimiento de la tradici\u00f3n y el simbolismo de la danza. Cada pieza es personalizada, con orificios tallados para que el portador pueda ver durante la danza. La parte superior de la m\u00e1scara tiene un ajuste ajustable con tela, sujeto con clavos, permitiendo que se adapte al tama\u00f1o de la cabeza del bailar\u00edn. Descripci\u00f3n de la pieza La m\u00e1scara tiene la figura de la cara de un toro, pintada en rojo y blanco, con detalles adicionales como los cuernos reales y las orejas de suela y cuero, que aportan realismo a la representaci\u00f3n. A los lados, se encuentran cintas que recrean la soga que tradicionalmente ata al toro. Los ojos son perforados para permitir la visibilidad del danzante, y en la parte superior, una tela roja cubre la espalda del portador, simulando un cuero que complementa el atuendo. Aunque estas m\u00e1scaras se prestan para las festividades, muchas veces no se devuelven, lo que obliga al tallador a crear nuevas piezas. A sus 74 a\u00f1os, es la \u00fanica persona en San Pedro que domina este oficio, el cual ha sido transmitido a lo largo del tiempo como una tradici\u00f3n invaluable. La m\u00e1scara tiene ya 34 a\u00f1os de existencia, siendo testigo de m\u00faltiples festividades. Descripci\u00f3n del contexto La danza del torito y el uso de la m\u00e1scara son elementos centrales en las celebraciones de San Pedro, en conmemoraci\u00f3n de la fundaci\u00f3n de la poblaci\u00f3n de San Pedro y en honor a los santos San Pedro y San Pablo. Este evento tiene una gran carga religiosa, simbolizando el compromiso de San Pedro, el sucesor del Papa Francisco, quien recibi\u00f3 la misi\u00f3n de anunciar la buena nueva, de la misma manera que hoy lo hace el Papa. Descripci\u00f3n de la funci\u00f3n/uso La m\u00e1scara del torito es un componente esencial de la danza que representa al ganado vacuno introducido por los jesuitas. Esta danza, alegre y llena de energ\u00eda, se ejecuta durante todas las festividades importantes de la comunidad. Los danzantes, con su m\u00e1scara roja y blanca y pa\u00f1oletas rojas que adornan la cintura y la espalda, imitan el comportamiento del toro en un acto simb\u00f3lico de fuerza y vitalidad. Los chononos, cascabeles que marcan el ritmo, acompa\u00f1an a los danzantes, resaltando la sincronizaci\u00f3n del paso y el comp\u00e1s musical. Datos hist\u00f3ricos La danza del torito, al igual que otras danzas tradicionales, estuvo en peligro de desaparecer debido al olvido durante varios a\u00f1os. Sin embargo, en la actualidad, se est\u00e1n recuperando y volviendo a representar durante las festividades religiosas, lo que es fundamental para mantener viva la identidad cultural. Cada danza tiene una fecha espec\u00edfica en el calendario festivo, y su ejecuci\u00f3n en el momento adecuado es clave para su autenticidad. En coordinaci\u00f3n con el Instituto de Lengua y Cultura Canichana, las profesoras del colegio Juan Maraza han trabajado para reactivar estas danzas, proporcionando la m\u00fasica a los estudiantes y promoviendo su difusi\u00f3n. En este contexto, el festival de danzas, realizado cada 23 de julio antes de la fiesta de San Pedro y San Pablo, juega un papel crucial para revivir estas tradiciones. Durante este festival, se destaca la importancia de las danzas tradicionales que se estaban perdiendo. Hace unos 20 a\u00f1os, la familia Dur\u00e1n distribuy\u00f3 las grabaciones de la m\u00fasica de la danza del torito entre los pobladores de San Pedro. Sin embargo, con el tiempo y tras una inundaci\u00f3n, se perdieron las copias, lo que afect\u00f3 la preservaci\u00f3n de estas piezas musicales. Afortunadamente, el Instituto de Lengua y Cultura Canichana logr\u00f3 recuperar las grabaciones de Pedro y Segundo Dur\u00e1n, quienes cedieron las piezas al instituto para su conservaci\u00f3n. Se est\u00e1 investigando tambi\u00e9n la posibilidad de que existan m\u00e1s m\u00fasicas no identificadas, lo que permitir\u00e1 ampliar el conocimiento sobre otras danzas tradicionales de la regi\u00f3n. El corregidor del Cabildo Indigenal Canichana, quien es tallador en madera y orfebre, tambi\u00e9n es responsable de elaborar las m\u00e1scaras y los cascabeles conocidos como chononos. Durante las festividades, se encarga de reunir a los j\u00f3venes para prestarles estos elementos y formar una tropa de bailarines, asegurando que la tradici\u00f3n contin\u00fae viva, a pesar de los desaf\u00edos que ha enfrentado a lo largo del tiempo."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara Torito"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3151b2cc-08e8-4a48-80d5-3e9b532ba4d0", "provisionaledits": null, "resourceinstance_id": "0825139d-0508-4491-9f8d-05e8515c4ff5", "sortorder": 1, "tileid": "5c7c78fa-d2aa-458f-ba85-aae036951539"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89170532226953, -14.337119034323436], "type": "Point"}, "id": "47d6480926c7668371a0e07d27505963", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000014'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "0825139d-0508-4491-9f8d-05e8515c4ff5", "sortorder": 0, "tileid": "f40a2bab-bf0d-4ac1-8353-0175b5fabc47"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de saberes en torno a la Danza Torito se da a trav&eacute;s de m&uacute;ltiples pr&aacute;cticas ancladas en la vivencia comunitaria. El papel de las profesoras del colegio Juan Maraza, en articulaci&oacute;n con el Instituto de Lengua y Cultura Canichana, ha sido clave para reactivar esta expresi&oacute;n cultural, ofreciendo la m&uacute;sica a los estudiantes y estimulando su aprendizaje en el &aacute;mbito escolar. Este proceso se fortalece con el festival anual del 23 de julio, que no solo ofrece un espacio para la ejecuci&oacute;n p&uacute;blica de la danza, sino que tambi&eacute;n consolida una forma de ense&ntilde;anza intergeneracional basada en la repetici&oacute;n, la presencia y la celebraci&oacute;n colectiva.</p>\n\n<p>Por otro lado, la labor del corregidor del Cabildo Indigenal Canichana permite que las nuevas generaciones accedan a los elementos materiales fundamentales de la danza, como las m&aacute;scaras y los cascabeles, reafirmando as&iacute; su funci&oacute;n como gu&iacute;a cultural y custodio de los elementos rituales. Asimismo, la recuperaci&oacute;n de las melod&iacute;as originales, gracias al v&iacute;nculo con la familia Dur&aacute;n, evidencia la importancia de las redes familiares y comunitarias como fuente de memoria. En este proceso se han identificado m&uacute;sicas a&uacute;n no clasificadas, lo cual abre nuevas posibilidades de investigaci&oacute;n, reafirmando que el conocimiento se guarda no solo en los cuerpos y los gestos, sino tambi&eacute;n en los sonidos que acompa&ntilde;an las celebraciones.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "3151b2cc-08e8-4a48-80d5-3e9b532ba4d0", "provisionaledits": null, "resourceinstance_id": "0825139d-0508-4491-9f8d-05e8515c4ff5", "sortorder": 0, "tileid": "d9fab489-e979-4535-ba09-4300ee94051f"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de la Danza Torito ha atravesado cambios significativos a lo largo del tiempo. Luego de un periodo de abandono, esta manifestaci&oacute;n resurge como parte de un esfuerzo consciente de recuperaci&oacute;n cultural, impulsado por instituciones educativas y actores locales. La reintroducci&oacute;n de la danza en el calendario festivo, mediante el festival del 23 de julio, no solo reafirma su valor simb&oacute;lico, sino que tambi&eacute;n adapta su ejecuci&oacute;n a nuevos contextos escolares y comunitarios, alej&aacute;ndose de las condiciones originales donde su realizaci&oacute;n respond&iacute;a a fechas precisas dentro del ciclo ritual canichana. La participaci&oacute;n activa de estudiantes evidencia una apertura hacia p&uacute;blicos m&aacute;s j&oacute;venes, lo que transforma su sentido inicial y la proyecta como una herramienta de fortalecimiento identitario en espacios formativos.</p>\n\n<p>Cambios tambi&eacute;n se advierten en los medios utilizados para preservar sus componentes. Las grabaciones musicales, que hab&iacute;an sido compartidas por la familia Dur&aacute;n hace m&aacute;s de veinte a&ntilde;os, fueron inicialmente dispersadas de forma informal. La p&eacute;rdida de esos registros a causa de una inundaci&oacute;n, y su posterior rescate con el apoyo del Instituto de Lengua y Cultura Canichana, introduce nuevas estrategias de archivo y resguardo que antes no exist&iacute;an. La fabricaci&oacute;n de m&aacute;scaras y cascabeles por parte del corregidor actual, quien pone estos elementos a disposici&oacute;n de los j&oacute;venes, tambi&eacute;n marca una diferencia con &eacute;pocas anteriores, cuando la tropa de toritos era m&aacute;s numerosa y posiblemente cada danzante contaba con sus propios implementos. Estos cambios reflejan una pr&aacute;ctica que, aunque permanece arraigada en la tradici&oacute;n, se reinventa constantemente para seguir teniendo sentido en el presente.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "3151b2cc-08e8-4a48-80d5-3e9b532ba4d0", "provisionaledits": null, "resourceinstance_id": "0825139d-0508-4491-9f8d-05e8515c4ff5", "sortorder": 0, "tileid": "533bb798-9c4b-4209-b278-e9413dd7987d"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la Danza Torito radica en su capacidad para generar un sentido de pertenencia y continuidad cultural. La pr\u00e1ctica de esta danza, impulsada por la colaboraci\u00f3n entre el colegio Juan Maraza, el Instituto de Lengua y Cultura Canichana y otros actores locales, refuerza el v\u00ednculo intergeneracional. Al ser transmitida a los estudiantes, no solo se preserva una tradici\u00f3n, sino que se fomenta la identidad colectiva dentro de la comunidad. La celebraci\u00f3n anual del 23 de julio ofrece un espacio de participaci\u00f3n abierta, donde la danza se muestra como un s\u00edmbolo de resistencia cultural frente a las transformaciones sociales. Asimismo, la labor de rescatar y preservar los elementos materiales de la danza, como las m\u00e1scaras y los cascabeles, constituye una fortaleza clave. El hecho de que el corregidor del Cabildo Indigenal Canichana, al ser tallador y orfebre, asuma la responsabilidad de elaborar estos objetos y ponerlos al alcance de los j\u00f3venes es esencial para mantener la tradici\u00f3n viva. La restauraci\u00f3n de las grabaciones musicales, facilitada por la familia Dur\u00e1n y respaldada por el instituto, garantiza la integridad de la m\u00fasica que acompa\u00f1a la danza, contribuyendo a la autenticidad del proceso. Estas iniciativas permiten que la danza se mantenga vigente y accesible a las nuevas generaciones, asegurando su perdurabilidad en el tiempo."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "3151b2cc-08e8-4a48-80d5-3e9b532ba4d0", "provisionaledits": null, "resourceinstance_id": "0825139d-0508-4491-9f8d-05e8515c4ff5", "sortorder": 0, "tileid": "311e892e-e2ce-4af8-ab9e-d4d59e4433e0"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos que enfrenta la Danza Torito es la p&eacute;rdida de sus elementos originales debido a la falta de documentaci&oacute;n y la posible dispersi&oacute;n de sus componentes materiales y musicales. La inundaci&oacute;n que afect&oacute; las grabaciones de la danza es un ejemplo claro de c&oacute;mo un evento natural puede amenazar la preservaci&oacute;n de elementos esenciales para la continuidad de la pr&aacute;ctica. Aunque la m&uacute;sica fue recuperada gracias a la colaboraci&oacute;n con la familia Dur&aacute;n, este tipo de p&eacute;rdidas subraya la vulnerabilidad de las tradiciones que dependen de archivos informales o personales, en lugar de contar con sistemas m&aacute;s institucionalizados de conservaci&oacute;n y distribuci&oacute;n.</p>\n\n<p>La reducci&oacute;n del n&uacute;mero de participantes en las festividades tambi&eacute;n representa una amenaza para la tradici&oacute;n. Si bien la danza ha sido reactivada por la intervenci&oacute;n de las instituciones educativas y la comunidad, el hecho de que la tropa de toritos haya disminuido con el tiempo sugiere un debilitamiento del inter&eacute;s o la disponibilidad para practicarla. Esto podr&iacute;a generar dificultades para mantener la vibrante representaci&oacute;n que caracteriza a la danza en su formato original. El hecho de que el corregidor del Cabildo Indigenal Canichana sea quien proporcione las m&aacute;scaras y cascabeles a los j&oacute;venes indica una dependencia de actores espec&iacute;ficos, lo cual podr&iacute;a resultar en un cuello de botella si no se logra involucrar a un n&uacute;mero m&aacute;s amplio de personas en el proceso de creaci&oacute;n y participaci&oacute;n.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "3151b2cc-08e8-4a48-80d5-3e9b532ba4d0", "provisionaledits": null, "resourceinstance_id": "0825139d-0508-4491-9f8d-05e8515c4ff5", "sortorder": 0, "tileid": "9cc0211d-67f6-41b2-aa79-f4faf6c1663d"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:56.144", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000051, "}, "es": {"description": "San Pedro. Festividad de San Pedro y San Pablo", "map_popup": "Beni", "name": "PI-080102-00-00-000051, San Pedro. Festividad de San Pedro y San Pablo"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000051, San Pedro. 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Festividad de San Pedro y San Pablo"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 0, "tileid": "b61db47e-dd8a-42c8-ae35-bb8db9ae6ec8"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89445190430193, -14.335788509804146], "type": "Point"}, "id": "b8bb7f1918e42c66cb98a6cb71abd939", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000016'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 0, "tileid": "48b0e0ce-9792-42d2-ada9-706f5e45ec47"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 0, "tileid": "72914486-cfc5-4505-833c-abefdaa8cc92"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["322b3277-4cda-4519-a47e-74db25067384"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Festividad de San Pedro y San Pablo</strong></p>\n\n<p>La Festividad de San Pedro y San Pablo es una celebraci&oacute;n religiosa que conmemora la fundaci&oacute;n de la subalcald&iacute;a de San Pedro. Se expresa de manera festiva, rindiendo homenaje a los santos San Pedro y San Pablo.</p>\n\n<p>&nbsp;</p>\n\n<p>Su origen se remonta a la misi&oacute;n jesu&iacute;tica, lo que le confiere un profundo significado hist&oacute;rico y cultural. Las festividades tienen lugar los d&iacute;as 28, 29 y 30 de junio.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado de la fiesta</strong></p>\n\n<p>La Festividad de San Pedro y San Pablo conmemora la fundaci&oacute;n de la poblaci&oacute;n de San Pedro, en honor a estos santos. San Pedro Nuevo fue fundado por el jesuita Lorenzo Legarda en 1697, como parte de las misiones jesu&iacute;ticas en la regi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>San Pedro est&aacute; representado con llaves, recordando el momento en que Jes&uacute;s le dijo, &ldquo;T&uacute; eres piedra, y sobre tu fe edificar&eacute; mi iglesia&rdquo;. En la tradici&oacute;n cristiana, Pedro recibi&oacute; el encargo de cuidar y pastorear el reba&ntilde;o de Cristo, es decir, su pueblo. Jes&uacute;s le confi&oacute; el poder de atar y desatar en la tierra y en el cielo, lo que simboliza la administraci&oacute;n del perd&oacute;n de los pecados y el cuidado de la comunidad cristiana.</p>\n\n<p>&nbsp;</p>\n\n<p>San Pablo, en cambio, est&aacute; representado con una espada y una Biblia. Antes de convertirse en ap&oacute;stol, su tarea fue apresar cristianos como soldado del emperador. Su encuentro con Cristo transform&oacute; su vida y lo convirti&oacute; en un ferviente evangelizador. La espada simboliza su pasado como soldado, mientras que la Biblia representa su misi&oacute;n de anunciar el Evangelio.</p>\n\n<p>&nbsp;</p>\n\n<p>San Pedro est&aacute; representado sentado, al igual que el Papa, los obispos y los sacerdotes, como s&iacute;mbolo de su papel pastoral y de ense&ntilde;anza. San Pablo, en cambio, est&aacute; de pie, representando su transformaci&oacute;n de persecutor a ap&oacute;stol.</p>\n\n<p>&nbsp;</p>\n\n<p>La imagen de San Pedro tiene una silla con piezas de plata, y las cintas de colores que adornan las im&aacute;genes est&aacute;n relacionadas con las costumbres locales. Se cuenta que las im&aacute;genes de los santos fueron atra&iacute;das de Roma y tienen m&aacute;s de 325 a&ntilde;os de antig&uuml;edad, desde la fundaci&oacute;n de San Pedro como misi&oacute;n jesu&iacute;tica.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participantes</strong></p>\n\n<p>La festividad cuenta con la participaci&oacute;n de diversas figuras religiosas, culturales y autoridades. Representantes de la Iglesia, el Obispo y sacerdote, ac&oacute;litos, sacrist&aacute;n, bailarines de las diferentes danzas, poblaci&oacute;n, autoridades municipales de San Javier y San Pedro.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Proceso de la Festividad de San Pedro y San Pablo</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Antes de la fiesta</strong></p>\n\n<p>Se elige un comit&eacute; de festejos, cuyos miembros se encargan de organizar los diferentes aspectos de la festividad. Entre sus funciones est&aacute;n: enviar nombramientos para padrinos, distribuir invitaciones, designar responsables para el armado del corral, gestionar el traslado del palo encebado y los premios, as&iacute; como coordinar la decoraci&oacute;n del pueblo. Tambi&eacute;n solicitan a cada instituci&oacute;n que presente una actividad. Por ejemplo, a la escuela se le asigna la preparaci&oacute;n de las danzas que se presentar&aacute;n en la entrada.</p>\n\n<p>&nbsp;</p>\n\n<p>El comit&eacute; est&aacute; conformado por ocho personas, entre ellas: representantes de instituciones locales, una profesora de la escuela, la subalcaldesa, un delegado del Instituto de Lengua y Cultura Canichana y un representante de la subcentral de pueblos ind&iacute;genas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Durante la fiesta</strong></p>\n\n<p style=\"margin-left:47px\"><strong>28 de junio</strong></p>\n\n<p style=\"margin-left:47px\">Se lleva a cabo la entrada de grupos de danzantes, que incluyen personajes como los toritos, el pillu, murci&eacute;lagos, gaviota, graciosos, b&aacute;rbaros, mocho, ciervo y el japutuqui. Algunos de estos ingresan en tropa, mientras que otros, como el japutuqui y el mocho, acompa&ntilde;an a un grupo mayor.</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\"><strong>29 de junio</strong></p>\n\n<p style=\"margin-left:47px\">Es el d&iacute;a de la procesi&oacute;n de San Pedro y San Pablo. La jornada inicia con una misa, anunciada por el sacrist&aacute;n con tres llamados de campana. Poco a poco, la poblaci&oacute;n se re&uacute;ne en la iglesia, junto con autoridades municipales y departamentales.</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\">En esta ocasi&oacute;n, antes de finalizar la misa, se llev&oacute; a cabo la posesi&oacute;n de la directiva del Cabildo Indigenal de la Subalcald&iacute;a San Pedro, como parte de su proceso de reconstituci&oacute;n.</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\">Al concluir la misa, inicia la procesi&oacute;n con la imagen de San Pedro, que es sacada de la iglesia para recorrer la plaza. En cada esquina se realizan oraciones con distintas peticiones relacionadas con las necesidades de la comunidad.</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\">La procesi&oacute;n es acompa&ntilde;ada por:</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<ul>\n\t<li>Ac&oacute;litos</li>\n\t<li>Autoridades municipales</li>\n\t<li>Bailarines de toritos y mocho</li>\n\t<li>Memes</li>\n\t<li>Abadesas</li>\n\t<li>Macheteros del Cabildo de la Sant&iacute;sima Trinidad</li>\n\t<li>Se&ntilde;oritas elegidas como representantes de belleza (Coro)</li>\n\t<li>Mujeres adultas representantes de la comunidad (Tana)</li>\n\t<li>Poblaci&oacute;n en general</li>\n\t<li>Sacerdotes y Monse&ntilde;or</li>\n</ul>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\">Al regresar a la iglesia, las im&aacute;genes de San Pedro y San Pablo ingresan de espaldas hasta el altar principal, para ubicarse nuevamente en sus lugares: San Pedro a la derecha y San Pablo a la izquierda de la mesa del misal. Luego, los grupos de bailarines realizaron danzas en honor a San Pedro.</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\"><strong>Bautismo</strong></p>\n\n<p style=\"margin-left:47px\">Despu&eacute;s de la procesi&oacute;n, se lleva a cabo el bautizo de ni&ntilde;os. Debido a la escasa presencia de sacerdotes en San Pedro durante el a&ntilde;o, la festividad religiosa es una de las pocas oportunidades para realizar esta ceremonia.</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\"><strong>Jocheo de toros</strong></p>\n\n<p style=\"margin-left:47px\">Por la tarde, se desarrolla el jocheo de toros, una de las actividades m&aacute;s esperadas de la festividad.</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\"><strong>30 de junio</strong></p>\n\n<p style=\"margin-left:47px\">D&iacute;a de San Pablo. Se inicia con una misa en la subalcald&iacute;a, con la presencia de autoridades. Al finalizar, las im&aacute;genes de San Pedro y San Pablo son sacadas nuevamente en procesi&oacute;n, pero esta vez el recorrido se ampl&iacute;a a una cuadra m&aacute;s all&aacute; de la plaza, antes de regresar a la iglesia.</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\">El cortejo est&aacute; acompa&ntilde;ado por:</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<ul>\n\t<li>Ac&oacute;litos</li>\n\t<li>Bailarines de toritos y memes</li>\n\t<li>Poblaci&oacute;n en general</li>\n\t<li>Sacerdote y las im&aacute;genes de San Pedro y San Pablo</li>\n</ul>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\">Al concluir la procesi&oacute;n, las im&aacute;genes entran de espaldas a la iglesia para ocupar sus lugares habituales en el altar. Los bailarines rinden homenaje con sus danzas.</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\"><strong>Jocheo de toros y palo encebado</strong></p>\n\n<p style=\"margin-left:47px\">En la tarde se realiza el &uacute;ltimo d&iacute;a del jocheo de toros. Adem&aacute;s, se da inicio a la colocaci&oacute;n del palo encebado, actividad que se extiende hasta la noche.</p>\n\n<p style=\"margin-left:47px\">&nbsp;</p>\n\n<p style=\"margin-left:47px\"><strong>Versos canichana</strong></p>\n\n<p style=\"margin-left:47px\">A las cuatro de la madrugada, se lleva a cabo la ronda canichana, donde se cantan versos en idioma canichana y lat&iacute;n. Estas composiciones invitan a la festividad y alaban a San Pedro y San Pablo. Sin embargo, algunas partes de los versos han perdido su traducci&oacute;n con el tiempo, aunque la comunidad a&uacute;n conserva la letra para su interpretaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Despu&eacute;s de la fiesta</strong></p>\n\n<p>Una vez finalizada la celebraci&oacute;n, se realiza la limpieza del lugar, y la comunidad retoma sus actividades cotidianas. Se espera con entusiasmo la Fiesta de la Virgen del Carmen, que se celebra en San Javier y tambi&eacute;n se realiza en San Pedro con una misa religiosa.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Recorrido festivo</strong></p>\n\n<p>Todos los actos festivos, con excepci&oacute;n del jocheo de toros y la colocaci&oacute;n del palo encebado, se llevan a cabo en la plaza central de San Pedro. La procesi&oacute;n con la imagen de San Pedro sigue un recorrido por cada esquina de la plaza, donde se realizan estaciones de oraci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Por su parte, la procesi&oacute;n de San Pablo se extiende una cuadra m&aacute;s all&aacute; de la plaza, desde la esquina sureste y regresando por la esquina suroeste, con la iglesia como punto de referencia al norte. A diferencia de la procesi&oacute;n de San Pedro, esta no cuenta con estaciones.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Sitio de la fiesta</strong></p>\n\n<p>El epicentro de la festividad es la plaza central de San Pedro, donde se encuentra la iglesia, lugar en el que se celebran las misas en honor a San Pedro y San Pablo.</p>\n\n<p>&nbsp;</p>\n\n<p>Las actividades del jocheo de toros y la colocaci&oacute;n del palo encebado se desarrollan en un corral ubicado a cuatro cuadras de la plaza central.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Sitio ritual</strong></p>\n\n<p>La misa es el acto central de la celebraci&oacute;n y se lleva a cabo en la iglesia. Durante la procesi&oacute;n de San Pedro, el recorrido tiene cuatro estaciones en distintas esquinas de la plaza, donde la comitiva se detiene a rezar por:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>El pueblo</li>\n\t<li>Los enfermos</li>\n\t<li>Los gobernantes del pa&iacute;s y la comunidad.</li>\n\t<li>Los ancianos y los hu&eacute;rfanos</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>En el caso de San Pablo, la misa tambi&eacute;n se desarrolla en la iglesia. Su procesi&oacute;n, aunque se extiende a una cuadra m&aacute;s all&aacute; de la plaza, no cuenta con estaciones de oraci&oacute;n.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 0, "tileid": "be414995-2fca-48df-a6c6-20ab3dbb0792"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto musical religioso"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1744 Materiales Esta pieza fue elaborada a partir de una aleaci\u00f3n compuesta por oro, plata y cobre, combinaci\u00f3n que no solo le otorga un sonido distintivo, sino tambi\u00e9n un valor patrimonial y simb\u00f3lico. Se trata de un objeto trabajado con esmero y materiales preciosos que, adem\u00e1s de su funci\u00f3n lit\u00fargica, representa la riqueza de los intercambios culturales y comerciales de la \u00e9poca colonial. T\u00e9cnica de elaboraci\u00f3n Su confecci\u00f3n responde a la t\u00e9cnica de fundici\u00f3n, en la cual se mezclaban metales nobles como el oro y la plata con cobre, logrando una estructura s\u00f3lida y resonante. Esta pr\u00e1ctica era com\u00fan en los talleres especializados de las misiones jesu\u00edticas, donde la habilidad de los artesanos locales permit\u00eda la creaci\u00f3n de piezas de alto nivel t\u00e9cnico y art\u00edstico. Descripci\u00f3n de la pieza La campana presenta inscripciones en lat\u00edn y los s\u00edmbolos del papado: la corona de San Pedro y las llaves cruzadas. Estos elementos no solo decoran la superficie, sino que identifican claramente su procedencia y uso. Desde 1810, con el inicio de los procesos de independencia, se interrumpi\u00f3 la producci\u00f3n de campanas como esta, marcando el fin de una era artesanal ligada al dominio espa\u00f1ol. Descripci\u00f3n del contexto Esta campana forma parte del entorno ritual de la poblaci\u00f3n de San Pedro, fundada en honor a los santos San Pedro y San Pablo. La festividad principal celebra el legado de San Pedro como figura central de la Iglesia, actualmente continuado por el Papa Francisco. Aunque tiene un lugar especial en esta celebraci\u00f3n, la campana tambi\u00e9n se utiliza a lo largo del a\u00f1o en las misas y conmemoraciones del calendario lit\u00fargico. Descripci\u00f3n de la funci\u00f3n/uso Su uso se encuentra estrictamente ligado a los actos religiosos, con un rol espec\u00edfico dentro del calendario ceremonial. No todas las campanas se utilizan de la misma manera ni en las mismas ocasiones: algunas suenan durante el tiempo ordinario, como en misas dominicales o servicios para difuntos, mientras que otras se reservan para celebraciones solemnes, como festividades patronales o Semana Santa. Datos hist\u00f3ricos Las campanas fabricadas en San Pedro se distinguen no solo por su sonido particular, sino tambi\u00e9n por el significado ritual que acompa\u00f1a su uso. Cada una cumple una funci\u00f3n espec\u00edfica, y su timbre anuncia distintos momentos de la vida religiosa. En la \u00e9poca de las misiones jesu\u00edticas, San Pedro fue un centro destacado por su producci\u00f3n de textiles, orfebrer\u00eda y especialmente campanas, elaboradas por h\u00e1biles artesanos y transportadas por los propios canichana, reconocidos por su fuerza. Cerca de la plaza central exist\u00eda una fundici\u00f3n que fue destruida con la llegada de la independencia; a\u00fan hoy pueden encontrarse restos met\u00e1licos en el terreno, visibles tras la lluvia. Durante la colonia, se realizaban intercambios de productos por oro y plata. Parte de este metal proven\u00eda del cerro de Potos\u00ed, aunque tambi\u00e9n se menciona su extracci\u00f3n de vetas ubicadas en el Brasil, el r\u00edo Mamor\u00e9 y el cerro San Sim\u00f3n. Se sabe que las campanas no solo eran elaboradas para San Pedro, sino tambi\u00e9n enviadas a otras regiones, incluso a Espa\u00f1a. Una de estas piezas se encuentra actualmente en Copacabana, La Paz. Se conservan campanas de diversos tama\u00f1os. Las m\u00e1s peque\u00f1as, hechas de plata, se utilizan en momentos espec\u00edficos de la misa como la consagraci\u00f3n del pan y el vino, as\u00ed como en fechas significativas como el nacimiento de Jes\u00fas y el inicio del nuevo a\u00f1o. Las m\u00e1s grandes, de bronce, suenan en el d\u00eda de la Resurrecci\u00f3n durante la Semana Santa. Cuando fallece un ni\u00f1o, una campana menor anuncia la noticia, y esa misma se utiliza en los oficios dominicales. Todas llevan la marca de su origen: la corona papal, las llaves cruzadas de San Pedro y el nombre del artesano que la fabric\u00f3."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1744"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 0, "tileid": "1111da28-4e22-4580-b061-c26aad42ad5b"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto musical religioso"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1750 Materiales Esta pieza fue elaborada con una aleaci\u00f3n de metales preciosos: oro, plata y cobre. La combinaci\u00f3n de estos elementos otorga un sonido \u00fanico, ligado a la memoria colectiva y al ritual religioso de San Pedro. Su confecci\u00f3n evidencia el valor simb\u00f3lico y material que se daba a estos instrumentos sonoros durante el periodo colonial. T\u00e9cnica de elaboraci\u00f3n La t\u00e9cnica utilizada fue la fundici\u00f3n, un proceso que consist\u00eda en derretir los metales y verterlos en moldes para dar forma a la campana. Esta labor requer\u00eda conocimientos especializados que, en la \u00e9poca de las misiones jesu\u00edticas, eran transmitidos a trav\u00e9s de talleres donde se combinaban pr\u00e1cticas locales con t\u00e9cnicas europeas. El uso de metales nobles reflejaba la importancia que se confer\u00eda al objeto, tanto en lo lit\u00fargico como en lo social. Descripci\u00f3n de la pieza La campana est\u00e1 ornamentada con letras en lat\u00edn y lleva grabada la corona de San Pedro junto a las llaves cruzadas, s\u00edmbolos que remiten a la autoridad papal y que identifican el origen de la pieza. Con el inicio del proceso independentista en 1810, la producci\u00f3n de campanas como esta ces\u00f3, marcando el cierre de una etapa en la que el trabajo artesanal estaba estrechamente vinculado al poder colonial y religioso. Descripci\u00f3n del contexto Esta pieza forma parte de las celebraciones religiosas en la comunidad de San Pedro, especialmente durante la fiesta patronal dedicada a los santos San Pedro y San Pablo, donde se conmemora la fundaci\u00f3n del pueblo. La figura del Papa Francisco, considerado sucesor de San Pedro, tambi\u00e9n es recordada como portador del mensaje cristiano. M\u00e1s all\u00e1 de la fiesta principal, las campanas siguen sonando durante todo el a\u00f1o, acompa\u00f1ando misas dominicales, festividades y actos lit\u00fargicos. Descripci\u00f3n de la funci\u00f3n/uso Su uso est\u00e1 reservado a momentos espec\u00edficos del calendario ritual. Cada campana tiene un prop\u00f3sito distinto, determinado por la ocasi\u00f3n. Algunas anuncian celebraciones solemnes como la Pascua o Navidad, otras acompa\u00f1an misas dominicales o funerales. El sonido de cada una comunica a la comunidad el tipo de ceremonia, marcando el ritmo espiritual de la vida local. Datos hist\u00f3ricos Las campanas de San Pedro se destacan por su timbre caracter\u00edstico y por la precisi\u00f3n con la que se destinan a diferentes eventos. En tiempos ordinarios, se utilizan en misas regulares o ceremonias para difuntos, mientras que en tiempos solemnes resuenan con mayor fuerza durante fiestas religiosas importantes. Durante la \u00e9poca jesu\u00edtica, San Pedro fue un centro destacado por la producci\u00f3n de campanas, textiles y objetos de orfebrer\u00eda. En aquellos a\u00f1os, los hombres canichana eran conocidos por su fuerza, capaces de transportar campanas al hombro desde la fundici\u00f3n que se encontraba junto a la plaza central. Aunque esta fue destruida tras la independencia, todav\u00eda se encuentran fragmentos de metal en el terreno, visibles cuando llueve. El comercio de metales preciosos era com\u00fan en la colonia. Parte del oro y la plata utilizados proven\u00eda del cerro de Potos\u00ed, aunque tambi\u00e9n se mencionan vetas en Brasil, el r\u00edo Mamor\u00e9 y el cerro San Sim\u00f3n. Algunas regiones enviaban materiales para encargar campanas, manteles tejidos, candelabros y bordados, que eran confeccionados en San Pedro. Las campanas fabricadas en este lugar llegaron a distintos puntos del pa\u00eds, como Copacabana en La Paz, y algunas incluso fueron enviadas a Espa\u00f1a. Existen campanas de menor tama\u00f1o, hechas principalmente de plata, que se utilizan durante la misa en momentos clave como la consagraci\u00f3n del pan y el vino, o en fechas se\u00f1aladas como Semana Santa, Navidad y A\u00f1o Nuevo. Las campanas grandes de bronce se reservan para el D\u00eda de la Resurrecci\u00f3n. Otras, m\u00e1s peque\u00f1as, suenan cuando fallece un ni\u00f1o, cumpliendo as\u00ed una funci\u00f3n de anuncio y duelo. Todas llevan la marca que las vincula a su lugar de origen: la corona, las llaves de San Pedro y el nombre del artesano que las forj\u00f3."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1750"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 1, "tileid": "99378473-11ab-4362-93e9-6d740ce8bf09"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto musical religioso"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1759 Materiales La campana fue elaborada con una aleaci\u00f3n de metales preciosos compuesta por oro, plata y cobre. Esta mezcla, caracter\u00edstica de las piezas producidas en el periodo jesu\u00edtico, le otorga una sonoridad particular y un gran valor tanto art\u00edstico como espiritual. T\u00e9cnica de elaboraci\u00f3n El m\u00e9todo utilizado para su fabricaci\u00f3n fue la fundici\u00f3n, t\u00e9cnica que consiste en derretir los metales para verterlos en moldes, donde adquieren forma definitiva. Este proceso exig\u00eda precisi\u00f3n, conocimiento de los materiales y un control artesanal que se perfeccion\u00f3 en las misiones jesu\u00edticas. Descripci\u00f3n de la pieza La campana presenta inscripciones en lat\u00edn, acompa\u00f1adas por los s\u00edmbolos distintivos de la corona de San Pedro y las llaves cruzadas, emblemas que reflejan su procedencia y su v\u00ednculo con la autoridad espiritual del papado. Este tipo de piezas dej\u00f3 de elaborarse en 1810, al comenzar el proceso de independencia de la corona espa\u00f1ola. Una de las campanas sufri\u00f3 graves da\u00f1os en 1993, cuando un rayo la alcanz\u00f3 durante una tormenta. Otra result\u00f3 rota por la explosi\u00f3n de una camareta, un artefacto met\u00e1lico lleno de p\u00f3lvora que, al encenderse, lanza una carga explosiva. Este tipo de incidentes refleja la fragilidad de las campanas frente a los elementos naturales y a los rituales festivos contempor\u00e1neos. Descripci\u00f3n del contexto La campana forma parte del ciclo ritual que conmemora la fundaci\u00f3n de la comunidad de San Pedro, dedicada a los santos San Pedro y San Pablo. La festividad representa una renovaci\u00f3n del compromiso espiritual con la fe cristiana, evocando tambi\u00e9n la misi\u00f3n confiada a San Pedro, que en la actualidad contin\u00faa el Papa Francisco. Aun fuera de las fechas festivas principales, las campanas suenan durante todo el a\u00f1o, marcando la celebraci\u00f3n de misas, funerales y fiestas patronales, integr\u00e1ndose en la vida cotidiana del pueblo. Descripci\u00f3n de la funci\u00f3n/uso Su uso est\u00e1 ligado a actos religiosos dentro del calendario lit\u00fargico. Las campanas cumplen funciones espec\u00edficas seg\u00fan el momento del a\u00f1o y la naturaleza del acto que convocan. Cada una de ellas tiene su propio tono, duraci\u00f3n y motivo para ser tocada, diferenciando los tiempos ordinarios de los solemnes. Datos hist\u00f3ricos Elaboradas en una aleaci\u00f3n de oro, plata y cobre, las campanas de San Pedro poseen un timbre singular que las distingue. Se utilizan de manera diferenciada: en tiempo ordinario acompa\u00f1an misas dominicales y servicios para difuntos, mientras que en tiempo solemne suenan durante grandes festividades religiosas. Durante el periodo jesu\u00edtico, San Pedro se destac\u00f3 como un centro de producci\u00f3n artesanal. Las campanas, junto con los textiles y la orfebrer\u00eda, eran los principales elementos intercambiados. En este contexto, los canichana, hombres reconocidos por su fortaleza f\u00edsica, eran capaces de transportar las campanas al hombro desde la fundici\u00f3n, ubicada cerca de la plaza central. Con la llegada de la independencia, esa fundici\u00f3n fue destruida, y a\u00fan hoy es posible encontrar restos met\u00e1licos en la tierra, especialmente visibles durante las lluvias. En \u00e9poca colonial, exist\u00edan circuitos comerciales en los que se intercambiaban productos por metales preciosos. Parte del oro y la plata llegaba desde el cerro de Potos\u00ed, aunque tambi\u00e9n se menciona la existencia de vetas en el Brasil, el r\u00edo Mamor\u00e9 y el cerro San Sim\u00f3n. Diversas regiones encargaban la elaboraci\u00f3n de campanas, proporcionando los metales necesarios. Adem\u00e1s de campanas, se fabricaban manteles tejidos, candelabros y otros objetos lit\u00fargicos. Campanas forjadas en San Pedro fueron enviadas a distintos puntos del pa\u00eds, e incluso al extranjero. Una de ellas se encuentra actualmente en Copacabana, La Paz, y se sabe de otras que llegaron hasta Espa\u00f1a. Existen tambi\u00e9n campanas peque\u00f1as, elaboradas en plata, utilizadas durante la misa en momentos de consagraci\u00f3n, as\u00ed como en celebraciones de Navidad, A\u00f1o Nuevo y Semana Santa. Las m\u00e1s grandes, de bronce, se reservan para el Domingo de Resurrecci\u00f3n. Algunas campanas est\u00e1n destinadas a anunciar la muerte de un ni\u00f1o, marcando as\u00ed el luto comunitario. Todas llevan grabadas la corona y las llaves cruzadas de San Pedro, adem\u00e1s del nombre del artesano que las elabor\u00f3, testimonios materiales de una tradici\u00f3n viva que a\u00fan resuena en San Pedro."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1759"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 2, "tileid": "e17a59f2-afdc-45ba-830c-b5d208337199"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto musical religioso"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1784 Materiales La campana fue elaborada con una aleaci\u00f3n de oro, plata y cobre, metales preciosos que le confieren tanto valor simb\u00f3lico como una sonoridad \u00fanica. Esta mezcla, utilizada en tiempos de las misiones jesu\u00edticas, no solo garantizaba resistencia y durabilidad, sino tambi\u00e9n una resonancia particular que permit\u00eda identificar su timbre. T\u00e9cnica de elaboraci\u00f3n Su fabricaci\u00f3n se realiz\u00f3 mediante la t\u00e9cnica de fundici\u00f3n, que consiste en derretir los metales para verterlos en moldes dise\u00f1ados especialmente. Esta pr\u00e1ctica exig\u00eda gran habilidad por parte de los artesanos, quienes conoc\u00edan las proporciones exactas para lograr la calidad ac\u00fastica y la forma adecuada. La tradici\u00f3n metal\u00fargica en San Pedro alcanz\u00f3 altos niveles de especializaci\u00f3n durante el periodo colonial. Descripci\u00f3n de la pieza Esta campana presenta inscripciones en lat\u00edn, as\u00ed como los s\u00edmbolos distintivos de la corona de San Pedro y las llaves cruzadas, emblemas que identifican su origen y funci\u00f3n religiosa. Su presencia f\u00edsica se mantiene a\u00fan vigente, ya que est\u00e1 colgada en una peque\u00f1a torre ubicada en el atrio de la iglesia de San Pedro. La campana se caracteriza por su gran tama\u00f1o y se emplea en momentos solemnes del calendario lit\u00fargico. Es particularmente significativa durante el viacrucis de Semana Santa, cuando su sonido profundo y melanc\u00f3lico acompa\u00f1a los momentos de reflexi\u00f3n y duelo. Su timbre triste se asocia simb\u00f3licamente con el sufrimiento de Cristo. Descripci\u00f3n del contexto La campana forma parte del patrimonio espiritual y sonoro de San Pedro, donde cada a\u00f1o se celebra la fundaci\u00f3n del pueblo en honor a los santos Pedro y Pablo. La festividad tiene una profunda conexi\u00f3n con la figura del papa Francisco, sucesor de San Pedro, quien contin\u00faa el legado de anunciar el Evangelio. Aunque la celebraci\u00f3n principal se concentra en esa fecha, las campanas de la iglesia suenan a lo largo de todo el a\u00f1o, marcando misas diarias, celebraciones patronales y momentos claves del ciclo ritual cristiano. Descripci\u00f3n de la funci\u00f3n/uso Su uso est\u00e1 estrictamente ligado al calendario religioso. Las campanas se tocan seg\u00fan el momento lit\u00fargico, con variaciones en el ritmo, la duraci\u00f3n y la intensidad del sonido, dependiendo del tipo de ceremonia. Esta diversidad sonora permite a la comunidad reconocer de inmediato la naturaleza del evento religioso que se convoca, incluso desde sus hogares o trabajos. Datos hist\u00f3ricos Las campanas de San Pedro son reconocidas por su fabricaci\u00f3n en metales nobles, lo que les otorga una sonoridad particular y duradera. Cada campana responde a un momento espec\u00edfico del a\u00f1o lit\u00fargico. Las de tiempo ordinario se utilizan en misas dominicales y servicios f\u00fanebres; las de tiempo solemne se reservan para celebraciones mayores como Semana Santa, Navidad o la fiesta patronal. San Pedro fue un importante centro de producci\u00f3n artesanal durante la \u00e9poca de las misiones jesu\u00edticas. All\u00ed se elaboraban campanas, textiles y piezas de orfebrer\u00eda que luego eran intercambiadas o enviadas a otros lugares. Los canichana, pueblo originario de la regi\u00f3n, eran conocidos por su gran fuerza f\u00edsica, cualidad que les permit\u00eda transportar campanas al hombro desde la fundici\u00f3n hasta la iglesia. Esta fundici\u00f3n se hallaba cerca de la plaza central y fue destruida durante los conflictos por la independencia, alrededor de 1810. Hoy en d\u00eda, a\u00fan se pueden ver fragmentos de metal en el suelo durante la temporada de lluvias, vestigios materiales de esa historia. En tiempos coloniales, la producci\u00f3n de campanas no solo respond\u00eda a necesidades locales. Regiones enteras encargaban su fabricaci\u00f3n, proporcionando el oro y la plata requeridos. Parte de estos metales proven\u00eda del cerro de Potos\u00ed, aunque tambi\u00e9n se cree que hubo aportes de vetas ubicadas en el Brasil, en el r\u00edo Mamor\u00e9 y en el cerro San Sim\u00f3n. Adem\u00e1s de campanas, en San Pedro se confeccionaban manteles tejidos, bordados lit\u00fargicos y candelabros, todos destinados al culto religioso. Campanas forjadas en este lugar fueron enviadas a distintas regiones del pa\u00eds. Una de ellas se encuentra actualmente en Copacabana, La Paz, y se sabe de otras que llegaron hasta Espa\u00f1a, lo que da cuenta del alto prestigio alcanzado por estos talleres coloniales. Tambi\u00e9n se elaboraban campanas peque\u00f1as hechas de plata, usadas durante la misa en el momento de la consagraci\u00f3n del pan y el vino, as\u00ed como en celebraciones navide\u00f1as, de a\u00f1o nuevo y durante la Semana Santa. Las campanas grandes de bronce, como la de 1784, se reservan para ocasiones m\u00e1s solemnes, como el Domingo de Resurrecci\u00f3n. Cada una lleva grabadas las llaves cruzadas y la corona de San Pedro, junto con el nombre del artesano que la fundi\u00f3. Entre las m\u00e1s peque\u00f1as, hay unas que se hacen sonar cuando fallece un ni\u00f1o, en se\u00f1al de duelo. Las mismas campanas pueden tocarse tambi\u00e9n los domingos, como parte del llamado a la comunidad para el encuentro lit\u00fargico."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1784"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 3, "tileid": "31c1014c-cf3c-40f3-aa82-bdeb5b247222"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto musical religioso"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1796 Materiales La campana fue elaborada a partir de una aleaci\u00f3n de oro, plata y cobre, una mezcla que le otorga no solo belleza y durabilidad, sino tambi\u00e9n un sonido \u00fanico. Estos metales eran com\u00fanmente utilizados en la regi\u00f3n durante la \u00e9poca de las misiones jesu\u00edticas, debido a su valor simb\u00f3lico. T\u00e9cnica de elaboraci\u00f3n La t\u00e9cnica empleada para su fabricaci\u00f3n fue la fundici\u00f3n. Los metales eran fundidos juntos en hornos especialmente construidos para luego verterse en moldes que defin\u00edan la forma de la campana. Este proceso exig\u00eda gran conocimiento del oficio, ya que de la proporci\u00f3n de los metales depend\u00eda el timbre y la calidad del sonido, as\u00ed como la resistencia del objeto final. Descripci\u00f3n de la pieza Esta campana, al igual que otras de su \u00e9poca, presenta inscripciones en lat\u00edn y est\u00e1 decorada con los s\u00edmbolos distintivos de la corona de San Pedro y las llaves cruzadas, elementos que reflejan su pertenencia a la tradici\u00f3n cristiana y a la jurisdicci\u00f3n papal. Estos grabados serv\u00edan tambi\u00e9n para identificar su origen. La producci\u00f3n de campanas como esta ces\u00f3 en 1810, a\u00f1o que marca el inicio de la independencia respecto a la corona espa\u00f1ola. Esta interrupci\u00f3n coincidi\u00f3 con el colapso de muchas estructuras coloniales, incluidas las fundiciones especializadas en objetos lit\u00fargicos. Descripci\u00f3n del contexto La campana forma parte del patrimonio sonoro de la iglesia de San Pedro, cuya festividad patronal conmemora a los santos Pedro y Pablo. Esta celebraci\u00f3n no solo recuerda la fundaci\u00f3n del pueblo, sino que reafirma el compromiso espiritual de sus habitantes, guiados simb\u00f3licamente por el Papa, sucesor de San Pedro. Aunque la fiesta principal ocurre anualmente, las campanas se tocan durante todo el a\u00f1o, acompa\u00f1ando misas, celebraciones religiosas y otros momentos importantes del calendario lit\u00fargico. Descripci\u00f3n de la funci\u00f3n/uso Su uso est\u00e1 asociado a los actos religiosos del calendario ritual. Cada campana tiene una funci\u00f3n espec\u00edfica y se activa seg\u00fan el tipo de celebraci\u00f3n. Hay un sonido para las misas ordinarias y otro para los eventos solemnes. Esta diferenciaci\u00f3n sonora permite que los fieles identifiquen la naturaleza de la ceremonia sin necesidad de estar presentes en el templo. Datos hist\u00f3ricos Las campanas de San Pedro destacan por su composici\u00f3n met\u00e1lica \u2014oro, plata y cobre\u2014 y por la riqueza de su sonido, que var\u00eda dependiendo del evento que anuncian. En el calendario ritual cristiano se distinguen dos tiempos: el tiempo ordinario, que incluye las misas dominicales y los servicios f\u00fanebres, y el tiempo solemne, reservado para las grandes festividades como Semana Santa, Navidad y otras celebraciones patronales. Durante el periodo jesu\u00edtico, San Pedro fue un centro importante de producci\u00f3n artesanal. Se elaboraban campanas, textiles y orfebrer\u00eda, productos que se intercambiaban con otras misiones o eran enviados a distintas regiones del virreinato. La fuerza de los hombres canichana \u2014pueblo originario de la regi\u00f3n\u2014 fue fundamental para transportar las campanas desde la fundici\u00f3n hasta los campanarios. La fundici\u00f3n se encontraba cerca de la plaza central del pueblo, pero fue destruida en tiempos de la independencia. A\u00fan hoy, cuando llueve, es posible ver restos met\u00e1licos dispersos en el suelo, testigos materiales de ese pasado. En la \u00e9poca colonial, muchas regiones solicitaban la fabricaci\u00f3n de campanas y entregaban oro y plata como forma de pago. Parte de estos metales proven\u00eda del cerro de Potos\u00ed, aunque tambi\u00e9n se afirma que se extra\u00edan de vetas ubicadas en Brasil, en el r\u00edo Mamor\u00e9 y en el cerro San Sim\u00f3n. Adem\u00e1s de campanas, se produc\u00edan manteles bordados, tejidos lit\u00fargicos y candelabros. Las campanas fabricadas en San Pedro fueron distribuidas por distintos puntos del pa\u00eds. Algunas se encuentran en lugares tan emblem\u00e1ticos como Copacabana, en La Paz, y otras incluso llegaron hasta Espa\u00f1a. Exist\u00edan tambi\u00e9n campanas de menor tama\u00f1o, hechas de plata, que se utilizaban durante la misa, en el momento de la consagraci\u00f3n del pan y el vino, y en fechas especiales como el nacimiento de Jes\u00fas, A\u00f1o Nuevo o Semana Santa. Las campanas grandes de bronce se reservaban para momentos de gran solemnidad, como el Domingo de Resurrecci\u00f3n. Todas las campanas llevan grabada la corona papal, las llaves cruzadas y el nombre del artesano que las fundi\u00f3. Las peque\u00f1as, por su parte, suenan cuando fallece un ni\u00f1o, y tambi\u00e9n se tocan durante las misas dominicales, aportando un matiz sonoro particular a los rituales de la comunidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1796"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 4, "tileid": "f237e689-3171-40a1-900f-bb5fc5094a26"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto musical religioso"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1868 Materiales La campana fue elaborada con una aleaci\u00f3n de oro, plata y cobre, una combinaci\u00f3n que no solo aportaba resistencia y durabilidad, sino que tambi\u00e9n generaba un sonido caracter\u00edstico. Esta mezcla de metales nobles era muy valorada por su calidad ac\u00fastica, adem\u00e1s de su simbolismo religioso y cultural. T\u00e9cnica de elaboraci\u00f3n Su fabricaci\u00f3n se realiz\u00f3 mediante fundici\u00f3n. Los tres metales eran fundidos juntos en un proceso que requer\u00eda precisi\u00f3n, experiencia y una infraestructura especializada, como la que exist\u00eda en San Pedro durante el periodo colonial. Una vez fundida la aleaci\u00f3n, el material era vertido en moldes preparados previamente, de los que saldr\u00edan piezas \u00fanicas, muchas veces marcadas con inscripciones religiosas. Descripci\u00f3n de la pieza La campana conserva inscripciones en lat\u00edn y los distintivos emblemas de la corona de San Pedro junto con las llaves cruzadas, s\u00edmbolos que identifican su pertenencia a la Iglesia Cat\u00f3lica y al legado apost\u00f3lico. Aunque las campanas dejaron de fundirse en San Pedro despu\u00e9s de 1810, esta pieza de 1868 se conserva como un testimonio de esa tradici\u00f3n extendida. Actualmente, la campana se encuentra en el suelo, justo al frente de la puerta principal del templo. En su momento colgaba en una torre de adobe, desde donde era tocada para anunciar el inicio del viacrucis durante la Semana Santa. Posteriormente, se construy\u00f3 una torre de madera para reemplazar la original, pero esta no pudo soportar el peso de la campana, por lo que fue retirada. Desde entonces, permanece en tierra, esperando que una nueva estructura le devuelva su voz al templo. Tambi\u00e9n se utilizaba para anunciar la muerte de personas adultas, aunque lleva m\u00e1s de seis a\u00f1os en silencio. Descripci\u00f3n del contexto La campana forma parte del ritual sonoro ligado a la fiesta patronal de San Pedro, una celebraci\u00f3n que conmemora la fundaci\u00f3n del pueblo en honor a los santos San Pedro y San Pablo. Esta festividad representa tambi\u00e9n la continuidad del encargo pastoral heredado por el Papa Francisco, como sucesor del ap\u00f3stol Pedro. Aunque esta campana en particular ya no repica, en San Pedro las campanas siguen formando parte de la vida comunitaria y se hacen sonar durante todo el a\u00f1o, tanto en las misas como en las fiestas patronales y celebraciones religiosas. Descripci\u00f3n de la funci\u00f3n/uso Esta campana estaba destinada a actos del calendario ritual religioso. Su uso respond\u00eda a momentos espec\u00edficos del a\u00f1o lit\u00fargico, y su sonido era parte del lenguaje sonoro que anunciaba, reun\u00eda y convocaba a la comunidad. En especial, era utilizada para el viacrucis y para anunciar fallecimientos. Datos hist\u00f3ricos Las campanas elaboradas en San Pedro eran conocidas por la calidad de su sonido y su funci\u00f3n espec\u00edfica dentro del calendario religioso. Algunas se destinaban al tiempo ordinario \u2014como las misas dominicales o servicios por difuntos\u2014, y otras al tiempo solemne, como las grandes celebraciones religiosas. Durante el periodo jesu\u00edtico, San Pedro fue uno de los principales centros de producci\u00f3n artesanal. Las campanas, junto con los textiles y la orfebrer\u00eda, eran parte del legado cultural de la misi\u00f3n. En esa \u00e9poca, los hombres del pueblo canichana, reconocidos por su fuerza, trasladaban las campanas al hombro desde la fundici\u00f3n cercana a la plaza central. Aunque esta fundici\u00f3n fue destruida durante el proceso de independencia, a\u00fan hoy pueden encontrarse restos de metal en el suelo cuando llueve, vestigios de aquel pasado productivo. En tiempos coloniales, la producci\u00f3n de campanas se realizaba bajo encargo. Regiones que necesitaban estos instrumentos lit\u00fargicos enviaban oro y plata como pago, metales que no solo proven\u00edan del cerro de Potos\u00ed, sino tambi\u00e9n \u2014seg\u00fan distintas versiones\u2014 de vetas ubicadas en Brasil, del r\u00edo Mamor\u00e9 o del cerro San Sim\u00f3n. A cambio, recib\u00edan campanas, manteles tejidos y bordados, o candelabros. Muchas de estas campanas se encuentran hoy en otras regiones de Bolivia, como en Copacabana, La Paz, e incluso algunas fueron enviadas a Espa\u00f1a. Adem\u00e1s de las grandes campanas, tambi\u00e9n se fabricaban otras de menor tama\u00f1o, especialmente de plata. Estas eran tocadas durante la misa en el momento de la consagraci\u00f3n del pan y el vino, en Semana Santa, Navidad y A\u00f1o Nuevo. Las campanas grandes de bronce, por su parte, repicaban en el d\u00eda de la Resurrecci\u00f3n, marcando uno de los momentos m\u00e1s solemnes del calendario cristiano. Cada campana lleva grabada la corona y las llaves cruzadas de San Pedro, junto con el nombre del artesano que la cre\u00f3, lo que las convierte en piezas \u00fanicas de valor hist\u00f3rico y devocional. Las m\u00e1s peque\u00f1as sonaban tambi\u00e9n cuando mor\u00eda un ni\u00f1o, aunque estas mismas pod\u00edan utilizarse en misas dominicales. La campana de 1868, silenciosa pero a\u00fan presente, conserva as\u00ed su lugar como s\u00edmbolo de una herencia viva, a la espera de volver a alzarse y resonar en los cielos de San Pedro."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana 1868"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 5, "tileid": "0efb7573-dce9-438f-8e28-adfe70853245"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto musical religioso"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana s.f. Materiales Esta campana, de fecha desconocida, fue elaborada mediante una aleaci\u00f3n de oro, plata y cobre, combinaci\u00f3n tradicional en San Pedro que otorgaba al instrumento sonoro no solo su tonalidad particular, sino tambi\u00e9n un alto valor simb\u00f3lico. La mezcla de estos metales nobles refleja el estatus que ten\u00edan las campanas dentro del contexto ritual y social de las misiones. T\u00e9cnica de elaboraci\u00f3n El proceso de manufactura consist\u00eda en la fundici\u00f3n de los metales, cuidadosamente mezclados y vertidos en moldes dise\u00f1ados para producir piezas \u00fanicas. La t\u00e9cnica exig\u00eda experiencia y conocimiento espec\u00edfico, lo que da cuenta del alto grado de especializaci\u00f3n alcanzado por los artesanos de San Pedro en tiempos de la colonia. Descripci\u00f3n de la pieza La campana presenta inscripciones en lat\u00edn y los emblemas que identifican su pertenencia eclesi\u00e1stica: la corona de San Pedro y las llaves cruzadas. Estos s\u00edmbolos estaban estrechamente vinculados a la autoridad de la Iglesia Cat\u00f3lica y, en particular, a la figura del ap\u00f3stol Pedro, considerado el primer papa. Aunque no se conoce la fecha exacta de su fundici\u00f3n, se sabe que la elaboraci\u00f3n de campanas en San Pedro ces\u00f3 alrededor de 1810, durante el proceso de independencia de la corona espa\u00f1ola. Descripci\u00f3n del contexto Esta pieza forma parte de las celebraciones en honor a San Pedro y San Pablo, patronos del pueblo que lleva su nombre. La festividad conmemora la fundaci\u00f3n de San Pedro, y es tambi\u00e9n un acto de continuidad espiritual, vinculado al mandato pastoral que el Papa Francisco, como sucesor del ap\u00f3stol Pedro, lleva adelante. A lo largo del a\u00f1o, las campanas se tocan en distintas celebraciones religiosas, desde misas cotidianas hasta fiestas patronales, marcando el ritmo de la vida comunitaria. Descripci\u00f3n de la funci\u00f3n/uso La campana es utilizada en actos del calendario lit\u00fargico, cumpliendo una funci\u00f3n de convocatoria y se\u00f1al dentro del ritual cat\u00f3lico. Su sonido es un elemento que acompa\u00f1a los momentos de oraci\u00f3n, reflexi\u00f3n y celebraci\u00f3n colectiva. Datos hist\u00f3ricos Las campanas elaboradas en San Pedro destacan por su particular sonoridad, producto de la aleaci\u00f3n de metales preciosos. Cada campana estaba destinada a un uso espec\u00edfico y se hac\u00eda sonar seg\u00fan el momento lit\u00fargico correspondiente. Algunas eran empleadas en tiempos ordinarios \u2014como las misas dominicales o los servicios f\u00fanebres\u2014, mientras que otras eran reservadas para las celebraciones solemnes del calendario religioso, como Semana Santa o la Navidad. Durante la \u00e9poca de las misiones jesu\u00edticas, San Pedro se consolid\u00f3 como un centro artesanal importante. Adem\u00e1s de las campanas, se produc\u00edan textiles y piezas de orfebrer\u00eda. Los hombres del pueblo canichana, conocidos por su fuerza, eran capaces de transportar las pesadas campanas al hombro. La fundici\u00f3n, ubicada cerca de la plaza central, funcionaba como un espacio vital de producci\u00f3n hasta que fue destruida en tiempos de la independencia. A\u00fan hoy, tras las lluvias, es posible ver fragmentos de metal dispersos en la tierra, vestigios de esa actividad interrumpida. En el periodo colonial, la producci\u00f3n de campanas no solo abastec\u00eda a San Pedro. Otras regiones encargaban campanas y enviaban oro y plata como forma de pago. Los intercambios inclu\u00edan tambi\u00e9n manteles bordados, tejidos y candelabros. Algunas campanas hechas en San Pedro se encuentran hoy en otros puntos del pa\u00eds, como en Copacabana, La Paz, y algunas fueron enviadas incluso a Espa\u00f1a. Se cuentan varias versiones sobre el origen de los metales utilizados en la fundici\u00f3n. Algunos relatos indican que el oro, la plata y el cobre proven\u00edan de vetas en Brasil, otros mencionan el r\u00edo Mamor\u00e9 o el cerro San Sim\u00f3n como fuentes de estos materiales. Exist\u00edan adem\u00e1s campanas de menor tama\u00f1o, generalmente de plata, que se tocaban en momentos espec\u00edficos de la misa, como durante la consagraci\u00f3n del pan y el vino, o en fechas significativas como Semana Santa, el nacimiento de Jes\u00fas y A\u00f1o Nuevo. Las campanas m\u00e1s grandes, fundidas en bronce, repicaban con fuerza el d\u00eda de la Resurrecci\u00f3n. Otras, peque\u00f1as y delicadas, anunciaban la muerte de un ni\u00f1o, pero tambi\u00e9n se utilizaban durante las celebraciones dominicales. Cada campana llevaba grabada la corona, las llaves cruzadas de San Pedro y el nombre del artesano que la hab\u00eda creado. Estas marcas no solo identificaban su origen, sino que tambi\u00e9n consagraban la campana como objeto sagrado, parte fundamental del entramado sonoro y espiritual del pueblo de San Pedro."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Campana s.f."}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 6, "tileid": "1ffd0f9e-9ade-4c21-8e40-f16eeb01ecd0"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto de culto religioso"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen San Pablo Materiales La imagen est\u00e1 elaborada en madera de cedro, una materia prima caracter\u00edstica por su resistencia y por la suavidad de su textura, ideal para trabajos detallados de escultura religiosa. T\u00e9cnica de elaboraci\u00f3n De acuerdo con el Cat\u00e1logo Registro de Bienes Muebles de las Misiones de Moxos, con c\u00f3digo MX \u2013SPE-ESC-49. Se trata de una escultura de vestir elaborada en madera policromada, tallada y ensamblada con precisi\u00f3n artesanal. La pieza presenta ojos de vidrio, lo que le otorga una expresividad particular, acentuando su funci\u00f3n devocional. Descripci\u00f3n de la pieza Esta escultura representa a San Pablo, f\u00e1cilmente reconocible por la espada que sostiene y su postura erguida. La espada es un atributo iconogr\u00e1fico que lo distingue de otras im\u00e1genes religiosas. El hecho de que est\u00e9 de pie alude a su fortaleza y transformaci\u00f3n espiritual: de perseguidor de cristianos, a ferviente ap\u00f3stol de Cristo. Descripci\u00f3n del contexto La escultura forma parte central de las festividades religiosas que celebran la fundaci\u00f3n del pueblo de San Pedro, dedicadas a los santos San Pedro y San Pablo. Esta celebraci\u00f3n est\u00e1 profundamente vinculada con la misi\u00f3n apost\u00f3lica encomendada por Cristo a Pedro, misi\u00f3n que, seg\u00fan la fe cat\u00f3lica, contin\u00faa hoy a trav\u00e9s del Papa Francisco como su sucesor. Es en este marco que la imagen cobra vida cada a\u00f1o, revistiendo de solemnidad y simbolismo los d\u00edas festivos. Descripci\u00f3n de la funci\u00f3n/uso La imagen de San Pablo se utiliza en las celebraciones religiosas que tienen lugar los d\u00edas 28, 29 y 30 de julio. Durante estos actos festivos, la escultura se convierte en punto de devoci\u00f3n, gu\u00eda de procesiones y parte del ceremonial lit\u00fargico que conmemora la fundaci\u00f3n del pueblo y honra a sus santos patronos. Datos hist\u00f3ricos La espada que porta San Pablo tiene una profunda carga simb\u00f3lica: representa su pasado como soldado de la corona real del emperador romano, cuando persegu\u00eda a los primeros cristianos. Seg\u00fan la tradici\u00f3n cristiana, su vida cambi\u00f3 tras un encuentro m\u00edstico con Jes\u00fas, que lo llev\u00f3 a abandonar su papel de verdugo para convertirse en ap\u00f3stol. Desde entonces, la espada que antes usaba para matar pas\u00f3 a simbolizar su entrega total a la fe. En su otra mano sostiene una biblia, se\u00f1al de su compromiso con el anuncio del Evangelio. El hecho de que est\u00e9 de pie refleja su transformaci\u00f3n: de perseguidor a proclamador de la palabra de Cristo. Por otro lado, la silla que acompa\u00f1a a la imagen de San Pedro \u2014otro de los santos patronos del pueblo\u2014 est\u00e1 decorada con piezas de plata, y las cintas multicolores que adornan la escultura remiten a las tradiciones locales, integrando elementos culturales propios a la devoci\u00f3n cat\u00f3lica. Las im\u00e1genes de San Pedro y San Pablo son muy antiguas; fueron tra\u00eddas desde Roma y han estado presentes desde la fundaci\u00f3n del pueblo, hace m\u00e1s de 325 a\u00f1os. Este origen jesu\u00edtico otorga a las esculturas un profundo valor hist\u00f3rico y espiritual, al ser testigos materiales de la evangelizaci\u00f3n y del sincretismo cultural en las tierras de Moxos."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen San Pablo"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 7, "tileid": "ca25604f-b28a-4d4f-8161-c37459df1817"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto de culto religioso"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen San Pedro Materiales Seg\u00fan el Cat\u00e1logo Registro de Bienes Muebles de las Misiones de Moxos con c\u00f3digo MX-SPE-ESC-48, esta escultura est\u00e1 elaborada en madera policromada. Es una imagen de vestir, trabajada en madera tallada y ensamblada, con detalles como ojos de vidrio que aportan realismo y profundidad a la representaci\u00f3n. T\u00e9cnica de elaboraci\u00f3n La pieza fue tallada manualmente, lo que evidencia la destreza de los antiguos artesanos misionales en el trabajo minucioso de la madera. Esta t\u00e9cnica, propia del arte religioso jesu\u00edtico, resalta en los acabados finos, las proporciones cuidadas y la expresi\u00f3n serena del rostro. Descripci\u00f3n de la pieza Se trata de una escultura que representa a San Pedro. Est\u00e1 sentado, en actitud de autoridad espiritual, y sostiene en su mano un par de llaves, elemento distintivo que lo identifica como el guardi\u00e1n del Reino de los Cielos. Esta posici\u00f3n \u2014sentado\u2014 simboliza su rol como pastor y gu\u00eda del pueblo cristiano, y al mismo tiempo lo vincula visual y simb\u00f3licamente con la figura del Papa. Descripci\u00f3n del contexto La imagen de San Pedro se emplea durante la festividad que conmemora la fundaci\u00f3n del pueblo de San Pedro, celebrada en honor a los santos San Pedro y San Pablo. Esta fiesta tiene un fuerte componente espiritual, ya que recuerda el compromiso del Papa Francisco, sucesor de San Pedro, con la misi\u00f3n de anunciar la buena noticia, al igual que lo hiciera el ap\u00f3stol en su tiempo. Descripci\u00f3n de la funci\u00f3n/uso La escultura de San Pedro es protagonista durante las celebraciones religiosas de los d\u00edas 28, 29 y 30 de julio. Participa en actos lit\u00fargicos, procesiones y otras expresiones festivas donde la comunidad reafirma su fe y su identidad religiosa, reviviendo su historia misional a trav\u00e9s de la devoci\u00f3n. Datos hist\u00f3ricos San Pedro es representado con llaves porque, seg\u00fan la tradici\u00f3n cristiana, Jes\u00fas le confi\u00f3 una misi\u00f3n especial. Le dijo: \u201cT\u00fa eres Pedro, y sobre esta piedra edificar\u00e9 mi Iglesia\u201d. En ese acto simb\u00f3lico, Jes\u00fas le entreg\u00f3 las llaves del Reino de los Cielos, con el poder de atar y desatar: es decir, de perdonar o retener los pecados, tanto en la Tierra como en el Cielo. Esto lo convierte en el administrador espiritual del reba\u00f1o de Cristo, es decir, del pueblo creyente. La postura sentada del ap\u00f3stol refleja su rol pastoral: as\u00ed como el Papa, los obispos y los sacerdotes se sientan para predicar, ense\u00f1ar y guiar a su comunidad, San Pedro es presentado como pastor y gu\u00eda desde su trono. La silla en la que se encuentra la imagen est\u00e1 adornada con piezas de plata, y est\u00e1 cubierta por cintas de colores que reflejan las costumbres y expresiones culturales del lugar. Tanto la imagen de San Pedro como la de San Pablo fueron tra\u00eddas desde Roma. Son esculturas antiguas que datan de los inicios de la fundaci\u00f3n de la misi\u00f3n jesu\u00edtica de San Pedro, hace ya 325 a\u00f1os. Estas im\u00e1genes no solo son testimonios de fe, sino tambi\u00e9n parte del legado hist\u00f3rico y art\u00edstico del pueblo, que guarda en ellas una memoria viva de su origen y su tradici\u00f3n religiosa."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen San Pedro"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 8, "tileid": "eccb9a64-2569-43dc-8451-2e61c678aef0"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tipoy diario Materiales El tipoy diario est\u00e1 confeccionado con tela popelina floreada, a la que se integran detalles decorativos como encaje blanco y cintas de colores. Estos elementos aportan un acabado delicado y tradicional, caracter\u00edstico de la vestimenta femenina de la cultura Canichana. T\u00e9cnica de elaboraci\u00f3n La confecci\u00f3n se realiza con m\u00e1quina de coser, utilizando t\u00e9cnicas de costura que permiten un acabado preciso, ideal para el uso cotidiano y frecuente que este tipo de vestimenta ten\u00eda originalmente. Descripci\u00f3n de la pieza Se trata de un vestido de tres cortes: dos conforman el cuerpo del tipoy, sin mangas y con un largo que llega hasta la media pantorrilla. El tercer corte corresponde al \u201cponchillo\u201d, un sobrecuello amplio, redondo y decorado con encaje, que descansa sobre los hombros y realza el cuello de la prenda. El vestido suele confeccionarse en diversos colores, dependiendo del dise\u00f1o de la tela popelina. Este tipo de tipoy, tradicionalmente utilizado para el uso diario, se distingue por el ponchillo de una sola pieza con encaje blanco, y por la tira de encaje blanco que adorna la parte baja de la falda. Su estilo es propio de la regi\u00f3n Canichana y permite diferenciarlo de otros dise\u00f1os similares usados en otras zonas del Beni. Descripci\u00f3n del contexto El uso del tipoy se realza especialmente durante la fiesta de conmemoraci\u00f3n de la fundaci\u00f3n de San Pedro, celebrada en honor a los santos San Pedro y San Pablo. Esta festividad religiosa y cultural tiene una gran relevancia para la comunidad, al recordar el legado de fe que vincula a los ap\u00f3stoles con el pueblo y su historia misional. En este contexto, el uso del tipoy reafirma el compromiso espiritual y la identidad cultural local, en consonancia con el mensaje de evangelizaci\u00f3n del Papa Francisco, actual sucesor de San Pedro. Descripci\u00f3n de la funci\u00f3n/uso Aunque originalmente fue una prenda de uso cotidiano, hoy el tipoy se reserva para ocasiones especiales como festividades religiosas, actos c\u00edvicos y celebraciones comunales. Es un s\u00edmbolo de identidad cultural para la naci\u00f3n Canichana, y coexiste con el tipoy confeccionado en sat\u00e9n, que es m\u00e1s frecuente en presentaciones formales. Sin embargo, ambos tipos se usan indistintamente durante las celebraciones del pueblo, manteniendo viva la tradici\u00f3n textil de la regi\u00f3n. Datos hist\u00f3ricos El origen del tipoy se remonta a la \u00e9poca de las misiones jesu\u00edticas. Antes de la introducci\u00f3n de la tela como material principal, las mujeres confeccionaban sus vestidos con fibra vegetal extra\u00edda de la corteza del pl\u00e1tano, cuero de anta (tapir) y de ciervo. Con la llegada de los misioneros, estas prendas evolucionaron al uso de algod\u00f3n tejido y posteriormente al uso de telas industriales como la popelina. A pesar de su evoluci\u00f3n, el tipoy diario conserva elementos que lo conectan con su origen ancestral y con la historia de resistencia y continuidad cultural de los pueblos ind\u00edgenas. Hoy, al vestirse con esta prenda en fechas se\u00f1aladas, las mujeres Canichana no solo se adornan, sino que se reconocen en su historia, en su memoria y en su identidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tipoy diario"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 9, "tileid": "f4116d0b-35a0-4c60-b411-29eb15dbd300"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tipoy festivo Materiales El tipoy festivo se elabora con tela de sat\u00e9n, un material que le otorga un car\u00e1cter elegante y vistoso. Se complementa con encajes y cintas decorativas, elementos que realzan su valor simb\u00f3lico y est\u00e9tico dentro de las festividades de la cultura Canichana. T\u00e9cnica de elaboraci\u00f3n La confecci\u00f3n del tipoy festivo se realiza mediante costura a m\u00e1quina, lo que permite precisi\u00f3n en los acabados y uniformidad en los cortes. Esta t\u00e9cnica garantiza una prenda para ser utilizada durante los actos festivos m\u00e1s importantes del calendario cultural y religioso. Descripci\u00f3n de la pieza El tipoy se compone de tres cortes. Dos de ellos forman el cuerpo del vestido, sin mangas y con un largo que llega hasta la media pantorrilla. El tercer corte, denominado \u201cponchillo\u201d, es un sobrecuello amplio, redondo y decorado con encaje blanco. Este detalle, junto con una tira de encaje en la parte baja de la falda, constituye una de las caracter\u00edsticas m\u00e1s distintivas del tipoy Canichana frente a los de otras regiones. El vestido puede presentarse en una amplia gama de colores vivos como verde, lila, amarillo, rojo y celeste, seleccionados seg\u00fan la ocasi\u00f3n o la preferencia de quien lo porta. El uso del sat\u00e9n refuerza su car\u00e1cter ceremonial y festivo. Descripci\u00f3n del contexto El tipoy festivo se luce especialmente durante la celebraci\u00f3n de la fundaci\u00f3n de la poblaci\u00f3n de San Pedro, fiesta realizada en honor a los santos San Pedro y San Pablo. Esta fecha marca un momento central en la vida comunitaria y espiritual del pueblo, vinculado con la historia misional jesu\u00edtica. En esta ocasi\u00f3n, el tipoy festivo se convierte en un s\u00edmbolo vivo de fe, herencia cultural y compromiso comunitario, reflejando tambi\u00e9n el legado evangelizador que el Papa Francisco, sucesor de San Pedro, contin\u00faa en la actualidad. Descripci\u00f3n de la funci\u00f3n/uso Hoy en d\u00eda, el tipoy festivo de sat\u00e9n es utilizado en todas las celebraciones religiosas, as\u00ed como en actos c\u00edvicos y fiestas tradicionales. Esta prenda ha adquirido un rol de emblema cultural, representando la identidad de la naci\u00f3n Canichana. Aunque comparta estructura con otros modelos de tipoy, el dise\u00f1o particular del ponchillo redondo con encaje blanco y la tira decorativa en la falda lo hacen \u00fanico en su estilo y significado dentro de la regi\u00f3n. Datos hist\u00f3ricos El tipoy festivo, tal como se conoce hoy, tiene sus ra\u00edces en la \u00e9poca de las misiones jesu\u00edticas. En sus inicios, las mujeres ind\u00edgenas confeccionaban sus vestidos a partir de materiales naturales como la corteza de pl\u00e1tano, cuero de anta (tapir) y de ciervo. M\u00e1s tarde, comenzaron a usar algod\u00f3n tejido, hasta llegar a la incorporaci\u00f3n de telas industriales como el sat\u00e9n. Este proceso de transformaci\u00f3n no solo muestra una adaptaci\u00f3n t\u00e9cnica, sino tambi\u00e9n la capacidad de preservar una forma de vestir cargada de sentido identitario. Desde su introducci\u00f3n por los jesuitas, el tipoy ha evolucionado, pero sigue manteniendo su funci\u00f3n principal: vestir con dignidad y belleza a las mujeres Canichana durante los momentos m\u00e1s significativos de su vida religiosa y social."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tipoy festivo"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 10, "tileid": "5f1acf76-aea2-4eb7-bcd5-2623a1edb5cc"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La festividad de San Pedro y San Pablo en San Pedro constituye una manifestaci&oacute;n viva de saberes transmitidos a lo largo de generaciones a trav&eacute;s de pr&aacute;cticas rituales y sociales. Las actividades que la componen, como la organizaci&oacute;n comunitaria previa, la elecci&oacute;n del comit&eacute; de festejos, la preparaci&oacute;n de danzas por parte de la escuela, as&iacute; como la participaci&oacute;n de autoridades tradicionales y religiosas, muestran un sistema donde el conocimiento se mantiene y fortalece a trav&eacute;s de la participaci&oacute;n activa y coordinada. Esta forma de transmisi&oacute;n se hace visible tambi&eacute;n en la continuidad de s&iacute;mbolos religiosos &ndash;como las im&aacute;genes de los santos y sus atributos&ndash; y en la preservaci&oacute;n de roles comunitarios que, sin necesidad de estructuras formales de ense&ntilde;anza, garantizan la permanencia del orden festivo y de sus significados espirituales.</p>\n\n<p>Los cantos en canichana y lat&iacute;n, entonados durante la ronda de madrugada, reflejan otra forma de transmisi&oacute;n que integra el componente ling&uuml;&iacute;stico y musical. Aunque algunas partes han perdido su traducci&oacute;n original, la comunidad conserva las letras y las interpreta como parte esencial de la celebraci&oacute;n. Del mismo modo, la manera en que se desarrollan las procesiones, las estaciones de oraci&oacute;n, el ingreso ritual de las im&aacute;genes a la iglesia, y las danzas ejecutadas en su honor, constituyen expresiones que consolidan formas de aprendizaje colectivo. En este contexto, el saber se transmite mediante la repetici&oacute;n c&iacute;clica de la celebraci&oacute;n, la observaci&oacute;n y el involucramiento de las nuevas generaciones en cada detalle de la fiesta, asegurando as&iacute; la continuidad cultural de San Pedro.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 0, "tileid": "32c30c86-b6c5-4ced-aa84-0a1a15e93361"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Con el paso del tiempo, las transformaciones en la festividad de San Pedro y San Pablo han sido inevitables, especialmente debido a la modernizaci&oacute;n y los cambios sociales que afectan a las comunidades. Por ejemplo, la elecci&oacute;n del comit&eacute; de festejos, aunque sigue siendo esencial para la organizaci&oacute;n de la fiesta, ha visto un giro en la composici&oacute;n de sus miembros. Actualmente, el comit&eacute; no solo est&aacute; compuesto por representantes de instituciones locales, sino tambi&eacute;n por autoridades municipales y culturales, lo que indica una mayor formalizaci&oacute;n en la estructura organizativa. La preparaci&oacute;n de las danzas por parte de las escuelas tambi&eacute;n ha adoptado nuevas influencias, fusionando elementos tradicionales con coreograf&iacute;as m&aacute;s contempor&aacute;neas, lo que podr&iacute;a alterar en alg&uacute;n grado la esencia original de las danzas aut&oacute;ctonas.</p>\n\n<p>En cuanto a las actividades religiosas, la escasa presencia de sacerdotes durante el a&ntilde;o ha llevado a que la festividad sea una de las pocas oportunidades para realizar bautizos, lo cual refleja una transformaci&oacute;n en la frecuencia de las ceremonias lit&uacute;rgicas en la comunidad. Esto puede tener implicaciones en la transmisi&oacute;n de los rituales religiosos y en la percepci&oacute;n de la importancia de la festividad dentro de la vida cotidiana de los habitantes de San Pedro. La incorporaci&oacute;n de nuevas tecnolog&iacute;as, como la difusi&oacute;n de la festividad a trav&eacute;s de plataformas digitales o la presencia de medios de comunicaci&oacute;n, tambi&eacute;n ha generado una nueva forma de participaci&oacute;n y observaci&oacute;n, modificando la manera en que la comunidad interact&uacute;a con su tradici&oacute;n. A medida que las generaciones m&aacute;s j&oacute;venes se vinculan con las celebraciones de una forma distinta, los valores tradicionales pueden verse reinterpretados o incluso transformados por la influencia de nuevas tendencias sociales y tecnol&oacute;gicas.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 0, "tileid": "9b2bab84-648d-47a6-93b8-1de3d8f4e315"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales cualidades de la celebraci\u00f3n de San Pedro y San Pablo es su capacidad para articular a distintos actores de la comunidad en torno a una organizaci\u00f3n conjunta. La participaci\u00f3n activa de representantes de instituciones educativas, autoridades locales, delegados culturales y habitantes en general refuerza la cohesi\u00f3n social y fortalece el sentido de pertenencia. Esta articulaci\u00f3n no solo garantiza la continuidad del evento, sino que tambi\u00e9n permite a los m\u00e1s j\u00f3venes integrarse y aprender mediante la pr\u00e1ctica directa. Otra expresi\u00f3n significativa de su solidez se encuentra en la permanencia de elementos simb\u00f3licos que han resistido el paso del tiempo. Las im\u00e1genes de los santos, las danzas, y otros elementos significativos constituyen un testimonio tangible de la memoria colectiva. La disposici\u00f3n de las im\u00e1genes durante la misa, el ingreso ritual de espaldas al altar y la diferenciaci\u00f3n en las representaciones de San Pedro y San Pablo aportan una riqueza visual que refuerza su valor espiritual. A esto se suma la ronda de versos en idioma canichana y lat\u00edn, una manifestaci\u00f3n que revela el esfuerzo de la comunidad por conservar su patrimonio ling\u00fc\u00edstico y expresivo, incluso cuando ciertos significados se han perdido con los a\u00f1os. Estos elementos permiten que la pr\u00e1ctica siga siendo significativa para sus participantes, quienes reconocen en ella un legado compartido."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 0, "tileid": "0079cbf9-8545-4cf0-b75b-02ffb0ae2652"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Una de las amenazas que enfrenta la celebraci&oacute;n de San Pedro y San Pablo es la disminuci&oacute;n en la presencia de sacerdotes en la comunidad. Esta limitaci&oacute;n restringe la realizaci&oacute;n de sacramentos como el bautismo, que durante la festividad se convierte en una de las pocas oportunidades del a&ntilde;o para llevarse a cabo. La reducci&oacute;n del acompa&ntilde;amiento religioso podr&iacute;a debilitar con el tiempo la dimensi&oacute;n espiritual de la pr&aacute;ctica, afectando su significado profundo. Del mismo modo, si las nuevas generaciones no logran establecer v&iacute;nculos s&oacute;lidos con los contenidos simb&oacute;licos de la fiesta, el proceso de renovaci&oacute;n cultural corre el riesgo de fragmentarse.</p>\n\n<p>Otro factor preocupante es la p&eacute;rdida parcial de la lengua en la interpretaci&oacute;n de los versos canichana entonados durante la ronda de madrugada. Aunque la letra se mantiene, algunas partes ya no cuentan con traducci&oacute;n, lo que indica una posible desconexi&oacute;n con el conocimiento original. Este debilitamiento ling&uuml;&iacute;stico afecta la riqueza expresiva del ritual y puede generar una p&eacute;rdida gradual de identidad cultural. La creciente influencia de expresiones ajenas, el uso de tecnolog&iacute;as sin criterios de resguardo cultural o la falta de inter&eacute;s institucional por apoyar pr&aacute;cticas locales, tambi&eacute;n pueden poner en peligro la continuidad de esta tradici&oacute;n profundamente ligada a la historia y memoria de San Pedro.</p>\n\n<p>La falta de registro de todos los elementos representativos de las manifestaciones culturales anuales del pueblo Canichana es otro factor preponderante que influye en la perdida de conocimientos.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "72914486-cfc5-4505-833c-abefdaa8cc92", "provisionaledits": null, "resourceinstance_id": "3d35b074-8cd3-47c5-83ce-994cb083a111", "sortorder": 0, "tileid": "677454c9-bbff-43ac-bc68-7c6d27258d6b"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:55.801", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000050, "}, "es": {"description": "San Pedro. 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Danza Toro Bayo"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ae3f4c9f-2199-48c7-90df-1aaad69a3388", "sortorder": 0, "tileid": "bf22f6b5-8443-4ddf-b947-51f88c18b411"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ae3f4c9f-2199-48c7-90df-1aaad69a3388", "sortorder": 0, "tileid": "cc5558dd-ee25-4f22-b8ae-520674ee9542"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Danza Toro Bayo</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La Danza Toro Bayo se caracteriza por la presencia de una estructura que representa a un toro, sostenida en su interior por dos personas. Esta estructura cuenta con una m&aacute;scara grande en forma de toro y originalmente estaba recubierta con cuero de vaca. En la actualidad, el cuero ha sido sustituido por una tela blanca adornada con cintas multicolores.</p>\n\n<p>Durante la danza, las mujeres llamadas Memes y los toritos bailan alrededor de la estructura, creando un ambiente festivo y din&aacute;mico. En la celebraci&oacute;n, los participantes simulan el jocheo, es decir, la acci&oacute;n de jugar con el toro, y algunos incluso se montan en la estructura, generalmente ni&ntilde;os, ya que no es lo suficientemente resistente para soportar el peso de un adulto.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Como muchas otras danzas tradicionales, la Danza Toro Bayo dej&oacute; de representarse por varios a&ntilde;os, pero recientemente se ha impulsado su recuperaci&oacute;n debido a su importancia dentro de las festividades religiosas y culturales.</p>\n\n<p>Cada danza ten&iacute;a un momento espec&iacute;fico del a&ntilde;o en el que pod&iacute;a ejecutarse, lo que reforzaba su significado en la comunidad. Gracias a los esfuerzos de las profesoras del colegio Juan Maraza, en coordinaci&oacute;n con el Instituto de Lengua y Cultura Canichana, se ha trabajado en la recuperaci&oacute;n de esta tradici&oacute;n, brindando m&uacute;sica y ense&ntilde;ando la coreograf&iacute;a a nuevas generaciones.</p>\n\n<p>Para fortalecer la preservaci&oacute;n de estas expresiones culturales, se ha instituido un festival de danzas tradicionales, que se celebra cada 23 de julio, en la v&iacute;spera de la fiesta de San Pedro y San Pablo.</p>\n\n<p>Hace aproximadamente dos d&eacute;cadas, la m&uacute;sica de la Danza Toro Bayo fue distribuida a algunos pobladores de San Pedro por la familia Dur&aacute;n. Sin embargo, una inundaci&oacute;n provoc&oacute; la p&eacute;rdida de las grabaciones.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana tom&oacute; la iniciativa de buscar a la familia Dur&aacute;n, logrando recuperar las melod&iacute;as gracias a Pedro y Segundo Dur&aacute;n. Actualmente, el instituto resguarda este material y ha identificado la existencia de otras m&uacute;sicas desconocidas, por lo que se prev&eacute; realizar investigaciones para determinar su origen y significado.</p>\n\n<p>La Danza Toro Bayo est&aacute; vinculada a la narrativa del nacimiento de Cristo. Seg&uacute;n la tradici&oacute;n, Jes&uacute;s naci&oacute; en un corral, rodeado de diversos animales, entre ellos un toro de color negro. Al ver que el ni&ntilde;o no ten&iacute;a abrigo, el toro se acerc&oacute; y le brind&oacute; calor con su cuerpo.</p>\n\n<p>Por esta raz&oacute;n, esta danza tiene una fuerte presencia en la celebraci&oacute;n de la Navidad. Se dice que el color negro del toro es lo que se denomina bayo, de ah&iacute; el nombre de la danza.</p>\n\n<p>En la Nochebuena, el Toro Bayo es el primero en ingresar a la iglesia a la medianoche, llevando una ofrenda de monedas. All&iacute;, baila frente al pesebre, y tras su presentaci&oacute;n, la comunidad tambi&eacute;n puede dejar monedas como ofrenda al Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la coreograf&iacute;a</strong></p>\n\n<p>La estructura del Toro Bayo, sostenida por dos personas en su interior, imita los movimientos de un toro bravo, siguiendo el ritmo marcado por la tamborita. Su baile se caracteriza por movimientos ondulantes y pasos que evocan la energ&iacute;a del animal.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La m&uacute;sica de la Danza Toro Bayo es interpretada con los siguientes instrumentos tradicionales:</p>\n\n<ul>\n\t<li>Flauta</li>\n\t<li>Caja</li>\n\t<li>Bombo</li>\n</ul>\n\n<p>La interpretaci&oacute;n musical est&aacute; a cargo de La Bombilla-, agrupaci&oacute;n musical</p>\n\n<p>AUDIO: COD.TB.MU_Toro Bayo (soporte digital CARPETA: m&uacute;sica de danzas canichana).</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "cc5558dd-ee25-4f22-b8ae-520674ee9542", "provisionaledits": null, "resourceinstance_id": "ae3f4c9f-2199-48c7-90df-1aaad69a3388", "sortorder": 0, "tileid": "7c54df26-ac27-4236-a13a-79d120c47e40"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Toro Bayo Materiales La pieza est\u00e1 compuesta por elementos que combinan materiales tradicionales y simb\u00f3licos: cuero de vaca, una m\u00e1scara en forma de toro, cintas multicolores y palos de chuch\u00edo. Los cuernos utilizados en la estructura son reales, lo que refuerza su realismo y carga simb\u00f3lica. Las cintas que cuelgan a los lados representan las sogas con las que se suele sujetar al ganado, evocando la pr\u00e1ctica ganadera de la regi\u00f3n. T\u00e9cnica de elaboraci\u00f3n Su confecci\u00f3n es totalmente manual, realizada por personas de la comunidad que conocen la tradici\u00f3n. Esta t\u00e9cnica permite que cada pieza conserve detalles particulares, transmitiendo no solo un conocimiento pr\u00e1ctico, sino tambi\u00e9n un sentido de pertenencia cultural. Descripci\u00f3n de la pieza Se trata de una estructura con forma de toro, cuyo cuerpo es hueco y est\u00e1 cubierto con cuero de vaca. En su parte delantera, lleva una cabeza construida con una m\u00e1scara que imita el rostro del animal, y se le integran cuernos reales, d\u00e1ndole un aspecto imponente. Las cintas que cuelgan a los lados refuerzan el v\u00ednculo con las pr\u00e1cticas ganaderas. Su dise\u00f1o permite que dos personas se introduzcan en su interior para darle movimiento, simulando con sus pasos y gestos el comportamiento de un toro bravo durante la danza. Descripci\u00f3n del contexto Esta representaci\u00f3n forma parte de la festividad de San Pedro y San Pablo, que conmemora la fundaci\u00f3n de la poblaci\u00f3n de San Pedro. El evento est\u00e1 cargado de significado religioso, ya que San Pedro es considerado el primer Papa, y se celebra el compromiso del actual pont\u00edfice, Francisco, como continuador de esta misi\u00f3n evangelizadora. En este contexto, el Toro Bayo aparece como una figura central de la celebraci\u00f3n, cargada de simbolismo y religiosidad. Descripci\u00f3n de la funci\u00f3n/uso La figura del toro representa al ganado vacuno que introdujeron los jesuitas durante su permanencia en territorio canichana. Es una danza festiva, que se presenta en m\u00faltiples celebraciones, aunque su momento m\u00e1s destacado es la Navidad. Durante la Nochebuena, el toro ingresa a la iglesia a medianoche como el primer oferente ante el pesebre del Ni\u00f1o Jes\u00fas, llevando monedas que luego son ofrecidas tambi\u00e9n por la comunidad. Esta danza no solo es expresi\u00f3n art\u00edstica, sino tambi\u00e9n una forma de conexi\u00f3n espiritual y social. Datos hist\u00f3ricos Por muchos a\u00f1os, esta y otras danzas tradicionales dejaron de representarse, poniendo en riesgo su permanencia en la memoria colectiva. Cada danza ten\u00eda un momento espec\u00edfico para ejecutarse dentro del calendario festivo, y no pod\u00eda presentarse en fechas distintas. En los \u00faltimos a\u00f1os, las profesoras del colegio Juan Maraza, en coordinaci\u00f3n con el Instituto de Lengua y Cultura Canichana, han liderado un proceso de recuperaci\u00f3n. El instituto proporciona las m\u00fasicas, mientras que en las aulas se ense\u00f1an los pasos y el significado de las danzas. Como parte de este esfuerzo, se cre\u00f3 un festival de danzas tradicionales, que tiene lugar cada 23 de julio, en la v\u00edspera de la fiesta de San Pedro y San Pablo. Esta iniciativa ha contribuido a revitalizar danzas que estaban al borde del olvido. Hace aproximadamente veinte a\u00f1os, la m\u00fasica del Toro Bayo fue distribuida por la familia Dur\u00e1n a algunos pobladores, pero una inundaci\u00f3n provoc\u00f3 la p\u00e9rdida de los discos. Tiempo despu\u00e9s, el Instituto de Lengua y Cultura Canichana localiz\u00f3 a Pedro y Segundo Dur\u00e1n, quienes entregaron nuevamente las grabaciones. Estas composiciones se encuentran hoy resguardadas por el instituto, que tambi\u00e9n ha identificado piezas musicales sin nombre ni procedencia clara, lo que abre una nueva l\u00ednea de investigaci\u00f3n para conocer su origen. La danza, con todo su trasfondo simb\u00f3lico, remite tanto al legado jesu\u00edtico como al relato navide\u00f1o. El toro, como figura presente en el nacimiento de Jes\u00fas, evoca la escena del pesebre, donde el animal ofreci\u00f3 calor al ni\u00f1o reci\u00e9n nacido. Esta representaci\u00f3n refuerza el v\u00ednculo entre las tradiciones locales, la espiritualidad y la historia compartida del pueblo Canichana."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Toro Bayo"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "cc5558dd-ee25-4f22-b8ae-520674ee9542", "provisionaledits": null, "resourceinstance_id": "ae3f4c9f-2199-48c7-90df-1aaad69a3388", "sortorder": 0, "tileid": "4e636115-bb34-473c-bc90-0a8158855d77"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En las comunidades de San Pedro, los conocimientos sobre la Danza Toro Bayo se han transmitido a lo largo de generaciones a trav&eacute;s de la participaci&oacute;n activa y la observaci&oacute;n de las actividades relacionadas con las festividades. Las personas involucradas en la danza, como las Memes y los toritos, han aprendido el significado de la danza y sus movimientos al ser parte de ella, ya sea como observadores o como bailarines. Los m&aacute;s j&oacute;venes han tenido la oportunidad de aprender directamente de los mayores, quienes les han ense&ntilde;ado la coreograf&iacute;a, los pasos y el simbolismo detr&aacute;s de los movimientos del toro. Esta transmisi&oacute;n se refuerza durante las celebraciones anuales, como el festival de danzas tradicionales, donde las nuevas generaciones participan de manera activa, asegurando que la danza no solo se conserve, sino que tambi&eacute;n evolucione en su forma.</p>\n\n<p>Adem&aacute;s, la m&uacute;sica que acompa&ntilde;a a la danza ha jugado un papel crucial en el proceso de ense&ntilde;anza. La distribuci&oacute;n de las melod&iacute;as de la Danza Toro Bayo por la familia Dur&aacute;n a los pobladores y su posterior recuperaci&oacute;n por el Instituto de Lengua y Cultura Canichana ha permitido que los sonidos tradicionales se conserven. Los instrumentos tradicionales, como la flauta, la caja y el bombo, son esenciales en la interpretaci&oacute;n de la danza, y su aprendizaje es un proceso compartido entre los miembros de la comunidad. Las composiciones musicales no solo se ense&ntilde;an mediante la pr&aacute;ctica, sino tambi&eacute;n mediante el contexto en el que se tocan, proporcionando una comprensi&oacute;n m&aacute;s profunda de las ra&iacute;ces culturales y religiosas asociadas a la danza.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "cc5558dd-ee25-4f22-b8ae-520674ee9542", "provisionaledits": null, "resourceinstance_id": "ae3f4c9f-2199-48c7-90df-1aaad69a3388", "sortorder": 0, "tileid": "50303320-bf8f-4fd8-a499-3f912776af79"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de la Danza Toro Bayo ha atravesado modificaciones visibles a lo largo del tiempo, tanto en sus elementos materiales como en su contexto de ejecuci&oacute;n. Un ejemplo claro es el reemplazo del cuero de vaca, que originalmente cubr&iacute;a la estructura del toro, por una tela blanca decorada con cintas de colores. A su vez, el hecho de que la estructura actual no soporte el peso de un adulto y solo pueda ser montada por ni&ntilde;os sugiere ajustes en su elaboraci&oacute;n, posiblemente para facilitar su uso.</p>\n\n<p>El entorno en el que se desarrolla la danza tambi&eacute;n ha experimentado un proceso de revitalizaci&oacute;n. Durante un periodo, esta manifestaci&oacute;n cultural dej&oacute; de practicarse, lo que provoc&oacute; una p&eacute;rdida moment&aacute;nea de su presencia en la vida comunitaria. Sin embargo, gracias a iniciativas educativas y al trabajo coordinado entre docentes y el Instituto de Lengua y Cultura Canichana, la danza ha sido recuperada y reintroducida en el calendario festivo local. Este proceso no solo ha implicado el rescate de la m&uacute;sica y los pasos coreogr&aacute;ficos, sino tambi&eacute;n la creaci&oacute;n de nuevos espacios de presentaci&oacute;n, como el festival anual del 23 de julio. De este modo, se ha generado una din&aacute;mica que combina elementos antiguos con nuevas formas de preservaci&oacute;n y participaci&oacute;n.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "cc5558dd-ee25-4f22-b8ae-520674ee9542", "provisionaledits": null, "resourceinstance_id": "ae3f4c9f-2199-48c7-90df-1aaad69a3388", "sortorder": 0, "tileid": "e8c9dc5f-4dc9-4ad6-b714-92582fd86e95"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Uno de los aspectos m\u00e1s valiosos de la Danza Toro Bayo es su profunda conexi\u00f3n con la espiritualidad y las creencias locales. La historia que asocia al toro con el nacimiento de Jes\u00fas, brindando calor al reci\u00e9n nacido en el pesebre, le otorga un sentido religioso que fortalece su presencia en las celebraciones navide\u00f1as. Esta dimensi\u00f3n simb\u00f3lica se refuerza cada Nochebuena, cuando el toro entra primero a la iglesia con una ofrenda de monedas y baila frente al pesebre, invitando a la comunidad a hacer lo mismo. Esta acci\u00f3n no solo reafirma la importancia del toro dentro del relato, sino que tambi\u00e9n fortalece el sentimiento de unidad y devoci\u00f3n entre los participantes. Tambi\u00e9n es destacable el esfuerzo comunitario en la recuperaci\u00f3n y continuidad de esta expresi\u00f3n cultural. Las profesoras del colegio Juan Maraza, junto al Instituto de Lengua y Cultura Canichana, han logrado reactivar la danza mediante la ense\u00f1anza de la m\u00fasica y la coreograf\u00eda a las nuevas generaciones. Esta labor ha permitido que ni\u00f1as, ni\u00f1os y j\u00f3venes se involucren activamente, dando continuidad a la pr\u00e1ctica en un entorno participativo y festivo. La revalorizaci\u00f3n de las melod\u00edas, especialmente las rescatadas por Pedro y Segundo Dur\u00e1n, as\u00ed como la identificaci\u00f3n de composiciones a\u00fan no reconocidas, apuntan a una reserva cultural viva que puede seguir enriqueciendo la celebraci\u00f3n. La institucionalizaci\u00f3n de un festival el 23 de julio ha dado lugar a un escenario propicio para fortalecer el v\u00ednculo de la comunidad con sus tradiciones."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "cc5558dd-ee25-4f22-b8ae-520674ee9542", "provisionaledits": null, "resourceinstance_id": "ae3f4c9f-2199-48c7-90df-1aaad69a3388", "sortorder": 0, "tileid": "b5a894ea-a4d6-4fa8-92f7-a541ff3d2c8d"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Una de las amenazas m&aacute;s evidentes que enfrenta la Danza Toro Bayo es la p&eacute;rdida progresiva de elementos originales que formaban parte de su representaci&oacute;n. El reemplazo del cuero de vaca por tela blanca decorada con cintas, si bien responde a necesidades pr&aacute;cticas, refleja tambi&eacute;n una posible desvinculaci&oacute;n con los materiales tradicionales. Esta modificaci&oacute;n puede parecer menor, pero representa un proceso gradual de transformaci&oacute;n que, con el tiempo, podr&iacute;a debilitar el v&iacute;nculo con los significados ancestrales. Asimismo, la fragilidad de la estructura actual, que impide que personas adultas participen montando el toro, limita la reproducci&oacute;n completa del juego simb&oacute;lico del jocheo, especialmente para quienes recuerdan la pr&aacute;ctica original.</p>\n\n<p>A esto se suma la interrupci&oacute;n que sufri&oacute; la danza durante varios a&ntilde;os, un periodo en el que su ejecuci&oacute;n qued&oacute; ausente de las festividades locales. Esta discontinuidad pone en evidencia la vulnerabilidad de la pr&aacute;ctica frente a cambios sociales, desinter&eacute;s o falta de transmisi&oacute;n generacional. La fragilidad del registro de las pr&aacute;cticas conduce a la ausencia del resguardo de los saberes, si no se cuentan con mecanismos s&oacute;lidos de archivo y documentaci&oacute;n los saberes est&aacute;n en franco peligro de olvido. Aunque se logr&oacute; recuperar parte del repertorio gracias a la familia Dur&aacute;n, a&uacute;n existen composiciones sin identificar, lo que sugiere la posibilidad de que parte de este legado haya desaparecido o est&eacute; en riesgo de quedar en el olvido si no se impulsa una investigaci&oacute;n constante y comprometida.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "cc5558dd-ee25-4f22-b8ae-520674ee9542", "provisionaledits": null, "resourceinstance_id": "ae3f4c9f-2199-48c7-90df-1aaad69a3388", "sortorder": 0, "tileid": "b89ba0ae-f69c-4679-92cd-a73089e836be"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:55.208", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000048, "}, "es": {"description": "San Pedro. Danza Pillu", "map_popup": "Beni", "name": "PI-080102-00-00-000048, San Pedro. Danza Pillu"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000048, San Pedro. Danza Pillu", "principaluser_id": 26, "resourceinstanceid": "06ccf50f-6fcb-4aab-88ad-c139817b08df", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de San Pedro y San Pablo"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000048", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Danza Pillu"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "06ccf50f-6fcb-4aab-88ad-c139817b08df", "sortorder": 0, "tileid": "1b15ce80-a676-421f-869f-3775fee09bf1"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.88483886719114, -14.339780059661862], "type": "Point"}, "id": "a17eab85ac15eb5b1ac39941ce20bd93", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000013'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "06ccf50f-6fcb-4aab-88ad-c139817b08df", "sortorder": 0, "tileid": "a6ab4eb5-de60-4639-ac7f-6053fcfca990"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizahe colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el proceso de revitalizaci&oacute;n de la Danza Pillu, se evidencian diversas formas en que se comparte y conserva el conocimiento asociado a esta manifestaci&oacute;n cultural. Uno de los caminos m&aacute;s significativos ha sido la participaci&oacute;n activa de miembros de la comunidad que a&uacute;n conservan en su memoria las formas antiguas del baile. Su testimonio ha sido clave para reconstruir la coreograf&iacute;a actual, mediante encuentros promovidos por el Instituto de Lengua y Cultura Canichana. Asimismo, el uso de trajes confeccionados con plumas de pillu y m&aacute;scaras que replican la cabeza del ave fortalece la conexi&oacute;n entre lo simb&oacute;lico y lo ritual, elementos que son interpretados y ense&ntilde;ados desde la experiencia vivida y compartida por generaciones.</p>\n\n<p>Otra v&iacute;a importante ha sido la articulaci&oacute;n entre instituciones educativas y culturales. El trabajo conjunto entre las profesoras del colegio Juan Maraza y el Instituto de Lengua y Cultura Canichana ha posibilitado la ense&ntilde;anza de la danza en contextos escolares, incorporando la m&uacute;sica original recuperada gracias a la colaboraci&oacute;n de los hermanos Dur&aacute;n. La celebraci&oacute;n del festival de danzas tradicionales cada 23 de julio refuerza esta pr&aacute;ctica como un espacio comunitario de encuentro, donde el aprendizaje se produce a trav&eacute;s de la participaci&oacute;n, la observaci&oacute;n directa del ritual y la repetici&oacute;n colectiva. La documentaci&oacute;n sonora resguardada por el instituto, junto con las investigaciones en curso sobre m&uacute;sicas a&uacute;n no identificadas, muestra c&oacute;mo el archivo y la escucha tambi&eacute;n funcionan como formas actuales de transmisi&oacute;n.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "0102bebc-682e-4dd1-b469-139f73e51f38", "provisionaledits": null, "resourceinstance_id": "06ccf50f-6fcb-4aab-88ad-c139817b08df", "sortorder": 0, "tileid": "4929fa5f-d2b5-4dda-b5ca-b2423f33280f"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "06ccf50f-6fcb-4aab-88ad-c139817b08df", "sortorder": 0, "tileid": "0102bebc-682e-4dd1-b469-139f73e51f38"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Danza Pillu</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La Danza Pillu representa al p&aacute;jaro pillu, un ave similar al &ntilde;and&uacute;, que seg&uacute;n la tradici&oacute;n estuvo presente en el nacimiento del Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>Originalmente, esta danza se bailaba en Navidad, pero con el tiempo ha sido recuperada y se interpreta en otras festividades, especialmente en la celebraci&oacute;n de San Pedro y San Pablo, cada 29 de junio.</p>\n\n<p>El traje de los danzantes est&aacute; compuesto por dos piezas, una en forma de chaqueta y otra como falda, ambas elaboradas con telas a las que se cosen o pegan plumas de pillu. Adem&aacute;s, los bailarines utilizan una m&aacute;scara de cart&oacute;n con la forma de la cabeza del ave.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La Danza Pillu, al igual que otras danzas tradicionales, estuvo en riesgo de desaparecer con el tiempo. Sin embargo, gracias a los esfuerzos de la comunidad, se ha logrado recuperarla y reintegrarla a las festividades religiosas. Cada danza ten&iacute;a una funci&oacute;n espec&iacute;fica dentro de las celebraciones y no pod&iacute;a ejecutarse fuera de su contexto tradicional.</p>\n\n<p>Las profesoras del colegio Juan Maraza, en coordinaci&oacute;n con el Instituto de Lengua y Cultura Canichana, han trabajado en su rescate y ense&ntilde;anza, proveyendo la m&uacute;sica y difundiendo su importancia cultural.</p>\n\n<p>Para fortalecer esta labor, se ha instaurado un festival anual de danzas tradicionales, que se celebra el 23 de julio, antes de la festividad de San Pedro y San Pablo. Hace dos d&eacute;cadas, la m&uacute;sica de la Danza Pillu fue distribuida por la familia Dur&aacute;n entre algunos pobladores de San Pedro. Sin embargo, debido a una inundaci&oacute;n, las grabaciones se perdieron, al igual que ocurri&oacute; con otras familias que las pose&iacute;an.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana asumi&oacute; la tarea de recuperar las melod&iacute;as, logrando obtener nuevas grabaciones gracias a Pedro y Segundo Dur&aacute;n, quienes compartieron su material. Actualmente, el instituto guarda estos archivos como parte de su trabajo de conservaci&oacute;n.</p>\n\n<p>Durante este proceso, se identifican otras m&uacute;sicas sin nombre, que podr&iacute;an corresponder a danzas a&uacute;n no documentadas, por lo que se realizar&aacute;n investigaciones para su identificaci&oacute;n. La Danza Pillu simboliza la presencia de las aves en el nacimiento del Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la coreograf&iacute;a</strong></p>\n\n<p>Actualmente, la coreograf&iacute;a de la Danza Pillu ha sido recreada, ya que no se cuenta con registros precisos de su forma original. Sin embargo, a&uacute;n existen personas en la comunidad que recuerdan c&oacute;mo se bailaba antiguamente.</p>\n\n<p>El Instituto de Lengua y Cultura Canichana tiene la tarea de reunir a estos conocedores para establecer la forma tradicional del baile y garantizar su preservaci&oacute;n y transmisi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La Danza Pillu se baila al ritmo de una chovena, g&eacute;nero musical caracter&iacute;stico de la regi&oacute;n.</p>\n\n<p>La m&uacute;sica es interpretada con los siguientes instrumentos tradicionales:</p>\n\n<ul>\n\t<li>Flauta</li>\n\t<li>Caja</li>\n\t<li>Bombo</li>\n</ul>\n\n<p>La ejecuci&oacute;n musical est&aacute; a cargo de La Bombilla, agrupaci&oacute;n m&uacute;sical.</p>\n\n<p>AUDIO: COD.PI.MU_Pillu (soporte digital CARPETA: m&uacute;sica de danzas canichana).</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "0102bebc-682e-4dd1-b469-139f73e51f38", "provisionaledits": null, "resourceinstance_id": "06ccf50f-6fcb-4aab-88ad-c139817b08df", "sortorder": 0, "tileid": "7ee5a7b6-8ce5-48be-b0ba-d355bf17affa"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica asociada a la Danza Pillu ha experimentado modificaciones con el paso del tiempo, especialmente en cuanto a su temporalidad y funci&oacute;n dentro del calendario festivo. Si bien su ejecuci&oacute;n estaba originalmente vinculada a la Navidad, en la actualidad se la presenta con mayor fuerza durante la celebraci&oacute;n de San Pedro y San Pablo, el 29 de junio. Este desplazamiento en el calendario responde tanto a la necesidad de revitalizar expresiones culturales que se encontraban en riesgo de desaparecer, como al deseo de otorgarles un nuevo espacio en las festividades locales. La inclusi&oacute;n de la danza en el festival del 23 de julio refuerza esta reubicaci&oacute;n simb&oacute;lica, permitiendo su integraci&oacute;n a un contexto m&aacute;s amplio de celebraci&oacute;n comunitaria.</p>\n\n<p>Tambi&eacute;n han ocurrido transformaciones en el modo de ejecuci&oacute;n. La ausencia de registros detallados sobre la forma original del baile llev&oacute; a una reinterpretaci&oacute;n coreogr&aacute;fica basada en el recuerdo de algunos pobladores. Este proceso ha implicado una recreaci&oacute;n, no exenta de tensiones entre fidelidad y adaptaci&oacute;n, que responde tanto a las limitaciones de la memoria oral como a la necesidad de presentar una versi&oacute;n viable para su transmisi&oacute;n. El vestuario se mantiene como un elemento identitario central, aunque puede haber variaciones en los materiales empleados. La m&uacute;sica, cuya p&eacute;rdida fue ocasionada por desastres naturales, ha sido reconstruida gracias al aporte de algunas familias, lo que a&ntilde;ade nuevas capas de significado a la pr&aacute;ctica, al vincularla no solo con la tradici&oacute;n sino tambi&eacute;n con el esfuerzo de conservaci&oacute;n frente a la p&eacute;rdida.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "0102bebc-682e-4dd1-b469-139f73e51f38", "provisionaledits": null, "resourceinstance_id": "06ccf50f-6fcb-4aab-88ad-c139817b08df", "sortorder": 0, "tileid": "1638d5a8-9959-4c4d-aa12-19fa88402e8a"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las mayores virtudes que sostiene la Danza Pillu es el compromiso intergeneracional por mantener viva la memoria colectiva. La implicaci\u00f3n activa de las profesoras del colegio Juan Maraza, en coordinaci\u00f3n con el Instituto de Lengua y Cultura Canichana, ha permitido integrar esta expresi\u00f3n cultural al \u00e1mbito educativo, generando espacios de ense\u00f1anza donde las nuevas generaciones pueden aprender su valor simb\u00f3lico y est\u00e9tico. La creaci\u00f3n de un festival anual cada 23 de julio fortalece este v\u00ednculo, al permitir que la comunidad participe de forma directa en su ejecuci\u00f3n y transmisi\u00f3n. Estos encuentros no solo celebran la danza, sino que la consolidan como parte esencial del tejido social local. Tambi\u00e9n resulta significativa la capacidad de la comunidad para responder ante la p\u00e9rdida material. La recuperaci\u00f3n de la m\u00fasica original, gracias a la colaboraci\u00f3n de Pedro y Segundo Dur\u00e1n, refleja una red de solidaridad cultural que protege los saberes heredados. El hecho de que el Instituto conserve los nuevos registros musicales y contin\u00fae investigando otras melod\u00edas a\u00fan no identificadas, demuestra una voluntad de seguir explorando y fortaleciendo el repertorio cultural local. La continuidad del uso de instrumentos tradicionales, como la flauta, la caja y el bombo, mantiene viva la sonoridad de la regi\u00f3n y reafirma la conexi\u00f3n entre territorio, identidad y expresi\u00f3n art\u00edstica."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "0102bebc-682e-4dd1-b469-139f73e51f38", "provisionaledits": null, "resourceinstance_id": "06ccf50f-6fcb-4aab-88ad-c139817b08df", "sortorder": 0, "tileid": "0df9d66d-6168-4030-bb78-42750a77851d"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La Danza Pillu enfrenta diversos factores que podr&iacute;an afectar su continuidad. Uno de los principales riesgos es la falta de documentaci&oacute;n escrita y audiovisual sobre la forma original del baile. La recreaci&oacute;n actual se basa &uacute;nicamente en los recuerdos de algunas personas mayores de la comunidad, lo que implica una alta vulnerabilidad frente al paso del tiempo y la posible p&eacute;rdida de testimonios clave.</p>\n\n<p>Tambi&eacute;n se percibe una amenaza en la p&eacute;rdida del contexto ritual original. La danza, que en sus or&iacute;genes se interpretaba exclusivamente durante la Navidad, ha sido desplazada a otras festividades, como San Pedro y San Pablo, y al festival del 23 de julio. Si bien este cambio ha permitido su permanencia, tambi&eacute;n puede generar una desvinculaci&oacute;n con los significados iniciales. El uso del traje tradicional elaborado con plumas de pillu podr&iacute;a verse comprometido si disminuye el acceso a materiales o el conocimiento de su confecci&oacute;n. Sin medidas claras de conservaci&oacute;n y fortalecimiento comunitario, las futuras generaciones podr&iacute;an enfrentar dificultades para comprender plenamente el sentido profundo de esta expresi&oacute;n cultural.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "0102bebc-682e-4dd1-b469-139f73e51f38", "provisionaledits": null, "resourceinstance_id": "06ccf50f-6fcb-4aab-88ad-c139817b08df", "sortorder": 0, "tileid": "d95ad029-ca7d-42ac-8fc6-0c237e295eb1"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:57.310", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000054, "}, "es": {"description": "San Pedro. Versos canichana", "map_popup": "Beni", "name": "PI-080102-00-00-000054, San Pedro. Versos canichana"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000054, San Pedro. Versos canichana", "principaluser_id": 26, "resourceinstanceid": "b9500f10-a3e6-4f69-88ca-f50a316f607d", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de San Pedro y San Pablo"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000054", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Versos canichana"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "b9500f10-a3e6-4f69-88ca-f50a316f607d", "sortorder": 0, "tileid": "8ab7619a-700e-4880-92b7-af88a5a80921"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "b9500f10-a3e6-4f69-88ca-f50a316f607d", "sortorder": 0, "tileid": "71f740ae-87b0-4d42-85df-fe127fe1c239"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Versos canichana</strong></p>\n\n<p>&nbsp;</p>\n\n<p>Los versos canichana son una expresi&oacute;n tradicional ligada a la Fiesta de San Pedro y San Pablo. Su forma de expresi&oacute;n es festiva, ya que se recita durante los actos celebratorios de esta festividad.</p>\n\n<p>&nbsp;</p>\n\n<p>Esta manifestaci&oacute;n tiene lugar en la &eacute;poca seca, cuando las condiciones clim&aacute;ticas favorecen la realizaci&oacute;n de las festividades. El origen de esta manifestaci&oacute;n se remonta al periodo colonial, siendo una de las formas de preservar la tradici&oacute;n oral.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado social del verso/canci&oacute;n</strong></p>\n\n<p>Los versos y canciones son una invitaci&oacute;n a la comunidad para participar en la fiesta de San Pedro y San Pablo. La letra de los versos es una mezcla entre lat&iacute;n e idioma canichana. Aunque la traducci&oacute;n exacta de los cantos y versos se desconoce, estos se mantienen vivos en la memoria colectiva, ya que se cantan en cada festividad. Esta combinaci&oacute;n de idiomas, en particular el uso del lat&iacute;n, remonta los versos a la &eacute;poca colonial.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participantes</strong></p>\n\n<p>Las principales participantes en este canto festivo son las memes, las se&ntilde;oras mayores de la comunidad, quienes son las encargadas de recordar y transmitir estos versos. Estas mujeres, algunas ya viviendo fuera del pueblo o en Trinidad, tienen edades entre los 70 y 80 a&ntilde;os. Son las &uacute;ltimas guardianas de esta tradici&oacute;n, ya que despu&eacute;s de ellas, no se conocen m&aacute;s cantantes de los versos canichana.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La ronda de versos se canta despu&eacute;s de la misa dedicada a los santos San Pedro y San Pablo. Se sol&iacute;a recorrer todo el pueblo visitando cada casa, celebrando la fiesta con los vecinos. El mismo d&iacute;a en que termina el jocheo del toro, la ronda de versos sal&iacute;a a recorrer las calles del pueblo. Existen versos especiales para esta festividad, que invitan a la comunidad a festejar. El canto de las memes era acompa&ntilde;ado de viol&iacute;n, caja y bombo, con dos vaquetas. Sin embargo, los versos, aunque grabados, se cantaban en una mezcla de lat&iacute;n y canichana, y al no estar escritos, permanecen en la memoria de las mujeres adultas mayores.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Proceso de la actividad</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Antes de la enunciaci&oacute;n de los versos/cantos</strong></p>\n\n<p>Las memes se preparan semanas antes, ensayando los versos los s&aacute;bados o domingos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>En el momento de la enunciaci&oacute;n del verso/canto</strong></p>\n\n<p>Los versos eran cantados a las cuatro de la ma&ntilde;ana sin acompa&ntilde;amiento de viol&iacute;n, caja y bombo. No recorr&iacute;an el pueblo, sino que se cantaban frente a la iglesia, ahora ya no se realiza, lo cual representa una p&eacute;rdida de costumbres en la poblaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Despu&eacute;s de la enunciaci&oacute;n de los versos/cantos</strong></p>\n\n<p>Tras la actuaci&oacute;n en la madrugada, las mujeres regresan a sus hogares, continuando con la celebraci&oacute;n en sus propios espacios.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Observaciones</strong></p>\n\n<p>La tradici&oacute;n de cantar los versos canichana est&aacute; disminuyendo, y con ello se va perdiendo una parte significativa.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "71f740ae-87b0-4d42-85df-fe127fe1c239", "provisionaledits": null, "resourceinstance_id": "b9500f10-a3e6-4f69-88ca-f50a316f607d", "sortorder": 0, "tileid": "1165d3db-f425-4c36-9d6a-a2d3ab1676c4"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de cantar los versos canichana ha experimentado transformaciones significativas debido a varios factores, entre ellos, el cambio generacional y la urbanizaci&oacute;n. Las mujeres mayores que sol&iacute;an ser las portadoras de esta tradici&oacute;n est&aacute;n en proceso de desaparecer, lo que deja una brecha en la transmisi&oacute;n del conocimiento. La falta de nuevas generaciones que aprendan y mantengan esta pr&aacute;ctica ha llevado a la p&eacute;rdida gradual de la tradici&oacute;n. Anteriormente, la interpretaci&oacute;n de los versos era un acto colectivo que se realizaba con instrumentos tradicionales y recorr&iacute;a todo el pueblo. Hoy en d&iacute;a, esta pr&aacute;ctica ha cambiado, pues los cantos ya no se realizan en las calles ni se acompa&ntilde;an de los instrumentos musicales, y las mujeres cantan en solitario, a menudo sin el acompa&ntilde;amiento festivo que caracterizaba la festividad.</p>\n\n<p>Adem&aacute;s, la falta de registros escritos ha contribuido a que los versos se canten de manera imprecisa y sin la riqueza de su contexto original. El hecho de que se basen exclusivamente en la memoria de las participantes ha provocado que algunas partes del verso se pierdan o se distorsionen con el tiempo. La ausencia de una estructura formal para conservar esta tradici&oacute;n, como la escritura o la grabaci&oacute;n m&aacute;s sistem&aacute;tica, dificulta su perpetuaci&oacute;n en su forma aut&eacute;ntica. Con el paso de los a&ntilde;os y el alejamiento de las memes de la comunidad, se teme que la pr&aacute;ctica de cantar los versos en la Fiesta de San Pedro y San Pablo se extinga, junto con su valor simb&oacute;lico y cultural.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "71f740ae-87b0-4d42-85df-fe127fe1c239", "provisionaledits": null, "resourceinstance_id": "b9500f10-a3e6-4f69-88ca-f50a316f607d", "sortorder": 0, "tileid": "86806377-f569-4967-9a44-118c5978d224"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89445190429971, -14.33711903431032], "type": "Point"}, "id": "625a5265fb328327bb30dd5af146cb20", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000019'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "b9500f10-a3e6-4f69-88ca-f50a316f607d", "sortorder": 0, "tileid": "bb368a75-d839-4c47-b395-0fdd6d1d337b"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La pr\u00e1ctica de los versos canichana cuenta con una fuerte base en la memoria colectiva, siendo uno de los aspectos que ha permitido su perduraci\u00f3n a lo largo de generaciones. A pesar de no estar escrita, la transmisi\u00f3n de los cantos sigue viva gracias a las mujeres mayores de la comunidad, conocidas como las memes, quienes son las encargadas de recordarlos y compartirlos con las nuevas generaciones. Este proceso de ense\u00f1anza basado en la oralidad ha mantenido la tradici\u00f3n intacta durante d\u00e9cadas, lo que refleja una forma de resistencia cultural que desaf\u00eda el paso del tiempo. La participaci\u00f3n activa de estas mujeres es fundamental para que los versos contin\u00faen siendo un elemento central en la Fiesta de San Pedro y San Pablo, manteniendo as\u00ed un lazo fuerte entre los miembros de la comunidad. Otra fortaleza de esta pr\u00e1ctica es la capacidad de los versos canichana para integrar elementos del pasado y del presente. La combinaci\u00f3n de lat\u00edn con el idioma canichana en los versos refleja un crisol de influencias culturales desde la \u00e9poca colonial, fusionando lenguas y tradiciones que siguen siendo relevantes en la actualidad. Esta mezcla de idiomas y la interpretaci\u00f3n festiva de los versos no solo conserva una parte de la historia de la comunidad, sino que tambi\u00e9n fomenta la identidad cultural local. Los cantos, aunque no acompa\u00f1ados siempre de instrumentos, siguen siendo un medio para convocar a la comunidad a la participaci\u00f3n en las festividades, fortaleciendo el sentido de pertenencia y cohesi\u00f3n entre los habitantes del pueblo."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "71f740ae-87b0-4d42-85df-fe127fe1c239", "provisionaledits": null, "resourceinstance_id": "b9500f10-a3e6-4f69-88ca-f50a316f607d", "sortorder": 0, "tileid": "32fdc3ab-851e-4467-89b5-6dc365cb0f92"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En la comunidad de San Pedro, la transmisi&oacute;n de los versos canichana es un proceso que ha sido mantenido a lo largo de generaciones, principalmente por las mujeres mayores de la localidad, conocidas como las memes. Estas mujeres, en su mayor&iacute;a de entre 70 y 80 a&ntilde;os, tienen la responsabilidad de recordar y compartir estos cantos tradicionales que se recitan durante la Fiesta de San Pedro y San Pablo. A lo largo de las festividades, las memes no solo recitan los versos, sino que tambi&eacute;n crean un ambiente festivo y participativo, invitando a la comunidad a unirse a la celebraci&oacute;n. A pesar de la falta de registros escritos, los versos permanecen vivos en la memoria colectiva gracias a la repetici&oacute;n y a la participaci&oacute;n activa de las mujeres, quienes los ensayan de manera ritualizada antes de las festividades. Este mecanismo de ense&ntilde;anza basado en la memoria y la pr&aacute;ctica oral ha sido esencial para preservar esta tradici&oacute;n.</p>\n\n<p>Sin embargo, este proceso de transmisi&oacute;n se encuentra en peligro de extinci&oacute;n, ya que las nuevas generaciones no han continuado con el aprendizaje y la interpretaci&oacute;n de los versos. El canto, que antiguamente era acompa&ntilde;ado por instrumentos tradicionales como el viol&iacute;n, la caja y el bombo, ha ido perdiendo su forma original, ya que los versos se han cantado sin acompa&ntilde;amiento musical. La falta de un sistema formal para documentar o escribir estos versos ha provocado que, con el paso del tiempo, se difuminen los detalles espec&iacute;ficos de la letra y su significado. A medida que las &uacute;ltimas guardianas de esta tradici&oacute;n se alejan de la comunidad, los versos canichana corren el riesgo de desaparecer, y con ello, una parte significativa de la historia y la identidad cultural de San Pedro.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "71f740ae-87b0-4d42-85df-fe127fe1c239", "provisionaledits": null, "resourceinstance_id": "b9500f10-a3e6-4f69-88ca-f50a316f607d", "sortorder": 0, "tileid": "ea45076a-b716-452c-958e-190ca8257ca2"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la pr&aacute;ctica de los versos canichana es la desaparici&oacute;n de las &uacute;ltimas generaciones que a&uacute;n recuerdan y transmiten esta tradici&oacute;n. Las mujeres mayores, conocidas como las memes, son las encargadas de mantener viva esta manifestaci&oacute;n cultural. Sin embargo, al estar en edades avanzadas, su capacidad para continuar con la ense&ntilde;anza de los versos est&aacute; disminuyendo. Con la ausencia de j&oacute;venes dispuestas a aprender y reproducir esta tradici&oacute;n, la pr&aacute;ctica corre el riesgo de extinguirse, lo que conlleva a la p&eacute;rdida de una parte significativa de la identidad cultural de la comunidad de San Pedro.</p>\n\n<p>El deterioro de las condiciones sociales y culturales tambi&eacute;n representa una amenaza para la continuidad de los versos canichana. La urbanizaci&oacute;n y el cambio de estilo de vida han afectado directamente a las festividades, ya que las nuevas generaciones se alejan de las costumbres rurales y de la importancia de estas celebraciones. Las transformaciones en los espacios de la festividad, como la desaparici&oacute;n de las rondas que recorr&iacute;an el pueblo, limitan la visibilidad y la participaci&oacute;n en la pr&aacute;ctica. La falta de registros escritos y la desaparici&oacute;n de las formas tradicionales de ejecuci&oacute;n, como el acompa&ntilde;amiento musical, hacen que los versos se pierdan en su esencia original, contribuyendo al debilitamiento de la pr&aacute;ctica en su totalidad.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "71f740ae-87b0-4d42-85df-fe127fe1c239", "provisionaledits": null, "resourceinstance_id": "b9500f10-a3e6-4f69-88ca-f50a316f607d", "sortorder": 0, "tileid": "9ab4c16b-c896-4c7d-b825-6000b9af570b"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:56.781", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000052, "}, "es": {"description": "San Pedro. Lengua Canichana", "map_popup": "Beni", "name": "PI-080102-00-00-000052, San Pedro. Lengua Canichana"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000052, San Pedro. Lengua Canichana", "principaluser_id": 26, "resourceinstanceid": "05e8de3f-3671-4e7e-a2d5-e64aad0ed588", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tradici\u00f3n oral"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000052", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Lengua Canichana"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "05e8de3f-3671-4e7e-a2d5-e64aad0ed588", "sortorder": 0, "tileid": "e07bfd22-233a-49e5-bd76-dfb59ab68e7f"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89307861328483, -14.33844955094726], "type": "Point"}, "id": "ea08a82c351125a440584651742562ff", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000017'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "05e8de3f-3671-4e7e-a2d5-e64aad0ed588", "sortorder": 0, "tileid": "de88eca9-0c9a-49ad-b271-1027a96da473"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "05e8de3f-3671-4e7e-a2d5-e64aad0ed588", "sortorder": 0, "tileid": "08f91147-6022-42cb-a9be-baf0a3e9a051"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Lengua Canichana</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La lengua Canichana tiene un origen precolonial , siendo parte del patrimonio cultural del pueblo Canichana.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Valor para la poblaci&oacute;n</strong></p>\n\n<p>El idioma canichana representa un factor fundamental de identidad, permitiendo a la comunidad recordar su historia y fortalecer sus lazos culturales. Su importancia radica en que es el medio a trav&eacute;s del cual el pueblo Canichana mantiene viva su memoria colectiva mediante cuentos, canciones, actos religiosos y festivos, as&iacute; como su medicina tradicional y alimentaci&oacute;n.</p>\n\n<p>El uso diario del idioma no solo facilita la transmisi&oacute;n de conocimientos ancestrales, sino que tambi&eacute;n fortalece el reconocimiento y cohesi&oacute;n del pueblo Canichana a trav&eacute;s de sus generaciones.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Hablantes</strong></p>\n\n<p>Seg&uacute;n los par&aacute;metros establecidos por el Instituto de Lengua y Cultura Canichana (ILC-C) para medir el nivel de aprendizaje de la lengua, la poblaci&oacute;n hablante se clasifica de la siguiente manera:</p>\n\n<ul>\n\t<li>Adultos mayores (sabios): nivel b&aacute;sico</li>\n\t<li>Personas adultas: conocen palabras sueltas</li>\n\t<li>J&oacute;venes: tienen conocimiento de algunas palabras</li>\n\t<li>Ni&ntilde;os (por influencia de la escuela y el ILC-C): nivel b&aacute;sico</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>A pesar de estos niveles de conocimiento, solo un peque&ntilde;o grupo dentro de la comunidad puede escribir y hablar la lengua canichana con fluidez.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Las investigaciones sobre la lengua canichana comenzaron con la b&uacute;squeda de sabias y sabios que a&uacute;n registraban el idioma. Como no exist&iacute;a un alfabeto establecido, el proceso comenz&oacute; con la traducci&oacute;n de palabras, us&aacute;ndolas como base para la ense&ntilde;anza. Actualmente, se est&aacute; elaborando el Diccionario de la Lengua Canichana de Saberes y Conocimientos, es un esfuerzo para recopilar y preservar el idioma.</p>\n\n<p>&nbsp;</p>\n\n<p>Durante a&ntilde;os, el canichana dej&oacute; de hablarse debido a la discriminaci&oacute;n por parte de los carayanas (no ind&iacute;genas), quienes rechazaban a quienes no hablaban castellano. Esta situaci&oacute;n llev&oacute; a que los padres dejaran de transmitir el idioma a sus hijos, rompiendo as&iacute; la cadena de ense&ntilde;anza en el hogar, el primer espacio de continuidad cultural.</p>\n\n<p>&nbsp;</p>\n\n<p>Hoy en d&iacute;a, muchas personas adultas en la comunidad se reh&uacute;san a aprender el idioma, mientras que los hablantes parciales lo han dejado de usar por la falta de interlocutores. No existen personas que dominen completamente la lengua.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["009ee1ce-817d-434f-aaab-2d4a5dd352d1", "d2a24278-85f8-422d-85c6-24e4009f191f", "e9e6832e-0883-48a5-ba21-5f851b7450ed"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "08f91147-6022-42cb-a9be-baf0a3e9a051", "provisionaledits": null, "resourceinstance_id": "05e8de3f-3671-4e7e-a2d5-e64aad0ed588", "sortorder": 0, "tileid": "d08f2d9b-2dce-41ad-860d-708ff1b2642b"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales factores que amenaza la continuidad de esta pr&aacute;ctica es la falta de espacios reales para su uso cotidiano. Si bien ni&ntilde;as y ni&ntilde;os la aprenden en el &aacute;mbito escolar, esta ense&ntilde;anza se limita a expresiones b&aacute;sicas como saludos o nombres de objetos. Al no contar con un entorno familiar que refuerce lo aprendido, el conocimiento se vuelve fr&aacute;gil y f&aacute;cilmente olvidable. Muchas madres y padres no hablan el idioma, lo que impide su pr&aacute;ctica en casa. Esta desconexi&oacute;n intergeneracional limita la posibilidad de que las nuevas generaciones desarrollen una relaci&oacute;n m&aacute;s profunda con su idioma y con los conocimientos que lo acompa&ntilde;an.</p>\n\n<p>A este contexto se suma la ausencia de docentes especializados en el nivel secundario, lo cual afecta directamente a los adolescentes. Al no recibir formaci&oacute;n continua, los j&oacute;venes dejan de usar el idioma en su vida diaria, lo que deriva en una p&eacute;rdida progresiva de lo aprendido. La falta de interlocutores de su misma edad y de adultos que dominen la lengua con fluidez hace a&uacute;n m&aacute;s dif&iacute;cil que puedan mantenerla viva. Algunos sabios de la comunidad han expresado su preocupaci&oacute;n por este deterioro, se&ntilde;alando que incluso la pronunciaci&oacute;n original ya se est&aacute; perdiendo, como ocurre con un sonido especial de la &ldquo;N&rdquo; que actualmente no se utiliza.</p>\n\n<p>Los esfuerzos del Instituto de Lengua y Cultura Canichana para generar materiales de apoyo tambi&eacute;n enfrentan limitaciones. Si bien se han distribuido contenidos en formatos digitales como memorias USB y discos compactos, estos recursos abarcan m&uacute;ltiples lenguas ind&iacute;genas del pa&iacute;s, lo que reduce considerablemente el contenido espec&iacute;fico disponible sobre el idioma canichana. La escasez de material adaptado a los distintos niveles de aprendizaje dificulta la planificaci&oacute;n pedag&oacute;gica y restringe las posibilidades de profundizaci&oacute;n en el aula y fuera de ella. Esta situaci&oacute;n debilita el impacto del trabajo educativo, especialmente en contextos donde los docentes requieren herramientas m&aacute;s enfocadas.</p>\n\n<p>Por otra parte, no existen propuestas dirigidas a personas adultas de la comunidad, lo cual reduce las oportunidades para reforzar la pr&aacute;ctica ling&uuml;&iacute;stica en el hogar o en espacios comunitarios. Aunque el Instituto organiza talleres abiertos, la baja participaci&oacute;n de la poblaci&oacute;n limita su efectividad. La ausencia de un alfabeto estandarizado, pese a los avances alcanzados, sigue siendo una barrera en el proceso de ense&ntilde;anza-aprendizaje, ya que impide que los hablantes cuenten con una gu&iacute;a clara para la lectura y escritura. En conjunto, estos factores crean un escenario de vulnerabilidad en el que la lengua, aunque a&uacute;n no desaparecida, corre el riesgo de continuar perdiendo vigencia.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "08f91147-6022-42cb-a9be-baf0a3e9a051", "provisionaledits": null, "resourceinstance_id": "05e8de3f-3671-4e7e-a2d5-e64aad0ed588", "sortorder": 0, "tileid": "a64f958e-d438-43eb-b14e-97ab27ea4fd2"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En la comunidad de San Pedro, la lengua canichana ha sido compartida hist&oacute;ricamente a trav&eacute;s de espacios &iacute;ntimos y colectivos como el hogar, los rituales religiosos, las celebraciones festivas y las pr&aacute;cticas tradicionales relacionadas con la medicina y la alimentaci&oacute;n. Estas formas de aprendizaje se apoyaban en la convivencia cotidiana, donde las generaciones mayores, consideradas portadoras de saberes, ejerc&iacute;an un papel central al relatar cuentos, entonar canciones o preparar remedios. As&iacute;, el idioma no solo cumpl&iacute;a una funci&oacute;n comunicativa, sino que encarnaba una forma de vivir y entender el mundo compartida por toda la comunidad.</p>\n\n<p>Sin embargo, este entramado de aprendizajes sufri&oacute; una fractura profunda durante los a&ntilde;os en que el uso del canichana fue motivo de discriminaci&oacute;n. La presi&oacute;n ejercida por los carayanas provoc&oacute; el abandono del idioma en el seno familiar, impidiendo que ni&ntilde;as y ni&ntilde;os lo aprendieran desde temprana edad. Esta interrupci&oacute;n fue determinante: al dejar de usarse en el hogar, tambi&eacute;n se debilit&oacute; su presencia en otros espacios comunitarios. Actualmente, el rescate de este conocimiento se enfrenta al desaf&iacute;o de revitalizar su uso cotidiano, tarea impulsada por iniciativas como el Instituto de Lengua y Cultura Canichana y el desarrollo de herramientas como el diccionario, que buscan reactivar procesos de aprendizaje intergeneracional dentro y fuera de la escuela.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "08f91147-6022-42cb-a9be-baf0a3e9a051", "provisionaledits": null, "resourceinstance_id": "05e8de3f-3671-4e7e-a2d5-e64aad0ed588", "sortorder": 0, "tileid": "eba670cf-3937-4538-addb-2853257304b5"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica ling&uuml;&iacute;stica del pueblo Canichana ha atravesado cambios significativos a lo largo del tiempo, particularmente por las consecuencias de la discriminaci&oacute;n ejercida por hablantes de castellano. Esta presi&oacute;n social provoc&oacute; que muchas familias optaran por dejar de usar su idioma en el entorno dom&eacute;stico, afectando directamente su continuidad. En lugar de ser compartido de manera natural en la ni&ntilde;ez, el conocimiento del idioma comenz&oacute; a fragmentarse, limit&aacute;ndose a algunas palabras sueltas retenidas por adultos y j&oacute;venes. La transmisi&oacute;n espont&aacute;nea en contextos cotidianos se redujo, debilitando el v&iacute;nculo entre generaciones y dejando como resultado un uso limitado, sin hablantes plenos.</p>\n\n<p>Actualmente, la ense&ntilde;anza del idioma se ve impulsada por esfuerzos institucionales como los del Instituto de Lengua y Cultura Canichana, que buscan revitalizar su uso mediante procesos formales de aprendizaje. Este nuevo enfoque representa una transformaci&oacute;n significativa: de una pr&aacute;ctica vivencial basada en la oralidad y la convivencia comunitaria, se ha pasado a un proceso m&aacute;s sistematizado, apoyado en registros escritos como el diccionario en elaboraci&oacute;n. La participaci&oacute;n escolar, sobre todo entre ni&ntilde;as y ni&ntilde;os, ha generado una base m&iacute;nima de conocimiento que podr&iacute;a permitir un resurgimiento a futuro, aunque la falta de interlocutores fluidos contin&uacute;a siendo una limitaci&oacute;n importante para su recuperaci&oacute;n plena.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "08f91147-6022-42cb-a9be-baf0a3e9a051", "provisionaledits": null, "resourceinstance_id": "05e8de3f-3671-4e7e-a2d5-e64aad0ed588", "sortorder": 0, "tileid": "1ebd9544-a7a0-4a1a-b3a2-8add6d249ab1"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Todas las investigaciones en curso tienen como objetivo fortalecer y comunicar la lengua canichana. Para ello, el Instituto de Lengua y Cultura Canichana ha desarrollado un alfabeto y una estructura gramatical. Adem\u00e1s, el instituto investiga relatos hist\u00f3ricos, como la historia de la campana enterrada por Juan Maraza en la loma Cocharca, y crea cuentos en el idioma canichana basados en estas narraciones.  Se est\u00e1 trabajando en la recuperaci\u00f3n de saberes ancestrales, como el uso de la medicina tradicional, que incluy\u00f3 la preparaci\u00f3n de infusiones para la prevenci\u00f3n del COVID-19. Tambi\u00e9n hay investigaciones sobre el uso del aceite de totai, la producci\u00f3n y procesamiento del algod\u00f3n para la elaboraci\u00f3n de textiles, y la labor de las parteras comunitarias, quienes acompa\u00f1an el proceso de gestaci\u00f3n, parto y posparto en la comunidad.  Un t\u00e9cnico del Instituto de Lengua y Cultura Canichana ense\u00f1a el idioma a ni\u00f1os de cero a cinco a\u00f1os, lo que ha despertado el inter\u00e9s de muchas madres por la ense\u00f1anza del canichana. En estas clases se imparten conocimientos sobre partes del cuerpo, nombres de la familia, frutas, saludos, d\u00edas de la semana, colores y n\u00fameros.  En el colegio, la ense\u00f1anza del idioma comienza en educaci\u00f3n inicial, donde una profesora especializada imparte clases. En el nivel primario, otra docente trabaja en la ense\u00f1anza del idioma. Adem\u00e1s, el Instituto colabora en la organizaci\u00f3n del Festival de Danzas del Colegio, proporcionando la m\u00fasica de danzas tradicionales en proceso de recuperaci\u00f3n. Tambi\u00e9n particip\u00f3 en el evento con declamaciones y cantos traducidos al canichana. Sin embargo, estas acciones no son suficientes ya que no abarca todos los niveles y no incluye a los adultos mayores que tienen conocimiento del idioma.  Desde hace siete a\u00f1os, la profesora del idioma ha trabajado en la traducci\u00f3n de poes\u00edas y saludos requeridos en eventos como la elecci\u00f3n de la moperita."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "08f91147-6022-42cb-a9be-baf0a3e9a051", "provisionaledits": null, "resourceinstance_id": "05e8de3f-3671-4e7e-a2d5-e64aad0ed588", "sortorder": 0, "tileid": "aa262b5a-930a-4e46-b335-87d366302ee0"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:57.741", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000055, "}, "es": {"description": "San Javier. Danza Machetero", "map_popup": "Beni", "name": "PI-080102-00-00-000055, San Javier. Danza Machetero"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000055, San Javier. Danza Machetero", "principaluser_id": 26, "resourceinstanceid": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta Virgen del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000055", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Danza Machetero"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 0, "tileid": "0f697c2a-40ef-498b-878b-ec5e8832fd71"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Ornamento de plumas"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Se utilizan plumas de paraba (rojas y azules), loro (verdes) y toju (amarillas), adem\u00e1s de tacuarilla, hilos encerados con cera de abeja criolla y palma para la base. T\u00e9cnica de elaboraci\u00f3n La confecci\u00f3n es manual y puede tardar hasta un mes si se tienen todos los materiales. Se parte elaborando un peine en forma de medio c\u00edrculo donde se colocar\u00e1n las plumas. Los hilos deben ser encerados con cera de abejas criollas, recolectada de panales maduros de cuatro a seis a\u00f1os. La recolecci\u00f3n se realiza ahuyentando a las abejas con humo para extraer el dulce y la cera. Las cuerdas se enceran al finalizar para evitar que los amarres se deshagan. La canastilla que sostiene el plumaje se fabrica con palma y se adapta al tama\u00f1o de la cabeza de quien lo porta. Descripci\u00f3n de la pieza Es una armaz\u00f3n decorada con largas plumas de colores: rojo o azul de paraba, verde de loro y amarillo de toju. En la parte posterior se colocan plumas m\u00e1s peque\u00f1as, generalmente del pecho de la paraba. Descripci\u00f3n de la funci\u00f3n/uso El plumaje identifica visualmente a los macheteros en sus danzas guerreras durante los actos religiosos. Se cuenta con cuatro estructuras de plumaje actualmente en uso. Datos hist\u00f3ricos El uso del plumaje tiene ra\u00edces profundas, aunque su simbolismo se ha perdido con el tiempo. Se emplea en eventos religiosos y tradicionales, y los macheteros, organizados desde 1971, siguen utilizando estos tocados. La familia Jou contin\u00faa siendo central en la organizaci\u00f3n. Aunque se ha perdido el conocimiento de algunos instrumentos como el repicador, el plumaje sigue siendo un emblema de identidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Plumaje \u2013 Danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 6, "tileid": "a8d7fbdc-d2c4-4557-adbf-df46a85372f9"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 0, "tileid": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.87522583007659, -14.60173538431033], "type": "Point"}, "id": "f2686d94992fd3d80dec44fee7f4d235", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000020'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 0, "tileid": "0558e43c-c2ba-4364-899f-4ee675ba7d56"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento musical tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales El sancuti est\u00e1 hecho de madera de tocu y cuero de vaca. T\u00e9cnica de elaboraci\u00f3n Se elabora de forma artesanal. El cuero se remoja y se fija al cilindro de madera seca. Todo el proceso se realiza en un solo d\u00eda. Descripci\u00f3n de la pieza Es una pieza cil\u00edndrica con dos parches de cuero en cada extremo, sujetos por una waska trenzada. Esta caja tambi\u00e9n recibe el nombre de Virgen de Cotoca. Descripci\u00f3n de la funci\u00f3n/uso El sancuti acompa\u00f1a a la danza guerrera del machetero, presente en todas las festividades religiosas. Su sonido marca el ritmo junto a otros tambores e instrumentos. Datos hist\u00f3ricos El sancuti forma parte del conjunto de instrumentos que daban vida a la danza. La agrupaci\u00f3n de macheteros, formada en 1971, contin\u00faa bailando en los eventos rituales tradicionales. Entre los instrumentos que acompa\u00f1aban la danza, se destacaba el repicador, un gran bombo ya desaparecido. Actualmente, los tambores llevan nombres religiosos: la caja es San Jos\u00e9, el bombo grande San Pedro y el sancuti, Virgen de Urkupi\u00f1a. Los tocadores usaban palos llamados tocabombo y baquetas conocidas como palitoqui. Aunque muchas pr\u00e1cticas se han perdido, otras como el sancuti sobreviven como testimonio del legado machetero."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sancuti \u2013 Danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 7, "tileid": "4db31bc4-d575-472b-bd6d-8f476fba731a"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos sobre la danza Machetero se transmiten principalmente a trav&eacute;s de la observaci&oacute;n y la participaci&oacute;n activa en la danza. Desde su inicio, su transmisi&oacute;n ha sido un proceso intergeneracional en el que los j&oacute;venes aprenden observando a los bailarines antiguos. La pr&aacute;ctica es fundamental, ya que los movimientos y pasos coreogr&aacute;ficos se perfeccionan mediante la repetici&oacute;n en contextos rituales, como las procesiones y celebraciones religiosas. Este proceso no solo transmite la coreograf&iacute;a, sino tambi&eacute;n los valores simb&oacute;licos y espirituales ligados a la danza, permitiendo que los participantes se conecten con las ra&iacute;ces culturales de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>El legado de la danza Machetero tambi&eacute;n se ve reflejado en la m&uacute;sica y los instrumentos que acompa&ntilde;an la ejecuci&oacute;n. Cada instrumento tiene un nombre que lo vincula directamente con elementos sagrados y mitol&oacute;gicos, lo que otorga una dimensi&oacute;n adicional a la ense&ntilde;anza de la danza. Sin embargo, la transmisi&oacute;n de habilidades musicales ha comenzado a desvanecerse, ya que algunos instrumentos tradicionales, como el bombo repicador, ya no son tocados por la comunidad. La falta de continuidad en el aprendizaje de estos instrumentos refleja una p&eacute;rdida parcial de la comprensi&oacute;n profunda que se hab&iacute;a transmitido en generaciones anteriores.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 0, "tileid": "7c291ddc-5ce2-449a-839c-6104387d222f"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Una de las transformaciones m&aacute;s evidentes en la pr&aacute;ctica de la danza Machetero es la disminuci&oacute;n de la participaci&oacute;n de los j&oacute;venes. A lo largo del tiempo, el n&uacute;mero de bailarines ha disminuido considerablemente, lo que refleja una desconexi&oacute;n creciente con la tradici&oacute;n. Mientras que en sus inicios el grupo estaba compuesto principalmente por j&oacute;venes de la comunidad, hoy en d&iacute;a solo un peque&ntilde;o n&uacute;mero de miembros adultos mayores permanecen activos. Esto ha afectado tanto la continuidad de la danza como su capacidad para atraer a nuevas generaciones. La emigraci&oacute;n en busca de trabajo tambi&eacute;n ha sido un factor clave en esta transformaci&oacute;n, ya que muchos de los j&oacute;venes que sol&iacute;an participar en las festividades ya no residen en la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Por otro lado, la p&eacute;rdida de conocimientos sobre algunos de los instrumentos musicales utilizados en la danza ha contribuido a la transformaci&oacute;n de la pr&aacute;ctica. El repicador, un bombo tradicional, ya no se toca debido a la falta de personas que sepan c&oacute;mo hacerlo. Esta desaparici&oacute;n de instrumentos musicales tradicionales est&aacute; vinculada a la disminuci&oacute;n de la transmisi&oacute;n intergeneracional de habilidades, lo que reduce la autenticidad y riqueza de la experiencia cultural. La falta de m&uacute;sicos especializados en los instrumentos caracter&iacute;sticos, como el fifano o la caja, tambi&eacute;n refleja c&oacute;mo la pr&aacute;ctica de la danza Machetero ha cambiado.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 0, "tileid": "ba82adb4-3d42-488e-9ea0-f3f75d1a197e"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la danza Machetero radica en su capacidad para mantener una conexi\u00f3n profunda con las tradiciones religiosas y culturales de la comunidad. A lo largo de los a\u00f1os, esta expresi\u00f3n guerrera ha sido un elemento central en las festividades religiosas, como la Fiesta de la Virgen del Carmen y el jocheo de toros. La permanencia de la danza en estos eventos refuerza el v\u00ednculo entre la comunidad y sus creencias espirituales, otorg\u00e1ndole a la pr\u00e1ctica un significado simb\u00f3lico que va m\u00e1s all\u00e1 de una simple manifestaci\u00f3n art\u00edstica. La inclusi\u00f3n de esta danza en las procesiones y otros actos rituales subraya su importancia como medio de identidad y cohesi\u00f3n social.  Aunque ha disminuido el n\u00famero de participantes y se han perdido algunas tradiciones, el grupo sigue activo, con l\u00edderes como Octavio Jou, quien mantiene el compromiso de preservar el legado de los macheteros. La transmisi\u00f3n de conocimientos, aunque ha cambiado, sigue siendo un proceso vivo a trav\u00e9s de la observaci\u00f3n y la pr\u00e1ctica, permitiendo que los j\u00f3venes que se interesen por la danza puedan integrarse y aprender. La importancia de los nombres simb\u00f3licos dados a los instrumentos musicales tambi\u00e9n refleja la riqueza cultural que se sigue valorando, proporcionando un contexto significativo que ayuda a mantener el respeto por las tradiciones.  La transmisi\u00f3n de la danza no solo involucra la ejecuci\u00f3n de los pasos coreogr\u00e1ficos, sino tambi\u00e9n el respeto por los elementos simb\u00f3licos, como los nombres de los instrumentos musicales, que enriquecen la experiencia cultural. Este esfuerzo por mantener la pr\u00e1ctica viva, a pesar de los cambios sociales y generacionales, es una de las bases de la fortaleza de la danza Machetero."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 0, "tileid": "396cc603-87c4-460c-bd0f-1b189cef27c1"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Un riesgo importante para la pr&aacute;ctica de la danza Machetero es la disminuci&oacute;n de la participaci&oacute;n de los j&oacute;venes en la comunidad. La emigraci&oacute;n de los habitantes en busca de mejores oportunidades laborales ha reducido la cantidad de personas dispuestas a mantener viva la tradici&oacute;n. A medida que la generaci&oacute;n m&aacute;s joven se aleja de la comunidad, la transmisi&oacute;n de conocimientos y habilidades se ve cada vez m&aacute;s comprometida. Esta falta de nuevos integrantes pone en peligro la continuidad de la danza, ya que los j&oacute;venes no tienen la oportunidad de aprender directamente de los practicantes m&aacute;s experimentados.</p>\n\n<p>&nbsp;</p>\n\n<p>Asimismo, la p&eacute;rdida de instrumentos tradicionales representa una amenaza significativa para la danza. El repicador, un bombo esencial para convocar a la poblaci&oacute;n en eventos como el jocheo de toros, ha quedado en desuso debido a la falta de personas que sepan tocarlo. Esta desaparici&oacute;n de conocimientos musicales tambi&eacute;n se extiende a otros instrumentos, lo que afecta la autenticidad y el significado de la danza. La p&eacute;rdida de estas piezas clave podr&iacute;a llevar a una transformaci&oacute;n irreconocible de la pr&aacute;ctica, disminuyendo su relevancia cultural y afectando la identidad que ha mantenido durante generaciones.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 0, "tileid": "7dfb9598-8bd8-4cf4-98ab-149f757af4d0"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Danza Machetero</strong></p>\n\n<p>La danza Machetero es una expresi&oacute;n guerrera que acompa&ntilde;a a todos los actos religiosos del calendario ritual cristiano. En la Fiesta de la Virgen del Carmen, los macheteros participan en las procesiones, coloc&aacute;ndose delante de la imagen religiosa y realizando reverencias en su honor.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>Se trata de una danza guerrera con una fuerte carga simb&oacute;lica. Actualmente, el grupo cuenta con cuatro estructuras de plumaje y cuatro bailarines. Su presencia es constante en celebraciones religiosas y tradicionales, como la levantada del palo encebado y el jocheo del toro.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>El machetero ha sido parte fundamental de las festividades religiosas, situ&aacute;ndose al frente de las procesiones y realizando saludos y reverencias a las im&aacute;genes religiosas. Tambi&eacute;n se presenta en otras festividades, como la parada del palo encebado y el jocheo de toros.</p>\n\n<p>&nbsp;</p>\n\n<p>El grupo de macheteros se inici&oacute; hacia 1971, compuesto inicialmente por j&oacute;venes, muchos de los cuales emigraron en busca de trabajo. Actualmente, solo cuatro bailarines permanecen en San Javier. El aprendizaje de la danza se transmite de generaci&oacute;n en generaci&oacute;n a trav&eacute;s de la observaci&oacute;n y la pr&aacute;ctica.</p>\n\n<p>&nbsp;</p>\n\n<p>Antiguamente, la familia Jou conformaba la mayor&iacute;a del grupo y asum&iacute;a el liderazgo de los macheteros. Hoy, Octavio Jou es el presidente del grupo, pero debido a su edad, busca a alguien para continuar con la tradici&oacute;n. A&ntilde;o tras a&ntilde;o los integrantes se han reducido en n&uacute;mero.</p>\n\n<p>&nbsp;</p>\n\n<p>El machetero contaba con un bombo grande denominado repicador, utilizado para convocar a la poblaci&oacute;n a eventos como la parada del palo encebado y el jocheo de toros. Actualmente, no queda nadie que sepa tocarlo, y el significado del plumaje se ha perdido.</p>\n\n<p>&nbsp;</p>\n\n<p>Los instrumentos musicales llevan nombres simb&oacute;licos:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>San Jos&eacute; (bombo caja)</li>\n\t<li>San Pedro (bomb&oacute;n grande)</li>\n\t<li>Virgen de Urkupi&ntilde;a (sancuti, bombo peque&ntilde;o)</li>\n\t<li>Tocabombo (palo del bombo)</li>\n\t<li>Palitoqui (baquetas de la caja)</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>Los macheteros ejecutan diferentes pasos:</p>\n\n<p>&nbsp;</p>\n\n<p>Marcial, utilizado en procesiones.</p>\n\n<p>Machetero volcado, se compone de dos macheteros se miran de frente, giran y luego se dan la espalda.</p>\n\n<p>Machetero loco, se baila sosteniendo el machete por ambos extremos y se agita.</p>\n\n<p>Machetero tiririri, se baila sosteniendo el machete en posici&oacute;n vertical, con la punta hacia abajo.</p>\n\n<p>&nbsp;</p>\n\n<p>El acompa&ntilde;amiento musical consta de los siguientes instrumentos:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Fifano (flauta)</li>\n\t<li>Caja</li>\n\t<li>Bomb&oacute;n</li>\n\t<li>Sancuti (bomb&oacute;n peque&ntilde;o)</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>El grupo cuenta con tres fifaneros, pero debido a que residen fuera de la comunidad, su participaci&oacute;n es espor&aacute;dica.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<p>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana. . Ellas llevaban el estandarte que data de 1957, estaban encargadas de atender a la virgen y atender necesidades de la iglesia y ayudar a la manutenci&oacute;n del templo y recaudar fondos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 0, "tileid": "98667a55-8b13-4485-bb83-818993eca094"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento musical tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Est\u00e1 fabricado con madera de toco y cuero de vaca, materiales resistentes que le otorgan solidez y una sonoridad profunda. T\u00e9cnica de elaboraci\u00f3n Su elaboraci\u00f3n es completamente manual. El cuero de vaca se remoja cuidadosamente y luego se ajusta al cilindro de madera seca en el transcurso de un solo d\u00eda, garantizando la tensi\u00f3n adecuada para su uso sonoro. Descripci\u00f3n de la pieza Se trata de una pieza de forma cil\u00edndrica, con dos cueros tensados en ambos extremos mediante una trenza hecha con una waska. Se acompa\u00f1a de un palo s\u00f3lido y pesado de madera de tajibo, conocido como tocobombo, utilizado para marcar el ritmo de la danza machetero. Este instrumento tambi\u00e9n recibe el nombre de San Pedro. Descripci\u00f3n de la funci\u00f3n/uso El bombo acompa\u00f1a la danza machetero, una expresi\u00f3n guerrera que forma parte esencial del calendario ritual cristiano en San Javier. Actualmente, la danza se presenta con cuatro estructuras de plumaje y cuatro bailarines, quienes interpretan sus movimientos al ritmo de este instrumento. Datos hist\u00f3ricos La danza machetero es de car\u00e1cter guerrero y est\u00e1 presente en todos los actos festivos religiosos. En las procesiones, los bailarines se ubican al frente de la imagen religiosa y, durante el baile, le ofrecen reverencias en se\u00f1al de respeto. Tambi\u00e9n se ejecuta durante la elevaci\u00f3n del palo encebado y antes del jocheo de toro. Esta tradici\u00f3n comenz\u00f3 a organizarse formalmente en 1971, cuando un grupo de j\u00f3venes form\u00f3 una tropa de macheteros. Con el paso del tiempo, algunos emigraron, y la danza qued\u00f3 representada por cuatro integrantes. Su aprendizaje se basa en la observaci\u00f3n y repetici\u00f3n de pasos. La familia Jou ha sido pilar fundamental de esta tradici\u00f3n, heredando la presidencia del grupo entre generaciones. Actualmente, Octavio Jou, adulto mayor, contin\u00faa liderando, aunque busca un sucesor entre los nuevos integrantes, que ya son adultos. El bombo grande, conocido como repicador, ten\u00eda la funci\u00f3n de convocar a la poblaci\u00f3n para eventos importantes como el jocheo o reuniones. La persona encargada de tocarlo falleci\u00f3, y con ella se perdi\u00f3 este conocimiento. Hoy, el significado simb\u00f3lico del plumaje de los macheteros tambi\u00e9n se ha desvanecido. El conjunto instrumental incluye adem\u00e1s el bombo caja, llamado San Jos\u00e9, y el sancuti, asociado a la Virgen de Urkupi\u00f1a. El palo del bombo se denomina tocabombo, y las baquetas de la caja, palitoqui."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Bombo danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 0, "tileid": "897855c8-ddc4-4e29-b639-fe52bbb749aa"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento musical tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Elaborada en madera de tocu y cuero de vaca, esta caja mantiene la tradici\u00f3n de materiales naturales y duraderos. T\u00e9cnica de elaboraci\u00f3n Es una pieza artesanal hecha a mano. Descripci\u00f3n de la pieza De forma cil\u00edndrica, presenta dos cueros en sus extremos sujetos por anillos de madera. Se percute con dos baquetas de madera de tajibo, conocidas como palitoqui. Este instrumento es tambi\u00e9n llamado San Jos\u00e9. Descripci\u00f3n de la funci\u00f3n/uso La caja acompa\u00f1a la danza machetero, que se interpreta durante los eventos religiosos del calendario cristiano. Es parte del grupo instrumental que marca el ritmo de la danza, junto con los dem\u00e1s elementos musicales. Datos hist\u00f3ricos La danza machetero mantiene su car\u00e1cter guerrero y ritual. Al igual que el bombo, la caja ha estado presente en las procesiones y celebraciones religiosas desde los a\u00f1os setenta. La estructura organizativa y la forma de transmisi\u00f3n del conocimiento han sido similares, manteni\u00e9ndose a trav\u00e9s de generaciones dentro de las familias, particularmente la familia Jou. Como parte del conjunto musical, esta caja tiene un valor simb\u00f3lico importante y contin\u00faa siendo utilizada pese a la p\u00e9rdida de algunos elementos tradicionales, como el plumaje y el repicador."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Caja danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 1, "tileid": "d45be864-0cd6-4cd7-9a1b-17224bb7cfc1"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Confeccionada con tela blanca y decorada con cintas rojas. T\u00e9cnica de elaboraci\u00f3n Elaborada de forma manual, utilizando m\u00e1quina de coser. Descripci\u00f3n de la pieza Es una prenda de vestir sencilla pero simb\u00f3lica. Consiste en una tela blanca con bordes ribeteados en cinta roja, y una cruz roja al frente que destaca como elemento central del dise\u00f1o. Descripci\u00f3n de la funci\u00f3n/uso Forma parte del vestuario tradicional de la danza machetero, una manifestaci\u00f3n cultural de car\u00e1cter guerrero y ritual. Actualmente, los macheteros mantienen cuatro estructuras de plumaje y cuatro bailarines, todos ataviados con esta prenda durante las celebraciones religiosas. Datos hist\u00f3ricos La camijeta tiene una historia tejida con identidad y resistencia. En el pasado, se elaboraba en telares verticales con hilos de algod\u00f3n finos, y el borde se tej\u00eda como parte integral de la pieza. Sin embargo, las tejedoras han desaparecido de San Javier y este conocimiento ya no es conocido por las mujeres del lugar. A pesar de los cambios en su confecci\u00f3n, la camijeta sigue siendo el s\u00edmbolo del compromiso y la herencia cultural de los macheteros, quienes mantienen viva la danza desde 1971, bajo una estructura comunitaria que se hereda de padres a hijos, tal como lo ha hecho la familia Jou."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Camijeta danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 2, "tileid": "aa23fa37-9982-4134-8c19-09fe110b2e4e"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto ritmico musical"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Los chononos est\u00e1n elaborados con cuero de res y cascabeles met\u00e1licos. Estos elementos se combinan para crear un sonido distintivo que acompa\u00f1a el ritmo de la danza. T\u00e9cnica de elaboraci\u00f3n Su elaboraci\u00f3n es completamente manual. Se parte del cuero de vaca, el cual se remoja y se cose con los cascabeles. Luego se deja secar, permitiendo que el cuero adquiera rigidez. Este endurecimiento es esencial, ya que el golpe del cuero seco contra los cascabeles produce un sonido m\u00e1s fuerte y caracter\u00edstico, algo que no se conseguir\u00eda utilizando suela de cuero. Generalmente se colocan diez cascabeles met\u00e1licos, aunque algunos pueden desprenderse con el movimiento del baile. El proceso completo toma dos d\u00edas y se le a\u00f1ade un alambre en un extremo para colgarlo en la pared. Descripci\u00f3n de la pieza Se trata de una tira de cuero con cascabeles colgantes. Esta pieza se ata a la media pierna del danzante, nunca en los tobillos, permitiendo libertad de movimiento y un sonido constante al bailar. Descripci\u00f3n de la funci\u00f3n/uso El chonono forma parte de la danza del machetero, una expresi\u00f3n guerrera que acompa\u00f1a todas las celebraciones religiosas del calendario cristiano local. Actualmente, se cuenta con cuatro estructuras de plumaje y cuatro danzantes activos. Datos hist\u00f3ricos La danza del machetero tiene un fuerte componente espiritual y festivo. Durante las procesiones, los macheteros se ubican al frente de la imagen religiosa, dirigiendo su mirada hacia ella en se\u00f1al de reverencia y saludo. Tambi\u00e9n se presentan en la elevaci\u00f3n del palo encebado y en el jocheo del toro. Esta organizaci\u00f3n se consolid\u00f3 hacia 1971, cuando un grupo de j\u00f3venes dio continuidad a la tradici\u00f3n, aunque muchos migraron por trabajo, dejando s\u00f3lo a cuatro integrantes. La danza se transmite de manera oral y visual: los nuevos integrantes aprenden observando y repitiendo los pasos. Durante a\u00f1os, la familia Jou lider\u00f3 esta expresi\u00f3n cultural, y hasta hoy, Octavio Jou \u2014actual presidente y adulto mayor\u2014 busca un sucesor. Antiguamente, se utilizaba un bombo de gran tama\u00f1o llamado \"repicador\" para convocar al pueblo a celebraciones y reuniones; hoy ya no se usa, pues quien lo tocaba falleci\u00f3 y nadie m\u00e1s sabe c\u00f3mo hacerlo sonar. Los chononos que antes eran de bronce ahora son met\u00e1licos, adquiridos en el mercado de Trinidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Chononos (Cascabeles) \u2013 Danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 3, "tileid": "7608d31f-8f54-48df-a2b0-760ea9f9e4ce"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento musical tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Este instrumento se elabora a partir del hueso del ala del p\u00e1jaro Bato, complementado con cera de abeja para la boquilla. T\u00e9cnica de elaboraci\u00f3n Su fabricaci\u00f3n es completamente manual. El hueso hueco del p\u00e1jaro se seca hasta que se desprende la carne. Luego, se perforan orificios utilizando cuchillo o tijera \u2014aunque algunos emplean taladro, lo que puede da\u00f1ar el material\u2014. La boquilla se modela con cera de abeja, asegurando un acabado funcional y natural. Descripci\u00f3n de la pieza El fifano es semejante a una flauta, con nueve orificios. La pieza que a\u00fan se toca tiene 15 a\u00f1os y ha sido heredada del padre al hijo, manteniendo la tradici\u00f3n familiar. Descripci\u00f3n de la funci\u00f3n/uso Al igual que otras piezas, el fifano acompa\u00f1a la danza guerrera del machetero, presente en todas las festividades religiosas del calendario cristiano local. La tropa cuenta con cuatro estructuras de plumaje y cuatro bailarines activos. Datos hist\u00f3ricos El uso del fifano y dem\u00e1s elementos de la danza sigue las mismas l\u00edneas hist\u00f3ricas de los macheteros: se baila en procesiones, durante el jocheo del toro y en el acto del palo encebado. La familia Jou ha sido clave en la transmisi\u00f3n intergeneracional de la danza. Aunque algunas piezas e instrumentos se han perdido en el tiempo, como el repicador, otros como el fifano se conservan como legado familiar. El conocimiento se transmite por observaci\u00f3n y pr\u00e1ctica, reflejando una pedagog\u00eda ancestral."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fifano \u2013 Danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 4, "tileid": "de1deb71-15c9-4df5-bbc1-a733f4863758"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto de elaboraci\u00f3n artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales La pieza est\u00e1 tallada en madera de mara, una madera resistente y liviana. T\u00e9cnica de elaboraci\u00f3n La elaboraci\u00f3n del machete es manual, esculpiendo la forma caracter\u00edstica de la danza machetero directamente sobre la madera. Descripci\u00f3n de la pieza El machete tiene la forma de una espada, con una muesca circular particular que identifica su uso exclusivo en la danza machetero de San Javier. Descripci\u00f3n de la funci\u00f3n/uso Este instrumento simb\u00f3lico acompa\u00f1a la danza guerrera del machetero. Actualmente, se mantiene la pr\u00e1ctica con cuatro estructuras de plumaje y el mismo n\u00famero de bailarines. Datos hist\u00f3ricos El machetero ocupa un lugar especial en las festividades religiosas, participando en las procesiones y eventos tradicionales como el jocheo de toro y el palo encebado. La organizaci\u00f3n de esta tropa comenz\u00f3 formalmente en 1971. El conocimiento de la danza se pasa entre generaciones por observaci\u00f3n. La familia Jou ha sido fundamental en esta transmisi\u00f3n. Existen instrumentos complementarios con nombres espec\u00edficos: el bombo caja se llama San Jos\u00e9, el bombo grande San Pedro y el sancuti, Virgen de Urkupi\u00f1a. El palo para tocar el bombo se denomina tocabombo y las baquetas de la caja son conocidas como palitoqui."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Machete \u2013 Danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d6ae1d0f-4ba6-4fee-a472-4853b19a264a", "provisionaledits": null, "resourceinstance_id": "edbe7feb-980c-4bc9-b4d0-c3cc76fd2202", "sortorder": 5, "tileid": "2221f51a-6cb1-430a-b11c-79749e65274e"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:57.050", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000053, "}, "es": {"description": "San Pedro. Palo encebado y el jocheo del toro", "map_popup": "Beni", "name": "PI-080102-00-00-000053, San Pedro. Palo encebado y el jocheo del toro"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000053, San Pedro. Palo encebado y el jocheo del toro", "principaluser_id": 26, "resourceinstanceid": "012e3ce8-222b-414c-8fc8-6f9e7b516c15", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de San Pedro y San Pablo"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000053", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "2b8ca369-1ef4-4977-86e5-5cdeb6d49ae9", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro. Palo encebado y el jocheo del toro"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "012e3ce8-222b-414c-8fc8-6f9e7b516c15", "sortorder": 0, "tileid": "40d45ca7-3658-4dcf-950d-7680c72afdb4"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "012e3ce8-222b-414c-8fc8-6f9e7b516c15", "sortorder": 0, "tileid": "ff1e0ec2-0e13-4d97-9f79-3ae1b7678454"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["cf411e97-63a1-4dcc-ad99-3392a847b37e"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Pedro. Palo encebado y el jocheo del toro</strong></p>\n\n<p>El palo encebado y el jocheo del toro son dos expresiones festivas que forman parte de la Fiesta de San Pedro y San Pablo. Estas actividades se celebran durante la &eacute;poca seca y tienen un origen colonial. La festividad se lleva a cabo los d&iacute;as 28, 29 y 30 de julio, reuniendo a la poblaci&oacute;n en un ambiente de celebraci&oacute;n y competencia.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado de la actividad</strong></p>\n\n<p>Los juegos del palo encebado (encebau) y el jocheo del toro son dos actividades que est&aacute;n &iacute;ntimamente ligadas, ya que una no ocurre sin la otra. Estas expresiones festivas tienen como prop&oacute;sito principal divertir a la comunidad. El palo encebado, adem&aacute;s de ser un juego, posee un significado ritual, lo que hace que se le tenga un profundo respeto dentro de la celebraci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participantes</strong></p>\n\n<ul>\n\t<li>J&oacute;venes que participan en el jocheo del toro.</li>\n\t<li>Encargados de levantar el palo encebado.</li>\n\t<li>J&oacute;venes que jalan las cuerdas para levantar el palo.</li>\n\t<li>Constructores del corral.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Antiguamente, la instalaci&oacute;n del palo encebado comenzaba desde la ma&ntilde;ana del primer d&iacute;a de la fiesta para que, al mediod&iacute;a, estuviera listo para el juego. Para asegurar su dificultad, se untaba con sebo de vaca, ya que el tronco lo absorb&iacute;a pero segu&iacute;a manteni&eacute;ndose resbaladizo, de ah&iacute; su nombre.</p>\n\n<p>&nbsp;</p>\n\n<p>El jocheo del toro, por su parte, se realizaba con toros que eran aportados por los comunarios que ten&iacute;an ganado. Cada uno ofrec&iacute;a un toro para la festividad. Antiguamente, se llegaban a jochear entre diez y quince toros durante los dos d&iacute;as destinados a esta pr&aacute;ctica.</p>\n\n<p>&nbsp;</p>\n\n<p>Uno de los jocheadores m&aacute;s destacados de la comunidad fue Dami&aacute;n Roca, hoy es el cacique del Cabildo Indigenal de San Pedro. Inici&oacute; en el jocheo a los 20 a&ntilde;os y lleg&oacute; a ser un vaquero experimentado, dominando caballos. En su tiempo, el jocheo consist&iacute;a en que un &uacute;nico vaquero entrara al corral a enfrentar al toro, fue antes de que el enfrentamiento se considere demasiado peligroso.</p>\n\n<p>&nbsp;</p>\n\n<p>En el pasado, la cabeza del toro era adornada con premios, incluyendo dinero, que el jocheador pod&iacute;a quedarse si lograba quit&aacute;rselos. En la actualidad, la pr&aacute;ctica ha cambiado, ahora varios j&oacute;venes ingresan al corral al mismo tiempo, lo que hace que el toro se confunda y deje de moverse, modificando la din&aacute;mica tradicional del jocheo, los j&oacute;venes da&ntilde;an al animal, lo cual desvirt&uacute;a esta actividad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Proceso de la Festividad de San Pedro y San Pablo</strong></p>\n\n<p><strong>Antes de la fiesta</strong></p>\n\n<p>Una semana antes de la festividad, el corregidor del Cabildo Indigenal de San Pedro acuerda con los yuras (yuracar&eacute;s) para encontrar un &aacute;rbol Piraquina, elegido por su altura y forma recta. Los yuras, un grupo cultural dedicado a la caza y la pesca en el monte, son los encargados de localizar el &aacute;rbol adecuado.</p>\n\n<p>&nbsp;</p>\n\n<p>Una vez encontrado el &aacute;rbol, el corregidor, acompa&ntilde;ado por doce personas, viaja para cortarlo y transportarlo al pueblo. En se&ntilde;al de agradecimiento, los yuras son invitados a la fiesta.</p>\n\n<p>&nbsp;</p>\n\n<p>El tronco es trasladado jalado por un bote con la ayuda de los yuras. Al llegar al puerto, se deja en la orilla hasta d&iacute;as despu&eacute;s, cuando es llevado al pueblo con la ayuda de un tractor. En tiempos pasados, este traslado se realiz&oacute; con un carret&oacute;n y bueyes, acompa&ntilde;ado por las memes y los bailarines de torito, quienes danzaban hasta su llegada al pueblo.</p>\n\n<p>&nbsp;</p>\n\n<p>El jocheo del toro, que se celebra los d&iacute;as 29 y 30 de julio, inicia con la construcci&oacute;n del corral de troncos de palma, en la que participan todos los comunarios. Se tiene la intenci&oacute;n de construirlo en el futuro con madera aserrada de tajibo, aunque normalmente se ha usado palma.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Durante la fiesta</strong></p>\n\n<p>El tronco del palo encebado se unta con aceite de auto, ya que, al secarse, pierde su efecto resbaladizo. Esto se hace en ausencia de sebo, que era el material habitualmente utilizado.</p>\n\n<p>&nbsp;</p>\n\n<p>El palo levantado alcanza una altura de 23 metros, y en su punta se colocan premios sujetos en dos vigas transversales. Mientras se desarrolla el jocheo del toro, los j&oacute;venes intentan subir al palo para alcanzar los premios.</p>\n\n<p>&nbsp;</p>\n\n<p>Los toros para el jocheo son aportados por los comunarios que poseen ganado y desean contribuir a la festividad. Sin embargo, en la actualidad, el n&uacute;mero de toros que llegan al corral es menor en comparaci&oacute;n con &eacute;pocas anteriores.</p>\n\n<p>&nbsp;</p>\n\n<p>Despu&eacute;s de la fiesta</p>\n\n<p>D&iacute;as despu&eacute;s de finalizado el juego, el palo encebado es volteado y trasladado a la iglesia para su resguardo. Puede ser utilizado dos a&ntilde;os seguidos, pero con el tiempo se seca y se quiebra, lo que lo hace peligroso para un tercer uso. En ese caso, se busca otro &aacute;rbol para reemplazarlo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Sitio del juego</strong></p>\n\n<p>El corral y el palo encebado se encuentran ubicados a dos cuadras de la plaza principal de San Pedro.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "ff1e0ec2-0e13-4d97-9f79-3ae1b7678454", "provisionaledits": null, "resourceinstance_id": "012e3ce8-222b-414c-8fc8-6f9e7b516c15", "sortorder": 0, "tileid": "40a3d100-bf5d-447e-b7ae-61d2b3b7a574"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La preparaci&oacute;n y desarrollo de la fiesta de San Pedro y San Pablo, en especial las actividades del palo encebado y el jocheo del toro, constituyen un sistema complejo de ense&ntilde;anza intergeneracional dentro de la comunidad. Cada etapa del proceso involucra la participaci&oacute;n activa de diferentes actores, desde la b&uacute;squeda del &aacute;rbol Piraquina por parte de los yuras, hasta la instalaci&oacute;n del palo y la construcci&oacute;n del corral por los comunarios. Estas tareas no solo demandan esfuerzo f&iacute;sico, sino tambi&eacute;n el conocimiento de t&eacute;cnicas espec&iacute;ficas, como el corte y transporte del tronco o la selecci&oacute;n de los toros, que se transmiten de una generaci&oacute;n a otra mediante la participaci&oacute;n directa. Las y los j&oacute;venes aprenden observando y colaborando en las labores, acompa&ntilde;ados por figuras de autoridad y experiencia como el corregidor y el cacique, quienes encarnan el saber acumulado de la comunidad.</p>\n\n<p>Por otra parte, la misma ejecuci&oacute;n de los juegos funciona como un espacio donde se refuerzan valores comunitarios, se miden las habilidades y se consolidan identidades. El hecho de que antiguamente un solo vaquero enfrentara al toro &mdash;como lo hac&iacute;a Dami&aacute;n Roca&mdash; revela una forma de aprendizaje basada en la destreza individual y el respeto al animal, elementos que se van perdiendo en las pr&aacute;cticas actuales. Al intervenir en el jocheo y colaborar en el levantamiento del palo, los j&oacute;venes interiorizan no solo t&eacute;cnicas sino tambi&eacute;n significados culturales profundamente arraigados. De esta forma, la fiesta opera como un escenario de formaci&oacute;n colectiva, donde el saber no se imparte de manera formal, sino que se incorpora mediante la acci&oacute;n compartida, la memoria comunitaria y la experiencia directa.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "ff1e0ec2-0e13-4d97-9f79-3ae1b7678454", "provisionaledits": null, "resourceinstance_id": "012e3ce8-222b-414c-8fc8-6f9e7b516c15", "sortorder": 0, "tileid": "e2d23c04-e5cc-4f4f-8765-d13960a06c0b"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las pr&aacute;cticas festivas vinculadas al palo encebado y el jocheo del toro han experimentado cambios significativos en su ejecuci&oacute;n. En el pasado, el palo era untado con sebo de vaca, lo que le confer&iacute;a una textura resbaladiza que aumentaba la dificultad del ascenso. Actualmente, se recurre al aceite de auto, un reemplazo que, si bien cumple una funci&oacute;n similar, no posee la misma carga simb&oacute;lica ni el efecto prolongado del sebo. Tambi&eacute;n se ha transformado el modo de transporte del tronco: donde antes se utilizaban carret&oacute;n y bueyes acompa&ntilde;ados por las memes y bailarines de torito, hoy se recurre al uso de tractores. Estos cambios responden tanto a la disponibilidad de recursos como a las condiciones contempor&aacute;neas del entorno, aunque pueden afectar el valor ritual y el sentido de comunidad que sosten&iacute;a cada fase del proceso.</p>\n\n<p>En cuanto al jocheo del toro, la alteraci&oacute;n m&aacute;s notoria radica en la forma en que los j&oacute;venes enfrentan al animal. La pr&aacute;ctica tradicional consist&iacute;a en la entrada solitaria de un vaquero al corral, lo que exig&iacute;a una habilidad especial y manten&iacute;a al toro en movimiento. Hoy en d&iacute;a, varios j&oacute;venes ingresan al mismo tiempo, provocando la confusi&oacute;n del animal y disminuyendo el nivel de destreza requerido. Esta modificaci&oacute;n ha derivado en un trato m&aacute;s violento hacia el toro, hecho que ha deteriorado el respeto original con que se ejecutaba esta actividad. La reducci&oacute;n en la cantidad de toros ofrecidos por los comunarios tambi&eacute;n se&ntilde;ala una transformaci&oacute;n en el compromiso colectivo con la festividad, que si bien sigue vigente, se adapta a nuevas realidades que influyen tanto en su forma como en su contenido.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ff1e0ec2-0e13-4d97-9f79-3ae1b7678454", "provisionaledits": null, "resourceinstance_id": "012e3ce8-222b-414c-8fc8-6f9e7b516c15", "sortorder": 0, "tileid": "cdf01cd7-71b2-40fa-bbe7-46e7fced86e2"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Pedro"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.88483886719409, -14.337119034327998], "type": "Point"}, "id": "9b490721e56aaba8a0321990c4e2f3c0", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000018'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "012e3ce8-222b-414c-8fc8-6f9e7b516c15", "sortorder": 0, "tileid": "e976a927-b9ca-4c48-b29a-07b47150a3c8"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las mayores cualidades de esta celebraci\u00f3n radica en la activa participaci\u00f3n comunitaria, donde cada grupo asume roles espec\u00edficos que permiten la realizaci\u00f3n de la fiesta. La coordinaci\u00f3n entre el corregidor del Cabildo Indigenal y los yuras para encontrar y trasladar el \u00e1rbol Piraquina refleja una relaci\u00f3n s\u00f3lida entre comunidades, basada en el respeto y la reciprocidad. La intervenci\u00f3n de los j\u00f3venes en el jocheo del toro y en la elevaci\u00f3n del palo encebado, junto con la colaboraci\u00f3n de los comunarios en la construcci\u00f3n del corral, revela una estructura organizativa que involucra a distintas generaciones, fortaleciendo as\u00ed el sentido de pertenencia y cohesi\u00f3n social. Otro aspecto destacable es la capacidad de la pr\u00e1ctica para mantener elementos rituales y simb\u00f3licos que otorgan profundidad a la celebraci\u00f3n. El uso del sebo de vaca, en tiempos pasados, y la elecci\u00f3n del \u00e1rbol recto y alto para el palo encebado, muestran una atenci\u00f3n cuidadosa a los detalles que hacen del juego un acto cargado de significado. La ubicaci\u00f3n del sitio festivo \u2014a solo dos cuadras de la plaza principal\u2014 permite una amplia participaci\u00f3n, facilitando el acceso de la poblaci\u00f3n y reafirmando el car\u00e1cter colectivo del evento. Al final de la fiesta, el resguardo del palo en la iglesia como objeto valioso para a\u00f1os posteriores confirma su valor dentro del ciclo festivo, marcando una continuidad que ha sabido resistir el paso del tiempo."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "ff1e0ec2-0e13-4d97-9f79-3ae1b7678454", "provisionaledits": null, "resourceinstance_id": "012e3ce8-222b-414c-8fc8-6f9e7b516c15", "sortorder": 0, "tileid": "c2346bb6-2e70-4cc5-8b0d-c94321537ee3"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos asociados a esta festividad es el impacto negativo que el cambio en las pr&aacute;cticas tiene sobre el bienestar de los animales. La modificaci&oacute;n en la din&aacute;mica del jocheo del toro, donde varios j&oacute;venes ingresan al corral al mismo tiempo, genera confusi&oacute;n en los toros y aumenta la posibilidad de lesiones tanto para los animales como para los participantes. El trato violento hacia el animal, que se ha intensificado en a&ntilde;os recientes, puede desencadenar consecuencias graves, desvirtuando el prop&oacute;sito original de la actividad, que era m&aacute;s una prueba de destreza que un enfrentamiento violento. Este cambio en la interacci&oacute;n con los toros podr&iacute;a llevar a una creciente preocupaci&oacute;n por el maltrato animal y la erosi&oacute;n del respeto hacia los mismos, lo que podr&iacute;a resultar en la prohibici&oacute;n de la actividad o su modificaci&oacute;n sustancial en el futuro.</p>\n\n<p>Por otro lado, la utilizaci&oacute;n de materiales como el aceite de auto en lugar del sebo de vaca representa una amenaza para la seguridad de los participantes. Aunque el aceite cumple con la funci&oacute;n de hacer el palo resbaladizo, su presencia en el juego aumenta el riesgo de accidentes y ca&iacute;das graves. La p&eacute;rdida del efecto resbaladizo del sebo de vaca, que permit&iacute;a un desaf&iacute;o controlado, reduce la dificultad de la prueba, haciendo que los participantes busquen m&eacute;todos m&aacute;s peligrosos para alcanzar los premios. De igual manera, el uso de tractores en lugar de los m&eacute;todos tradicionales para el traslado del tronco refleja el debilitamiento de la participaci&oacute;n e inter&eacute;s de la poblaci&oacute;n por preservar las tradiciones y en la alteraci&oacute;n de la autenticidad de las pr&aacute;cticas tradicionales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ff1e0ec2-0e13-4d97-9f79-3ae1b7678454", "provisionaledits": null, "resourceinstance_id": "012e3ce8-222b-414c-8fc8-6f9e7b516c15", "sortorder": 0, "tileid": "ae2e88da-5ce2-4478-9608-3d7b57e686e6"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:58.947", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080501-00-00-000019, "}, "es": {"description": "San Ignacio. El Coro Musical", "map_popup": "Beni", "name": "PI-080501-00-00-000019, San Ignacio. El Coro Musical"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080501-00-00-000019, San Ignacio. El Coro Musical", "principaluser_id": 26, "resourceinstanceid": "48ce8d6e-3fa1-439f-8b5d-5cde1881b818", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tradici\u00f3n musical"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080501-00-00-000019", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio. El Coro Musical"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["ddf3995c-dec2-4682-8889-94924a5fb6fc"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "48ce8d6e-3fa1-439f-8b5d-5cde1881b818", "sortorder": 0, "tileid": "3f21feb1-af71-4174-bb6b-64a247f131e7"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "e2247e94-1fde-11f0-a8a9-b3355d3a2630": null}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "48ce8d6e-3fa1-439f-8b5d-5cde1881b818", "sortorder": 0, "tileid": "8803c9ab-bb8e-4975-a848-cef0e87ae022"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "48ce8d6e-3fa1-439f-8b5d-5cde1881b818", "sortorder": 0, "tileid": "d9bc635f-ad16-4c24-b007-48ca30968ef8"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Ignacio. El Coro Musical</strong></p>\n\n<p>El Coro Musical tiene una larga trayectoria son varios a&ntilde;os de existencia desde la instalaci&oacute;n de las misiones jesuiticas. Entre los primeros maestros de capilla que dirigieron el coro se encuentran figuras destacadas como Manuel Jare, Juan de la Cruz Jare, Jos&eacute; Anselmo Santiva, y Gil Novachorne. Actualmente, el cargo de Maestro de Capilla lo ocupa Pascual Mozua, quien ha formado parte del coro desde 1978. A sus 68 a&ntilde;os, Pascual fue elegido para liderar debido a su tono de voz, ideal para el canto, y su amplio conocimiento de los cantos tradicionales. A lo largo de su vida, &eacute;l y otros miembros del coro han aprendido a tocar sus instrumentos musicales desde j&oacute;venes, convirti&eacute;ndose en verdaderos especialistas.</p>\n\n<p>&nbsp;</p>\n\n<p>Uno de los miembros m&aacute;s antiguos del coro es Valent&iacute;n, quien, adem&aacute;s de ser uno de los cantores, tiene un papel crucial en la vida espiritual del grupo. &Eacute;l es el encargado de rezar el rosario antes de cada misa, junto con las mamitas abadesas, y posteriormente emite los rezos para finalizar la ceremonia.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Organizaci&oacute;n del Coro</strong></p>\n\n<p>El Coro Musical est&aacute; compuesto por 18 integrantes, que incluyen tanto a miembros antiguos como nuevos. Entre los m&uacute;sicos se encuentran flauteros, violines, bombo, caja, bajoneros, adem&aacute;s de los rezadores y cantores. El grupo tambi&eacute;n cuenta con j&oacute;venes aprendices, conocidos como comisarios, quienes escuchan atentamente a los miembros m&aacute;s experimentados para aprender los cantos y los tonos de los versos.</p>\n\n<p>&nbsp;</p>\n\n<p>El lugar donde el coro se ubica durante la misa es en la parte superior de la iglesia, en un recinto accesible a trav&eacute;s de una escalera espiral. Este espacio es custodiado por el Maestro de Capilla, quien tiene la llave de acceso. Dentro de este recinto se encuentran muebles que guardan los rezos, bajo llave, as&iacute; como bastones de mando, similares a la estructura del Cabildo Ind&iacute;gena, donde el Maestro de Capilla ocupa el cargo m&aacute;s alto, seguido por el rezador, los cantores y los m&uacute;sicos.</p>\n\n<p>&nbsp;</p>\n\n<p>El coro posee una variedad de versos para distintas misas, que incluyen:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>La misa solemne</li>\n\t<li>Misa cruce&ntilde;a</li>\n\t<li>Misa romana</li>\n\t<li>Misa concierto</li>\n\t<li>Misa Carmen</li>\n\t<li>Misa San Miguel</li>\n\t<li>Misa Reque (en lat&iacute;n)</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Cada misa tiene variantes, como la misa solemne, que se adapta seg&uacute;n la misa cruce&ntilde;a o la romana, siendo esta &uacute;ltima acompa&ntilde;ada de instrumentos musicales. En total, hay diez misas diferentes, aunque no todas se emiten actualmente. Existe el deseo de recuperar las misas faltantes, utilizando los nuevos integrantes para tal fin. Los aprendices, o comisarios, tienen la tarea de aprender los cantos y las variaciones de los versos de cada misa.</p>\n\n<p>&nbsp;</p>\n\n<p>La permanencia en el Coro Musical es vitalicia, lo que significa que los miembros mantienen sus roles hasta su fallecimiento. Cuando el Maestro de Capilla necesita ser reemplazado, la elecci&oacute;n recae sobre los miembros m&aacute;s mayores del grupo, y este cargo permanece hasta que el nuevo maestro fallezca. Lo mismo ocurre con los dem&aacute;s cargos dentro del coro. En ocasiones, un m&uacute;sico puede ser reemplazado por un cantor si no se encuentra una persona para ocupar su lugar, pero este deber&aacute; dejar a alguien que contin&uacute;e con su funci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>El coro coordina directamente con el sacerdote de la iglesia para determinar qu&eacute; versos deben cantarse durante las festividades y otras actividades religiosas. El Maestro de Capilla tiene un fuerte inter&eacute;s en ense&ntilde;ar a los j&oacute;venes para que el n&uacute;mero de integrantes del coro crezca, dado que las responsabilidades del grupo son muchas, especialmente durante las fiestas religiosas. Entre las diversas actividades que el coro realiza, es necesario que est&eacute;n presentes en varios eventos importantes, como en el acompa&ntilde;amiento del Puri, en las festividades de San Ignacio, y en el Cabildo, para alegrar a las personas que permanecen all&iacute;.</p>\n"}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": null, "911698ac-d322-11ee-ad0c-c33af8cb749d": ["e6323cbf-1077-4730-847e-7aa0919f202d"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["18364ef9-7878-439b-9ae6-5d7845e185a1"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["3f0b98e0-3e0f-43a7-84a8-0d1f6473ae1d"], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": null}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "d9bc635f-ad16-4c24-b007-48ca30968ef8", "provisionaledits": null, "resourceinstance_id": "48ce8d6e-3fa1-439f-8b5d-5cde1881b818", "sortorder": 0, "tileid": "8bf84c36-7317-471b-944f-96731ff05b5f"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de conocimientos en el Coro Musical se realiza principalmente a trav&eacute;s de la tradici&oacute;n oral y la pr&aacute;ctica continua. Los aprendices, denominados comisarios, adquieren las habilidades musicales y el conocimiento de los cantos mediante la escucha atenta y la pr&aacute;ctica con los miembros m&aacute;s experimentados y en la ejecuci&oacute;n del canto y la m&uacute;sica en cada misa. Esta forma de ense&ntilde;anza, basada en la observaci&oacute;n y la pr&aacute;ctica, garantiza la continuidad del repertorio musical y de los rezos que acompa&ntilde;an las ceremonias religiosas. Adem&aacute;s, la estructura jer&aacute;rquica del coro, donde el Maestro de Capilla y los cantores m&aacute;s antiguos ocupan los cargos de mayor responsabilidad, refuerza la autoridad de los transmisores del conocimiento, asegurando que las normas y pr&aacute;cticas se mantengan intactas a lo largo del tiempo.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro mecanismo de transmisi&oacute;n es la experiencia vivencial dentro de la comunidad religiosa y musical del coro. La ense&ntilde;anza no se limita solo a la m&uacute;sica, sino que tambi&eacute;n abarca la vida espiritual y organizativa del grupo, como se evidencia en el rol de Valent&iacute;n en la conducci&oacute;n del rosario antes de la misa. La permanencia vitalicia de los miembros en el coro refuerza la transmisi&oacute;n intergeneracional, donde los nuevos integrantes no solo aprenden el repertorio musical, sino tambi&eacute;n el sentido de compromiso y continuidad con la tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "d9bc635f-ad16-4c24-b007-48ca30968ef8", "provisionaledits": null, "resourceinstance_id": "48ce8d6e-3fa1-439f-8b5d-5cde1881b818", "sortorder": 0, "tileid": "bdfe911c-0182-4432-9404-6b373ff22234"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica artesanal en el Coro Musical es su conexi\u00f3n hist\u00f3rica con la tradici\u00f3n y la transmisi\u00f3n intergeneracional del conocimiento. La principal fortaleza radica en la estrecha vinculaci\u00f3n entre la m\u00fasica, la historia colonial misional y la vida comunitaria, lo que otorga al coro una relevancia cultural y social. La pr\u00e1ctica musical no solo es un medio de expresi\u00f3n art\u00edstica, sino tambi\u00e9n una forma de reforzar la cohesi\u00f3n social y espiritual dentro de la comunidad. La organizaci\u00f3n del coro, con roles bien definidos y una relaci\u00f3n directa con el sacerdote y las festividades religiosas, garantiza su integraci\u00f3n en la vida cotidiana de la iglesia y del pueblo. Asimismo, la diversidad de instrumentos y el conocimiento especializado en el repertorio de las distintas misas reflejan un alto nivel de maestr\u00eda que se mantiene vigente gracias al compromiso de sus integrantes. Esta riqueza musical y espiritual convierte al coro en un pilar fundamental para la conservaci\u00f3n del patrimonio cultural local. Los cantos especializados para cada santo y \u00e9poca s\u00f3lo los conocen los integrantes del coro musical. Estas canciones reflejan los relatos e importancia religiosa de cada festividad. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "d9bc635f-ad16-4c24-b007-48ca30968ef8", "provisionaledits": null, "resourceinstance_id": "48ce8d6e-3fa1-439f-8b5d-5cde1881b818", "sortorder": 0, "tileid": "1dcdb03a-480d-427b-afda-af96de9ef182"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la pr&aacute;ctica artesanal del Coro Musical es la posible disminuci&oacute;n del n&uacute;mero de integrantes y la falta de relevo generacional. La ense&ntilde;anza basada en la oralidad y en la pr&aacute;ctica requiere un alto nivel de compromiso y dedicaci&oacute;n, lo que puede resultar un desaf&iacute;o en un contexto donde las nuevas generaciones tienen acceso a diversas influencias musicales y pueden no sentirse atra&iacute;das por la tradici&oacute;n. Si los aprendices o comisarios no logran dominar los cantos y los versos en su totalidad, se corre el riesgo de que ciertas misas y repertorios se pierdan con el tiempo, afectando la continuidad de la pr&aacute;ctica. Adem&aacute;s, la permanencia vitalicia de los miembros del coro, si bien refuerza la identidad del grupo, tambi&eacute;n puede convertirse en una limitante si no se incorporan nuevos integrantes.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza latente es la falta de documentaci&oacute;n y registros escritos de los cantos y melod&iacute;as, lo que deja la conservaci&oacute;n del conocimiento en la memoria de los integrantes y los cuadernos que cada uno porta, hechos de forma manual. Esto representa un peligro ante la eventual p&eacute;rdida de miembros clave del coro, quienes poseen conocimientos que podr&iacute;an desaparecer sin una adecuada sistematizaci&oacute;n. Asimismo, el acceso restringido a los espacios donde se guardan los rezos y partituras, bajo custodia exclusiva del Maestro de Capilla, puede dificultar la difusi&oacute;n del repertorio a futuros aprendices. A esto se suma la posibilidad de cambios en las din&aacute;micas religiosas y comunitarias, que podr&iacute;an reducir la relevancia del coro en las ceremonias, afectando su papel dentro de la vida cultural y espiritual de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>La introducci&oacute;n de repertorios modernos y melod&iacute;as ajenas a la tradici&oacute;n en el Coro Musical podr&iacute;a alterar profundamente su identidad, afectando la transmisi&oacute;n del conocimiento y su rol dentro de la comunidad religiosa. A diferencia del Ensamble Moxos, cuyos integrantes han recibido formaci&oacute;n en una escuela de m&uacute;sica y pueden interpretar diversos estilos con una base acad&eacute;mica, el Coro Musical mantiene una tradici&oacute;n oral que garantiza la continuidad de su estilo misional. Los cantos especializados para cada santo y &eacute;poca del a&ntilde;o son conocimientos exclusivos de los integrantes del coro, y reflejan los relatos e importancia religiosa de cada festividad. Si se introducen nuevas melod&iacute;as que no respetan la estructura y el significado de estos cantos, se corre el riesgo de descontextualizar las ceremonias y debilitar el valor simb&oacute;lico que estas interpretaciones tienen para la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, adecuar el repertorio del coro a una ense&ntilde;anza basada en partituras o arreglos modernos distorsionar&iacute;a la esencia de su pr&aacute;ctica. La escuela de m&uacute;sica prioriza la t&eacute;cnica y la exploraci&oacute;n de nuevos estilos, mientras que el Coro Musical se basa en la experiencia vivencial, la memoria colectiva y la conexi&oacute;n espiritual con los cantos. La incorporaci&oacute;n de nuevos m&eacute;todos de ense&ntilde;anza podr&iacute;a desplazar la forma tradicional de aprendizaje, haciendo que los cantos especializados, que han sido transmitidos de generaci&oacute;n en generaci&oacute;n, se pierdan o se transformen hasta el punto de perder su autenticidad. Esto no solo afectar&iacute;a la riqueza hist&oacute;rica de la tradici&oacute;n misional, sino que tambi&eacute;n podr&iacute;a generar una desconexi&oacute;n con la comunidad, que reconoce en el coro un s&iacute;mbolo de continuidad religiosa y cultural.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d9bc635f-ad16-4c24-b007-48ca30968ef8", "provisionaledits": null, "resourceinstance_id": "48ce8d6e-3fa1-439f-8b5d-5cde1881b818", "sortorder": 0, "tileid": "ba08a4cb-9749-45f8-a7e4-34c5132337be"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-65.63740234375216, -14.993419203269454], "type": "Point"}, "id": "1049d056ba28f2dc1a0004e7a03e4a67", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "7c630574-4bde-4beb-92f4-d7e3a4b4c5fe", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080501', 'num': '000006'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "48ce8d6e-3fa1-439f-8b5d-5cde1881b818", "sortorder": 0, "tileid": "62335b7a-ae48-49e9-b843-a5a55aa5741a"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:58.273", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080501-00-00-000018, "}, "es": {"description": "San Ignacio. 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Ichapekene Piesta"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["fd6bf053-a982-4b7f-a4ad-36c804bb510b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "98646de7-1419-4a63-a246-c6bee61766de", "sortorder": 0, "tileid": "27a43bb0-40c2-457b-acbe-3cf1803eab63"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "e2247e94-1fde-11f0-a8a9-b3355d3a2630": null}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "98646de7-1419-4a63-a246-c6bee61766de", "sortorder": 0, "tileid": "8e03e501-4f48-496d-a04c-b67f4fade135"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "98646de7-1419-4a63-a246-c6bee61766de", "sortorder": 0, "tileid": "7c88b760-0c61-4a6b-a0d7-39bb30bfbb79"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de los conocimientos en la Ichapekene Piesta se realiza principalmente a trav&eacute;s de la tradici&oacute;n oral y la pr&aacute;ctica comunitaria. Los saberes sobre la festividad, sus rituales, danzas y s&iacute;mbolos sagrados son ense&ntilde;ados por los ancianos, autoridades del Cabildo Indigenal, las parcialidades y los l&iacute;deres de los conjuntos de danza a las nuevas generaciones. Este proceso se lleva a cabo en reuniones previas a la festividad, en los ensayos de los grupos y en la participaci&oacute;n directa durante los d&iacute;as de celebraci&oacute;n. Adem&aacute;s, las mujeres cumplen un papel fundamental en la ense&ntilde;anza de habilidades artesanales como la confecci&oacute;n de trajes y los artesanos con la elaboraci&oacute;n de m&aacute;scaras, asegurando as&iacute; la continuidad de los elementos visuales y est&eacute;ticos de la fiesta. A trav&eacute;s de estos mecanismos, la comunidad mantiene vivos los significados hist&oacute;ricos y espirituales de la festividad, transmiti&eacute;ndolos de manera intergeneracional.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro mecanismo clave en la preservaci&oacute;n de estos conocimientos es la experiencia vivencial dentro de la fiesta misma. La participaci&oacute;n activa en los rituales, la m&uacute;sica y las danzas permite que los miembros de la comunidad aprendan y reafirmen sus saberes a trav&eacute;s de la pr&aacute;ctica. La estructura de la festividad, con el proceso de organizaci&oacute;n y ejecuci&oacute;n, tambi&eacute;n son medios de ense&ntilde;anza, ya que cada integrante cumple un rol espec&iacute;fico dentro de la celebraci&oacute;n y debe adquirir el conocimiento necesario para desempe&ntilde;arlo correctamente. De esta manera, la Ichapekene Piesta no solo refuerza la identidad cultural de San Ignacio de Mojos, tambi&eacute;n garantiza la continuidad de sus pr&aacute;cticas y creencias a lo largo del tiempo.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "7c88b760-0c61-4a6b-a0d7-39bb30bfbb79", "provisionaledits": null, "resourceinstance_id": "98646de7-1419-4a63-a246-c6bee61766de", "sortorder": 0, "tileid": "18378007-fdf0-4d33-95f2-68a0601668a0"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La Ichapekene Piesta ha experimentado transformaciones significativas a lo largo del tiempo, impulsadas por factores como la globalizaci&oacute;n, la migraci&oacute;n y la evoluci&oacute;n de las din&aacute;micas sociales dentro de San Ignacio de Moxos. Una de las principales transformaciones se refleja en la adaptaci&oacute;n de los rituales y expresiones art&iacute;sticas a nuevos formatos, donde las danzas, la m&uacute;sica y los vestuarios incorporan elementos contempor&aacute;neos sin perder su esencia tradicional. Asimismo, la difusi&oacute;n de la festividad a trav&eacute;s de medios digitales y redes sociales ha permitido que trascienda el &aacute;mbito local, atrayendo mayor inter&eacute;s nacional e internacional. Sin embargo, esta visibilidad tambi&eacute;n ha generado el desaf&iacute;o de equilibrar la autenticidad de la fiesta con la demanda tur&iacute;stica, lo que puede llevar a modificaciones en su desarrollo original.</p>\n\n<p>&nbsp;</p>\n\n<p>Un tema importante para considerar radica en la organizaci&oacute;n de la festividad, que ha pasado de depender exclusivamente de estructuras comunitarias a incorporar el apoyo de instituciones gubernamentales y culturales. Este proceso ha facilitado la obtenci&oacute;n de recursos para su realizaci&oacute;n, pero tambi&eacute;n ha introducido nuevos actores en la toma de decisiones, lo que puede alterar la din&aacute;mica tradicional de la celebraci&oacute;n. Adem&aacute;s, la influencia de tendencias econ&oacute;micas ha llevado a la comercializaci&oacute;n de ciertos aspectos de la fiesta, como la vestimenta y los accesorios, que en algunos casos se producen con materiales y t&eacute;cnicas distintas a las originales. Estas transformaciones, si bien pueden fortalecer la sostenibilidad de la festividad, tambi&eacute;n plantean el reto de preservar su identidad y significado ancestral en un contexto de cambios constantes.</p>\n\n<p>&nbsp;</p>\n\n<p>Las pr&aacute;cticas artesanales vinculadas a la Ichapekene Piesta han experimentado transformaciones debido a la disponibilidad de nuevos materiales y t&eacute;cnicas. Tradicionalmente, la confecci&oacute;n de trajes, m&aacute;scaras y otros elementos decorativos se realizaba con materias primas naturales como la corteza de &aacute;rbol, plumas, semillas y tintes vegetales. Sin embargo, en la actualidad, la introducci&oacute;n de telas sint&eacute;ticas, pinturas industriales y materiales pl&aacute;sticos ha modificado estos procesos, facilitando la producci&oacute;n. A pesar de estos cambios, los artesanos locales se esfuerzan por mantener la esencia est&eacute;tica y simb&oacute;lica de cada elemento, equilibrando la innovaci&oacute;n con la preservaci&oacute;n de los valores culturales de la festividad.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra transformaci&oacute;n importante es el impacto del turismo y el comercio en la artesan&iacute;a tradicional. La demanda de trajes y m&aacute;scaras como objetos decorativos ha impulsado la producci&oacute;n con fines comerciales, lo que en algunos casos ha llevado a una simplificaci&oacute;n de los dise&ntilde;os o a la adaptaci&oacute;n de los productos para atraer a compradores externos. Aunque esta comercializaci&oacute;n genera oportunidades econ&oacute;micas para los artesanos que no son parte de Cabildo, es un tema que plantea el desaf&iacute;o de evitar la descontextualizaci&oacute;n de los s&iacute;mbolos y significados propios de la Ichapekene Piesta. En respuesta, el Cabildo ha promovido iniciativas para sensibilizar a los visitantes y garantizar que la producci&oacute;n artesanal contin&uacute;e respetando los conocimientos y pr&aacute;cticas heredadas de generaciones anteriores, lo hacen de manera aut&oacute;noma, sin el apoyo municipal o gubernamental.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7c88b760-0c61-4a6b-a0d7-39bb30bfbb79", "provisionaledits": null, "resourceinstance_id": "98646de7-1419-4a63-a246-c6bee61766de", "sortorder": 0, "tileid": "0672f6a2-1aa9-438b-96b7-989fb198df55"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Ichapekene Piesta se mantiene como una de las expresiones culturales m\u00e1s representativas de San Ignacio de Moxos gracias a su fuerte arraigo comunitario y su capacidad de transmisi\u00f3n intergeneracional. La participaci\u00f3n activa de los habitantes en la organizaci\u00f3n, preparaci\u00f3n y ejecuci\u00f3n de la festividad refuerza los lazos sociales y consolida una identidad colectiva basada en la memoria hist\u00f3rica y la cosmovisi\u00f3n ind\u00edgena. Esta continuidad se ve fortalecida por el papel de las familias y las cofrad\u00edas, que aseguran la ense\u00f1anza de los rituales, danzas y m\u00fasica a las nuevas generaciones, garantizando as\u00ed la preservaci\u00f3n de los conocimientos tradicionales. Adem\u00e1s, la declaratoria de la festividad como Patrimonio Cultural Inmaterial de la Humanidad por la UNESCO ha impulsado su reconocimiento y valorizaci\u00f3n a nivel nacional e internacional.  La Ichapekene Piesta tiene capacidad de adaptaci\u00f3n y resiliencia frente a los cambios socioculturales y econ\u00f3micos. A pesar de la modernizaci\u00f3n y la influencia externa, la comunidad ha sabido mantener la esencia de la celebraci\u00f3n. La creatividad en la elaboraci\u00f3n de m\u00e1scaras, vestuarios y coreograf\u00edas demuestra la flexibilidad de la tradici\u00f3n a trav\u00e9s del tiempo, permitiendo su continuidad sin desvirtuar su significado original. Asimismo, la articulaci\u00f3n con instituciones culturales y acad\u00e9micas ha facilitado la documentaci\u00f3n y promoci\u00f3n de la festividad, asegurando su permanencia en un contexto de transformaciones constantes.  Una de las principales fortalezas de la pr\u00e1ctica artesanal en la Ichapekene Piesta es su papel como portadora de identidad cultural. A trav\u00e9s de la confecci\u00f3n de trajes, m\u00e1scaras y adornos, los artesanos transmiten conocimientos ancestrales que refuerzan el sentido de pertenencia de la comunidad. Cada elemento artesanal tiene un significado simb\u00f3lico dentro de la festividad, adem\u00e1s, la transmisi\u00f3n oral de las t\u00e9cnicas y saberes entre maestros artesanos y aprendices garantiza la continuidad de estas expresiones culturales a lo largo del tiempo. Al mismo tiempo, el reconocimiento de la artesan\u00eda dentro de la Ichapekene Piesta refuerza su valor patrimonial, promoviendo su protecci\u00f3n y evitando que se diluya en un contexto de producci\u00f3n masiva."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "7c88b760-0c61-4a6b-a0d7-39bb30bfbb79", "provisionaledits": null, "resourceinstance_id": "98646de7-1419-4a63-a246-c6bee61766de", "sortorder": 0, "tileid": "c22dbf6f-f142-42d5-bd6f-dcb1a5eb2036"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la Ichapekene Piesta es la progresiva p&eacute;rdida de conocimientos tradicionales debido a la migraci&oacute;n de las nuevas generaciones y la influencia de formas de vida modernas. La transmisi&oacute;n oral de los saberes vinculados a la m&uacute;sica, la danza, los rituales y la confecci&oacute;n de vestuarios depende en gran medida de la participaci&oacute;n activa de los j&oacute;venes, quienes, en muchos casos, se ven atra&iacute;dos por din&aacute;micas urbanas y oportunidades econ&oacute;micas fuera de la comunidad. Esta situaci&oacute;n debilita la cadena de aprendizaje intergeneracional y pone en riesgo la continuidad de ciertos elementos fundamentales de la festividad.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza significativa es la comercializaci&oacute;n y la apropiaci&oacute;n externa de la festividad, lo que puede derivar en una descontextualizaci&oacute;n de sus elementos tradicionales. El inter&eacute;s tur&iacute;stico y la difusi&oacute;n en medios masivos pueden generar una visi&oacute;n folklorizada de la Ichapekene Piesta, priorizando aspectos visuales y espectaculares en detrimento de su significado cultural y religioso. Adem&aacute;s, la falta de financiamiento y apoyo institucional sostenido puede dificultar la preservaci&oacute;n de los materiales y recursos necesarios para la celebraci&oacute;n, afectando la calidad y autenticidad de la festividad a largo plazo.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza significativa es la comercializaci&oacute;n masiva y la introducci&oacute;n de productos industrializados que imitan las piezas artesanales. La falta de pol&iacute;ticas de protecci&oacute;n y promoci&oacute;n de la artesan&iacute;a tradicional producida por el Cabildo, agrava estos riesgos, dejando a los artesanos en una situaci&oacute;n de vulnerabilidad frente a los cambios del mercado y la globalizaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7c88b760-0c61-4a6b-a0d7-39bb30bfbb79", "provisionaledits": null, "resourceinstance_id": "98646de7-1419-4a63-a246-c6bee61766de", "sortorder": 0, "tileid": "5c909675-ae2c-4996-afa2-88beda63bb92"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Artesanal "}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Indumentarias, elementos componentes."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Todas las m\u00e1scaras de las danzas, todos los elementos de vestimenta, todos los instrumentos musicales. Todos las im\u00e1genes de idenificaci\u00f3n de cada conjunto de danza y las im\u00e1genes de los santos de cada conjunto de danza."}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7c88b760-0c61-4a6b-a0d7-39bb30bfbb79", "provisionaledits": null, "resourceinstance_id": "98646de7-1419-4a63-a246-c6bee61766de", "sortorder": 0, "tileid": "6494752a-5d00-446f-bdc9-757c59b5c306"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:59.199", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000057, "}, "es": {"description": "San Javier. Danza San Esteban", "map_popup": "Beni", "name": "PI-080102-00-00-000057, San Javier. Danza San Esteban"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000057, San Javier. Danza San Esteban", "principaluser_id": 26, "resourceinstanceid": "98a210ba-99e6-4873-8e98-d95e3c5accce", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta Vrigen del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000057", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Danza San Esteban"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "98a210ba-99e6-4873-8e98-d95e3c5accce", "sortorder": 0, "tileid": "1ea1bc41-988d-4381-89e3-1598e82fbaee"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.86835937500362, -14.600406444467808], "type": "Point"}, "id": "a4dbd74b1516e81c6ca5f78f9ec0e233", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000022'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "98a210ba-99e6-4873-8e98-d95e3c5accce", "sortorder": 0, "tileid": "29e505d0-0921-4fc2-a711-d0f101893396"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "98a210ba-99e6-4873-8e98-d95e3c5accce", "sortorder": 0, "tileid": "2259548c-c4ac-48f4-a36a-65b785790084"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del conocimiento sobre la danza San Esteban se da a trav&eacute;s de la participaci&oacute;n activa en la festividad y el aprendizaje intergeneracional. Los ni&ntilde;os que interpretan los distintos personajes reciben instrucciones directas de los mayores, quienes los gu&iacute;an en la ejecuci&oacute;n de los pasos y en el significado de cada elemento. Este proceso no solo permite que los m&aacute;s j&oacute;venes adquieran habilidades t&eacute;cnicas, sino que tambi&eacute;n los vincula con el sentido simb&oacute;lico de la danza, asegurando que la tradici&oacute;n se mantenga viva a lo largo del tiempo.</p>\n\n<p>&nbsp;</p>\n\n<p>El papel de la comunidad es fundamental en la conservaci&oacute;n de esta manifestaci&oacute;n cultural. La pr&aacute;ctica colectiva refuerza la memoria hist&oacute;rica y fortalece el sentido de identidad local. En cada celebraci&oacute;n, los integrantes participan activamente, ya sea como bailarines, m&uacute;sicos o transmisores del relato que da origen a la danza. De este modo, la ense&ntilde;anza no se limita a la ejecuci&oacute;n coreogr&aacute;fica, sino que se expande a la comprensi&oacute;n de los valores que representa, consolidando un conocimiento que se perpet&uacute;a en el tiempo.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "2259548c-c4ac-48f4-a36a-65b785790084", "provisionaledits": null, "resourceinstance_id": "98a210ba-99e6-4873-8e98-d95e3c5accce", "sortorder": 0, "tileid": "068d3e60-5367-40b5-a09f-682a664bb8dc"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Con el paso del tiempo, la danza San Esteban ha experimentado variaciones en su ejecuci&oacute;n y significado dentro de la comunidad. Los cambios en los materiales de los trajes, la incorporaci&oacute;n de nuevos elementos en la m&uacute;sica y la manera en que se representa la figura de San Esteban son se&ntilde;ales de una adaptaci&oacute;n constante.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "2259548c-c4ac-48f4-a36a-65b785790084", "provisionaledits": null, "resourceinstance_id": "98a210ba-99e6-4873-8e98-d95e3c5accce", "sortorder": 0, "tileid": "cc6a7d6c-0b2c-4fea-aa61-0891d23f8806"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la danza San Esteban radica en su capacidad para mantener vivos los lazos entre las generaciones. La transmisi\u00f3n intergeneracional permite que los ni\u00f1os aprendan no solo los pasos y movimientos, sino tambi\u00e9n el significado cultural y simb\u00f3lico que encierra la danza. Esta conexi\u00f3n entre los m\u00e1s j\u00f3venes y los mayores fortalece el sentido de comunidad, fomenta el respeto por las tradiciones y asegura que los valores hist\u00f3ricos asociados a la danza perduren a lo largo del tiempo.  Otra caracter\u00edstica destacada de la danza es su relevancia dentro del contexto local. La festividad de la Virgen del Carmen, en la cual se inserta la danza, se celebra con entusiasmo y participaci\u00f3n colectiva, lo que convierte a la danza San Esteban en una manifestaci\u00f3n que no solo preserva la historia, sino que refuerza la identidad de San Javier. Al estar arraigada en las pr\u00e1cticas comunitarias, la danza fomenta la cohesi\u00f3n social, brindando a los participantes un espacio para fortalecer su pertenencia cultural. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "2259548c-c4ac-48f4-a36a-65b785790084", "provisionaledits": null, "resourceinstance_id": "98a210ba-99e6-4873-8e98-d95e3c5accce", "sortorder": 0, "tileid": "4f27e509-d3e7-4d0d-bc44-597ee16c1b56"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos que enfrenta la danza San Esteban es la posibilidad de perder su autenticidad debido a las influencias externas y la modernizaci&oacute;n. Este proceso de transformaci&oacute;n, aunque a veces necesario para mantener la vigencia de la pr&aacute;ctica, puede desviar su significado original y hacer que se pierda el v&iacute;nculo profundo con la historia de San Esteban y la comunidad de San Javier.</p>\n\n<p>&nbsp;</p>\n\n<p>En un contexto de globalizaci&oacute;n y urbanizaci&oacute;n, los j&oacute;venes pueden sentirse menos conectados con las pr&aacute;cticas culturales locales, prefiriendo adoptar otras formas de entretenimiento o expresi&oacute;n. Esto pone en riesgo la transmisi&oacute;n del conocimiento necesario para llevar a cabo la danza, lo que podr&iacute;a llevar a una disminuci&oacute;n de su relevancia o incluso a su eventual olvido dentro de la comunidad. Sin una participaci&oacute;n activa y el compromiso de los m&aacute;s j&oacute;venes, la danza San Esteban corre el riesgo de perder su funci&oacute;n social y cultural.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "2259548c-c4ac-48f4-a36a-65b785790084", "provisionaledits": null, "resourceinstance_id": "98a210ba-99e6-4873-8e98-d95e3c5accce", "sortorder": 0, "tileid": "4925d1d8-56a8-4c5f-89ae-c28939472061"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:59.437", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080501-00-00-000020, "}, "es": {"description": "San Ignacio. Gran Cabildo Indigenal de San Ignacio de Mojos", "map_popup": "Beni", "name": "PI-080501-00-00-000020, San Ignacio. Gran Cabildo Indigenal de San Ignacio de Mojos"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080501-00-00-000020, San Ignacio. Gran Cabildo Indigenal de San Ignacio de Mojos", "principaluser_id": 26, "resourceinstanceid": "e0101fb6-c462-435d-b3a7-8ad0f50f221b", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cabildo Indigenal"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080501-00-00-000020", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio. Gran Cabildo Indigenal de San Ignacio de Mojos"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["ddf3995c-dec2-4682-8889-94924a5fb6fc"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e0101fb6-c462-435d-b3a7-8ad0f50f221b", "sortorder": 0, "tileid": "299b78b2-e8dd-4321-81bc-ae1699f45cb3"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Organizaci\u00f3n tradicional"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los mecanismos de transmisi&oacute;n de los conocimientos dentro del Gran Cabildo Indigenal de San Ignacio de Mojos est&aacute;n profundamente enraizados en la tradici&oacute;n oral y en las pr&aacute;cticas comunitarias. La ense&ntilde;anza de las costumbres, creencias y funciones sociales dentro de la comunidad se realiza a trav&eacute;s de la participaci&oacute;n directa en las actividades religiosas y festivas, como la celebraci&oacute;n de la Ichapekene Piesta. Esta fiesta no solo rememora hechos hist&oacute;ricos y mitol&oacute;gicos, sino que tambi&eacute;n act&uacute;a como una forma de transmisi&oacute;n intergeneracional de conocimientos. Los danzantes y actores de los diferentes conjuntos, como los Macheteros, los Sargentos Jud&iacute;os o los Achus, participan en una especie de escuela viviente donde se aprenden los movimientos, las danzas, y los significados simb&oacute;licos que representan, asegurando que las historias y valores sean preservados y ense&ntilde;ados a las nuevas generaciones.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, el Cabildo mismo, con su estructura jer&aacute;rquica y la elecci&oacute;n de autoridades como el Corregidor y los Caciques, funciona como un mecanismo organizativo que transmite valores de liderazgo, justicia y cohesi&oacute;n social. Los nuevos Corregidores, por ejemplo, son elegidos no solo por su habilidad administrativa sino por su conocimiento de la lengua ignaciana y su experiencia dentro de la organizaci&oacute;n, lo que asegura que los saberes esenciales sean pasados de un liderazgo a otro. De esta forma, el Cabildo se convierte en un espacio crucial de ense&ntilde;anza y preservaci&oacute;n de la identidad cultural, religiosa y social de los moje&ntilde;os, donde las pr&aacute;cticas y rituales son aprendidos y ense&ntilde;ados continuamente a trav&eacute;s de la participaci&oacute;n activa y la observaci&oacute;n de los roles y las responsabilidades dentro de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p>El Gran Cabildo Indigenal de San Ignacio de Mojos se caracteriza por su estructura jer&aacute;rquica y organizativa que refleja la profunda conexi&oacute;n de la comunidad con sus tradiciones y valores ancestrales. Aglutina a todos los conjuntos de danza y parcialidades, cada uno con roles espec&iacute;ficos dentro de la organizaci&oacute;n. La jerarqu&iacute;a interna est&aacute; definida por autoridades como el Corregidor, el Capit&aacute;n Grande, los Caciques, los Intendentes y otros cargos, quienes asumen responsabilidades tanto en la organizaci&oacute;n de las festividades religiosas y culturales como en la regulaci&oacute;n de las actividades sociales y econ&oacute;micas. La transmisi&oacute;n de estas responsabilidades se realiza de manera democr&aacute;tica de manera participaci&oacute;n activa y representativa.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra caracter&iacute;stica esencial del Cabildo es su funci&oacute;n como un centro organizador de la vida religiosa y cultural de la comunidad. A trav&eacute;s de actividades como la Ichapekene Piesta fiestas religiosas y su activa participaci&oacute;n en todos los actos de liturgia durante todo el a&ntilde;o. El Cabildo no solo organiza celebraciones religiosas en honor a San Ignacio y otros santos, sino que tambi&eacute;n preserva las danzas y rituales que reflejan la cosmovisi&oacute;n ind&iacute;gena y la historia de la regi&oacute;n. Las diferentes parcialidades dentro del Cabildo son responsables de mantener vivas las danzas tradicionales y de ense&ntilde;ar a las nuevas generaciones las lecciones culturales y espirituales de la comunidad. Esta estructura asegura que las costumbres no solo se preserven, sino que tambi&eacute;n se transmitan de manera efectiva de una generaci&oacute;n a otra, manteniendo viva la identidad cultural de San Ignacio de Mojos. Adem&aacute;s es un referente de organizaci&oacute;n ind&iacute;gena de otros cabildos peque&ntilde;os que se encuentran la regi&oacute;n.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "3cfe3720-1e0a-4d91-bbd4-2efa08a416ad", "provisionaledits": null, "resourceinstance_id": "e0101fb6-c462-435d-b3a7-8ad0f50f221b", "sortorder": 0, "tileid": "4492e759-1ca8-4742-b069-95b9750f3998"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las posibles transformaciones del Gran Cabildo Indigenal de San Ignacio de Mojos pueden estar relacionadas con la adaptaci&oacute;n de sus pr&aacute;cticas y estructuras organizativas a los cambios sociales, econ&oacute;micos y culturales del contexto contempor&aacute;neo. A medida que las din&aacute;micas sociales evolucionan, podr&iacute;an surgir desaf&iacute;os en cuanto a la preservaci&oacute;n de los saberes ancestrales y el fortalecimiento de la identidad cultural. Por ejemplo, la integraci&oacute;n de nuevas generaciones de j&oacute;venes que, si bien mantienen el v&iacute;nculo con la tradici&oacute;n, pueden estar influenciados por nuevas formas de vida y pensamiento, podr&iacute;a llevar a una transformaci&oacute;n en las maneras en que se celebran las festividades o se transmiten los conocimientos dentro del Cabildo. Adem&aacute;s, las demandas externas, como las relacionadas con el desarrollo econ&oacute;mico o el turismo, podr&iacute;an inducir cambios en las actividades organizativas o en la estructuraci&oacute;n de las festividades, haciendo que se incorporen elementos m&aacute;s comerciales o modernizados.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "3cfe3720-1e0a-4d91-bbd4-2efa08a416ad", "provisionaledits": null, "resourceinstance_id": "e0101fb6-c462-435d-b3a7-8ad0f50f221b", "sortorder": 0, "tileid": "0f48d583-bc68-4fe8-b6c0-050c4680be27"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas del Gran Cabildo Indigenal de San Ignacio de Mojos es su estructura organizativa bien definida, que asegura la preservaci\u00f3n y transmisi\u00f3n de la cultura, las tradiciones y los valores comunitarios a lo largo de los a\u00f1os. El Cabildo funciona como un n\u00facleo organizador no solo de las festividades, sino tambi\u00e9n de las actividades religiosas y sociales, lo que garantiza que los miembros de la comunidad participen activamente en la vida cultural. Su jerarqu\u00eda, que incluye a autoridades como el Corregidor, los Caciques y los representantes de las parcialidades, facilita una toma de decisiones eficiente y la delegaci\u00f3n de responsabilidades, lo que permite que cada aspecto de la vida comunitaria est\u00e9 cubierto de manera integral. La inclusi\u00f3n de las diferentes parcialidades y conjuntos de danza, con roles claramente definidos, fortalece la cohesi\u00f3n social y la identidad colectiva del pueblo de San Ignacio de Mojos.  Otra fortaleza significativa del Cabildo radica en su capacidad para mantener vivas las tradiciones. La Ichapekene Piesta, como fiesta central, es una expresi\u00f3n de resistencia y continuidad cultural que, a trav\u00e9s de las danzas, las representaciones religiosas y los rituales, no solo honra la historia de la comunidad, sino que tambi\u00e9n educa a las nuevas generaciones sobre su legado ancestral. Este evento se convierte en un medio para reforzar los lazos intergeneracionales y garantizar que las costumbres y las creencias sigan siendo un pilar fundamental de la vida en San Ignacio. Adem\u00e1s, la existencia de autoridades como el Corregidor, que aseguran la fluidez de las ceremonias y la organizaci\u00f3n de las festividades, refuerza el papel del Cabildo como una instituci\u00f3n clave para el fortalecimiento de la identidad cultural y religiosa de los moje\u00f1os."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "3cfe3720-1e0a-4d91-bbd4-2efa08a416ad", "provisionaledits": null, "resourceinstance_id": "e0101fb6-c462-435d-b3a7-8ad0f50f221b", "sortorder": 0, "tileid": "bb4dd10a-3872-4c80-b3df-890109cad8f0"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos y amenazas m&aacute;s evidentes para la organizaci&oacute;n del Gran Cabildo Indigenal de San Ignacio de Mojos es la posible p&eacute;rdida de su identidad y cohesi&oacute;n ante la influencia de factores externos, como la modernizaci&oacute;n, la pol&iacute;tica y la globalizaci&oacute;n. La creciente influencia de la cultura urbana, los medios de comunicaci&oacute;n y las din&aacute;micas de consumo modernas puede generar un distanciamiento de las nuevas generaciones respecto a las tradiciones y valores fundamentales del Cabildo.</p>\n\n<p>&nbsp;</p>\n\n<p>Los desaf&iacute;os relacionados con la sostenibilidad financiera y la gesti&oacute;n de recursos del Cabildo se consideran un riesgo. A medida que las festividades y las actividades religiosas requieren de una gran inversi&oacute;n en log&iacute;stica, materiales, transporte y otros aspectos, la falta de recursos econ&oacute;micos puede obstaculizar la capacidad de la organizaci&oacute;n para llevar a cabo sus objetivos. Adem&aacute;s, la dependencia de fondos externos o de la participaci&oacute;n de actores ajenos a la comunidad puede amenazar la autonom&iacute;a del Cabildo y poner en riesgo su capacidad para mantener su organizaci&oacute;n y sus tradiciones sin influencia externa. Las presiones externas relacionadas con el desarrollo econ&oacute;mico o el turismo tambi&eacute;n pueden inducir cambios que no est&eacute;n alineados con los intereses y la visi&oacute;n del Cabildo, lo que podr&iacute;a generar conflictos internos o desviaciones de la misi&oacute;n original de la organizaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Se debe incluir otro factor de riesgo, es la falta de consulta al Cabildo en temas relacionados con la conservaci&oacute;n del patrimonio natural, paisaj&iacute;stico e inmueble de la regi&oacute;n. Por ejemplo cuando se realizan cambios o construcciones en sectores del recorrido religioso utilizado durante las festividades.</p>\n\n<p>&nbsp;</p>\n\n<p>Estos lugares, se consideran esenciales para el desarrollo de las celebraciones, no puede alterarse sin considerar su valor cultural y simb&oacute;lico para la comunidad. Estos sitios tienen una carga hist&oacute;rica y ritual, ya que son espacios estrat&eacute;gicos donde se realizan rituales sagrados y ceremonias religiosas clave. Si no se consulta al Cabildo antes de modificar estos espacios, se corre el riesgo de desvirtuar la esencia de las festividades, afectando la autenticidad y la conexi&oacute;n espiritual que la comunidad tiene con estos lugares. Esto puede provocar que las celebraciones pierdan su significado original y que las nuevas generaciones no logren comprender o valorar la importancia de estos sitios sagrados.</p>\n\n<p>&nbsp;</p>\n\n<p>La falta de consulta se percibe como una falta de respeto hacia los saberes y tradiciones que han sido transmitidos por generaciones. Los cambios en la infraestructura o la alteraci&oacute;n de los recorridos tradicionales no solo afectan el aspecto f&iacute;sico de los lugares, sino que tambi&eacute;n modifican el entorno ritual que forma parte integral de la identidad cultural del pueblo. Las festividades y los rituales asociados con el recorrido de la procesi&oacute;n tienen una carga simb&oacute;lica muy fuerte, y cualquier alteraci&oacute;n que no contemple las tradiciones del Cabildo puede ser vista como una amenaza a la integridad cultural, especialmente para festividades con nominaci&oacute;n de patrimonio mundial. Por lo tanto, la falta de participaci&oacute;n del Cabildo en la toma de decisiones sobre la preservaci&oacute;n del patrimonio inmueble puede poner en riesgo la continuidad de las tradiciones religiosas y culturales que han definido la identidad de la comunidad durante siglos.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "3cfe3720-1e0a-4d91-bbd4-2efa08a416ad", "provisionaledits": null, "resourceinstance_id": "e0101fb6-c462-435d-b3a7-8ad0f50f221b", "sortorder": 0, "tileid": "dbdc0cfc-5002-4cc0-87c4-ca6d32413765"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e0101fb6-c462-435d-b3a7-8ad0f50f221b", "sortorder": 0, "tileid": "3cfe3720-1e0a-4d91-bbd4-2efa08a416ad"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Elemento de representacion de autoridad del Cabildo"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Todos los integrantes del directorio del Cabildo Indigenal tienen una vara que representa su cargo, cada una es diferente con elementos distintivos con significaci\u00f3n."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Varas de mando"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "3cfe3720-1e0a-4d91-bbd4-2efa08a416ad", "provisionaledits": null, "resourceinstance_id": "e0101fb6-c462-435d-b3a7-8ad0f50f221b", "sortorder": 0, "tileid": "dd195df3-d386-4b35-8b41-610a9d9af84b"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["6607c5b4-0da3-411e-9e77-603617fa7be8", "9c539c14-ff65-4565-85a2-2268e4fe36ed"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Ignacio. Gran Cabildo Indigenal de San Ignacio de Mojos</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La conformaci&oacute;n del Gran Cabildo Indigenal de San Ignacio de Mojos tiene m&aacute;s de 300 a&ntilde;os, y su origen est&aacute; estrechamente relacionado con los relatos sobre el traslado de la misi&oacute;n jesu&iacute;tica al actual territorio. La existencia del Cabildo est&aacute; vinculada al triunfo de San Ignacio sobre los Jichis, esp&iacute;ritus antiguos de la regi&oacute;n, lo que dio origen a la fiesta de San Ignacio, conocida como la Ichapekene Piesta. Esta festividad ha sido celebrada desde la llegada de los jesuitas, a&ntilde;os despu&eacute;s de la reubicaci&oacute;n del asentamiento en el territorio actual. La iglesia, construida en 1751, marc&oacute; el inicio de una intensificaci&oacute;n de las actividades religiosas, centradas en la rememoraci&oacute;n de la muerte de San Ignacio y en las representaciones de figuras religiosas como San Ignacio de Loyola, la Santa Bandera, el Puri y el Santo Santiago, que evocan el traslado hist&oacute;rico. A trav&eacute;s de la doctrina jesu&iacute;tica, que incorpor&oacute; elementos culturales aut&oacute;ctonos, comenzaron a practicarse danzas que evocaban el tiempo previo a la presencia de los jesuitas. Estas danzas, llenas de contenido religioso y de adoraci&oacute;n a Dios, representan animales y personajes que fueron parte de la cosmovisi&oacute;n ind&iacute;gena, como los Achus. Los Jichis, que libraron una batalla por la posesi&oacute;n de la Santa Bandera, son los protagonistas de esta historia, en la que San Ignacio, al recuperar la bandera, derrota a los Jichis, quienes, desde entonces, bailan en la fiesta. El nombre Ichapekene Piesta significa &quot;Fiesta Grande de San Ignacio de Moxos&quot; y se ha convertido en el coraz&oacute;n de la organizaci&oacute;n del Gran Cabildo Indigenal de San Ignacio de Mojos, que coordina las actividades religiosas y festivas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la organizaci&oacute;n</strong></p>\n\n<p>El Gran Cabildo Indigenal de San Ignacio de Mojos es una estructura organizativa ind&iacute;gena que aglutina a todos los conjuntos de danza y parcialidades. Este Cabildo es el centro organizador de la fiesta y las actividades religiosas, adem&aacute;s de cumplir funciones regulatorias en cuanto a las actividades econ&oacute;micas y sociales de la organizaci&oacute;n. El Santo Bel&eacute;n es la casa principal donde se realizan las reuniones y se lleva a cabo el funcionamiento del Cabildo.</p>\n\n<p>&nbsp;</p>\n\n<p>La estructura del Cabildo incluye diversas autoridades, como el Corregidor, el Capit&aacute;n Grande, los Caciques, Intendentes, Fiscal, Polic&iacute;as, Alf&eacute;rez, Albaceas, Comisarios y los representantes de los Macheteros y Camareteros.</p>\n\n<p>&nbsp;</p>\n\n<p>Se organiza en parcialidades que representan grupos espec&iacute;ficos dentro de la comunidad, como el Coro Musical, las Mamitas Abadesas, los Doctrineros, Sacristanes, Perepetos, Cajareros, Camareteros, Ap&oacute;stoles, Penitentes, Cirineos, Santos Varones, Hermanos de la Pasi&oacute;n de Cristo, y Sargentos Jud&iacute;os, entre otros. Dentro del Cabildo tambi&eacute;n se incluyen a los conjuntos de danzantes, como los Macheteros, los Sargentos Jud&iacute;os, los Angelitos, las Mascaritas, los Achus, los Ciervos, las Loretanas, los Toritos, el Sol y la Luna, los Ichinisiris, los Ovejitos, los Tigres, los Pescaditos, los Chunchos, el Puri, el Tintiririnti, entre otros.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Forma de funcionamiento</strong></p>\n\n<p>La elecci&oacute;n del nuevo Corregidor se lleva a cabo mediante la presentaci&oacute;n de candidatos de todas las parcialidades, quienes tienen derecho a presentar un representante. La elecci&oacute;n se realiza por mayor&iacute;a de votos, mientras que las primeras autoridades, como el Capit&aacute;n Grande y los Caciques, se eligen por aclamaci&oacute;n. Los Corregidores anteriores se convierten en consejeros del nuevo Corregidor. Para ser elegido, el Corregidor debe hablar el idioma ignaciano, haber ejercido un cargo dentro del Cabildo, ser originario de San Ignacio, estar casado y no haber cometido actos negativos en la comunidad. El Corregidor tiene un mandato de dos a&ntilde;os, con posibilidad de reelecci&oacute;n tras una evaluaci&oacute;n de su desempe&ntilde;o. El directorio completo del Cabildo, incluyendo los caciques y los miembros de las parcialidades y los conjuntos de danza, es posesionado oficialmente con juramento el 2 de febrero, en la celebraci&oacute;n de la Virgen de Candelaria.</p>\n\n<p>&nbsp;</p>\n\n<p>El Gran Cabildo Indigenal de San Ignacio de Mojos es considerado un centro de expresi&oacute;n religiosa cultural y sede de la vida del ind&iacute;gena moje&ntilde;o.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "3cfe3720-1e0a-4d91-bbd4-2efa08a416ad", "provisionaledits": null, "resourceinstance_id": "e0101fb6-c462-435d-b3a7-8ad0f50f221b", "sortorder": 0, "tileid": "651e582f-7003-4253-ae16-0fb0e9c4a839"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-65.6360290527343, -14.9934192032663], "type": "Point"}, "id": "29424eb4de31be0ab95618811ad6a200", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "7c630574-4bde-4beb-92f4-d7e3a4b4c5fe", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080501', 'num': '000007'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e0101fb6-c462-435d-b3a7-8ad0f50f221b", "sortorder": 0, "tileid": "f97b304a-a163-4081-8f46-b12859ed1794"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:00.712", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000060, "}, "es": {"description": "San Javier. 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Danza Toritos y Mamas", "principaluser_id": 26, "resourceinstanceid": "0b150c7b-f55f-40e4-859e-62e20cc8b538", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta Virgen del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000060", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Danza Toritos y Mamas"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "0b150c7b-f55f-40e4-859e-62e20cc8b538", "sortorder": 0, "tileid": "339ecf67-d32e-4981-bbc3-9db93708cc66"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.87522583008044, -14.601735384307432], "type": "Point"}, "id": "0da92e630971f5ec926e71228034c6f6", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000025'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "0b150c7b-f55f-40e4-859e-62e20cc8b538", "sortorder": 0, "tileid": "f8033640-a796-41f5-a324-c275eeb0e38a"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "0b150c7b-f55f-40e4-859e-62e20cc8b538", "sortorder": 0, "tileid": "69c026a8-bdc3-4b63-829a-6f5cfd88d4ef"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Danza Toritos y Mamas</strong></p>\n\n<p>La danza Toritos y Mamas, es una danza festiva que est&aacute; vinculada a la Fiesta de la Virgen del Carmen. Representa la llegada del ganado que los misioneros jesuitas trajeron a la regi&oacute;n, durante el per&iacute;odo colonial. Otra relaci&oacute;n simb&oacute;lica es la historia del nacimiento de Jes&uacute;s, el torito que dio calor al Ni&ntilde;o Jes&uacute;s al nacer.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La danza simboliza al ganado vacuno que fue introducido por los misioneros y al toro y al buey que fueron parte del nacimiento del Ni&ntilde;o Jes&uacute;s. En ella, los bailarines representan tanto a los toritos, que hacen movimientos de saltos y cornadas, en tanto las mamas (se&ntilde;oras) son representadas por ni&ntilde;as. La danza se realiza en dos filaa, una fila de ni&ntilde;as como mam&aacute;s y otra fila de ni&ntilde;os vestidos como toritos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Esta danza se origin&oacute; con la llegada del ganado vacuno a la localidad, cuando los jesuitas introdujeron este tipo de ganado en la regi&oacute;n. Los toritos siempre han acompa&ntilde;ado a las danzas de los macheteros y han estado presentes en todas las fiestas. La danza tambi&eacute;n hace referencia al toro o buey que dio calor al Ni&ntilde;o Jes&uacute;s en el pesebre.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>Los toritos bailan con movimientos que simulan saltos y cornadas, mientras que las mamas representadas por ni&ntilde;as, danzan en una fila separada. La coreograf&iacute;a se organiza en dos filas, una de mamas y otra de toritos. La danza es acompa&ntilde;ada por la m&uacute;sica de la agrupaci&oacute;n Bombilla.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<p>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana. . Ellas llevaban el estandarte que data de 1957, estaban encargadas de atender a la virgen y atender necesidades de la iglesia y ayudar a la manutenci&oacute;n del templo y recaudar fondos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "69c026a8-bdc3-4b63-829a-6f5cfd88d4ef", "provisionaledits": null, "resourceinstance_id": "0b150c7b-f55f-40e4-859e-62e20cc8b538", "sortorder": 0, "tileid": "f1277513-b81a-4a32-ae95-bfc33243bcf2"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales La m\u00e1scara est\u00e1 elaborada con madera de balsa, cuernos de vaca y clavos. Estos materiales, todos de origen local, se combinan para dar vida a una pieza cargada de simbolismo cultural. T\u00e9cnica de elaboraci\u00f3n La elaboraci\u00f3n es completamente manual. La madera de balsa, proveniente del bosque a\u00fan conservado por los pueblos ind\u00edgenas de San Javier, es ideal para el tallado gracias a su textura suave, resistencia y ligereza. El proceso comienza con la recolecci\u00f3n y secado de la madera, que toma aproximadamente una semana antes de poder ser trabajada. Luego, se talla cuidadosamente la figura, y una vez terminada, se pinta con barniz al aceite en los colores tradicionales: blanco y negro. Los cuernos, obtenidos en los mataderos, se fijan firmemente a la m\u00e1scara con clavos. El maestro tallador Adolfo Jou aprendi\u00f3 este oficio de forma autodidacta, observando las piezas de otros artesanos. A pesar de no contar con herramientas especializadas, adapta lo que tiene a mano para continuar la tradici\u00f3n. Desde los 20 a\u00f1os se dedica a tallar todo tipo de m\u00e1scaras, muchas de ellas como regalo para sus nietos. Hoy en d\u00eda, contin\u00faa vendi\u00e9ndolas a precios accesibles, mientras su hija, tambi\u00e9n con talento para el dibujo, muestra inter\u00e9s por aprender el oficio y continuar con el legado familiar. Descripci\u00f3n de la pieza La m\u00e1scara representa la cabeza de un toro. Actualmente se encuentra en proceso de elaboraci\u00f3n y a\u00fan debe ser pintada con los colores representativos de San Javier: blanco y negro. Su forma captura con fuerza la imagen del ganado, elemento fundamental en la historia econ\u00f3mica y simb\u00f3lica de la regi\u00f3n. Descripci\u00f3n de la funci\u00f3n/uso La m\u00e1scara representa al ganado vacuno que lleg\u00f3 a estas tierras junto con los misioneros jesuitas durante el periodo colonial. En un plano simb\u00f3lico, alude tambi\u00e9n al toro que, seg\u00fan la tradici\u00f3n cristiana, dio calor al Ni\u00f1o Jes\u00fas en el pesebre durante su nacimiento. Por ello, la m\u00e1scara se utiliza en la danza de los Toritos y Mamas, con fuerte presencia en las celebraciones navide\u00f1as. Datos hist\u00f3ricos Esta danza tiene su origen en la introducci\u00f3n del ganado vacuno por parte de los jesuitas en la regi\u00f3n de San Javier. Desde entonces, los toritos han estado presentes en todas las festividades importantes del pueblo, acompa\u00f1ando tradicionalmente a la danza de los macheteros. Representan tanto la influencia de la cultura colonial como una figura de protecci\u00f3n y calor en el nacimiento del Ni\u00f1o Jes\u00fas. El uso de los colores blanco y negro en la pintura de la m\u00e1scara responde a los colores identitarios del pueblo de San Javier, conservando as\u00ed una est\u00e9tica propia y profundamente enraizada en su historia."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara \u2013 Danza Toritos y Mamas"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "69c026a8-bdc3-4b63-829a-6f5cfd88d4ef", "provisionaledits": null, "resourceinstance_id": "0b150c7b-f55f-40e4-859e-62e20cc8b538", "sortorder": 0, "tileid": "38c66b66-83e7-48cb-a1a4-8f130ce7b471"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos relacionados con la danza Toritos y Mamas se transmiten principalmente a trav&eacute;s de la pr&aacute;ctica y la observaci&oacute;n directa dentro de las comunidades. A trav&eacute;s de las generaciones, los m&aacute;s experimentados ense&ntilde;an a los j&oacute;venes los movimientos espec&iacute;ficos de la danza y su simbolismo. Este tipo de ense&ntilde;anza es habitual en las comunidades que mantienen viva la tradici&oacute;n, donde los participantes aprenden mediante la repetici&oacute;n de los pasos coreogr&aacute;ficos en cada festividad, especialmente durante la Fiesta de la Virgen del Carmen. Adem&aacute;s, los componentes simb&oacute;licos, como la representaci&oacute;n del ganado vacuno y el toro que dio calor al Ni&ntilde;o Jes&uacute;s, se transmiten mediante relatos orales, que explican el contexto hist&oacute;rico y cultural detr&aacute;s de la danza.</p>\n\n<p>&nbsp;</p>\n\n<p>Por otro lado, la danza tambi&eacute;n permite la preservaci&oacute;n de elementos hist&oacute;ricos relacionados con la llegada del ganado vacuno por parte de los misioneros jesuitas. La representaci&oacute;n del toro y el buey a trav&eacute;s de los movimientos de los toritos en la coreograf&iacute;a no solo ofrece una ense&ntilde;anza sobre las ra&iacute;ces de la comunidad, sino tambi&eacute;n una conexi&oacute;n con las pr&aacute;cticas festivas que fueron fundamentales para la construcci&oacute;n de la identidad local. En este sentido, el acto de bailar no solo transmite conocimiento sobre el pasado, sino que tambi&eacute;n refuerza el sentido de pertenencia y continuidad cultural.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "69c026a8-bdc3-4b63-829a-6f5cfd88d4ef", "provisionaledits": null, "resourceinstance_id": "0b150c7b-f55f-40e4-859e-62e20cc8b538", "sortorder": 0, "tileid": "dc71e6c2-356e-4e9f-8308-53d1eec3bab3"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, la danza Toritos y Mamas han experimentado transformaciones en su ejecuci&oacute;n y en los elementos que la componen. Una de las modificaciones m&aacute;s notables ha sido la inclusi&oacute;n de la m&uacute;sica de la agrupaci&oacute;n Bombilla, que ha modernizado el acompa&ntilde;amiento tradicional, brindando nuevos matices sonoros a la danza. Esta adaptaci&oacute;n musical refleja un proceso de reinterpretaci&oacute;n de la festividad, donde los elementos tradicionales se fusionan con influencias contempor&aacute;neas, permitiendo que la danza se mantenga relevante para las nuevas generaciones sin perder sus ra&iacute;ces hist&oacute;ricas. El uso de instrumentos tradicionales junto a los modernos crea un contraste que enriquece la experiencia y amplifica su resonancia cultural.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "69c026a8-bdc3-4b63-829a-6f5cfd88d4ef", "provisionaledits": null, "resourceinstance_id": "0b150c7b-f55f-40e4-859e-62e20cc8b538", "sortorder": 0, "tileid": "88a435cb-0fed-4ef7-9415-df058655e5ed"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la danza Toritos y Mamas es su capacidad para mantener vivas las tradiciones culturales a trav\u00e9s de la participaci\u00f3n activa de la comunidad. La danza se ha transmitido generaci\u00f3n tras generaci\u00f3n, lo que permite que los conocimientos y valores hist\u00f3ricos relacionados con la llegada del ganado vacuno y su simbolismo en el nacimiento del Ni\u00f1o Jes\u00fas sigan siendo una parte esencial de la identidad local. Esta continuidad refuerza el sentido de pertenencia y orgullo cultural, ya que los participantes no solo reviven la historia, sino que tambi\u00e9n la reconfiguran y adaptan de acuerdo a sus contextos sin perder su esencia. La pr\u00e1ctica de la danza contribuye a la preservaci\u00f3n del patrimonio cultural en un entorno de constante cambio.  La estructura de la danza, la interacci\u00f3n intergeneracional, fomentan el aprendizaje colaborativo y el respeto por los conocimientos de los mayores, al tiempo que permite que los m\u00e1s j\u00f3venes se integren en el proceso creativo y de ense\u00f1anza. La danza, por lo tanto, no solo cumple una funci\u00f3n recreativa, sino que tambi\u00e9n fortalece los lazos comunitarios y ayuda a cultivar una identidad compartida que perdura a lo largo del tiempo."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "69c026a8-bdc3-4b63-829a-6f5cfd88d4ef", "provisionaledits": null, "resourceinstance_id": "0b150c7b-f55f-40e4-859e-62e20cc8b538", "sortorder": 0, "tileid": "5026c150-aa37-4cae-904e-b3918bdb655d"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos m&aacute;s significativos de la danza Toritos y Mamas es la p&eacute;rdida de su autenticidad debido a las transformaciones externas, como la introducci&oacute;n de elementos contempor&aacute;neos o la influencia de otras tradiciones culturales. Aunque la adaptaci&oacute;n a los tiempos modernos puede resultar positiva en algunos casos, existe el peligro de que los elementos hist&oacute;ricos y simb&oacute;licos que le dan identidad a la danza se diluyan.</p>\n\n<p>&nbsp;</p>\n\n<p>Si bien la danza sigue siendo un medio para fortalecer la identidad cultural, los cambios en los intereses sociales y el influjo de actividades m&aacute;s modernas pueden hacer que los j&oacute;venes se alejen de estas tradiciones. El desinter&eacute;s por parte de las nuevas generaciones pone en riesgo la continuidad de la danza, ya que la transmisi&oacute;n del conocimiento se basa principalmente en la observaci&oacute;n y la pr&aacute;ctica comunitaria. Si este v&iacute;nculo se debilita, la danza podr&iacute;a perder relevancia y convertirse en una pr&aacute;ctica marginal, lo que afectar&iacute;a su preservaci&oacute;n a largo plazo.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "69c026a8-bdc3-4b63-829a-6f5cfd88d4ef", "provisionaledits": null, "resourceinstance_id": "0b150c7b-f55f-40e4-859e-62e20cc8b538", "sortorder": 0, "tileid": "bf8d8fa5-8485-43f2-b821-45a36426c94c"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:01.020", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000061, "}, "es": {"description": "San Javier. Danza El Yabarito", "map_popup": "Beni", "name": "PI-080102-00-00-000061, San Javier. Danza El Yabarito"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000061, San Javier. Danza El Yabarito", "principaluser_id": 26, "resourceinstanceid": "360e3ffb-9c20-4410-b67c-853e69e38283", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta Virgen del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000061", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Danza El Yabarito"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 0, "tileid": "c84ae43e-4d4b-4e70-ad4c-0382e3831ce8"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 0, "tileid": "ce6658dc-6fd8-4365-b650-97bb8ff8a8c5"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Danza El Yabarito</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La danza El Yabarito est&aacute; relacionada con la Fiesta de la Virgen del Carmen. Representa un personaje basado en el animal avestruz, denominado pillu. Este personaje, conocido como el soldado de las danzas, participa principalmente con la danza del machetero, aunque puede aparecer en otras danzas. El nombre Yabarito proviene del idioma javeriano.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>El Yabarito lleva una careta humana y plumaje de pillu en su cuerpo, representando al pillu, un ave r&aacute;pida y curiosa. En la danza, el Yabarito corre de un lado a otro de la tropa de danzantes, mostrando la agilidad y el comportamiento inquisitivo del animal. Tambi&eacute;n se inclina la cabeza de manera picaresca, imitando al ave. En un momento determinado, cuando estalla un petardo, el Yabarito cae al suelo como si estuviera muerto, simulando la ca&iacute;da del p&aacute;jaro.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>El Yabarito representa al pillu, que es considerado un polic&iacute;a en la tradici&oacute;n local, llevando un chicote y un bombito. Usaba el chicote para golpear a aquellos que se comportaban mal o que representaban una amenaza. En el conocimiento de las estrellas, se cree que hay una estrella que representa al pillu, junto con otras estrellas como la de la peta (tortuga) y el ciervo. Seg&uacute;n la tradici&oacute;n, si la estrella del pillu va al frente, el a&ntilde;o ser&aacute; corto, mientras que si la de la peta va delante, el a&ntilde;o ser&aacute; largo .</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>El Yabarito se mueve r&aacute;pidamente entre la tropa de danzantes, imitando el comportamiento del pillu, quien es un animal curioso y veloz. Su coreograf&iacute;a incluye movimientos &aacute;giles y una inclinaci&oacute;n de cabeza picaresca, reflejando la actitud inquisitiva del ave. Al estallar un petardo, el Yabarito cae al suelo como si estuviera muerto. La danza es acompa&ntilde;ada por la m&uacute;sica de la agrupaci&oacute;n Bombilla , que da ritmo y &eacute;nfasis a la coreograf&iacute;a, contribuyendo a la din&aacute;mica de la representaci&oacute;n del Yabarito.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<p>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana. . Ellas llevaban el estandarte que data de 1957, estaban encargadas de atender a la virgen y atender necesidades de la iglesia y ayudar a la manutenci&oacute;n del templo y recaudar fondos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "ce6658dc-6fd8-4365-b650-97bb8ff8a8c5", "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 0, "tileid": "7b1bf0c0-45bd-46d4-9f89-2570ef0bd3ea"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.87550348692079, -14.6014707223964], "type": "Point"}, "id": "6a56b269cbc1cb928329c748a0ee06fe", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000026'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 0, "tileid": "7fdd073a-c4e2-469a-b5fd-4647d4bd8c68"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Ornamento tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales El plumaje est\u00e1 compuesto por plumas de avestruz, conocidas localmente como pillu. T\u00e9cnica de elaboraci\u00f3n Las plumas se cosen una a una sobre una cinta, formando una pieza que se adapta al cuerpo del personaje durante la danza. Descripci\u00f3n de la pieza Se trata de un conjunto de plumas unidas mediante costura a una cinta que permite sujetarlas al cuerpo del danzante. El resultado es un vestuario ligero y din\u00e1mico, que acompa\u00f1a los movimientos del personaje con soltura y presencia. Descripci\u00f3n de la funci\u00f3n/uso El plumaje forma parte del atuendo del Yabarito, personaje que representa al ave pillu, una especie de avestruz que habita en la regi\u00f3n. El Yabarito lleva una careta humana y cubre su cuerpo con este plumaje caracter\u00edstico. Se le reconoce como el \u201csoldado\u201d dentro de las danzas, participando en distintas representaciones, aunque su presencia es m\u00e1s com\u00fan junto a los macheteros. El nombre Yabarito proviene del idioma javeriano. Datos hist\u00f3ricos La figura del Yabarito se inspira en el animal pillu, y su rol dentro de las danzas es el de un vigilante o polic\u00eda. Antiguamente portaba un chicote y un peque\u00f1o bombo, y con el chicote correg\u00eda a quienes alteraban el orden o representaban una amenaza. Esta figura tiene tambi\u00e9n una dimensi\u00f3n c\u00f3smica: en el conocimiento ancestral de las estrellas en San Javier, hay una constelaci\u00f3n que lo representa. Junto a \u00e9l se encuentran las estrellas de la peta (tortuga) y el ciervo. La interpretaci\u00f3n de estas constelaciones orienta sobre la duraci\u00f3n del a\u00f1o: si el pillu va adelante, el a\u00f1o ser\u00e1 corto; si lo hace la peta, ser\u00e1 largo."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Plumaje \u2013 Danza Yabarito"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "ce6658dc-6fd8-4365-b650-97bb8ff8a8c5", "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 0, "tileid": "9f712c22-b874-4e29-8f95-a020138b6257"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Est\u00e1 elaborada con madera de balsa. T\u00e9cnica de elaboraci\u00f3n La t\u00e9cnica utilizada es el tallado manual, que permite esculpir los rasgos con precisi\u00f3n y expresividad. Descripci\u00f3n de la pieza La m\u00e1scara tiene forma ovalada y representa un rostro humano. Est\u00e1 completamente tallada y pintada, evocando la transformaci\u00f3n del Yabarito en un ser que mezcla lo humano y lo animal. Descripci\u00f3n de la funci\u00f3n/uso Esta careta es parte esencial del personaje Yabarito, quien encarna al pillu, un ave de gran tama\u00f1o. La m\u00e1scara le otorga una presencia humana, mientras que el plumaje cubre su cuerpo, completando la fusi\u00f3n simb\u00f3lica entre lo humano y lo animal. El Yabarito participa como figura vigilante en las danzas, mayormente junto a los macheteros. Datos hist\u00f3ricos El personaje mantiene su origen simb\u00f3lico como representaci\u00f3n del pillu. Como vigilante, antiguamente llevaba un chicote con el cual correg\u00eda a quienes comet\u00edan faltas. Tambi\u00e9n portaba un peque\u00f1o bombo. Dentro del saber tradicional de San Javier, el Yabarito est\u00e1 ligado al conocimiento astron\u00f3mico, figurando entre las constelaciones que orientan los ciclos del tiempo."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara \u2013 Yabarito"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "ce6658dc-6fd8-4365-b650-97bb8ff8a8c5", "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 1, "tileid": "88ad96cb-8b10-4e17-9eba-60fb79f2403c"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto elaboraci\u00f3n artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales El chicote est\u00e1 hecho con madera de palo Mar\u00eda para el mango, cuerdas resistentes y argollas de metal que refuerzan su estructura. T\u00e9cnica de elaboraci\u00f3n Su confecci\u00f3n es manual, uniendo los distintos materiales con precisi\u00f3n para asegurar su funcionalidad. Descripci\u00f3n de la pieza Es un instrumento largo, compuesto por una cuerda rematada con argollas met\u00e1licas y un mango firme, denominado \u201ccabo\u201d. Su dise\u00f1o combina est\u00e9tica y utilidad. Descripci\u00f3n de la funci\u00f3n/uso El chicote forma parte del atuendo del Yabarito, personaje que representa al ave pillu. Junto con su m\u00e1scara y plumaje, este instrumento completa su rol de vigilante o polic\u00eda dentro de las danzas, especialmente la de los macheteros. El t\u00e9rmino Yabarito proviene del idioma javeriano. Datos hist\u00f3ricos El chicote fue tradicionalmente el s\u00edmbolo de autoridad del Yabarito. Junto a un peque\u00f1o bombo, era utilizado para mantener el orden durante las festividades. Este personaje, inspirado en el pillu, tambi\u00e9n est\u00e1 presente en el cielo nocturno de San Javier como una constelaci\u00f3n, guiando el calendario agr\u00edcola y ritual del pueblo. La interpretaci\u00f3n de su posici\u00f3n, junto a las constelaciones de la tortuga y el ciervo, forma parte del conocimiento ancestral sobre los ciclos del tiempo."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Chicote \u2013 Yabarito"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "ce6658dc-6fd8-4365-b650-97bb8ff8a8c5", "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 2, "tileid": "cb2afeab-a358-447f-a74b-d5ce74f7c227"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza El Yabarito, vinculada a la Fiesta de la Virgen del Carmen, refleja una tradici&oacute;n cultural que se transmite a trav&eacute;s de la danza y la m&uacute;sica. En su representaci&oacute;n, el Yabarito, caracterizado por una careta humana y plumaje que evoca al avestruz, encarna el comportamiento del pillu, un animal veloz y curioso. A trav&eacute;s de su movimiento en la coreograf&iacute;a, los danzantes imitan la agilidad y la actitud inquisitiva del animal. La ca&iacute;da repentina tras el estallido de un petardo simboliza la muerte del p&aacute;jaro, lo que introduce una conexi&oacute;n simb&oacute;lica con la naturaleza y la cosmovisi&oacute;n local. Este tipo de danzas es una forma de transmitir saberes ancestrales sobre los animales, las estrellas y sus significados dentro de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>La danza tambi&eacute;n est&aacute; ligada a la ense&ntilde;anza de valores y creencias populares, como la relaci&oacute;n del pillu con la polic&iacute;a local y el uso de su chicote para mantener el orden. La transmisi&oacute;n de este conocimiento se realiza de manera vivencial, con la coreograf&iacute;a, la m&uacute;sica y la interpretaci&oacute;n de los participantes. Los detalles de la danza, como los movimientos &aacute;giles y la inclinaci&oacute;n de la cabeza del Yabarito, refuerzan los principios sobre la naturaleza y la observaci&oacute;n directa de los comportamientos animales, los cuales son fundamentales en la cosmovisi&oacute;n de la comunidad. Adem&aacute;s, el conocimiento relacionado con las estrellas y su influencia en el calendario agr&iacute;cola local tambi&eacute;n forma parte de este sistema de transmisi&oacute;n cultural.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "ce6658dc-6fd8-4365-b650-97bb8ff8a8c5", "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 0, "tileid": "4c4eeffb-7725-4395-ad10-06b15d64a284"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, la danza El Yabarito ha experimentado varias transformaciones que responden a los cambios en la sociedad y en las formas de ense&ntilde;anza y aprendizaje. La coreograf&iacute;a, que originalmente reflejaba de manera precisa el comportamiento del pillu, ha ido adapt&aacute;ndose a las influencias externas y a la evoluci&oacute;n de las tradiciones. La incorporaci&oacute;n de nuevas formas de m&uacute;sica o de instrumentos en la representaci&oacute;n, como las variaciones en las agrupaciones que acompa&ntilde;an la danza, es un claro ejemplo de c&oacute;mo la pr&aacute;ctica se ha adaptado.</p>\n\n<p>&nbsp;</p>\n\n<p>Asimismo, la interpretaci&oacute;n simb&oacute;lica de la danza ha pasado por un proceso de reinterpretaci&oacute;n. Mientras que en sus or&iacute;genes se vinculaba estrechamente con la cosmovisi&oacute;n local y los ciclos agr&iacute;colas, ahora su funci&oacute;n tambi&eacute;n se asocia con el espect&aacute;culo y la preservaci&oacute;n de la tradici&oacute;n frente a un p&uacute;blico m&aacute;s amplio. Este cambio ha modificado el modo en que se transmite el conocimiento ancestral, ya que la pr&aacute;ctica ya no solo se ejecuta dentro del contexto comunitario, sino que ha trascendido a otros espacios como festivales y celebraciones de gran escala.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ce6658dc-6fd8-4365-b650-97bb8ff8a8c5", "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 0, "tileid": "75199edb-49ca-4c65-bb98-795b0b3dc119"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la danza El Yabarito radica en su capacidad para conectar a la comunidad con su identidad cultural a trav\u00e9s de una representaci\u00f3n visual y perform\u00e1tica de sus tradiciones. La coreograf\u00eda, al imitar los movimientos \u00e1giles y curiosos del pillu, permite que los participantes se involucren activamente con los elementos naturales y c\u00f3smicos que forman parte de su cosmovisi\u00f3n. Esta pr\u00e1ctica refuerza la transmisi\u00f3n de conocimientos ancestrales, como la relaci\u00f3n con las estrellas y las influencias c\u00f3smicas sobre el calendario agr\u00edcola, lo que fortalece el sentido de pertenencia y continuidad cultural entre generaciones.  Otra fortaleza significativa es la integraci\u00f3n de la danza con otros elementos art\u00edsticos, como la m\u00fasica y la vestimenta, que enriquecen la experiencia cultural. La combinaci\u00f3n de aspectos visuales, sonoros y coreogr\u00e1ficos convierte a El Yabarito en una pr\u00e1ctica din\u00e1mica que no solo preserva el legado cultural, sino que tambi\u00e9n tiene un valor como herramienta de expresi\u00f3n art\u00edstica y educativa dentro de la comunidad."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "ce6658dc-6fd8-4365-b650-97bb8ff8a8c5", "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 0, "tileid": "deeae140-c8d6-4ec0-8f82-bfbafa5629e3"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Un riesgo importante para la danza El Yabarito es la posible p&eacute;rdida de su autenticidad debido a la creciente influencia de la modernidad y el turismo. A medida que la danza se presenta en festivales o como un espect&aacute;culo destinado a un p&uacute;blico m&aacute;s amplio, podr&iacute;a desviarse de su contexto original y perder su conexi&oacute;n con las creencias y pr&aacute;cticas comunitarias. El &eacute;nfasis en la comercializaci&oacute;n de la tradici&oacute;n puede llevar a que se simplifique o se modifique la coreograf&iacute;a, la m&uacute;sica o incluso el simbolismo original de la danza, afectando su valor cultural y educativo. Este cambio puede hacer que las nuevas generaciones pierdan el entendimiento profundo de los elementos que hacen &uacute;nica a la danza.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro desaf&iacute;o es la posible desvinculaci&oacute;n de la danza con las tradiciones locales debido a la falta de un proceso adecuado de transmisi&oacute;n intergeneracional. Si bien las representaciones contin&uacute;an realiz&aacute;ndose, la ense&ntilde;anza de la danza podr&iacute;a no estar siendo transmitida de forma efectiva a los m&aacute;s j&oacute;venes, especialmente si no se mantiene el inter&eacute;s por parte de las nuevas generaciones. La falta de espacios adecuados para la ense&ntilde;anza de la danza, as&iacute; como la escasa inversi&oacute;n en la preservaci&oacute;n de los conocimientos tradicionales, puede amenazar la continuidad de esta pr&aacute;ctica cultural a largo plazo, resultando en una desconexi&oacute;n con el legado ancestral.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ce6658dc-6fd8-4365-b650-97bb8ff8a8c5", "provisionaledits": null, "resourceinstance_id": "360e3ffb-9c20-4410-b67c-853e69e38283", "sortorder": 0, "tileid": "0f27f142-d391-45c1-b80e-869a15db9b35"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:01.413", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000062, "}, "es": {"description": "San Javier. Fiesta de la Virgen del Carmen", "map_popup": "Beni", "name": "PI-080102-00-00-000062, San Javier. 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Fiesta de la Virgen del Carmen"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 0, "tileid": "5e21d8ae-d56a-415d-a5f1-56bb21e9aa63"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 0, "tileid": "35eaff32-b0f8-4f77-ba82-073ae94f017f"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["322b3277-4cda-4519-a47e-74db25067384"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Fiesta de la Virgen del Carmen</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La Fiesta de la Virgen del Carmen es una fiesta religiosa. El motivo principal de esta fiesta es la advocaci&oacute;n mariana de la Virgen del Carmen, quien es venerada especialmente en varias regiones de Bolivia. La fiesta se expresa de manera festiva, con celebraciones que incluyen danzas, procesiones, y otras actividades culturales y religiosas que reflejan la devoci&oacute;n a la Virgen. El objeto evocado durante esta festividad es la Virgen del Carmen, quien es considerada patrona de muchos lugares y es invocada por su protecci&oacute;n y gu&iacute;a. El origen de la Fiesta de la Virgen del Carmen se remonta al per&iacute;odo colonial, cuando la devoci&oacute;n a la Virgen del Carmen fue promovida por los colonizadores espa&ntilde;oles en Am&eacute;rica Latina.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado de la fiesta</strong></p>\n\n<p>Es una celebraci&oacute;n dedicada a la advocaci&oacute;n a la Virgen Mar&iacute;a, espec&iacute;ficamente a la Virgen del Carmen, que se celebra cada a&ntilde;o el 16 de julio. Esta festividad tiene un profundo significado religioso y cultural para la comunidad, reflejando una devoci&oacute;n que ha perdurado por generaciones.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La historia de la fiesta de la Virgen del Carmen est&aacute; marcada por un evento significativo durante la Guerra del Chaco en los a&ntilde;os 1930 y 1935. Un grupo de j&oacute;venes reclutados para la guerra se encomendaron a la Virgen del Carmen, prometiendo instalar la tradici&oacute;n del velorio y hacerle vestidos nuevos si volv&iacute;an vivos. De los 33 soldados que partieron, 32 regresaron, solo uno muri&oacute; en combate. Esta promesa fue el origen de la fiesta que, desde entonces, se ha celebrado con jocheo de toros y palo encebado, convirti&eacute;ndose en una tradici&oacute;n que se extendi&oacute; a la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>A lo largo del tiempo, la fiesta tambi&eacute;n ha sido un espacio para rememorar la fundaci&oacute;n de San Javier, la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691 bajo el nombre de San Francisco Javier. Desde entonces, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>&nbsp;</p>\n\n<p>La Virgen del Carmen fue tallada por los habitantes de San Javier, y su imagen ha sido objeto de devoci&oacute;n. Durante las d&eacute;cadas de 1970 y 1980, las iglesias de la regi&oacute;n fueron objeto de robos, pero los medallones de plata que adornaban la Virgen fueron salvados gracias a la intervenci&oacute;n de un profesor Carmelo Jou, quien desempe&ntilde;aba el oficio de doctrinero en la iglesia. Tras varios intentos de robo, se decidi&oacute; proteger los medallones, coloc&aacute;ndolos en lo alto de la iglesia.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, la Virgen del Carmen est&aacute; asociada con un escapulario, s&iacute;mbolo de la protecci&oacute;n espiritual. En su mano derecha sostiene una estampa de su imagen, y aquellos que desean salvar su alma deben vestir su h&aacute;bito marr&oacute;n, lo que llev&oacute; a la creaci&oacute;n de la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, un grupo de mujeres encargadas de atender las necesidades de la iglesia y recaudar fondos para su mantenimiento.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participantes</strong></p>\n\n<p>La fiesta cuenta con la participaci&oacute;n de diversos grupos y personas, entre ellos los Conjuntos de danza:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Los angelitos</li>\n\t<li>Los mu&ntilde;equitos</li>\n\t<li>Los remadores</li>\n\t<li>San Esteban</li>\n\t<li>El Viejito</li>\n\t<li>El Sarao</li>\n\t<li>Los Herodes</li>\n\t<li>Macheteros del Colegio Jorge Monasterios</li>\n\t<li>Toritos y mamas</li>\n\t<li>La vaca</li>\n\t<li>Judas</li>\n\t<li>Los macheteros de San Javier</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Entre las autoridades y representantes est&aacute;n:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Autoridades del municipio y departamentales</li>\n\t<li>Profesores y estudiantes del Colegio Jorge Monasterios</li>\n\t<li>Comunidad de San Javier</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Proceso de ejecuci&oacute;n de la fiesta</strong></p>\n\n<p><strong>Antes de la fiesta</strong></p>\n\n<p>La organizaci&oacute;n de la fiesta se lleva a cabo con la participaci&oacute;n de un comit&eacute; de festejos compuesto por representantes locales, entre los que se incluyen el Corregidor del Cabildo Indigenal de San Javier, miembros de la organizaci&oacute;n de mujeres Mujeres Creativas, el Presidente de los Macheteros, el Director y profesores del Colegio Jorge Monasterios, personal de la Alcald&iacute;a de San Javier y Carmelo Jou.</p>\n\n<p>&nbsp;</p>\n\n<p>Como parte de los preparativos, se elabora una lista de las danzas que participar&aacute;n en la entrada folkl&oacute;rica, se extienden invitaciones a diversas autoridades gubernamentales y se realizan ensayos con el grupo de macheteros.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Durante la fiesta</strong></p>\n\n<p>Se realizan varias actividades:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Entrada folkl&oacute;rica</strong></li>\n</ul>\n\n<p style=\"margin-left:48px\">La entrada folkl&oacute;rica se llev&oacute; a cabo el 15 de julio. Las agrupaciones comenzaron su recorrido en el atrio de la iglesia, realizando un giro alrededor de una cuadra detr&aacute;s de la iglesia para entrar a la plaza y continuar hasta llegar a la esquina izquierda de la iglesia. Todos los grupos participaron con la denominada Gran Fiesta, donde todas las agrupaciones se presentaron bailando al ritmo de la chobena. Antes de ingresar al palco de las autoridades, los participantes se organizaron por agrupaciones. La m&uacute;sica fue preparada con antelaci&oacute;n, utilizando grabaciones propias de cada danza.</p>\n\n<p>&nbsp;</p>\n\n<p>Entre las agrupaciones participantes se incluyen:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Los angelitos</li>\n\t<li>Los mu&ntilde;equitos</li>\n\t<li>Los remadores</li>\n\t<li>San Esteban</li>\n\t<li>El Viejito</li>\n\t<li>El Sarao</li>\n\t<li>Los Herodes</li>\n\t<li>Macheteros del Colegio Jorge Monasterios, integrado por los sabios de la comunidad</li>\n\t<li>Toritos y mamas</li>\n\t<li>La vaca</li>\n\t<li>Judas</li>\n\t<li>Los macheteros de San Javier</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Velorio a la Virgen del Carmen</strong></li>\n</ul>\n\n<p style=\"margin-left:47px\">El velorio comienza con rezos en la iglesia tras los tres repiques de campanas. El doctrinero enuncia varios rezos y lecturas, y posteriormente se celebra la misa con la presencia del sacerdote. Luego, la virgen es sacada del templo y llevada a un recinto que sirve de sede del Cabildo Indigenal. All&iacute; se ha preparado un altar para la virgen, y todos acompa&ntilde;an la procesi&oacute;n, encabezada por los macheteros de San Javier. Una vez en el recinto, se inicia el baile de macheteros, seguido por el baile de las mamas y otros miembros de la comunidad. El evento contin&uacute;a con turnos y descansos para consumir bebidas refrescantes, y sigue hasta altas horas de la madrugada.</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Diana a la Virgen del Carmen</strong></li>\n</ul>\n\n<p style=\"margin-left:47px\">La diana comienza a las 6 de la ma&ntilde;ana, con la presencia de dos agrupaciones de m&uacute;sica y baile. Los macheteros encabezan la procesi&oacute;n, seguidos por la banda, que acompa&ntilde;a a los bailarines, hombres y mujeres de la comunidad, vestidos con tipoy. Posteriormente, la virgen es llevada de regreso a la iglesia para que, unas horas despu&eacute;s, inicie la procesi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Procesi&oacute;n de la Virgen del Carmen</strong></li>\n</ul>\n\n<p style=\"margin-left:24px\">La procesi&oacute;n comienza con la misa, y al finalizar, la virgen es sacada de la iglesia para iniciar su recorrido. La procesi&oacute;n recorre la plaza, realizando una pausa en cada una de las cuatro esquinas para proseguir. Al frente van los sacristanes, seguidos por los macheteros, los danzantes varios con la banda, la comitiva que lleva a la virgen y, finalmente, una agrupaci&oacute;n invitada de Trinidad con danzantes de la Casa de la Cultura de Trinidad. Al finalizar la procesi&oacute;n, la virgen regresa a la iglesia.</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Bautizo</strong></li>\n</ul>\n\n<p style=\"margin-left:24px\">El bautizo es la ceremonia para bautizar a ni&ntilde;os y adolescentes. Los padres de familia presentan los documentos necesarios para el rito, que se lleva a cabo con una breve enunciaci&oacute;n de lecturas religiosas. Los ni&ntilde;os y adolescentes son acomodados frente al altar, donde cada uno es bautizado con agua bendita, luego ungido con aceite sagrado y, finalmente, se enciende una vela, s&iacute;mbolo de la luz de Cristo en sus vidas.</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Jocheo de toros</strong></li>\n</ul>\n\n<p style=\"margin-left:24px\">El jocheo de toros es una tradici&oacute;n que se celebra en todas las festividades del departamento de Beni. En esta ocasi&oacute;n, se cont&oacute; con la presencia de un toro para el jocheo, ya que la comunidad ya no recibe apoyo de los hacendados que tienen ganado. Los hatos de ganado de la comunidad se encuentran lejos de San Javier, uno a 10 kil&oacute;metros y el otro en la localidad de San Pedro.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Despu&eacute;s de la fiesta</strong></p>\n\n<p>Una vez finalizada la festividad, se procede con la limpieza de la plaza y el regreso a las actividades cotidianas de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Recorrido festivo</strong></p>\n\n<p>Velorio a la Virgen del Carmen. El velorio comienza en la iglesia y recorre hasta el recinto particular que sirve de sede del Cabildo Indigenal, ubicado a una cuadra de la iglesia.</p>\n\n<p>&nbsp;</p>\n\n<p>Diana a la Virgen del Carmen. La diana recorre desde la sede del Cabildo Indigenal, a una cuadra de la iglesia, hasta la iglesia misma.</p>\n\n<p>&nbsp;</p>\n\n<p>Procesi&oacute;n Virgen del Carmen. La procesi&oacute;n comienza en la iglesia y da vuelta alrededor de la plaza para finalizar en el mismo templo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Sitio de la fiesta</strong></p>\n\n<ul>\n\t<li>Entrada folkl&oacute;rica. Alrededor de la plaza de San Javier.</li>\n\t<li>Velorio a la Virgen del Carmen. Sede del Cabildo Indigenal.</li>\n\t<li>Diana a la Virgen del Carmen. Sede del Cabildo Indigenal.</li>\n\t<li>Procesi&oacute;n Virgen del Carmen. Iglesia y la plaza de San Javier.</li>\n\t<li>Bautizo. Iglesia de San Javier.</li>\n\t<li>Jocheo de toros. En el corral de la comunidad, a una cuadra de la plaza de San Javier.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Sitios rituales</strong></p>\n\n<p>Iglesia de San Javier, sede provisional del Cabildo Indigenal, plaza central.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "35eaff32-b0f8-4f77-ba82-073ae94f017f", "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 0, "tileid": "1ca0c301-79e3-44b5-b671-b7cd62362cc0"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto eclesial"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Est\u00e1 confeccionado con tela y madera de cedro. T\u00e9cnica de elaboraci\u00f3n Elaborado de manera manual, empleando t\u00e9cnicas tradicionales de bordado y ensamblaje. Descripci\u00f3n de la pieza Consiste en una pieza rectangular de tela finamente bordada, sostenida en su parte superior por un travesa\u00f1o de madera y un m\u00e1stil. Su dise\u00f1o permite llevarlo en procesi\u00f3n o exhibirlo como s\u00edmbolo religioso. Descripci\u00f3n de la funci\u00f3n/uso El estandarte se utiliza en la festividad de la Virgen del Carmen. Pertenece a la Congregaci\u00f3n o Cofrad\u00eda de Nuestra Se\u00f1ora del Carmen, fundada en 1957, como lo indica la inscripci\u00f3n bordada sobre la tela. Datos hist\u00f3ricos La pieza se\u00f1ala la fecha de fundaci\u00f3n de la Cofrad\u00eda de Nuestra Se\u00f1ora del Carmen en 1957. Desde ese momento, la agrupaci\u00f3n asumi\u00f3 responsabilidades en la organizaci\u00f3n de la fiesta de la Virgen. Estaba compuesta originalmente por mujeres que se reun\u00edan para atender diversas necesidades de la iglesia, organizando colectas destinadas a su mantenimiento y a la ayuda de personas enfermas. Actualmente, solo una integrante anciana contin\u00faa con esta tradici\u00f3n."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Estandarte"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "35eaff32-b0f8-4f77-ba82-073ae94f017f", "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 0, "tileid": "f9beeb81-5f94-4f71-a9b0-7917ec66ba2f"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.87659912109132, -14.60040644445857], "type": "Point"}, "id": "ae6b4360aa1d9a324ac25d4ab7cdae4c", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000027'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 0, "tileid": "966db936-4b6d-47ff-bcb1-4d41becc6670"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Confeccionado con tela, generalmente de uso cotidiano o festivo. T\u00e9cnica de elaboraci\u00f3n Elaborado de manera manual, siguiendo t\u00e9cnicas tradicionales de costura. Descripci\u00f3n de la pieza Se trata de un vestido t\u00edpico utilizado por las mujeres de la regi\u00f3n. Su forma sencilla y amplia se adapta al clima c\u00e1lido y a la vida cotidiana. Descripci\u00f3n de la funci\u00f3n/uso El tipoy era el vestido de uso diario para las mujeres, aunque hoy en d\u00eda se reserva principalmente para celebraciones. Se diferencia del tipoy festivo por el tipo de tela: el de uso cotidiano lleva estampados florales, mientras que el festivo se confecciona con tela de sat\u00e9n, m\u00e1s elegante y brillante. Datos hist\u00f3ricos El tipoy de uso diario ha dejado de utilizarse hace varios a\u00f1os, pero se conserva su memoria y forma en las festividades. El tipoy representativo de San Javier se caracteriza por su ponchillo redondo y un encaje ubicado a unos 20 cm del borde inferior del vestido, detalle que le otorga identidad local."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tipoy"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "35eaff32-b0f8-4f77-ba82-073ae94f017f", "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 1, "tileid": "b0f8b00c-63cd-4673-b150-b51b475962ed"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto eclesial"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Tallada en madera de cedro. T\u00e9cnica de elaboraci\u00f3n Elaborada a mano mediante tallado tradicional, con gran dedicaci\u00f3n y respeto por la figura sagrada que representa. Descripci\u00f3n de la pieza Se trata de una imagen religiosa que representa a la Virgen Mar\u00eda bajo la advocaci\u00f3n del Carmen, venerada como protectora y s\u00edmbolo de fe en la comunidad. Descripci\u00f3n del contexto La fiesta de la Virgen del Carmen se celebra los d\u00edas 15 y 16 de julio. Su devoci\u00f3n est\u00e1 profundamente ligada a la promesa hecha por la comunidad en agradecimiento por el milagroso regreso de 32 soldados de la Guerra del Chaco. La imagen tambi\u00e9n es reconocida por su poder de sanaci\u00f3n, motivo por el cual muchas personas acuden a ella con esperanza. Descripci\u00f3n de la funci\u00f3n/uso Es una pieza de car\u00e1cter religioso que ocupa un lugar central en las festividades y ceremonias de fe, sirviendo como objeto de veneraci\u00f3n y s\u00edmbolo de identidad espiritual."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen de la Virgen del Carmen"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "35eaff32-b0f8-4f77-ba82-073ae94f017f", "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 2, "tileid": "6b6fdea7-d632-466d-8ea0-1c099d731014"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de conocimientos en la Fiesta de la Virgen del Carmen se lleva a cabo mediante la pr&aacute;ctica directa y la participaci&oacute;n activa de la comunidad. A trav&eacute;s de las danzas, las procesiones y las ceremonias religiosas, las generaciones j&oacute;venes aprenden de los m&aacute;s experimentados, quienes transmiten los s&iacute;mbolos asociados a cada danza, tambi&eacute;n el significado profundo de las actividades rituales. Los conjuntos de danza, como los Macheteros del Colegio Jorge Monasterios, juegan un papel crucial en este proceso, ya que representan un espacio donde los saberes de la comunidad se fusionan con la expresi&oacute;n cultural y religiosa, consolidando el lazo entre el pasado y el presente.</p>\n\n<p>&nbsp;</p>\n\n<p>Asimismo, los rituales de la festividad, como el velorio y la procesi&oacute;n, se convierten en escenarios de ense&ntilde;anza impl&iacute;cita. En cada etapa del evento, desde la misa hasta el jocheo de toros, los participantes, desde los m&aacute;s peque&ntilde;os hasta los adultos, asumen roles que les permiten interiorizar tanto las costumbres locales como las creencias religiosas. Estas pr&aacute;cticas son esenciales para preservar la identidad cultural de la comunidad, funcionando como una escuela vivencial donde los conocimientos se transmiten de manera org&aacute;nica, sin necesidad de una instrucci&oacute;n formal, sino m&aacute;s bien a trav&eacute;s de la participaci&oacute;n y la experiencia compartida.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "35eaff32-b0f8-4f77-ba82-073ae94f017f", "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 0, "tileid": "a93f3295-1396-470d-83f3-d9dd6e7126eb"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, la Fiesta de la Virgen del Carmen ha experimentado diversas transformaciones, tanto en su estructura como en las formas de participaci&oacute;n. La manera en que se organizan y ejecutan los eventos ha cambiado, pasando de ser una celebraci&oacute;n informal a un proceso m&aacute;s estructurado con un comit&eacute; organizador y la participaci&oacute;n de autoridades locales.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "35eaff32-b0f8-4f77-ba82-073ae94f017f", "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 0, "tileid": "fa1d9acf-4fe8-4091-a88b-400ebc6d0cb4"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la Fiesta de la Virgen del Carmen radica en su capacidad para unir a toda la comunidad en torno a una tradici\u00f3n compartida que abarca tanto lo religioso como lo cultural. A lo largo de los a\u00f1os, la festividad ha logrado mantenerse vigente, adapt\u00e1ndose a los cambios sin perder su esencia. La participaci\u00f3n activa de diferentes grupos, como los conjuntos de danza y los macheteros, asegura la transmisi\u00f3n de conocimientos y la preservaci\u00f3n de las costumbres ancestrales. Esta diversidad de involucrados refuerza la identidad colectiva y permite que generaciones de diferentes edades se conecten con la historia y el significado profundo de la celebraci\u00f3n.  La estructura comunitaria, que fomenta la colaboraci\u00f3n entre diversos actores locales, desde autoridades municipales hasta miembros de asociaciones y grupos culturales. La organizaci\u00f3n conjunta entre los pobladores y las instituciones como el Colegio Jorge Monasterios y la Alcald\u00eda de San Javier es un ejemplo de cohesi\u00f3n social. Esta colaboraci\u00f3n facilita la ejecuci\u00f3n de actividades que involucran tanto el aspecto religioso como el folklore, y promueve el sentido de pertenencia y el compromiso de los habitantes de San Javier con su herencia cultural. La fiesta se convierte, as\u00ed, en un medio para fortalecer los lazos comunitarios, creando espacios de integraci\u00f3n y participaci\u00f3n para todos los miembros de la sociedad."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "35eaff32-b0f8-4f77-ba82-073ae94f017f", "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 0, "tileid": "6a2838cd-8cae-48ea-aaa3-b0c54bf5fdea"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Un elemento significativo es la falta de recursos para garantizar la continuidad de la fiesta en su formato tradicional. La comunidad depende en gran medida de la colaboraci&oacute;n de los habitantes locales y las instituciones para la organizaci&oacute;n de eventos como el jocheo de toros y las danzas folkl&oacute;ricas. Sin embargo, la escasez de apoyo externo o la disminuci&oacute;n de la participaci&oacute;n de j&oacute;venes podr&iacute;a llevar a la reducci&oacute;n o desaparici&oacute;n de ciertas actividades.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "35eaff32-b0f8-4f77-ba82-073ae94f017f", "provisionaledits": null, "resourceinstance_id": "06d08d65-c9da-4069-80ef-5ebeba1f3e37", "sortorder": 0, "tileid": "335ae2e7-dd65-4e95-94ea-b41a84173a2c"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:59.987", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000058, "}, "es": {"description": "San Javier. Danza Remadores", "map_popup": "Beni", "name": "PI-080102-00-00-000058, San Javier. Danza Remadores"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000058, San Javier. Danza Remadores", "principaluser_id": 26, "resourceinstanceid": "7ff85d18-5f7b-4a26-8974-0ce5f11099dd", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta Virgen del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000058", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Danza Remadores"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7ff85d18-5f7b-4a26-8974-0ce5f11099dd", "sortorder": 0, "tileid": "b2db75b0-1594-40f6-b873-cf02f11c8dd4"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7ff85d18-5f7b-4a26-8974-0ce5f11099dd", "sortorder": 0, "tileid": "907c7389-24dd-4642-9583-81d9f65f2699"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Danza Remadores</strong></p>\n\n<p>La danza Remadores forma parte de la Fiesta de la Virgen del Carmen y se baila en Navidad. Representa a los tripulantes de embarcaciones fluviales que viajaban por los r&iacute;os y que tambi&eacute;n llegaban a adorar al Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>Los bailarines llevan remos en sus manos y visten ropas chiraposas (rotas) y desgastadas, reflejando el aspecto de los tripulantes de botes que recorr&iacute;an largas distancias por el r&iacute;o.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La danza representa a los remadores y navegantes que utilizaban botes para transportar productos entre comunidades. En cada embarcaci&oacute;n hab&iacute;a un piloto que guiaba el trayecto. Al llegar a San Javier, los remadores tra&iacute;an consigo una canasta o tapeque con provisiones. La danza original inclu&iacute;a un piloto, un pescador y una bandera al frente. Est&aacute; relacionado a otra danza que se baila durante el periodo de Navidad, de denomina El Barco.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>Los bailarines imitan el movimiento de los remadores, haciendo figuras de un lado a otro con los remos, simulando el acto de remar en el r&iacute;o. La danza es interpretada con la m&uacute;sica de la agrupaci&oacute;n Bombilla.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<p>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana. . Ellas llevaban el estandarte que data de 1957, estaban encargadas de atender a la virgen y atender necesidades de la iglesia y ayudar a la manutenci&oacute;n del templo y recaudar fondos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "907c7389-24dd-4642-9583-81d9f65f2699", "provisionaledits": null, "resourceinstance_id": "7ff85d18-5f7b-4a26-8974-0ce5f11099dd", "sortorder": 0, "tileid": "57e2f465-a385-466c-9a63-541b412d24d0"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto de elaboracion artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales El remo est\u00e1 elaborado con madera resistente de mara o palo Mar\u00eda, seleccionada por su durabilidad y firmeza, cualidades necesarias para representar este instrumento de navegaci\u00f3n en la danza. T\u00e9cnica de elaboraci\u00f3n Su fabricaci\u00f3n es completamente manual, tallada cuidadosamente por artesanos locales que conservan las t\u00e9cnicas tradicionales. Esta elaboraci\u00f3n a mano permite conservar el dise\u00f1o funcional del remo, con atenci\u00f3n a su forma y proporci\u00f3n. Descripci\u00f3n de la pieza El remo presenta un dise\u00f1o sencillo pero simb\u00f3lico: una parte larga que funciona como mango y un extremo m\u00e1s ancho que representa la pala, utilizada para impulsar la embarcaci\u00f3n en los r\u00edos. Su aspecto recuerda el trabajo cotidiano de quienes lo empu\u00f1aban en la vida real. Descripci\u00f3n de la funci\u00f3n/uso Durante la danza, los bailarines portan los remos como s\u00edmbolo de su oficio. Se visten con ropas desgastadas, conocidas como chiraposos, que evocan la vida dura de los tripulantes de embarcaciones fluviales. Ellos representan a los remadores que surcaban los r\u00edos durante largos trayectos, y que tambi\u00e9n llegaban a San Javier en Navidad para adorar al Ni\u00f1o Jes\u00fas. Su participaci\u00f3n en la danza simboliza la inclusi\u00f3n de todos los pueblos y oficios en la celebraci\u00f3n del nacimiento. Datos hist\u00f3ricos La danza de Los Remadores recuerda a los antiguos navegantes que se desplazaban por los r\u00edos, uniendo comunidades y transportando productos en largas traves\u00edas. Viajaban en embarcaciones guiadas por un piloto ubicado en la proa, y llevaban consigo una canasta de tapeque, con alimentos y provisiones para el camino. En su forma tradicional, la danza inclu\u00eda al piloto, un pescador, y una bandera al frente de la formaci\u00f3n, completando as\u00ed la imagen de una tripulaci\u00f3n en viaje. Esta representaci\u00f3n mantiene viva la memoria de un oficio esencial en la historia fluvial de San Javier."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Remo \u2013 Danza Los Remadores"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "907c7389-24dd-4642-9583-81d9f65f2699", "provisionaledits": null, "resourceinstance_id": "7ff85d18-5f7b-4a26-8974-0ce5f11099dd", "sortorder": 0, "tileid": "02ddd8f1-fc33-4cb3-908c-0047aabb7cdb"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.87522583008293, -14.600406444455245], "type": "Point"}, "id": "e9ef2437cd2f908d9a6932f7510316de", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000023'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7ff85d18-5f7b-4a26-8974-0ce5f11099dd", "sortorder": 0, "tileid": "5edb6919-2383-4b0c-b17f-84e29afb85ca"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos sobre la danza Remadores se han preservado a trav&eacute;s de diversas formas de transmisi&oacute;n. Uno de los principales medios ha sido la participaci&oacute;n directa en las festividades, donde las generaciones mayores ense&ntilde;an a los m&aacute;s j&oacute;venes los movimientos y el significado de la danza. La pr&aacute;ctica comunitaria en espacios festivos permite que los bailarines adquieran experiencia mediante la observaci&oacute;n e imitaci&oacute;n de quienes llevan m&aacute;s tiempo ejecut&aacute;ndola. Adem&aacute;s, los relatos orales de los ancianos y conocedores enriquecen la comprensi&oacute;n sobre el simbolismo de la danza y su v&iacute;nculo con la historia de los navegantes fluviales.</p>\n\n<p>&nbsp;</p>\n\n<p>La vestimenta y los objetos utilizados, como los remos y las canastas, constituyen otra fuente de transmisi&oacute;n, ya que expresan la identidad de los remadores y su rol en el intercambio comercial entre comunidades. Estos elementos, junto con las coreograf&iacute;as que evocan el movimiento de remar, fortalecen la memoria colectiva y garantizan la continuidad de la danza en el tiempo.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "907c7389-24dd-4642-9583-81d9f65f2699", "provisionaledits": null, "resourceinstance_id": "7ff85d18-5f7b-4a26-8974-0ce5f11099dd", "sortorder": 0, "tileid": "1f224735-f8a9-435a-9f25-5eab9f8efc65"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, la danza Remadores ha experimentado modificaciones en su vestimenta, estructura y contexto de ejecuci&oacute;n. Si bien originalmente los bailarines representaban con fidelidad a los navegantes fluviales, con atuendos desgastados y la presencia de un piloto y un pescador, algunas versiones actuales han simplificado estos elementos o los han reemplazado por accesorios m&aacute;s estilizados. Pareciera que esta danza se relaciona con otra, denominada &ldquo;El Barco&rdquo;, esta danza tiene otra coreograf&iacute;a y ritmos.</p>\n\n<p>El significado simb&oacute;lico de la danza se mantiene, pero ciertos detalles han sido adaptados para responder a las din&aacute;micas festivas contempor&aacute;neas y a las exigencias de los eventos culturales en los que se presenta.</p>\n\n<p>&nbsp;</p>\n\n<p>El entorno donde se desarrolla la danza tambi&eacute;n ha cambiado. Antes, su interpretaci&oacute;n estaba ligada directamente a la llegada de los navegantes con provisiones, lo que reforzaba su conexi&oacute;n con la vida cotidiana de los pueblos ribere&ntilde;os. En la actualidad, su ejecuci&oacute;n es m&aacute;s frecuente en escenarios urbanos y festivales organizados, donde se privilegia la exhibici&oacute;n art&iacute;stica sobre la funci&oacute;n comunitaria original.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "907c7389-24dd-4642-9583-81d9f65f2699", "provisionaledits": null, "resourceinstance_id": "7ff85d18-5f7b-4a26-8974-0ce5f11099dd", "sortorder": 0, "tileid": "a8caa44d-be0c-4ced-8271-499a0f5c6786"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La danza Remadores se distingue por su profundo arraigo en la memoria colectiva y su capacidad para transmitir la historia de los navegantes fluviales. Su representaci\u00f3n simb\u00f3lica de quienes recorr\u00edan los r\u00edos transportando provisiones refuerza la identidad cultural de las comunidades. La participaci\u00f3n activa de diversas generaciones garantiza su continuidad, ya que el conocimiento se comparte a trav\u00e9s de la ense\u00f1anza pr\u00e1ctica y la convivencia en festividades. Esta conexi\u00f3n entre el pasado y el presente fortalece el sentido de pertenencia y refuerza los lazos comunitarios."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "907c7389-24dd-4642-9583-81d9f65f2699", "provisionaledits": null, "resourceinstance_id": "7ff85d18-5f7b-4a26-8974-0ce5f11099dd", "sortorder": 0, "tileid": "c3f1ce37-727a-4497-80f5-c5304d9f2798"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la danza Remadores es la p&eacute;rdida de su contexto original debido a la adaptaci&oacute;n a escenarios ajenos a su entorno tradicional. Su vinculaci&oacute;n con la vida de los navegantes fluviales, quienes transportaban provisiones entre comunidades, corre el riesgo de diluirse cuando la pr&aacute;ctica se traslada a festivales urbanos donde se prioriza la exhibici&oacute;n art&iacute;stica sobre el significado cultural. La ausencia de un v&iacute;nculo directo con la realidad que le dio origen podr&iacute;a generar una interpretaci&oacute;n superficial de su simbolismo y debilitar su valor como expresi&oacute;n identitaria.</p>\n\n<p>&nbsp;</p>\n\n<p>En algunas presentaciones recientes, los atuendos han sido estilizados y ciertos personajes, como el piloto o el pescador, han desaparecido. Estos cambios pueden alterar la comprensi&oacute;n de la danza y reducir su autenticidad con el tiempo.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "907c7389-24dd-4642-9583-81d9f65f2699", "provisionaledits": null, "resourceinstance_id": "7ff85d18-5f7b-4a26-8974-0ce5f11099dd", "sortorder": 0, "tileid": "2914c648-560a-41cf-9b0c-3fd91e289835"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:59.707", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080501-00-00-000021, "}, "es": {"description": "Elaboraci\u00f3n de bajones. Robin Cuellar", "map_popup": "Beni", "name": "PI-080501-00-00-000021, Elaboraci\u00f3n de bajones. 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Robin Cuellar", "principaluser_id": 26, "resourceinstanceid": "71a6eba8-3fd7-4b3e-a649-6b4657068b2d", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "T\u00e9cnicas artesanales"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080501-00-00-000021", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Elaboraci\u00f3n de bajones. Robin Cuellar"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio"}}, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "71a6eba8-3fd7-4b3e-a649-6b4657068b2d", "sortorder": 0, "tileid": "c7f12142-0f3a-45bc-a91b-efc80bfde7d0"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio de Moxos"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-65.63765566375736, -14.996430983407137], "type": "Point"}, "id": "84f8724b39e09124c66597f3c83bbd04", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "7c630574-4bde-4beb-92f4-d7e3a4b4c5fe", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080501', 'num': '000008'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "71a6eba8-3fd7-4b3e-a649-6b4657068b2d", "sortorder": 0, "tileid": "b99ee2ca-1588-46b1-b0ea-03fc76f2d789"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "71a6eba8-3fd7-4b3e-a649-6b4657068b2d", "sortorder": 0, "tileid": "bf743eb4-d6c2-45b3-ad65-a7ee1b0d0ced"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Elaboraci&oacute;n de bajones. Robin Cuellar</strong></p>\n\n<p>Robin Cuellar es un artesano dedicado a la fabricaci&oacute;n de bajones, un instrumento tradicional de viento que forma parte del legado cultural de San Ignacio, mantiene la tradici&oacute;n de la m&uacute;sica local.</p>\n\n<p>&nbsp;</p>\n\n<p>Los bajones son instrumentos de viento de gran tama&ntilde;o, elaborados con hojas secas de palmeras cusi y palla. Su estructura cil&iacute;ndrica y alargada est&aacute; compuesta por varias secciones ensambladas con hilos tensados y cera de abeja.</p>\n\n<p>&nbsp;</p>\n\n<p>Se distinguen por tener una boquilla de madera, que es la parte por donde se sopla el aire para generar el sonido. Los bajones pueden medir entre un metro y metro y medio, dependiendo del tipo, existen el Baj&oacute;n macho, es el m&aacute;s grande y tiene un tono m&aacute;s grave. El Baj&oacute;n hembra es mediano y su sonido es m&aacute;s agudo, sirviendo de gu&iacute;a en la interpretaci&oacute;n. Tambi&eacute;n se encuentra el Yur&iacute;, &nbsp;una versi&oacute;n m&aacute;s peque&ntilde;a, utilizada en festividades espec&iacute;ficas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Materiales y su procedencia</strong></p>\n\n<p>Para elaborar los bajones, Robin utiliza hojas de palmeras que obtiene de las comunidades de San Antonio de Padua y San Antonio del Pallar. Un profesor de la zona, conocedor en la selecci&oacute;n de los mejores cogollos, le provee la materia prima. Estas hojas, provenientes de las palmeras cusi y palla, deben estar en su punto justo de maduraci&oacute;n para garantizar la resistencia y calidad del instrumento. Se dejan secar hasta por dos meses para que el sonido sea &oacute;ptimo.</p>\n\n<p>&nbsp;</p>\n\n<p>La boquilla del baj&oacute;n se fabrica con Mara&ntilde;au, una planta espinosa cuya madera se trabaja cuidadosamente para evitar que se parta. Para fijar los hilos que unen las piezas del baj&oacute;n, se usa cera de abeja, la cual Robin compra a una familia local.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Herramientas y t&eacute;cnica artesanal</strong></p>\n\n<p>Robin emplea diversas herramientas en su trabajo:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Cuchillos para cortar y dar forma al tubo del baj&oacute;n.</li>\n\t<li>Alambre para tesar los hilos.</li>\n\t<li>Lijas para suavizar la superficie.</li>\n\t<li>Barniz en peque&ntilde;as cantidades para preservar el color natural.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>El proceso de construcci&oacute;n comienza en la noche, cuando la humedad impide que la madera se quiebre. Antes de iniciar, Robin hace una petici&oacute;n a San Antonio, rogando que el trabajo salga bien. La t&eacute;cnica de elaboraci&oacute;n sigue un proceso meticuloso:</p>\n\n<p>&nbsp;</p>\n\n<p>Se corta y seca el cogollo de la palmera.</p>\n\n<p>Se forma el tubo y se refuerza con hilo tratado con cera de abeja.</p>\n\n<p>Se ensamblan la boquilla, la peineta, tubos y el zapato de cuero, es un cuero que se adhiere en la parte baja del tubo.</p>\n\n<p>Se marcan las notas musicales en la madera, aunque el sonido final depende del ajuste preciso del instrumento.</p>\n\n<p>&nbsp;</p>\n\n<p>Existen distintos tipos de bajones: el baj&oacute;n hembra, m&aacute;s mediano, y el baj&oacute;n macho, de mayor tama&ntilde;o y diferente tono. Durante las festividades, la hembra &quot;canta&quot; primero y el macho responde. Adem&aacute;s, Robin elabora el Yur&iacute;, un baj&oacute;n m&aacute;s peque&ntilde;o que se usa en festividades como Navidad, A&ntilde;o Nuevo, el Carmen, San Ignacio y la fiesta patronal. Este instrumento acompa&ntilde;a la tradicional m&uacute;sica del Jerure, resonando en la plaza a la madrugada y al amanecer. La fabricaci&oacute;n de cada baj&oacute;n&nbsp; dura hasta dos meses.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s de los bajones, Robin fabrica otros instrumentos tradicionales, ellos son:</p>\n\n<p>&nbsp;</p>\n\n<p>F&iacute;fanos son flautas hechas con huesos de Bato, un ave de gran tama&ntilde;o. Tras secar el hueso, lo perfora para crear siete orificios y ajusta la boquilla con cera de abeja.</p>\n\n<p>Bombo y caja, son instrumentos de percusi&oacute;n utilizados en la m&uacute;sica tradicional. Para los bombos utiliza madera de biz, un tronco que extrae del monte, y para las cajas busca madera de cedro, a veces en chacos o adquiri&eacute;ndola en el mercado. El proceso de fabricaci&oacute;n implica un minucioso trabajo de limpieza, redondeo y secado de la madera para lograr la mejor calidad en el sonido.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Destino de los bajones</strong></p>\n\n<p>Robin trabaja bajo pedido, recibe solicitudes de la alcald&iacute;a, conjuntos musicales y personas de otras comunidades interesadas en preservar esta tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Historia de vida del artesano</strong></p>\n\n<p>Robin Cuellar ha dedicado gran parte de su vida a la preservaci&oacute;n y construcci&oacute;n de los bajones. Desde hace treinta y un a&ntilde;os, es cacique de los jud&iacute;os, un cargo de gran importancia en la cultura y la organizaci&oacute;n ind&iacute;gena. Su v&iacute;nculo con la m&uacute;sica comenz&oacute; a los diecinueve a&ntilde;os, cuando fue violinista.</p>\n\n<p>&nbsp;</p>\n\n<p>Su aprendizaje en la m&uacute;sica y la fabricaci&oacute;n de bajones se dio bajo la tutela de Evelino Masapaya, excombatiente de la Guerra del Chaco y miembro del coro musical de la iglesia, le ense&ntilde;&oacute; a cantar y rezar. Otro de sus mentores fue Manuel Mayuco Zambrana, reconocido bajonista del coro y fabricante de estos instrumentos. Manuel Mayuco elaboraba bajones afinados en Sol y Fa, y fue &eacute;l quien descubri&oacute; la habilidad de Robin para la construcci&oacute;n de estos instrumentos. Un d&iacute;a, mientras Robin ayudaba en la fabricaci&oacute;n de un baj&oacute;n peque&ntilde;o, Manuel le dijo: &ldquo;Usted va a ser maestro y despu&eacute;s va a fabricar bajones&rdquo;. Adem&aacute;s de fabricar bajones, Robin tambi&eacute;n elabora otros instrumentos como f&iacute;fanos, bombos y cajas.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["da719d9d-e927-4281-aeef-d551a1da07ff", "a0e4f8bb-9310-4344-b025-2609c8a26ec2"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "bf743eb4-d6c2-45b3-ad65-a7ee1b0d0ced", "provisionaledits": null, "resourceinstance_id": "71a6eba8-3fd7-4b3e-a649-6b4657068b2d", "sortorder": 0, "tileid": "67c577b1-4f9b-4d2a-ac41-5a2d13931f38"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento musical"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El Yuru\u2019i y el Jerure El Cabildo Indigenal de San Ignacio es el custodio del instrumento musical. Es una pieza que se compone de cil\u00edndros. Sus dimensiones son de 91 cm de largo en el tubo m\u00e1s grande y 25 cm de ancho en la fila de boquillas, caracter\u00edsticas que permiten su uso en la interpretaci\u00f3n musical dentro de la danza.  Descripci\u00f3n del Contexto La fiesta se celebra desde la llegada de los jesuitas al territorio del Gran Mojos, a\u00f1os despu\u00e9s del traslado del asentamiento al actual territorio. La iglesia data de 1751, y desde entonces las actividades religiosas se intensificaron, dando lugar a la rememoraci\u00f3n de la muerte de San Ignacio, con las representaciones centrales de San Ignacio de Loyola, la Santa Bandera, el Puri y el Santo Santiago, en el contexto de la historia del traslado del asentamiento descrito en la ficha de contexto.  Gracias a la doctrina jesu\u00edtica, cuya particularidad fue albergar las pr\u00e1cticas y representaciones culturales propias, se comenzaron a presentar danzas que rememoran el tiempo previo a la presencia de los jesuitas. Estas danzas se practican con un contenido religioso de adoraci\u00f3n a Dios, ya que todos los animales y personajes de la historia ind\u00edgena cambian su comportamiento para ser part\u00edcipes de la religi\u00f3n cat\u00f3lica. Por ello, existen distintas danzas cuyos personajes son animales y otros que representan esp\u00edritus del monte y de la cosmovisi\u00f3n ind\u00edgena, como los achus. Todos ellos conforman el mundo de los Jichis, esp\u00edritus antiguos que protagonizaron una guerra por la portaci\u00f3n de la Santa Bandera. San Ignacio triunfa sobre los Jichis, recuperando la Santa Bandera que fue ondeada en la cima de una monta\u00f1a por Santiago. Desde entonces, los Jichis bailan en la fiesta.  El nombre de la fiesta, conocida como Ichapekene Piesta, significa \"Fiesta Grande de San Ignacio de Moxos\". Este festejo marca la culminaci\u00f3n de un ciclo festivo religioso que comienza en diciembre con los actos previos de la Navidad y las celebraciones del Adviento. A lo largo del a\u00f1o, se suceden fiestas religiosas del calendario ritual festivo, culminando en julio con la Ichapekene Piesta. Al mismo tiempo que esta fiesta marca el cierre de un ciclo, tambi\u00e9n inicia las festividades de las comunidades pertenecientes al municipio de San Ignacio de Mojos, que duran hasta mediados de octubre. Luego, contin\u00faan con la celebraci\u00f3n de Todos Santos y la preparaci\u00f3n para el nacimiento del Ni\u00f1o Jes\u00fas.  Seg\u00fan la ficha de inventario SIM-IP-F001, \"La celebraci\u00f3n de la fiesta de San Ignacio de Moxos constituye desde hace mucho tiempo el acontecimiento religioso-cultural m\u00e1s importante del departamento del Beni e incluso de toda la Amazon\u00eda boliviana. Esta situaci\u00f3n es social e institucionalmente reconocida, y en consecuencia, Mojos ostenta el t\u00edtulo de 'Capital Folcl\u00f3rica del Beni' y 'Capital Espiritual del Cono Sur' del subcontinente\" (Ministerio de Culturas, Viceministerio de Interculturalidad, Direcci\u00f3n General de Patrimonio Cultural, Unidad de Patrimonio Inmaterial Bolivia, 2010).  Referencias Hist\u00f3ricas El Yuru\u2019i, al cantar, se denomina Jerure. Es un ritual de canto, m\u00fasica y danza que incluye rezos en forma de versos dedicados a San Ignacio. En la madrugada del 31 de julio, a la una de la noche, el coro musical inicia la interpretaci\u00f3n del Jerure y los versos en los velorios de cada conjunto de danza, ubicados en sus respectivas sedes donde mantienen altares en honor a San Ignacio. En este ritual tambi\u00e9n participan las mamitas abadesas, los sargentos jud\u00edos y algunos achus, conformando una procesi\u00f3n cargada de espiritualidad y tradici\u00f3n.  Durante la procesi\u00f3n del mismo d\u00eda, la imagen de San Ignacio sale de la iglesia para dar la vuelta a la plaza. Al salir del templo, se entonan versos acompa\u00f1ados del Jerure, el viol\u00edn, las flautas y la caja. En cada una de las cuatro esquinas de la plaza, se emiten versos distintos, siguiendo un patr\u00f3n ritual que refuerza la conexi\u00f3n con el pasado y la identidad cultural del pueblo. Adem\u00e1s, el Jerure no es exclusivo de la festividad de San Ignacio, pues tambi\u00e9n se canta en Navidad, reafirmando su importancia dentro del calendario festivo de la comunidad.  Seg\u00fan el texto de Garbari y Mercado (2020), el Jerure simboliza la armon\u00eda del universo y del pueblo. Su interpretaci\u00f3n en las cuatro esquinas de la plaza representa la uni\u00f3n entre los antepasados y las familias de San Ignacio, quienes se reencuentran a trav\u00e9s de este acto ceremonial. En palabras de los autores, \u201cel baile pide la armon\u00eda del universo en las cuatro esquinas que significan la relaci\u00f3n armoniosa con el Centro (Dios-pueblo) y con los cuatro rumbos o vientos del mundo\u201d (Garbari; Mercado, 2020, p. 200).  La descripci\u00f3n de esta danza y ritual ha sido extra\u00edda de dos fuentes principales: las fichas documentales de la Declaratoria de Patrimonio Inmaterial de la Ichapekene Piesta y la compilaci\u00f3n realizada por la iglesia en el estudio de Garbari y Mercado. En este texto, se han reunido los aportes de diversos investigadores que han trabajado en la documentaci\u00f3n de estas tradiciones:  \u2022\tEddy Tibusa Matareco \u2022\tJuan Francisco Limaica Saucedo \u2022\tEnrique Jord\u00e1 \u2022\tLuis Rivero Parada"}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Caja yuru\u2019i macho"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "bf743eb4-d6c2-45b3-ad65-a7ee1b0d0ced", "provisionaledits": null, "resourceinstance_id": "71a6eba8-3fd7-4b3e-a649-6b4657068b2d", "sortorder": 0, "tileid": "09b476eb-e34b-4c60-b506-cea012b54bfe"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la pr&aacute;ctica artesanal de la fabricaci&oacute;n de bajones es la falta de relevo generacional. A pesar de los esfuerzos de Robin Cuellar por transmitir sus conocimientos, pocos j&oacute;venes se han interesado en aprender el oficio debido a la complejidad del proceso y la dedicaci&oacute;n que requiere. Con el fallecimiento de los antiguos maestros artesanos, la fabricaci&oacute;n de bajones ha quedado en manos de un solo fabricante, lo que pone en peligro la continuidad de esta tradici&oacute;n. Si no se establecen mecanismos de ense&ntilde;anza m&aacute;s accesibles y atractivos para nuevas generaciones, la t&eacute;cnica podr&iacute;a perderse con el tiempo, afectando no solo la producci&oacute;n del instrumento, sino tambi&eacute;n su papel en las festividades y la identidad cultural de San Ignacio.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza importante es la disponibilidad de materiales naturales esenciales para la fabricaci&oacute;n de los bajones. La obtenci&oacute;n de hojas de palmeras cusi y palla, as&iacute; como de maderas espec&iacute;ficas como el Mara&ntilde;au, depende de la conservaci&oacute;n de los ecosistemas locales. Si el acceso a estos recursos se ve afectado por la deforestaci&oacute;n o cambios ambientales, los artesanos podr&iacute;an enfrentar dificultades para mantener la calidad de sus instrumentos. Sin medidas de protecci&oacute;n para los recursos naturales y la promoci&oacute;n de la artesan&iacute;a tradicional, la fabricaci&oacute;n de bajones podr&iacute;a verse amenazada por la modernizaci&oacute;n y el desinter&eacute;s en preservar este legado.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "bf743eb4-d6c2-45b3-ad65-a7ee1b0d0ced", "provisionaledits": null, "resourceinstance_id": "71a6eba8-3fd7-4b3e-a649-6b4657068b2d", "sortorder": 0, "tileid": "f71e2fcd-d9a9-4e29-8ad8-c3017a3b27cc"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:00.280", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000059, "}, "es": {"description": "San Javier. Danza El Viejito", "map_popup": "Beni", "name": "PI-080102-00-00-000059, San Javier. Danza El Viejito"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000059, San Javier. Danza El Viejito", "principaluser_id": 26, "resourceinstanceid": "c2767a2b-f1a9-4da5-83a5-fbaada00561f", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta Virgen del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000059", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Danza El Viejito"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c2767a2b-f1a9-4da5-83a5-fbaada00561f", "sortorder": 0, "tileid": "f289501a-9bf9-49e4-9f90-34cf9b58c24c"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c2767a2b-f1a9-4da5-83a5-fbaada00561f", "sortorder": 0, "tileid": "2954358f-4582-474a-8417-e21da33834d9"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Danza El Viejito</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La danza El Viejito est&aacute; vinculada a la Fiesta de la Virgen del Carmen y se baila en navidad. Representa a un hombre adulto mayor, quien es acompa&ntilde;ado por dos mujeres que lo sostienen cuando parece que va a caer, es otro personaje que lleg&oacute; a la adoraci&oacute;n al Ni&ntilde;o Jes&uacute;s.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La danza retrata a un hombre anciano que llega a adorar al Ni&ntilde;o Jes&uacute;s. Es acompa&ntilde;ado por dos mujeres que lo ayudan a mantenerse de pie cuando parece que se cae, mostrando su fragilidad y enfermedad. Las mujeres est&aacute;n vestidas con tipoy y tienen un papel protector hacia el viejito.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>El personaje del viejito simboliza a un hombre que lleg&oacute; a adorar al Ni&ntilde;o Jes&uacute;s en Navidad, aunque no se sabe con certeza de d&oacute;nde vino ni cu&aacute;nto tiempo tard&oacute; en llegar. Se dice que lleg&oacute; enfermo de tuberculosis y con ropa rota. En la danza, el viejito es acompa&ntilde;ado por dos mujeres que lo sostienen, adem&aacute;s de dos ni&ntilde;as que representan a sus nietas. El viejito es conocido como Chosi en la tradici&oacute;n local.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>La coreograf&iacute;a de la danza muestra al viejito que parece caer mientras las dos mujeres que lo acompa&ntilde;an lo sostienen y ayudan a levantarse. Este movimiento simboliza el apoyo y la protecci&oacute;n en su viaje hacia el pesebre. La danza es acompa&ntilde;ada por la m&uacute;sica de la agrupaci&oacute;n Bombilla.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<p>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana. . Ellas llevaban el estandarte que data de 1957, estaban encargadas de atender a la virgen y atender necesidades de la iglesia y ayudar a la manutenci&oacute;n del templo y recaudar fondos.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "2954358f-4582-474a-8417-e21da33834d9", "provisionaledits": null, "resourceinstance_id": "c2767a2b-f1a9-4da5-83a5-fbaada00561f", "sortorder": 0, "tileid": "74734fae-441e-4864-8126-c06788f4180a"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.87659912109581, -14.601735384313514], "type": "Point"}, "id": "09bda7ed4af31f0c3535dbe1c4c247db", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000024'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c2767a2b-f1a9-4da5-83a5-fbaada00561f", "sortorder": 0, "tileid": "160be72c-3237-4dde-9ac4-4c8268b0ee17"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En la danza El Viejito, el conocimiento sobre la tradici&oacute;n se transmite a trav&eacute;s de la pr&aacute;ctica y la representaci&oacute;n de la historia local. Las generaciones m&aacute;s j&oacute;venes aprenden observando y participando en la danza, asimilando no solo los movimientos espec&iacute;ficos, sino tambi&eacute;n el simbolismo cultural que conlleva. La figura del viejito, caracterizada por un adulto mayor, es un medio de integrar a la familia en las celebraciones religiosas y se convierte en figuras de la tradici&oacute;n religiosa, como el Ni&ntilde;o Jes&uacute;s. Este tipo de ense&ntilde;anza es vivencial, permitiendo que los bailarines internalicen el mensaje de la festividad y la conexi&oacute;n con los rituales locales de Navidad.</p>\n\n<p>&nbsp;</p>\n\n<p>El proceso de transmisi&oacute;n de esta danza se lleva a cabo de manera comunitaria, donde los miembros de la comunidad, especialmente los adultos mayores, tienen un papel fundamental como guardianes de la tradici&oacute;n. A trav&eacute;s de su ejemplo y guiando a los m&aacute;s j&oacute;venes en los ensayos y representaciones, se asegura que la danza se mantenga viva y que las ense&ntilde;anzas hist&oacute;ricas y espirituales relacionadas con el personaje del viejito, conocido como Chosi, perduren.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "2954358f-4582-474a-8417-e21da33834d9", "provisionaledits": null, "resourceinstance_id": "c2767a2b-f1a9-4da5-83a5-fbaada00561f", "sortorder": 0, "tileid": "79527771-e225-4e4b-b3ec-a0860be9147f"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Una posible transformaci&oacute;n de la danza El Viejito podr&iacute;a ser la incorporaci&oacute;n de elementos modernos que reinterpretan los movimientos y la m&uacute;sica tradicional. La danza transmite valores espirituales y comunitarios.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "2954358f-4582-474a-8417-e21da33834d9", "provisionaledits": null, "resourceinstance_id": "c2767a2b-f1a9-4da5-83a5-fbaada00561f", "sortorder": 0, "tileid": "349150e8-aabe-49df-b1e7-a42eb1106b00"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la danza El Viejito radica en su capacidad para transmitir valores comunitarios fundamentales. Esta representaci\u00f3n refuerza el sentido de solidaridad y apoyo intergeneracional dentro de la comunidad, ya que las generaciones m\u00e1s j\u00f3venes aprenden a cuidar y respetar a los ancianos. A trav\u00e9s de la danza, se perpet\u00faa un legado cultural que invita a reflexionar sobre la necesidad de mantener lazos de apoyo entre los miembros de la sociedad.  Otra fortaleza de la pr\u00e1ctica es su profundo v\u00ednculo con la tradici\u00f3n religiosa y cultural. La danza no solo es una expresi\u00f3n art\u00edstica, sino que est\u00e1 arraigada en las celebraciones de la Fiesta de la Virgen del Carmen y la Navidad, momentos significativos en la vida espiritual de la comunidad. Al incorporar elementos simb\u00f3licos, como la llegada del viejito al pesebre, se fomenta una conexi\u00f3n emocional con la historia sagrada, lo que enriquece la experiencia de quienes participan y observan. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "2954358f-4582-474a-8417-e21da33834d9", "provisionaledits": null, "resourceinstance_id": "c2767a2b-f1a9-4da5-83a5-fbaada00561f", "sortorder": 0, "tileid": "fa819b07-6985-4bcc-a24f-3f9daadfeab7"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Un riesgo significativo de la danza El Viejito es la posibilidad de que la pr&aacute;ctica pierda su esencia original al ser influenciada por cambios externos, como la modernizaci&oacute;n excesiva. Esta transformaci&oacute;n podr&iacute;a llevar a que las nuevas generaciones no comprendan el simbolismo profundo detr&aacute;s de la figura del viejito y sus acompa&ntilde;antes, lo que debilitar&iacute;a la transmisi&oacute;n de los valores de solidaridad y veneraci&oacute;n presentes en la danza. La pr&aacute;ctica perder&iacute;a entonces su funci&oacute;n como veh&iacute;culo de ense&ntilde;anza comunitaria.</p>\n\n<p>&nbsp;</p>\n\n<p>Si no se fomenta activamente el aprendizaje de la danza por parte de las nuevas generaciones, podr&iacute;a verse afectada por la deserci&oacute;n y el olvido. La tendencia hacia la globalizaci&oacute;n y la influencia de otras formas de entretenimiento podr&iacute;a restarle relevancia a esta danza tradicional, lo que pone en riesgo la continuidad de una pr&aacute;ctica que ha sido clave para la preservaci&oacute;n de la identidad local. Sin el involucramiento de los j&oacute;venes, la danza podr&iacute;a convertirse en una tradici&oacute;n marginal, perdiendo su vitalidad dentro de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "2954358f-4582-474a-8417-e21da33834d9", "provisionaledits": null, "resourceinstance_id": "c2767a2b-f1a9-4da5-83a5-fbaada00561f", "sortorder": 0, "tileid": "f7bbd9b7-6b54-461f-8931-9cac117a25d8"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:01.782", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080501-00-00-000022, "}, "es": {"description": "San Ignacio. Idioma Moje\u00f1o Ignaciano", "map_popup": "Beni", "name": "PI-080501-00-00-000022, San Ignacio. Idioma Moje\u00f1o Ignaciano"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080501-00-00-000022, San Ignacio. Idioma Moje\u00f1o Ignaciano", "principaluser_id": 26, "resourceinstanceid": "5967da70-d338-488c-921f-9fc2bf178f8e", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Idioma "}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080501-00-00-000022", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio. Idioma Moje\u00f1o Ignaciano"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5967da70-d338-488c-921f-9fc2bf178f8e", "sortorder": 0, "tileid": "8274ab60-870a-4af9-9086-52c93b3ce636"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5967da70-d338-488c-921f-9fc2bf178f8e", "sortorder": 0, "tileid": "e7c7876a-ac1d-4278-9be1-20a7a0e56e4d"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Ignacio. Idioma Moje&ntilde;o Ignaciano</strong></p>\n\n<p>El Moxe&ntilde;o ignaciano es una lengua perteneciente a la familia ling&uuml;&iacute;stica Arawak. Esta lengua es hablada por algunas comunidades del municipio y la provincia de Mojos, en Bolivia, y es parte integral de la identidad cultural de los pueblos que la conservan.</p>\n\n<p><strong>Valor para la poblaci&oacute;n</strong></p>\n\n<p>Desde el Instituto de Lengua se reconoce que la lengua es fundamental para la cultura, destacando que sin lengua no existe cultura, y sin cultura, no hay identidad. Tal como indican las declaraciones del personal, la lengua es la base de la cultura y la sociedad, y perder el idioma equivale a perder los valores que este transmite. Los hablantes sienten una conexi&oacute;n profunda con el idioma, ya que cuando se les llama la atenci&oacute;n o se les dan consejos en su lengua materna, la esencia de esos actos se experimenta con m&aacute;s intensidad. El uso del castellano, en comparaci&oacute;n, ha hecho que se pierdan aspectos de respeto y de sentido cultural. Las personas mayores viven la fiesta con la vestimenta tradicional, la m&uacute;sica, la fe y, por supuesto, a trav&eacute;s del uso del idioma, lo cual refuerza la conexi&oacute;n con su cultura.</p>\n\n<p>&nbsp;</p>\n\n<p>Cuando se intenta traducir al castellano, el sentido profundo de las palabras se pierde. En cambio, en su propio idioma, las personas piensan y hablan con un sentido aut&eacute;ntico, y quienes lo escuchan lo entienden con claridad. Para ellos, si solo existe la cultura sin el idioma, no hay esencia ni identidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Hablantes</strong></p>\n\n<p>El moxe&ntilde;o ignaciano es hablado principalmente por personas adultas mayores, de 50 a&ntilde;os o m&aacute;s. Aquellos entre 30 y 50 a&ntilde;os lo entienden, pero no lo hablan activamente. Los menores de 30 a&ntilde;os, incluidos los adolescentes y ni&ntilde;os, ya no lo hablan, aunque algunos a&uacute;n pueden comprenderlo.</p>\n\n<p>&nbsp;</p>\n\n<p>En 2012, hab&iacute;a alrededor de ocho mil hablantes, pero actualmente se estima que quedan unos cinco mil, distribuidos en las comunidades y distritos del municipio y la provincia de Mojos. Los distritos de San Lorenzo y San Francisco hablan moxe&ntilde;o trinitario, mientras que en el Territorio Ind&iacute;gena Municipal (TIM) hay tres comunidades que hablan moxe&ntilde;o ignaciano, aunque la mayor&iacute;a sigue utilizando el trinitario. En el Territorio Ind&iacute;gena Multi&eacute;tnico (TIMI), 17 comunidades presentan una mezcla de trinitario e ignaciano, pero son solo tres o cuatro comunidades las que realmente hablan ignaciano. El idioma no se escribe, solo se habla, lo que refleja la tradici&oacute;n oral que caracteriza a esta lengua.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Referencias hist&oacute;ricas</strong></p>\n\n<p>El Moxe&ntilde;o ignaciano ha enfrentado desaf&iacute;os significativos a lo largo de su historia, especialmente con la llegada del castellano, que releg&oacute; el uso del idioma nativo. La imposici&oacute;n de la lengua espa&ntilde;ola, promovida por la religi&oacute;n, buscaba facilitar la ense&ntilde;anza religiosa, pero tambi&eacute;n se asociaba con la idea de que los pueblos originarios, considerados &ldquo;salvajes&rdquo; por vivir en el monte, deb&iacute;an ser sometidos a una transformaci&oacute;n cultural. Esta imposici&oacute;n se intensific&oacute; en la d&eacute;cada de 1970, cuando la ley educativa nacional prohibi&oacute; hablar el idioma nativo. Sin embargo, en 2013 se cre&oacute; el Instituto de Lengua y Cultura (ILC), lo que permiti&oacute; la recuperaci&oacute;n de hablantes y la revitalizaci&oacute;n de la lengua. Poco a poco, el idioma comenz&oacute; a escucharse nuevamente, especialmente entre las mujeres mayores, y los saludos en moxe&ntilde;o ignaciano se convirtieron en una pr&aacute;ctica cotidiana.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acciones de fortalecimiento</strong></p>\n\n<p>El ILC ha trabajado en colaboraci&oacute;n con el Cabildo Indigenal, el TIM (Territorio Ind&iacute;gena Multi&eacute;tnico) y el TIMI (Territorio Ind&iacute;gena Moxe&ntilde;o Ignaciano), as&iacute; como con el CEPOIM (Consejo de Pueblos Ind&iacute;genas Originarios Moxe&ntilde;o Ignaciano), para valorar y promover el uso del idioma. Se implementaron &quot;Nidos Biling&uuml;es&quot;, cursos para ni&ntilde;os de 4 a 5 a&ntilde;os, donde los profesores, quienes aprendieron la lengua, ense&ntilde;an a los ni&ntilde;os a saludar, cantar y bailar usando el idioma. Adem&aacute;s, se ha trabajado en la elaboraci&oacute;n de un diccionario del idioma, aunque este proceso fue dif&iacute;cil debido a la falta de una base ling&uuml;&iacute;stica y gramatical. Se han creado materiales educativos, como banners con contenidos sobre n&uacute;meros, colores y partes del cuerpo, y se han producido textos de poes&iacute;as, adivinanzas, trabalenguas y otros recursos did&aacute;cticos para todos los ciclos educativos. En cuanto a la lengua misma, se observan diferencias entre el Moxe&ntilde;o ignaciano y el trinitario, principalmente en el uso de vocales, lo que hace que las palabras var&iacute;en seg&uacute;n el contexto.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Factores de evaluaci&oacute;n</strong></p>\n\n<p>A pesar de los avances, el ILC enfrenta varios desaf&iacute;os. Uno de los mayores problemas es la falta de un espacio propio, ya que actualmente opera en las instalaciones del CEPOIM. Adem&aacute;s, el apoyo de las autoridades es limitado, y la Direcci&oacute;n Distrital de Educaci&oacute;n no da la importancia necesaria a la ense&ntilde;anza del Moxe&ntilde;o ignaciano, ni a la implementaci&oacute;n de un curr&iacute;culo regionalizado. Tras ocho a&ntilde;os de trabajo, el n&uacute;mero de hablantes est&aacute; disminuyendo nuevamente, debido a la muerte de los sabios y ancianos que conservaban el idioma. En las escuelas, se ense&ntilde;a el idioma de manera b&aacute;sica, pero no hay una instrucci&oacute;n oficial por parte de la Direcci&oacute;n Distrital que obligue a hablar la lengua. Aunque se han creado materiales educativos, los profesores no cuentan con la capacitaci&oacute;n necesaria para aplicarlos adecuadamente. Adem&aacute;s, en el nivel primario y secundario, la ense&ntilde;anza del idioma se limita a la memorizaci&oacute;n de palabras sin un enfoque integral.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Observaciones</strong></p>\n\n<p>Al momento de la entrevista, el ILC enfrentaba dificultades adicionales, como la falta de impresora y computadoras en malas condiciones. Tambi&eacute;n se mencion&oacute; que no hab&iacute;a electricidad debido a la falta de pago por el consumo, lo que limita a&uacute;n m&aacute;s las actividades y la producci&oacute;n de materiales necesarios para la ense&ntilde;anza y preservaci&oacute;n del idioma.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["d2a24278-85f8-422d-85c6-24e4009f191f", "009ee1ce-817d-434f-aaab-2d4a5dd352d1", "e9e6832e-0883-48a5-ba21-5f851b7450ed"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "e7c7876a-ac1d-4278-9be1-20a7a0e56e4d", "provisionaledits": null, "resourceinstance_id": "5967da70-d338-488c-921f-9fc2bf178f8e", "sortorder": 0, "tileid": "6698648f-e7c7-40aa-bc80-46781f7f9b4f"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Transmisi\u00f3n colectiva"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los mecanismos de transmisi&oacute;n del conocimiento del idioma moxe&ntilde;o ignaciano responden, en gran medida, a la oralidad y a la interacci&oacute;n intergeneracional. La lengua se mantiene viva en los adultos mayores, quienes la utilizan en contextos de comunicaci&oacute;n cotidiana, festividades y pr&aacute;cticas culturales. Sin embargo, la falta de registro escrito ha dificultado su preservaci&oacute;n, pues el idioma no cuenta con una base gramatical consolidada. A pesar de los esfuerzos institucionales, la ense&ntilde;anza del idioma se realiza principalmente de manera informal, a trav&eacute;s de la convivencia y la pr&aacute;ctica en espacios comunitarios, donde los hablantes transmiten conocimientos a los m&aacute;s j&oacute;venes mediante relatos, consejos y expresiones propias de la cultura ignaciana. La falta de instrucci&oacute;n formal en las escuelas en todos los ciclos primario y secundario, y la ausencia de una metodolog&iacute;a estructurada han debilitado la transmisi&oacute;n efectiva de la lengua, generando una brecha generacional en su uso.</p>\n\n<p>&nbsp;</p>\n\n<p>A pesar de ello, el trabajo que realiza el Instituto de Lengua y Cultura (ILC) es importante en la educaci&oacute;n biling&uuml;e y en diversas organizaciones ind&iacute;genas. A trav&eacute;s de los &quot;Nidos Biling&uuml;es&quot;, los ni&ntilde;os peque&ntilde;os tienen una primera aproximaci&oacute;n a la lengua mediante canciones, saludos y juegos, lo que busca incentivar su aprendizaje desde la infancia. Adem&aacute;s, la creaci&oacute;n de materiales did&aacute;cticos como diccionarios, banners y textos de poes&iacute;a y adivinanzas intenta fortalecer el conocimiento de la lengua en el &aacute;mbito educativo. Sin embargo, la falta de apoyo institucional y la escasez de recursos han limitado la efectividad de estas iniciativas, dificultando la consolidaci&oacute;n de una ense&ntilde;anza sistem&aacute;tica que garantice la continuidad del moxe&ntilde;o ignaciano en las generaciones futuras.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "e7c7876a-ac1d-4278-9be1-20a7a0e56e4d", "provisionaledits": null, "resourceinstance_id": "5967da70-d338-488c-921f-9fc2bf178f8e", "sortorder": 0, "tileid": "2d93dafb-e274-4e05-ae51-a39cc4ccc4c6"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las pr&aacute;cticas ling&uuml;&iacute;sticas del moxe&ntilde;o ignaciano han experimentado una transformaci&oacute;n significativa debido a la disminuci&oacute;n del n&uacute;mero de hablantes y la influencia del castellano. Antes, el idioma era el principal medio de comunicaci&oacute;n en las comunidades y se transmit&iacute;a naturalmente de generaci&oacute;n en generaci&oacute;n. Sin embargo, con la llegada de la educaci&oacute;n formal en espa&ntilde;ol y la imposici&oacute;n de pol&iacute;ticas ling&uuml;&iacute;sticas que marginaron las lenguas ind&iacute;genas, el moxe&ntilde;o ignaciano perdi&oacute; poco a poco presencia en la vida cotidiana, limit&aacute;ndose a un uso cada vez m&aacute;s restringido entre los adultos mayores. Esta transformaci&oacute;n ha generado una ruptura en la transmisi&oacute;n intergeneracional, donde las generaciones m&aacute;s j&oacute;venes apenas comprenden el idioma pero no lo hablan activamente. Adem&aacute;s, la p&eacute;rdida de espacios de uso cotidiano ha provocado que ciertos t&eacute;rminos, expresiones y formas de respeto propias de la cultura ignaciana desaparezcan o sean sustituidos por estructuras ling&uuml;&iacute;sticas del castellano.</p>\n\n<p>&nbsp;</p>\n\n<p>En respuesta a este proceso de transformaci&oacute;n y p&eacute;rdida, han surgido iniciativas de revitalizaci&oacute;n ling&uuml;&iacute;stica que buscan recuperar la lengua en contextos educativos y comunitarios. La implementaci&oacute;n de los &quot;Nidos Biling&uuml;es&quot; y la elaboraci&oacute;n de materiales did&aacute;cticos representan una transformaci&oacute;n en la manera en que se aprende el idioma, pasando de una transmisi&oacute;n puramente oral e informal a un enfoque m&aacute;s estructurado dentro de las instituciones educativas. Sin embargo, la ense&ntilde;anza a&uacute;n enfrenta desaf&iacute;os, ya que la falta de capacitaci&oacute;n de los docentes y la escasa incorporaci&oacute;n del moxe&ntilde;o ignaciano en el curr&iacute;culo oficial limitan su impacto. Si bien estas iniciativas han permitido que la lengua se mantenga presente en algunos espacios, la transformaci&oacute;n m&aacute;s profunda requerir&aacute; una mayor apropiaci&oacute;n por parte de las nuevas generaciones, as&iacute; como el fortalecimiento de pol&iacute;ticas ling&uuml;&iacute;sticas que garanticen su pr&aacute;ctica en distintos &aacute;mbitos de la vida cotidiana.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "e7c7876a-ac1d-4278-9be1-20a7a0e56e4d", "provisionaledits": null, "resourceinstance_id": "5967da70-d338-488c-921f-9fc2bf178f8e", "sortorder": 0, "tileid": "615fe95a-0f15-45e2-9c25-b2d088e6e77e"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas radica en la conexi\u00f3n que los hablantes tienen con su idioma y cultura. A pesar de la disminuci\u00f3n en el n\u00famero de hablantes, los miembros de la comunidad que todav\u00eda conservan la lengua la consideran un componente fundamental de su identidad cultural. Este v\u00ednculo emocional con el idioma es clave, ya que cuando se utilizan expresiones en Moxe\u00f1o ignaciano, los hablantes sienten que la esencia de sus valores y tradiciones se mantiene viva. Las personas mayores, en particular, desempe\u00f1an un papel crucial en la preservaci\u00f3n del idioma al continuar utiliz\u00e1ndolo en actividades cotidianas, festividades y ense\u00f1anzas informales, lo que fortalece la identidad colectiva de la comunidad. Esta relaci\u00f3n emocional con el idioma, especialmente en contextos tradicionales, es una fortaleza significativa en la preservaci\u00f3n de la lengua.  Adem\u00e1s, la creaci\u00f3n de iniciativas como el trabajo del Instituto de Lengua y Cultura (ILC) son una fortaleza importante en los esfuerzos de revitalizaci\u00f3n del moxe\u00f1o ignaciano. Estos programas ofrecen a las nuevas generaciones una oportunidad para aprender y practicar la lengua de manera formal, a trav\u00e9s de recursos did\u00e1cticos que incluyen canciones, saludos y materiales educativos sobre temas cotidianos. A pesar de los obst\u00e1culos, estas iniciativas brindan una base sobre la cual se puede construir un aprendizaje del idioma, ayudando a asegurar que no se pierdan m\u00e1s tradiciones ling\u00fc\u00edsticas. La colaboraci\u00f3n entre comunidades, el Cabildo Indigenal y otras organizaciones ha sido tambi\u00e9n una fortaleza clave, ya que permite que el idioma reciba apoyo institucional y que se articule un esfuerzo conjunto por su revitalizaci\u00f3n. Es importante consolidar los esfuerzos con las instituciones gubernamentales municipales y educativas. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "e7c7876a-ac1d-4278-9be1-20a7a0e56e4d", "provisionaledits": null, "resourceinstance_id": "5967da70-d338-488c-921f-9fc2bf178f8e", "sortorder": 0, "tileid": "29659fa0-5815-4a06-9690-73e53ced3d51"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-65.63660060326528, -14.993219294368743], "type": "Point"}, "id": "bb899dbb0210f78eb8841ce86b9c1866", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "7c630574-4bde-4beb-92f4-d7e3a4b4c5fe", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080501', 'num': '000009'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5967da70-d338-488c-921f-9fc2bf178f8e", "sortorder": 0, "tileid": "01df28ae-67ce-4dde-82f4-98926ad035b3"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos y amenazas para la pr&aacute;ctica del idioma es la disminuci&oacute;n acelerada del n&uacute;mero de hablantes. A medida que los adultos mayores, quienes son los principales custodios del idioma, siguen envejeciendo y falleciendo, se pierde una parte crucial de la transmisi&oacute;n oral. Las generaciones m&aacute;s j&oacute;venes, especialmente los ni&ntilde;os y adolescentes, ya no hablan el idioma de manera activa, y aunque algunos lo comprenden, la falta de uso cotidiano y de instrucci&oacute;n formal aumenta el riesgo de que el idioma se extinga gradualmente. Este fen&oacute;meno se agrava debido a la predominancia del castellano en la vida diaria y en la educaci&oacute;n formal, lo que reduce a&uacute;n m&aacute;s el espacio para el uso del moxe&ntilde;o ignaciano. La p&eacute;rdida de hablantes es, por tanto, una amenaza directa a la continuidad de la lengua y su vinculaci&oacute;n con la identidad cultural.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, existen varios factores externos que representan amenazas para la preservaci&oacute;n y revitalizaci&oacute;n de la lengua. La falta de recursos materiales, como impresoras y computadoras en el Instituto de Lengua y Cultura (ILC), y la escasa financiaci&oacute;n p&uacute;blica dificultan la creaci&oacute;n de materiales educativos y la implementaci&oacute;n de programas efectivos para ense&ntilde;ar el idioma. A esto se suma el insuficiente apoyo de las autoridades educativas, que no han implementado un curr&iacute;culo regionalizado que incorpore el moxe&ntilde;o ignaciano de manera sistem&aacute;tica en las escuela en todos los niveles. La carencia de una infraestructura adecuada para la ense&ntilde;anza del idioma y la falta de capacitaci&oacute;n entre los docentes para aplicar de manera efectiva los materiales creados son amenazas adicionales que limitan el impacto de las iniciativas de revitalizaci&oacute;n. Sin un compromiso institucional y la provisi&oacute;n de recursos suficientes, la lengua corre el riesgo de seguir siendo relegada a espacios limitados, lo que pone en peligro su preservaci&oacute;n a largo plazo.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "e7c7876a-ac1d-4278-9be1-20a7a0e56e4d", "provisionaledits": null, "resourceinstance_id": "5967da70-d338-488c-921f-9fc2bf178f8e", "sortorder": 0, "tileid": "c4a8ebe9-15cd-49b3-8198-9b1c55b48fcc"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:02.512", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000065, "}, "es": {"description": "San Javier. Versos javieranos", "map_popup": "Beni", "name": "PI-080102-00-00-000065, San Javier. Versos javieranos"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000065, San Javier. Versos javieranos", "principaluser_id": 26, "resourceinstanceid": "765f2b77-a486-43d2-9930-9cc70609abbf", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Historia oral"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000065", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Versos javieranos"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "765f2b77-a486-43d2-9930-9cc70609abbf", "sortorder": 0, "tileid": "2f83f4e6-d51c-4b81-b5ad-2da8c2496c36"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "765f2b77-a486-43d2-9930-9cc70609abbf", "sortorder": 0, "tileid": "8eef9de3-116b-4f20-b93e-89b5022e1d2e"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Versos javieranos</strong></p>\n\n<p>Los versos javieranos son una manifestaci&oacute;n cultural vinculada a varias festividades de la comunidad, entre ellas la Fiesta de la Virgen del Carmen, la Fiesta de San Francisco Javier y la Fiesta de la Cruz, as&iacute; como los Aruchos de la danza machetera, aunque esta &uacute;ltima ya no se realiza. &nbsp;El origen de los versos javieranos se remonta a la &eacute;poca colonial, &eacute;poca en la cual se consolidaron muchas de las tradiciones religiosas y festivas de la regi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado social del verso/canci&oacute;n</strong></p>\n\n<p>Los versos javieranos tienen un fuerte significado social, ya que invitan a toda la comunidad a participar activamente en las festividades, siendo una de las principales formas de unir a los miembros de la comunidad en la celebraci&oacute;n. La letra de los versos est&aacute; en el idioma javierano, lo cual refuerza la identidad cultural local. Estos versos tienen su origen en la &eacute;poca en que los jesuitas ense&ntilde;aron a la poblaci&oacute;n no solo los rezos religiosos, sino tambi&eacute;n las canciones que acompa&ntilde;aban los actos festivos. Con el tiempo, estos versos se han transmitido de generaci&oacute;n en generaci&oacute;n, aunque en la actualidad, algunas de estas canciones solo permanecen en la memoria de un n&uacute;mero reducido de personas en San Javier. A lo largo de los a&ntilde;os, los versos han sido una forma de expresar la devoci&oacute;n, el esp&iacute;ritu festivo y el sentido de comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participantes</strong></p>\n\n<p>Los participantes en la interpretaci&oacute;n de los versos incluyen a mujeres, se&ntilde;oras de la comunidad, ni&ntilde;os y hombres adultos, todos ellos involucrados en la transmisi&oacute;n y ejecuci&oacute;n de estos cantos en las festividades.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Los versos y cantos se emiten durante varias de las festividades religiosas de San Javier, tales como la Fiesta de la Virgen del Carmen, la Fiesta de San Francisco Javier, la Fiesta de la Cruz, y los Aruchos de la danza machetera. Estos cantos no solo sirven para la celebraci&oacute;n, sino tambi&eacute;n para mantener vivas las tradiciones y la lengua javierana, transmitiendo la cultura y la historia.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Proceso de la actividad</strong></p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Antes de la enunciaci&oacute;n de los versos/cantos</strong></li>\n</ul>\n\n<p style=\"margin-left:47px\">Los versos que se cantan durante las fiestas de la Virgen del Carmen, la Fiesta de San Francisco Javier y la Fiesta de la Cruz son ense&ntilde;ados por el Profesor Carmelo Jou Mozua. &Eacute;l forma un grupo de entre 6 y 8 personas que lo acompa&ntilde;an en el canto de estos versos. En cuanto a los Aruchos, estos son ense&ntilde;ados a ni&ntilde;os de entre 5 y 6 a&ntilde;os, aunque actualmente estos cantos ya no se practican.</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>En el momento de la enunciaci&oacute;n del verso/canto</strong></li>\n</ul>\n\n<p style=\"margin-left:47px\">Los versos se cantan en las festividades religiosas en tres momentos espec&iacute;ficos: a la medianoche, a las cuatro de la madrugada y al mediod&iacute;a. En el registro de esta ficha, se cantaron a la medianoche durante el velorio de la Fiesta de la Virgen del Carmen. Durante el d&iacute;a, el recorrido comienza en la Sede del Cabildo Indigenal, que tambi&eacute;n es el domicilio del Profesor Carmelo Jou Mozua y la sede del grupo de Macheteros. Desde all&iacute;, el grupo recorre la plaza cantando los versos en las cuatro esquinas y regresando a la iglesia.</p>\n\n<p style=\"margin-left:47px\">Los cantos son acompa&ntilde;ados por la m&uacute;sica de flauta, bombo y caja, como parte de la agrupaci&oacute;n bombilla. Sin embargo, actualmente no se cuenta con la m&uacute;sica de bombilla, por lo que se cantan con m&uacute;sica grabada. Se intenta ense&ntilde;ar a los j&oacute;venes de 12 a&ntilde;os, pero debido a que muchos se van a estudiar a Trinidad y no regresan, esta ense&ntilde;anza no es continua.</p>\n\n<p style=\"margin-left:47px\">En los versos de la Virgen del Carmen se pide a la virgen bendici&oacute;n y protecci&oacute;n para el pueblo javierano. Durante la fiesta de San Francisco Javier, celebrada el 3 de diciembre, se cantan los versos denominados Jerure, en los cuales se invita a las personas a adoptar la actitud del santo.</p>\n\n<p style=\"margin-left:47px\">Los Aruchos son cantos que acompa&ntilde;aban a los macheteros cuando estos bailaban en las fiestas religiosas. Los Aruchos eran interpretados por dos ni&ntilde;os que cantaban los versos en idioma javeriano. Los ni&ntilde;os vest&iacute;an camisetas con bonetes en la cabeza y pa&ntilde;uelos rojos en las manos. Durante la fiesta de San Francisco Javier, el 3 de diciembre, los Aruchos bailaban mientras los macheteros recorr&iacute;an la plaza. En las cuatro esquinas de la plaza, los ni&ntilde;os se deten&iacute;an para cantar. Uno de los ni&ntilde;os se paraba sobre una tabla sostenida por dos macheteros, mientras que el otro se colocaba debajo. Sin embargo, actualmente no se recuerdan los versos de los Aruchos.</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li><strong>Despu&eacute;s de la enunciaci&oacute;n de los versos/cantos</strong></li>\n</ul>\n\n<p>Al concluir la fiesta, las actividades siguen seg&uacute;n lo planeado.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Sitio de la enunciaci&oacute;n de los versos/cantos</strong></p>\n\n<p>En la fecha de este registro, los versos fueron cantados durante el velorio de la Virgen del Carmen.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Lugar de enunciaci&oacute;n</strong></p>\n\n<p>El domicilio del Profesor Carmelo Jou Mozua, que tambi&eacute;n funge como sede del Cabildo Indigenal y sede del grupo de Macheteros, es el lugar central para el aprendizaje y la enunciaci&oacute;n de los versos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Observaciones</strong></p>\n\n<p>Se dispone de un soporte digital con los audios de los cantos, guardados en la carpeta digital &quot;versos fiestas religiosas de San Javier&quot;, que se adjunta a este registro. Sin embargo, no se cuenta con la grabaci&oacute;n de los Aruchos, ya que hace tiempo que no se realizan.</p>\n\n<p>&nbsp;</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "8eef9de3-116b-4f20-b93e-89b5022e1d2e", "provisionaledits": null, "resourceinstance_id": "765f2b77-a486-43d2-9930-9cc70609abbf", "sortorder": 0, "tileid": "538fe135-0b21-4240-8b1f-5ae43984d858"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.87522583007839, -14.600406444467993], "type": "Point"}, "id": "368dceb69a3fc432169979d23ef84791", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000030'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "765f2b77-a486-43d2-9930-9cc70609abbf", "sortorder": 0, "tileid": "205211cc-6d50-47ef-82cc-408fd3a0ea07"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los versos javieranos representan una tradici&oacute;n cultural de gran relevancia para la comunidad de San Javier, y su transmisi&oacute;n est&aacute; profundamente ligada a la ense&ntilde;anza pr&aacute;ctica dentro de las festividades religiosas. Este tipo de conocimiento se mantiene a trav&eacute;s de la pr&aacute;ctica directa en las celebraciones, donde el Profesor Carmelo Jou Mozua juega un papel crucial al ense&ntilde;ar los versos a peque&ntilde;os grupos de personas, quienes a su vez los transmiten a otros. Las canciones, que forman parte del patrimonio local, no solo se aprenden de manera formal sino tambi&eacute;n mediante la inmersi&oacute;n en el contexto festivo, lo que fortalece el v&iacute;nculo social y cultural entre los participantes.</p>\n\n<p>&nbsp;</p>\n\n<p>Este acto de canto y danza no solo perpet&uacute;a la identidad cultural de la regi&oacute;n, sino que tambi&eacute;n funciona como un medio para conectar a las generaciones, incluso en tiempos donde el acceso a la ense&ntilde;anza formal se ve limitado.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "8eef9de3-116b-4f20-b93e-89b5022e1d2e", "provisionaledits": null, "resourceinstance_id": "765f2b77-a486-43d2-9930-9cc70609abbf", "sortorder": 0, "tileid": "56f58071-a8d3-492c-acb0-eff232e77283"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las transformaciones en la pr&aacute;ctica de los versos javieranos se hacen evidentes en la evoluci&oacute;n de los medios utilizados para transmitir el conocimiento. En tiempos pasados, los cantos se realizaban en vivo, acompa&ntilde;ados de m&uacute;sica. Sin embargo, hoy en d&iacute;a, debido a diversos factores como la migraci&oacute;n de los j&oacute;venes a otras ciudades para estudiar y la falta de continuidad en la ense&ntilde;anza, los versos se transmiten en su mayor&iacute;a a trav&eacute;s de grabaciones digitales. Esta transformaci&oacute;n en el medio de transmisi&oacute;n afecta tanto la forma como el contexto de la pr&aacute;ctica, ya que la interacci&oacute;n directa entre los miembros de la comunidad ha disminuido considerablemente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro cambio significativo en la pr&aacute;ctica se refiere a la desaparici&oacute;n de algunas de las festividades y expresiones vinculadas a los versos. Por ejemplo, los Aruchos, que eran cantados por ni&ntilde;os durante las fiestas de San Francisco Javier, ya no se practican de la misma forma, y los versos que los acompa&ntilde;aban han ca&iacute;do en el olvido. La falta de apoyo constante para la ense&ntilde;anza y la transmisi&oacute;n de estos cantos ha llevado a que muchas de las tradiciones relacionadas con la festividad se vean relegadas, lo que pone en riesgo la preservaci&oacute;n de esta parte del patrimonio cultural de San Javier. Esta transformaci&oacute;n refleja los cambios generacionales y las dificultades para mantener vivas las tradiciones en un contexto social y cultural en constante cambio.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "8eef9de3-116b-4f20-b93e-89b5022e1d2e", "provisionaledits": null, "resourceinstance_id": "765f2b77-a486-43d2-9930-9cc70609abbf", "sortorder": 0, "tileid": "978c3e9c-6dbd-49ea-a25b-1a78e98a5d75"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica de los versos javieranos radica en su capacidad para unir a la comunidad durante las festividades religiosas. El canto de los versos no solo mantiene vivas las tradiciones, sino que tambi\u00e9n refuerza el sentido de identidad cultural local. Al ser cantados en el idioma javierano, estos versos ayudan a preservar la lengua, conectando a las generaciones pasadas con las presentes. La participaci\u00f3n activa de mujeres, ni\u00f1os y hombres en la ejecuci\u00f3n de los versos demuestra la cohesi\u00f3n social y el compromiso intergeneracional en la preservaci\u00f3n de esta tradici\u00f3n. El hecho de que estas canciones se canten en momentos clave de las festividades religiosas resalta su importancia como veh\u00edculo para la expresi\u00f3n comunitaria y la devoci\u00f3n.  Otro aspecto positivo es el esfuerzo del Profesor Carmelo Jou Mozua en mantener la ense\u00f1anza de los versos a trav\u00e9s de grupos peque\u00f1os, lo cual asegura que esta pr\u00e1ctica se siga transmitiendo a las nuevas generaciones, a pesar de los desaf\u00edos que enfrenta. El hecho de que el aprendizaje se realice dentro del contexto festivo contribuye a la inmersi\u00f3n de los participantes en la cultura local, creando un entorno favorable para el aprendizaje pr\u00e1ctico. Esta forma de ense\u00f1anza directa, aunque hoy apoyada en grabaciones, sigue siendo una fortaleza, ya que la tradici\u00f3n se preserva en un formato accesible para los miembros de la comunidad."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "8eef9de3-116b-4f20-b93e-89b5022e1d2e", "provisionaledits": null, "resourceinstance_id": "765f2b77-a486-43d2-9930-9cc70609abbf", "sortorder": 0, "tileid": "abe636bc-57d9-4ed1-936e-a1658ba2ff2e"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos m&aacute;s evidentes en la pr&aacute;ctica de los versos javieranos es la posible desaparici&oacute;n de los cantos tradicionales debido a la falta de transmisi&oacute;n continua. La migraci&oacute;n de los j&oacute;venes a otras ciudades para estudiar ha provocado que no haya una renovaci&oacute;n constante de quienes participen activamente en las festividades. Esta disminuci&oacute;n en la participaci&oacute;n puede llevar al olvido de algunas de las canciones y danzas, como los Aruchos, que ya no se practican. La escasa continuidad en la ense&ntilde;anza de los versos tambi&eacute;n contribuye a este peligro, ya que muchos de los cantos dependen de un grupo peque&ntilde;o y no se ha logrado establecer una estructura que asegure su perdurabilidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Aunque las grabaciones facilitan la transmisi&oacute;n del conocimiento, la ausencia de la interacci&oacute;n entre los miembros de la comunidad disminuyen la riqueza del contexto cultural. La transformaci&oacute;n de un acto comunitario en una experiencia m&aacute;s individualizada podr&iacute;a llevar a que se pierda el sentido de pertenencia y de conexi&oacute;n entre los participantes, afectando la capacidad de los versos para cumplir su funci&oacute;n social de uni&oacute;n y fortalecimiento de la identidad colectiva.</p>\n\n<p>&nbsp;</p>\n\n<p>Por otro lado, la ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "8eef9de3-116b-4f20-b93e-89b5022e1d2e", "provisionaledits": null, "resourceinstance_id": "765f2b77-a486-43d2-9930-9cc70609abbf", "sortorder": 0, "tileid": "17a127cf-a86f-4981-9082-2cd670281fe1"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:02.791", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000066, "}, "es": {"description": "San Javier. 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Adolfo Jou"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e0edeb64-265f-40b0-a043-cca333777bec", "sortorder": 0, "tileid": "8338b7c1-b7c1-4454-b712-c4f6de2348f7"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.87934570311931, -14.600074208269533], "type": "Point"}, "id": "a4ebaee361d49118e0daae406b57cbb2", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000031'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e0edeb64-265f-40b0-a043-cca333777bec", "sortorder": 0, "tileid": "8401ad1f-b89c-4cd1-90c9-1c75ada3d60e"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e0edeb64-265f-40b0-a043-cca333777bec", "sortorder": 0, "tileid": "980181d1-b21e-4e13-a9d8-190c820eeee2"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Artesano tallador. Adolfo Jou</strong></p>\n\n<p>&nbsp;</p>\n\n<p>El tallado en madera es una t&eacute;cnica artesanal que ha sido preservada a lo largo del tiempo por talentosos artesanos como Adolfo Jou. Esta manifestaci&oacute;n art&iacute;stica se centra en la creaci&oacute;n de piezas inspiradas en las festividades tradicionales, especialmente en la Fiesta de la Virgen del Carmen. La &eacute;poca seca es el marco temporal en el que se realizan estas celebraciones, brindando un ambiente propicio para el esculpido detallado de la madera.</p>\n\n<p>&nbsp;</p>\n\n<p>El origen de esta pr&aacute;ctica se remonta al per&iacute;odo colonial, reflejando la fusi&oacute;n de culturas y tradiciones que han moldeado la identidad cultural de la regi&oacute;n. A trav&eacute;s del tallado, Adolfo Jou no solo embellece las festividades locales, sino que tambi&eacute;n mantiene viva una herencia cultural profundamente arraigada en la historia.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Materiales que utiliza / procedencia</strong></p>\n\n<p>Para el tallado de m&aacute;scaras de fiesta se emplea principalmente madera de balsa, un material liviano y f&aacute;cil de esculpir. Esta madera se obtiene en el bosque o monte, a varios kil&oacute;metros del pueblo de San Javier. Adem&aacute;s, se utilizan cuernos de animales reales: los de ciervo provienen de ejemplares encontrados muertos en el monte, mientras que el cuero de vaca, necesario para la m&aacute;scara de torito, se obtiene de los mataderos locales.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de las herramientas que utiliza</strong></p>\n\n<p>El artesano emplea herramientas rudimentarias que no est&aacute;n espec&iacute;ficamente dise&ntilde;adas para el tallado. Entre ellas se encuentran puntas met&aacute;licas, alicates, martillos, clavos y lijas. El artesano quisiera tener las herramientas adecuadas. Para la fase de pintado, utiliza pintura al &oacute;leo, logrando un acabado colorido y resistente en cada m&aacute;scara.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la t&eacute;cnica/s</strong></p>\n\n<p>El tallado en madera de balsa se caracteriza por ser un material noble para el tallado, ya que es un material suave y liviano, que al secarse adquiere mayor dureza. La t&eacute;cnica utilizada consiste en copiar la forma de m&aacute;scaras previas observ&aacute;ndolas y reproduciendo sus detalles manualmente.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Tipos de artesan&iacute;a</strong></p>\n\n<p>El artesano se especializa en la elaboraci&oacute;n de m&aacute;scaras destinadas a las danzas festivas que forman parte de las celebraciones religiosas del calendario festivo local.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Destino de la artesan&iacute;a</strong></p>\n\n<p>Las m&aacute;scaras son vendidas a los pobladores del lugar a precios muy bajos, permitiendo as&iacute; que la comunidad acceda a estos elementos esenciales para la preservaci&oacute;n de sus tradiciones festivas. No las elabora con regularidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Vida del artesano</strong></p>\n\n<p>El artesano aprendi&oacute; a tallar m&aacute;scaras observando las ya existentes, sin recibir ense&ntilde;anza formal. Su habilidad y pasi&oacute;n por el oficio nacieron de manera autodidacta, dedicando su tiempo libre al tallado de madera. Le gusta crear m&aacute;scaras, especialmente para sus nietos.</p>\n\n<p>&nbsp;</p>\n\n<p>Sin embargo, el tallado no es su ocupaci&oacute;n principal. Su d&iacute;a a d&iacute;a transcurre en el chaco, donde trabaja arduamente para sustentar a su familia. Debido a la reducci&oacute;n de tierras ind&iacute;genas por la expansi&oacute;n ganadera, debe desplazarse a pie a lugares cada vez m&aacute;s alejados para encontrar terrenos aptos para la siembra. Solo por las noches, al regresar a su hogar, se dedica a su taller, arreglando sus herramientas, en ocasiones elaborando m&aacute;scaras cuando recibe pedidos espec&iacute;ficos.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["237ed805-e832-4979-80cb-8d2f6d646d28", "da719d9d-e927-4281-aeef-d551a1da07ff", "e5270642-c871-4c8b-88af-3256b9e5ab85"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "980181d1-b21e-4e13-a9d8-190c820eeee2", "provisionaledits": null, "resourceinstance_id": "e0edeb64-265f-40b0-a043-cca333777bec", "sortorder": 0, "tileid": "43e859b4-dc1d-490f-950e-5d542b7d8e64"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scaras de danzas tradicionales de San Javier"}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scaras "}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "980181d1-b21e-4e13-a9d8-190c820eeee2", "provisionaledits": null, "resourceinstance_id": "e0edeb64-265f-40b0-a043-cca333777bec", "sortorder": 0, "tileid": "35897ff1-ced3-4133-8255-46097a7b6026"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje autodid\u00e1cta"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Adolfo Jou adquiri&oacute; sus habilidades al analizar y reproducir m&aacute;scaras previamente elaboradas, sin recibir ense&ntilde;anza formal fue a trav&eacute;s de la observaci&oacute;n y la pr&aacute;ctica autodidacta. Este m&eacute;todo de aprendizaje refleja una tradici&oacute;n oral y visual donde los conocimientos se perpet&uacute;an de generaci&oacute;n en generaci&oacute;n. La imitaci&oacute;n y la repetici&oacute;n de patrones establecidos en las festividades locales aseguran la continuidad del oficio, manteniendo vivas tanto las t&eacute;cnicas de tallado como los significados culturales asociados a cada pieza.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro mecanismo clave de transmisi&oacute;n es la experiencia compartida dentro del entorno familiar y comunitario. Adolfo Jou, por ejemplo, encuentra especial satisfacci&oacute;n en crear m&aacute;scaras para sus nietos, un acto que no solo refuerza el v&iacute;nculo familiar, es un acto que &nbsp;puede sembrar inter&eacute;s en las nuevas generaciones. A pesar de la falta de herramientas adecuadas y de las dificultades econ&oacute;micas, la persistencia del artesano demuestra c&oacute;mo la pasi&oacute;n por el oficio y el compromiso con la tradici&oacute;n se convierten en factores esenciales para la preservaci&oacute;n de este conocimiento ancestral.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "980181d1-b21e-4e13-a9d8-190c820eeee2", "provisionaledits": null, "resourceinstance_id": "e0edeb64-265f-40b0-a043-cca333777bec", "sortorder": 0, "tileid": "298b8df2-1440-4035-9e9a-5eadc7b89e65"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales desaf&iacute;os es la disponibilidad de la madera de balsa, que debe obtenerse en zonas cada vez m&aacute;s alejadas debido a la reducci&oacute;n de los recursos naturales, por la que experimenta el grupo cultural al no tener la integridad de su territorio ind&iacute;gena. Esta situaci&oacute;n podr&iacute;a llevar a la sustituci&oacute;n del material tradicional por otros m&aacute;s accesibles o a la disminuci&oacute;n de la producci&oacute;n artesanal. Asimismo, la falta de herramientas especializadas afecta la calidad y eficiencia del trabajo, por lo que una posible evoluci&oacute;n del oficio implicar&iacute;a la incorporaci&oacute;n de nuevos instrumentos y t&eacute;cnicas que faciliten el tallado y mejoren el acabado de las piezas.</p>\n\n<p>&nbsp;</p>\n\n<p>Actualmente, el tallado de m&aacute;scaras se mantiene gracias al inter&eacute;s personal del artesano, pero su continuidad a largo plazo depende de la formaci&oacute;n de nuevos talladores. La ense&ntilde;anza formal o talleres comunitarios podr&iacute;an permitir que m&aacute;s personas se interesen en el oficio, adapt&aacute;ndolo a nuevas necesidades del mercado y expandiendo su alcance m&aacute;s all&aacute; de las festividades locales. El inter&eacute;s por la artesan&iacute;a como patrimonio cultural podr&iacute;a generar oportunidades para revalorizar esta pr&aacute;ctica, promoviendo su difusi&oacute;n en espacios tur&iacute;sticos o culturales, garantizando as&iacute; su preservaci&oacute;n en un contexto contempor&aacute;neo.</p>\n\n<p>&nbsp;</p>\n\n<p>Por otra parte ser&iacute;a importante recuperar la vestimenta, tradiciones y m&uacute;sica tradicional ya que los elementos materiales que los acompa&ntilde;an proviene de artesano que actualmente no producen porque no hay demanda.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "980181d1-b21e-4e13-a9d8-190c820eeee2", "provisionaledits": null, "resourceinstance_id": "e0edeb64-265f-40b0-a043-cca333777bec", "sortorder": 0, "tileid": "4fee30b9-3653-4d7e-99a5-8fb2561e8d88"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La elaboraci\u00f3n de m\u00e1scaras no es solo un ejercicio art\u00edstico, sino una manifestaci\u00f3n de identidad que refuerza el sentido de pertenencia de la comunidad con la producci\u00f3n de elementos de patrimonio material que los representa. La tradici\u00f3n se ha mantenido viva a pesar de la falta de ense\u00f1anza formal, gracias a la transmisi\u00f3n visual y autodidacta que permite la continuidad del oficio. Adem\u00e1s, la elecci\u00f3n de materiales como la madera de balsa, los cuernos de animales y el cuero de vaca demuestra un conocimiento pr\u00e1ctico del entorno y un aprovechamiento sostenible de los recursos naturales disponibles en la regi\u00f3n.  La capacidad del artesano para adaptarse a las condiciones de su entorno y mantener la producci\u00f3n artesanal a pesar de las dificultades, es otro factor positivo. Aunque el tallado no es su ocupaci\u00f3n principal, Adolfo Jou encuentra tiempo para dedicarse a su arte, asegurando que su conocimiento no se pierda. Su motivaci\u00f3n personal y el deseo de crear m\u00e1scaras para sus nietos evidencian un compromiso con la transmisi\u00f3n del oficio, lo que sugiere que la pr\u00e1ctica podr\u00eda continuar si se fomenta el inter\u00e9s en las nuevas generaciones. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "980181d1-b21e-4e13-a9d8-190c820eeee2", "provisionaledits": null, "resourceinstance_id": "e0edeb64-265f-40b0-a043-cca333777bec", "sortorder": 0, "tileid": "c965de92-b075-4e8e-b0b1-2685ed10304b"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos que enfrenta la pr&aacute;ctica artesanal del tallado en madera en San Javier es la falta de relevo generacional. Adolfo Jou aprendi&oacute; el oficio de manera autodidacta, sin una ense&ntilde;anza estructurada que garantice la transmisi&oacute;n del conocimiento a nuevas generaciones. Si bien realiza m&aacute;scaras para sus nietos, no se menciona un proceso sistem&aacute;tico de aprendizaje, lo que pone en peligro la continuidad de la tradici&oacute;n. Adem&aacute;s, la ausencia de incentivos econ&oacute;micos suficientes podr&iacute;a desmotivar a j&oacute;venes artesanos, quienes podr&iacute;an optar por otras actividades m&aacute;s rentables en lugar de dedicarse a un oficio que, en su forma actual, no representa una fuente de ingresos estable.</p>\n\n<p>&nbsp;</p>\n\n<p>Un factor amenazante es la reducci&oacute;n de los recursos naturales necesarios para la elaboraci&oacute;n de las m&aacute;scaras. La madera de balsa, fundamental para el tallado, debe obtenerse en zonas cada vez m&aacute;s alejadas, lo que implica un mayor esfuerzo y costo para los artesanos. A esto se suma la falta de herramientas especializadas, lo que dificulta el trabajo y limita la producci&oacute;n. La expansi&oacute;n ganadera y la disminuci&oacute;n de tierras ind&iacute;genas tambi&eacute;n impactan la disponibilidad de materias primas y el tiempo que los artesanos pueden dedicar a su oficio, ya que deben priorizar otras actividades de subsistencia. Sin apoyo externo o estrategias para mejorar las condiciones de producci&oacute;n, esta pr&aacute;ctica artesanal corre el riesgo de desaparecer progresivamente.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "980181d1-b21e-4e13-a9d8-190c820eeee2", "provisionaledits": null, "resourceinstance_id": "e0edeb64-265f-40b0-a043-cca333777bec", "sortorder": 0, "tileid": "27853dd0-6278-4e0e-8e5a-2ca4b084787f"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:03.244", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000067, "}, "es": {"description": "San Javier. 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Cabildo Indigenal de San Javier"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["ddf3995c-dec2-4682-8889-94924a5fb6fc"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "6c6288e0-842e-42f9-86d1-fe9053e143ec", "sortorder": 0, "tileid": "d25fb3fc-08b0-4f5f-bf62-4b580685450e"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "6c6288e0-842e-42f9-86d1-fe9053e143ec", "sortorder": 0, "tileid": "f2fe0972-fa05-46a1-bde0-3d8fbbdc7c56"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["9c539c14-ff65-4565-85a2-2268e4fe36ed"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Cabildo Indigenal de San Javier</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>En el pasado, el Cabildo Indigenal de San Javier ten&iacute;a una estructura similar a la de los cabildos indigenales de otras localidades del Beni. Su funci&oacute;n principal era religiosa y cultural, adem&aacute;s de organizar a la comunidad en trabajos colectivos. Todos los habitantes contribu&iacute;an a la realizaci&oacute;n de festividades religiosas y encuentros entre comunidades con otros territorios ind&iacute;genas.</p>\n\n<p>&nbsp;</p>\n\n<p>Sin embargo, en la actualidad, el Cabildo Indigenal de San Javier ha perdido gran parte de su estructura organizativa. Solo cuenta con la figura del corregidor, ya que los dem&aacute;s miembros se han trasladado a Trinidad u otras localidades en busca de empleo. El corregidor, adem&aacute;s de sus funciones tradicionales, es el representante de la Subcentral de Pueblos Ind&iacute;genas de San Javier. Los adultos mayores, que antes desempe&ntilde;aban un rol activo en el cabildo, ahora son considerados sabios, son los que asesoran la realizaci&oacute;n de las costumbres y tradiciones, como la organizaci&oacute;n de la Semana Santa.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde hace un a&ntilde;o, el Cabildo ha estado sin estructura formal, aunque su debilitamiento comenz&oacute; mucho antes, cuando las personas mayores dejaron sus cargos. Anteriormente, el Cabildo estaba compuesto por alrededor de 12 integrantes. Ante esta crisis, la alcald&iacute;a asumi&oacute; la responsabilidad de organizar las festividades a trav&eacute;s de un Comit&eacute; de Festejos.</p>\n\n<p>&nbsp;</p>\n\n<p>El corregidor enfrenta numerosas demandas de las comunidades, especialmente relacionadas con la tenencia de tierras. San Javier no cuenta con titulaci&oacute;n de tierras comunitarias y actualmente se encuentra en un proceso legal ante el INRA para su reconocimiento. A lo largo de los a&ntilde;os, el territorio comunitario de San Javier ha sido reducido debido a la titulaci&oacute;n de tierras a favor de los ganaderos.</p>\n\n<p>&nbsp;</p>\n\n<p>Hoy en d&iacute;a, el territorio ind&iacute;gena se extiende m&aacute;s all&aacute; del anillo que marca el camino hacia la comunidad de Esp&iacute;ritu Santo. Sin embargo, las estancias privadas con t&iacute;tulos de propiedad impiden que los pobladores ind&iacute;genas de San Javier accedan a los recursos naturales que antes utilizaban. La comunidad mantiene un peque&ntilde;o n&uacute;mero de cabezas de ganado en un corral, mientras que otros animales deambulan por el pueblo debido a la falta de espacio para criarlos adecuadamente.</p>\n\n<p>&nbsp;</p>\n\n<p>Uno de los principales problemas que enfrentan es la falta de tierras para la construcci&oacute;n de viviendas. Actualmente, existen quince solicitudes de construcci&oacute;n de casas para los pobladores de San Javier, pero no pueden ser atendidas debido a la falta de territorio disponible. Como consecuencia, la comunidad perdi&oacute; un proyecto estatal de construcci&oacute;n de viviendas que requer&iacute;a tierras para su ejecuci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>En el pasado, el territorio de San Javier era mucho m&aacute;s amplio. Sin embargo, alcaldes y corregidores electos titularon tierras comunales como propiedades privadas, transform&aacute;ndolas en fincas y estancias o cedi&eacute;ndolas a terceros. Adem&aacute;s, San Javier no cuenta con personer&iacute;a jur&iacute;dica, lo que ha dificultado a&uacute;n m&aacute;s la defensa de su territorio. Las autoridades anteriores no gestionaron la titulaci&oacute;n de las tierras comunitarias ni participaron en las marchas ind&iacute;genas que permitieron a muchas otras comunidades consolidar sus derechos territoriales.</p>\n\n<p>&nbsp;</p>\n\n<p>Recientemente, la comunidad construy&oacute; un pozo de agua en las tierras m&aacute;s all&aacute; del camino a la comunidad de Esp&iacute;ritu, pero un hacendado lo destruy&oacute;, dejando sin acceso a agua a la poblaci&oacute;n. Algo similar ocurri&oacute; con los mojones colocados con ayuda de la alcald&iacute;a para delimitar el territorio ind&iacute;gena mediante georreferenciaci&oacute;n; estos tambi&eacute;n fueron destruidos.</p>\n\n<p>&nbsp;</p>\n\n<p>El corregidor, con el respaldo de la Subcentral de Pueblos Ind&iacute;genas y la CEPIB, busca la restituci&oacute;n del territorio ind&iacute;gena de San Javier. La p&eacute;rdida de tierras ha afectado directamente la realizaci&oacute;n de las tradiciones religiosas. Por ejemplo, el palo encebado, una costumbre presente en todas las fiestas religiosas, ya no puede realizarse porque los bosques de donde se extra&iacute;a el &aacute;rbol de la piraquina han sido convertidos en propiedades privadas. La comunidad de Verd&uacute;m, cercana a San Javier, enfrenta problemas similares. Sus bosques han sido talados, y el acceso a sus antiguas tierras est&aacute; restringido por propietarios que incluso amenazan con armas de fuego. Estas tierras no solo serv&iacute;an para la obtenci&oacute;n de madera, sino tambi&eacute;n como chacos donde las familias cultivaban frutas, yuca y otros alimentos b&aacute;sicos.</p>\n\n<p>&nbsp;</p>\n\n<p>Las dificultades tambi&eacute;n han afectado la preparaci&oacute;n diaria de alimentos, ya que el combustible principal en la comunidad es la le&ntilde;a, que ahora es escasa.</p>\n\n<p>&nbsp;</p>\n\n<p>El jocheo del toro, una de las tradiciones m&aacute;s importantes de la regi&oacute;n, tambi&eacute;n se ha visto afectado. Este a&ntilde;o solo se cont&oacute; con un toro, ya que anteriormente los due&ntilde;os de las estancias prestaban animales para la celebraci&oacute;n. Sin embargo, con la venta de estas propiedades, los nuevos due&ntilde;os desconocen las costumbres y han dejado de prestar apoyo a la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Estructura organizativa </strong></p>\n\n<p>Actualmente, la &uacute;nica autoridad presente en el Cabildo Indigenal de San Javier es el Corregidor, quien trabaja junto al representante de la Subcentral en la recuperaci&oacute;n de tierras para el territorio ind&iacute;gena. La estructura organizativa se encuentra incompleta, lo que pone en riesgo su continuidad. Se espera que durante la festividad de San Francisco Javier, el 3 de diciembre 2022, se logre conformar nuevamente la estructura de autoridades correspondiente.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Modo de funcionamiento</strong></p>\n\n<p>En la actualidad, el Cabildo no cuenta con una sede oficial. Ante esta situaci&oacute;n, el domicilio del Profesor Carmelo Jou Mozua ha sido utilizado como sede provisional, tanto para las reuniones del Cabildo como para la agrupaci&oacute;n de los macheteros. Debido a la falta de miembros en la estructura organizativa, el Corregidor es la &uacute;nica autoridad activa, enfrentando m&uacute;ltiples desaf&iacute;os para mantener las funciones tradicionales del Cabildo.</p>\n"}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "f2fe0972-fa05-46a1-bde0-3d8fbbdc7c56", "provisionaledits": null, "resourceinstance_id": "6c6288e0-842e-42f9-86d1-fe9053e143ec", "sortorder": 0, "tileid": "900df968-4dd7-4201-8cf1-fa427c4ccfd3"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo generacional"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el pasado, los adultos mayores jugaban un papel clave como transmisores de saberes, asesorando en la organizaci&oacute;n de festividades religiosas y tradiciones locales como la Semana Santa y el jocheo del toro. A trav&eacute;s del ejemplo y la convivencia, las nuevas generaciones aprend&iacute;an sobre los rituales, la importancia de la colaboraci&oacute;n y las normas que reg&iacute;an la vida en comunidad. Sin embargo, con la migraci&oacute;n de muchos pobladores y la p&eacute;rdida de territorio, y el fallecimiento de varios sabios y sabias, se han debilitado, dificultando la preservaci&oacute;n de estas pr&aacute;cticas culturales.</p>\n\n<p>&nbsp;</p>\n\n<p>En la actualidad, la transmisi&oacute;n de conocimientos ha quedado en manos del corregidor y los pocos ancianos que a&uacute;n permanecen en la comunidad. Sin embargo, la falta de una estructura organizativa formal ha limitado su alcance, y algunas tradiciones han desaparecido o se han visto reducidas. La oralidad sigue siendo el principal medio de ense&ntilde;anza, pero su impacto se ve restringido por la disminuci&oacute;n de espacios f&iacute;sicos comunitarios y la fragmentaci&oacute;n del territorio. Adem&aacute;s, la creciente influencia de actores externos que desconocen las costumbres locales ha generado una desconexi&oacute;n entre las nuevas generaciones y su herencia cultural. Sin un proceso de revitalizaci&oacute;n, la transmisi&oacute;n de conocimientos corre el riesgo de desaparecer junto con las pr&aacute;cticas que le dan sentido.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "f2fe0972-fa05-46a1-bde0-3d8fbbdc7c56", "provisionaledits": null, "resourceinstance_id": "6c6288e0-842e-42f9-86d1-fe9053e143ec", "sortorder": 0, "tileid": "3c9971db-1601-4959-ac35-44fe84f78f06"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las transformaciones en la pr&aacute;ctica artesanal en San Javier han estado marcadas por la p&eacute;rdida de territorio y la migraci&oacute;n de sus habitantes. En el pasado, el acceso a recursos naturales como la madera y la le&ntilde;a garantizaba la continuidad de diversas artesan&iacute;as, especialmente aquellas vinculadas a la construcci&oacute;n de herramientas, la fabricaci&oacute;n de utensilios y la elaboraci&oacute;n de elementos para festividades religiosas. Sin embargo, la reducci&oacute;n del territorio ind&iacute;gena ha limitado la disponibilidad de materia prima, afectando directamente la producci&oacute;n artesanal. La tala de bosques y la privatizaci&oacute;n de tierras han restringido el acceso a materiales esenciales, lo que ha llevado a la disminuci&oacute;n o modificaci&oacute;n de pr&aacute;cticas artesanales tradicionales.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, la migraci&oacute;n de los miembros de la comunidad a otras localidades ha generado una p&eacute;rdida de conocimientos t&eacute;cnicos sobre estas pr&aacute;cticas, dado que la transmisi&oacute;n de saberes se basaba en la ense&ntilde;anza directa dentro del n&uacute;cleo comunitario. Con la ausencia de los artesanos y la falta de espacios de aprendizaje, las nuevas generaciones tienen menos oportunidades de involucrarse en estas actividades. Sin embargo, la necesidad de preservar la identidad cultural podr&iacute;a motivar a las autoridades locales y a los habitantes a buscar estrategias para revitalizar y adaptar estas pr&aacute;cticas a un nuevo contexto.</p>\n\n<p>&nbsp;</p>\n\n<p>La organizaci&oacute;n del Cabildo Indigenal de San Javier ha experimentado una transformaci&oacute;n significativa debido a la reducci&oacute;n de su estructura y la migraci&oacute;n de sus miembros. En el pasado, el Cabildo estaba compuesto por al menos 12 integrantes, quienes desempe&ntilde;aban funciones comunitarias en la organizaci&oacute;n de festividades y la gesti&oacute;n del territorio. Sin embargo, la p&eacute;rdida de tierras, la falta de oportunidades econ&oacute;micas y el traslado de sus habitantes a otras localidades han debilitado esta estructura organizativa. Actualmente, la &uacute;nica autoridad formal es el corregidor, quien ha asumido m&uacute;ltiples responsabilidades sin el respaldo de un equipo organizado, lo que ha afectado la continuidad de las funciones del Cabildo y la toma de decisiones colectivas.</p>\n\n<p>&nbsp;</p>\n\n<p>Ante la crisis organizativa, la comunidad ha comenzado a depender de actores externos, como la alcald&iacute;a, que ha asumido la organizaci&oacute;n de festividades a trav&eacute;s de un Comit&eacute; de Festejos. Esto ha significado una transformaci&oacute;n en la gesti&oacute;n de las tradiciones locales, desplazando el rol del Cabildo en favor de una estructura institucional ajena a la comunidad, sin embargo, necesaria.</p>\n\n<p>&nbsp;</p>\n\n<p>La lucha por la recuperaci&oacute;n del territorio ha llevado al corregidor a articular esfuerzos con la Subcentral de Pueblos Ind&iacute;genas y la CEPIB, lo que evidencia un cambio en la din&aacute;mica organizativa, en la que ahora se requiere el apoyo de organizaciones regionales para enfrentar los desaf&iacute;os actuales. A pesar de estos cambios, la comunidad espera reconstituir la estructura del Cabildo durante la festividad de San Francisco Javier, lo que podr&iacute;a representar un esfuerzo por revitalizar su sistema organizativo tradicional.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "f2fe0972-fa05-46a1-bde0-3d8fbbdc7c56", "provisionaledits": null, "resourceinstance_id": "6c6288e0-842e-42f9-86d1-fe9053e143ec", "sortorder": 0, "tileid": "26b04cd1-4917-4d2c-ad41-b8739b63fd70"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "A pesar de las dificultades que enfrenta, la organizaci\u00f3n del Cabildo Indigenal de San Javier mantiene algunas fortalezas que le han permitido sostener sus funciones tradicionales. Una de sus principales fortalezas es la figura del corregidor, quien, a pesar de la falta de una estructura organizativa completa, sigue siendo un referente para la comunidad y contin\u00faa gestionando la defensa del territorio. Su papel ha sido fundamental en la articulaci\u00f3n con la Subcentral de Pueblos Ind\u00edgenas y la CEPIB, logrando visibilizar las demandas del pueblo ind\u00edgena ante instancias regionales. Por otro lado, la permanencia de los adultos mayores como asesores en las tradiciones locales ha permitido la continuidad de algunos saberes y pr\u00e1cticas culturales, garantizando que, aunque debilitadas, las festividades y costumbres sigan siendo parte de la identidad de San Javier.  La resiliencia de la comunidad, que a pesar de la p\u00e9rdida de tierras y la fragmentaci\u00f3n organizativa, busca formas de mantener sus tradiciones y luchar por el reconocimiento de su territorio. La intenci\u00f3n de reorganizar el Cabildo durante la festividad de San Francisco Javier demuestra la voluntad de los pobladores por recuperar su estructura ancestral y fortalecer su autogesti\u00f3n. La capacidad de la comunidad para adaptarse a los cambios, como el uso de espacios provisionales para reuniones o la b\u00fasqueda de apoyo externo para la recuperaci\u00f3n de tierras, refleja su determinaci\u00f3n por mantener su identidad y organizaci\u00f3n. Estas fortalezas pueden ser la base para la reconstrucci\u00f3n de una estructura m\u00e1s s\u00f3lida y el fortalecimiento de su autonom\u00eda en el futuro.   El apoyo de instituciones es determinante para el fortalecimiento de la comunidad de forma integral, iniciando por el fortalecimiento del Cabildo. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "f2fe0972-fa05-46a1-bde0-3d8fbbdc7c56", "provisionaledits": null, "resourceinstance_id": "6c6288e0-842e-42f9-86d1-fe9053e143ec", "sortorder": 0, "tileid": "38883418-fd8e-4531-86bb-8890f7ed9ee1"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la organizaci&oacute;n del Cabildo Indigenal de San Javier es la p&eacute;rdida de su estructura formal y la fragmentaci&oacute;n de la comunidad. La ausencia de miembros en el Cabildo, sumada a la migraci&oacute;n de gran parte de la poblaci&oacute;n en busca de empleo, ha debilitado la toma de decisiones colectivas y ha dejado al corregidor con una sobrecarga de responsabilidades. Sin una estructura organizativa consolidada, la gesti&oacute;n de las tradiciones, la defensa del territorio y la administraci&oacute;n de los recursos comunitarios se vuelve cada vez m&aacute;s dif&iacute;cil. Adem&aacute;s, la falta de personer&iacute;a jur&iacute;dica limita la capacidad del Cabildo para acceder a mecanismos legales que respalden sus derechos territoriales, lo que representa una amenaza para su continuidad y para la estabilidad de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Un factor significativo es la creciente intervenci&oacute;n de actores externos en la gesti&oacute;n de las festividades y la administraci&oacute;n del territorio. La alcald&iacute;a ha asumido la organizaci&oacute;n de eventos tradicionales, desplazando la autoridad del Cabildo y cambiando las din&aacute;micas de autogesti&oacute;n que caracterizaban a la comunidad. La reducci&oacute;n del territorio ind&iacute;gena y la titulaci&oacute;n de tierras a favor de ganaderos han restringido el acceso a recursos esenciales para la vida y la cultura de San Javier, lo que podr&iacute;a llevar a la desaparici&oacute;n de pr&aacute;cticas culturales fundamentales. Sin un proceso efectivo de reorganizaci&oacute;n y sin apoyo en la recuperaci&oacute;n de tierras, la comunidad corre el riesgo de perder no solo su estructura organizativa, sino tambi&eacute;n su identidad cultural y su capacidad de autogobierno.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "f2fe0972-fa05-46a1-bde0-3d8fbbdc7c56", "provisionaledits": null, "resourceinstance_id": "6c6288e0-842e-42f9-86d1-fe9053e143ec", "sortorder": 0, "tileid": "e8abaaa2-d8ef-4e13-a7c9-a0307ebc681d"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:02.268", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000064, "}, "es": {"description": "San Javier. El palo encebado y jocheo de toros", "map_popup": "Beni", "name": "PI-080102-00-00-000064, San Javier. El palo encebado y jocheo de toros"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000064, San Javier. El palo encebado y jocheo de toros", "principaluser_id": 26, "resourceinstanceid": "d84b8f5e-2af1-4494-8f5c-4782e3400c15", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta Virgen del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000064", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. El palo encebado y jocheo de toros"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d84b8f5e-2af1-4494-8f5c-4782e3400c15", "sortorder": 0, "tileid": "373bee6d-0157-4486-b932-b1434efa3381"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d84b8f5e-2af1-4494-8f5c-4782e3400c15", "sortorder": 0, "tileid": "21e9021f-2f1b-42be-8d67-10631b5863a0"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de conocimientos en las comunidades, especialmente en lo que respecta a las festividades y rituales, ha sido siempre un proceso din&aacute;mico. Las actividades como el palo encebado y el jocheo del toro, que tienen profundas ra&iacute;ces hist&oacute;ricas, son ejemplos claros de c&oacute;mo los saberes sobre la cultura, la historia y las tradiciones se comparten y se mantienen vivas a trav&eacute;s de la pr&aacute;ctica directa. Sin embargo, el contexto actual est&aacute; modificando esta transmisi&oacute;n, ya que cambios en la propiedad de la tierra y las transformaciones sociales est&aacute;n afectando la posibilidad de continuar con las actividades como se realizaban tradicionalmente.</p>\n\n<p>&nbsp;</p>\n\n<p>En el caso del palo encebado y el jocheo del toro, los conocimientos asociados con la preparaci&oacute;n y la celebraci&oacute;n de estas pr&aacute;cticas se han visto comprometidos por la venta de terrenos del territorio ind&iacute;gena de San Javier y el desapego de las nuevas generaciones hacia las costumbres locales. A pesar de los esfuerzos por mantener estas tradiciones vivas, las transformaciones en el entorno socioecon&oacute;mico han generado barreras significativas, desde la escasez de recursos naturales para el palo encebado hasta la falta de apoyo de los nuevos propietarios para facilitar las actividades. Este cambio resalta la importancia de comprender c&oacute;mo las pr&aacute;cticas festivas, m&aacute;s all&aacute; de su valor simb&oacute;lico, son tambi&eacute;n mecanismos de transmisi&oacute;n cultural que, al enfrentarse a los desaf&iacute;os del presente, requieren nuevas estrategias para su preservaci&oacute;n y revitalizaci&oacute;n.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "21e9021f-2f1b-42be-8d67-10631b5863a0", "provisionaledits": null, "resourceinstance_id": "d84b8f5e-2af1-4494-8f5c-4782e3400c15", "sortorder": 0, "tileid": "0d2e1de8-40d5-4035-8656-e62f6d1a1c5f"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.87659912110428, -14.600406444448154], "type": "Point"}, "id": "eb45f074a62cef93af7e61d0a6522b92", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000029'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d84b8f5e-2af1-4494-8f5c-4782e3400c15", "sortorder": 0, "tileid": "d78fcf40-c9d6-420b-98b5-c5e1e6f4c432"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica del palo encebado y el jocheo del toro ha experimentado transformaciones significativas en los &uacute;ltimos a&ntilde;os debido a diversos factores sociales y econ&oacute;micos. En primer lugar, la venta de las tierras ha tenido un impacto directo en la realizaci&oacute;n del palo encebado, ya que los terrenos que anteriormente eran utilizados para estas actividades ahora pertenecen a propietarios privados. La falta de acceso a estos espacios impide que los miembros de la comunidad puedan realizar la tradici&oacute;n tal y como se hac&iacute;a en el pasado. La tala de los &aacute;rboles necesarios para la actividad tambi&eacute;n ha influido en la discontinuidad de este rito, pues los &aacute;rboles de Piraquina, esenciales ya no est&aacute;n disponibles debido a las transformaciones en la propiedad de la tierra.</p>\n\n<p>&nbsp;</p>\n\n<p>En cuanto al jocheo del toro, la principal alteraci&oacute;n ha sido la escasez de animales debido a la venta de las estancias donde tradicionalmente se prestaban los toros para la fiesta. Los nuevos due&ntilde;os de las tierras no muestran inter&eacute;s ni comprensi&oacute;n por las costumbres locales, lo que ha llevado a que este aspecto de la festividad tambi&eacute;n se vea reducido. Si bien la actividad a&uacute;n se llev&oacute; a cabo, solo se cont&oacute; con un toro de la comunidad, lo cual contrasta con las ediciones pasadas, donde se dispon&iacute;a de varios animales. Estas transformaciones reflejan un proceso de desconexi&oacute;n entre las generaciones actuales y las tradiciones comunitarias, lo que plantea un reto para la conservaci&oacute;n de estas pr&aacute;cticas culturales en el futuro.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "21e9021f-2f1b-42be-8d67-10631b5863a0", "provisionaledits": null, "resourceinstance_id": "d84b8f5e-2af1-4494-8f5c-4782e3400c15", "sortorder": 0, "tileid": "3fac1883-3c96-4777-a66a-23668d07ac15"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Las pr\u00e1cticas del palo encebado y el jocheo del toro contin\u00faan siendo s\u00edmbolos importantes de la identidad comunitaria, a pesar de los desaf\u00edos actuales. Una de las principales fortalezas de estas tradiciones radica en su capacidad para reunir a los miembros de la comunidad, promoviendo un sentido de unidad y pertenencia. Aunque la participaci\u00f3n en estos eventos se ha reducido, la realizaci\u00f3n de estas actividades sigue siendo un espacio de encuentro social donde las personas se conectan con su historia y cultura, transmitiendo valores y recuerdos colectivos. La conexi\u00f3n directa con el pasado y el respeto por los rituales comunitarios fortalecen el tejido social y la memoria hist\u00f3rica de la localidad.  Adem\u00e1s, el hecho de que la comunidad a\u00fan logre llevar a cabo el jocheo del toro, a pesar de las limitaciones de recursos, es una manifestaci\u00f3n de resiliencia. La actividad, aunque reducida en escala, sigue siendo un acto de preservaci\u00f3n cultural que se adapta a las nuevas circunstancias."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "21e9021f-2f1b-42be-8d67-10631b5863a0", "provisionaledits": null, "resourceinstance_id": "d84b8f5e-2af1-4494-8f5c-4782e3400c15", "sortorder": 0, "tileid": "9c54a004-ad8f-409c-b703-cd5c5e0df5f8"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los riesgos que enfrenta la pr&aacute;ctica del palo encebado y el jocheo del toro son principalmente de &iacute;ndole estructural, derivados de los cambios en la propiedad de las tierras que hist&oacute;ricamente han facilitado la realizaci&oacute;n de estas actividades. La venta de las tierras cercanas a la plaza comunitaria ha provocado la p&eacute;rdida de acceso a los espacios tradicionales para la celebraci&oacute;n del palo encebado. La intervenci&oacute;n de propietarios privados que no comprenden ni apoyan las costumbres locales ha limitado a&uacute;n m&aacute;s la posibilidad de seguir llevando a cabo este rito. Esta falta de acceso a los recursos naturales, como los &aacute;rboles necesarios para el palo encebado, representa una amenaza directa a la continuidad de la tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>El jocheo del toro enfrenta un riesgo similar debido a la venta de las estancias que sol&iacute;an proporcionar los toros para la festividad. Los nuevos due&ntilde;os de estas propiedades, al no estar familiarizados con las costumbres locales, han decidido no colaborar en la celebraci&oacute;n, lo que ha restringido el acceso a los animales necesarios para la actividad. Esta falta de apoyo externo para la celebraci&oacute;n de la festividad ha resultado en una participaci&oacute;n reducida y, con el tiempo, podr&iacute;a llevar a la desaparici&oacute;n de uno de los eventos m&aacute;s representativos de la comunidad. Si no se abordan estos desaf&iacute;os, la tradici&oacute;n podr&iacute;a perderse o convertirse en una celebraci&oacute;n cada vez m&aacute;s aislada y descontextualizada.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto de las pr&aacute;cticas tradicionales como el palo encebado y el jocheo del toro, uno de los riesgos que enfrenta la preservaci&oacute;n de estas costumbres es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas comunitarias que las apoyan. La falta de participaci&oacute;n activa debido a la migraci&oacute;n y la escasez de personas comprometidas con el legado cultural est&aacute; afectando la gesti&oacute;n de estas festividades. El trabajo colectivo es esencial para la organizaci&oacute;n y continuidad de eventos como el palo encebado y el jocheo del toro, ya que dependen de la colaboraci&oacute;n entre los miembros de la comunidad. La ausencia de una estructura organizativa s&oacute;lida dificulta la coordinaci&oacute;n y asegura que los elementos m&aacute;s esenciales de la tradici&oacute;n no se pierdan.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "21e9021f-2f1b-42be-8d67-10631b5863a0", "provisionaledits": null, "resourceinstance_id": "d84b8f5e-2af1-4494-8f5c-4782e3400c15", "sortorder": 0, "tileid": "884619b4-8d15-4385-a412-f110c4c523b5"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:03.497", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000068, "}, "es": {"description": "San Javier. Las fiestas que ten\u00eda San Javier", "map_popup": "Beni", "name": "PI-080102-00-00-000068, San Javier. Las fiestas que ten\u00eda San Javier"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000068, San Javier. Las fiestas que ten\u00eda San Javier", "principaluser_id": 26, "resourceinstanceid": "d803e508-a4b5-4afe-9e36-647a4de9f413", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Historia oral"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000068", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Las fiestas que ten\u00eda San Javier"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d803e508-a4b5-4afe-9e36-647a4de9f413", "sortorder": 0, "tileid": "79b4dd70-f728-4172-b0d4-b487f12330cf"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d803e508-a4b5-4afe-9e36-647a4de9f413", "sortorder": 0, "tileid": "9e71cb99-ce82-460f-a73f-3a5e9bf776ac"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Las fiestas que ten&iacute;a San Javier</strong></p>\n\n<p>&nbsp;</p>\n\n<p>El principal portador de esta historia es Carmelo Jou, quien, a trav&eacute;s de su testimonio, conserva y comparte el recuerdo de las festividades que marcaron la identidad cultural de San Javier. Las mismas han dejado de realizarse.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de las fiestas</strong></p>\n\n<p>Carmelo Jou ten&iacute;a en mente escribir la historia de San Javier. Recuerda su infancia desde 1960, cuando ingres&oacute; a la escuela a los seis a&ntilde;os, en una &eacute;poca en la que no exist&iacute;a el k&iacute;nder ni la preparatoria. En 1969, San Javier a&uacute;n contaba con una poblaci&oacute;n numerosa de habitantes nativos del lugar. Las se&ntilde;oras vest&iacute;an tipoy y muchas de las memorias de Carmelo est&aacute;n marcadas por las personas mayores que conoci&oacute;. Sin embargo, con el tiempo, la poblaci&oacute;n fue disminuyendo. Entre los a&ntilde;os sesenta y ochenta, muchas personas murieron, y en la comunidad se hablaba de una peste o incluso de brujer&iacute;a como la causa de estos fallecimientos.</p>\n\n<p>&nbsp;</p>\n\n<p>En aquellos a&ntilde;os, la cultura y las tradiciones estaban fuertemente arraigadas en la comunidad. La juventud participaba activamente en las festividades, que inclu&iacute;an danzas, cantos y ceremonias religiosas. Sin embargo, entre los a&ntilde;os ochenta y noventa, la poblaci&oacute;n comenz&oacute; a cambiar con la llegada de personas de otras regiones. Aunque algunas familias preservaron las costumbres, el panorama ya no era el mismo. Para el a&ntilde;o 2000, muchas de las tradiciones hab&iacute;an desaparecido casi por completo.</p>\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p>\n\n<p>Las festividades en San Javier eran numerosas y representaban un fuerte sentido de identidad y religiosidad. Durante la Navidad, se realizaban rondas de verso y jerure por las calles y plazas. Las celebraciones religiosas m&aacute;s importantes inclu&iacute;an el 3 de diciembre, en honor a San Francisco Javier, seguido del 4 de diciembre, d&iacute;a de Santa B&aacute;rbara, considerada patrona del pueblo. En estas festividades se bailaba y se cantaba con devoci&oacute;n durante tres d&iacute;as.</p>\n\n<p>Las festividades que se describen algunas ya no se realizan, otras se han mantenido, son las siguientes:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Semana Santa se viv&iacute;a con gran solemnidad, actualmente se realiza con el apoyo de la iglesia y la alcald&iacute;a.</li>\n\t<li>La Cruz del 3 de mayo era una festividad donde la gente velaba la cruz adorn&aacute;ndola con collares de pan, frutas y otros alimentos.</li>\n\t<li>Nuestra Se&ntilde;ora de F&aacute;tima, el 13 de mayo, ten&iacute;a un velorio especial.</li>\n\t<li>San Juan en junio inclu&iacute;a fogatas, pero con el tiempo dejaron de hacerse debido a accidentes.</li>\n\t<li>El 16 de julio, D&iacute;a de la Virgen del Carmen, era una fiesta importante que atra&iacute;a a muchas personas. Esta festividad se realiza todos los a&ntilde;os, es una de las que contin&uacute;an.</li>\n\t<li>Santa Rosa de Lima, el 30 de agosto, era celebrada por los devotos.</li>\n\t<li>El 24 de septiembre, festividad de Las Mercedes, tambi&eacute;n era parte del calendario religioso.</li>\n\t<li>El 1 y 2 de noviembre, Todos Santos y D&iacute;a de los Difuntos, se conmemoraban con mesas de comida, velorios y rezos en el cementerio, costumbres que se han ido perdiendo. Aunque todav&iacute;a se realiza, es dif&iacute;cil organizarla porque la poblaci&oacute;n es renuente a colaborar.</li>\n\t<li>En diciembre, las festividades volv&iacute;an con gran intensidad. La Navidad inclu&iacute;a danzas de macheteros, toritos y angelitos que recorr&iacute;an las casas con belenes.</li>\n\t<li>El 26 de diciembre, San Esteban, era un d&iacute;a de descanso despu&eacute;s de las celebraciones.</li>\n\t<li>El 28 de diciembre, D&iacute;a de los Santos Inocentes, se escenificaba la degollaci&oacute;n de los ni&ntilde;os.</li>\n\t<li>El 1 de enero, A&ntilde;o Nuevo, daba inicio a un nuevo ciclo con la procesi&oacute;n de El Barco, los Chichaconos y la representaci&oacute;n de los Tres Reyes Magos hasta el 6 de enero.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Carmelo Jou lamenta la p&eacute;rdida de muchas de estas tradiciones y la falta de inter&eacute;s de las nuevas generaciones en mantenerlas vivas. &ldquo;Si muere Carmelo, se muere San Javier&rdquo;, le dicen en el pueblo, a lo que &eacute;l responde con humor: &ldquo;No voy a morir, me voy a quedar cien a&ntilde;os.&rdquo;</p>\n\n<p>&nbsp;</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["097dd781-b7e3-46cb-af20-12675aa609c4"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "9e71cb99-ce82-460f-a73f-3a5e9bf776ac", "provisionaledits": null, "resourceinstance_id": "d803e508-a4b5-4afe-9e36-647a4de9f413", "sortorder": 0, "tileid": "289b4775-67bd-4c5a-8fec-eac81f467ca7"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.8734574369062, -14.600725302876967], "type": "Point"}, "id": "6ae3881556f2f9427b2441a144acbc0c", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000033'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d803e508-a4b5-4afe-9e36-647a4de9f413", "sortorder": 0, "tileid": "4d3e4d3a-2576-44ae-a41f-0f64ea8c844b"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de conocimientos en San Javier ha dependido en gran medida de la oralidad, de la observaci&oacute;n de las pr&aacute;cticas cotidianas y de la participaci&oacute;n directa de la comunidad en las fiestas y celebraciones, aunque estas celebraciones no son las mismas y otras se han dejado de practicar. Historias como las de Carmelo Jou, quien recuerda con detalle las festividades que marcaron la identidad del pueblo, permiten que los saberes y las costumbres del pasado sean compartidos con las nuevas generaciones. A trav&eacute;s de sus relatos, se mantiene viva la memoria colectiva del pueblo, y las tradiciones que alguna vez fueron parte esencial de la vida cotidiana se conservan en la conciencia del pueblo, a pesar de la disminuci&oacute;n de las festividades.</p>\n\n<p>&nbsp;</p>\n\n<p>Sin embargo, la transmisi&oacute;n de estas tradiciones no solo se basa en contar historias, sino tambi&eacute;n en la pr&aacute;ctica comunitaria. Los pobladores de San Javier, en su mayor&iacute;a, no se limitan a escuchar relatos, sino que observan, participan y aprenden de las festividades que a&uacute;n se celebran, como la Semana Santa o el D&iacute;a de la Virgen del Carmen. A lo largo de los a&ntilde;os, el desaf&iacute;o ha sido mantener la relevancia de estas celebraciones en un contexto en el que las nuevas generaciones parecen menos interesadas. La figura de Carmelo Jou es crucial en este proceso, pues su esfuerzo por organizar las festividades y recordar a la comunidad sobre la importancia de estas tradiciones se convierte en una forma de resistencia frente al olvido cultural.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "9e71cb99-ce82-460f-a73f-3a5e9bf776ac", "provisionaledits": null, "resourceinstance_id": "d803e508-a4b5-4afe-9e36-647a4de9f413", "sortorder": 0, "tileid": "a20b407f-f145-4a6c-bfa1-3b38ada31297"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, las festividades de San Javier han experimentado transformaciones significativas, especialmente en t&eacute;rminos de la participaci&oacute;n comunitaria y la organizaci&oacute;n de los eventos. Inicialmente, las celebraciones eran actos colectivos en los que toda la comunidad se involucraba activamente, pero con el paso de los a&ntilde;os, especialmente entre los a&ntilde;os ochenta y noventa, las transformaciones demogr&aacute;ficas y sociales afectaron la estructura de estas festividades. La llegada de personas de otras regiones y la disminuci&oacute;n de la poblaci&oacute;n local contribuyeron al debilitamiento de las costumbres, y muchas de las festividades que sol&iacute;an ser parte central de la identidad cultural se han ido perdiendo. La disminuci&oacute;n de la poblaci&oacute;n nativa y el cambio en las din&aacute;micas sociales reflejan una transformaci&oacute;n en las formas de vivir y celebrar la tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>En otro tema, antes la comunidad se encargaba de manera autonom&iacute;a en la organizaci&oacute;n de la celebraci&oacute;n de los eventos religiosos y culturales, ahora, las festividades que a&uacute;n se realizan dependen en gran medida de la intervenci&oacute;n de instituciones como la iglesia y la alcald&iacute;a, como es el caso de la Semana Santa. Esta influencia externa ha cambiado el car&aacute;cter de algunas de las celebraciones, haciendo que pierdan su esencia comunitaria y espont&aacute;nea. A pesar de esto, algunas festividades, como el D&iacute;a de la Virgen del Carmen, siguen siendo una de las pocas que atraen a una gran parte de la poblaci&oacute;n, mostrando c&oacute;mo, a pesar de los cambios, ciertas tradiciones logran mantenerse, aunque transformadas.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "9e71cb99-ce82-460f-a73f-3a5e9bf776ac", "provisionaledits": null, "resourceinstance_id": "d803e508-a4b5-4afe-9e36-647a4de9f413", "sortorder": 0, "tileid": "dc543053-2702-4581-b6bb-a8f2e1e3cea7"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "A trav\u00e9s de los relatos de Carmelo Jou, la historia y las tradiciones del pueblo se mantienen vivas, lo que refleja un profundo compromiso con la preservaci\u00f3n de la identidad cultural. A pesar de la p\u00e9rdida de muchas festividades, el hecho de que algunos eventos contin\u00faen celebr\u00e1ndose muestra c\u00f3mo ciertas pr\u00e1cticas logran perdurar a pesar de las dificultades. La dedicaci\u00f3n de figuras como Carmelo Jou, quien organiza y anima a la comunidad a participar en las festividades restantes, evidencia la importancia de la figura de un l\u00edder comunitario en la conservaci\u00f3n de las tradiciones.  Aunque los m\u00e1s j\u00f3venes no siempre participen activamente en la organizaci\u00f3n, muchos a\u00fan recuerdan y valoran las tradiciones de la comunidad. Este v\u00ednculo intergeneracional podr\u00eda mantener la transmisi\u00f3n de los saberes. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "9e71cb99-ce82-460f-a73f-3a5e9bf776ac", "provisionaledits": null, "resourceinstance_id": "d803e508-a4b5-4afe-9e36-647a4de9f413", "sortorder": 0, "tileid": "5cc23eb2-3ff9-407a-894c-3f1d76114e44"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Un riesgo importante para la pr&aacute;ctica de las festividades en San Javier es la p&eacute;rdida de participaci&oacute;n de las nuevas generaciones. A medida que la poblaci&oacute;n joven se muestra menos interesada en mantener las tradiciones vivas, el conocimiento y la pr&aacute;ctica de estas festividades se ven amenazados. La falta de involucramiento puede llevar a una desconexi&oacute;n entre los j&oacute;venes y sus ra&iacute;ces culturales, lo que debilita la transmisi&oacute;n intergeneracional de los valores y las costumbres que han definido a la comunidad durante siglos. Sin una renovaci&oacute;n de la participaci&oacute;n local, las festividades podr&iacute;an desaparecer por completo.</p>\n\n<p>&nbsp;</p>\n\n<p>La disminuci&oacute;n de la poblaci&oacute;n tambi&eacute;n representa una amenaza para la continuidad de las festividades y la preservaci&oacute;n de las costumbres de San Javier. A lo largo de las d&eacute;cadas, la migraci&oacute;n, la mortalidad y el envejecimiento de la poblaci&oacute;n han reducido significativamente la base de personas activamente involucradas en la organizaci&oacute;n de eventos. A ello se suma la apat&iacute;a de la poblaci&oacute;n que responsabiliza a una persona el resguardo de la memoria de su historia. En este contexto, las festividades, aunque a&uacute;n celebradas, dependen en gran medida de unos pocos individuos, como Carmelo Jou, para su realizaci&oacute;n. Esta concentraci&oacute;n de responsabilidades puede generar una carga excesiva sobre las pocas personas dispuestas a mantener vivas las tradiciones, lo que pone en peligro la continuidad de las celebraciones.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "9e71cb99-ce82-460f-a73f-3a5e9bf776ac", "provisionaledits": null, "resourceinstance_id": "d803e508-a4b5-4afe-9e36-647a4de9f413", "sortorder": 0, "tileid": "053d2b59-0112-428d-ba29-551a78074518"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:04.140", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000070, "}, "es": {"description": "San Javier. Danza de los Chichaconos", "map_popup": "Beni", "name": "PI-080102-00-00-000070, San Javier. Danza de los Chichaconos"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000070, San Javier. Danza de los Chichaconos", "principaluser_id": 26, "resourceinstanceid": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000070", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Danza de los Chichaconos"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 0, "tileid": "3f2722e6-a10c-4546-891c-95c74e8811a9"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tallado en madera"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Madera de cedro. T\u00e9cnica de elaboraci\u00f3n Elaborada manualmente mediante tallado y decorada con policrom\u00eda. Descripci\u00f3n de la pieza Escultura misional que representa a la Virgen Mar\u00eda, elaborada con las caracter\u00edsticas propias del arte religioso de la \u00e9poca colonial. Al igual que otras piezas, no figura en el Cat\u00e1logo del Registro de Bienes Muebles de las Misiones de Moxos."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Figura V. Mar\u00eda"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8b754513-9a9a-48b1-8f38-ee83c327e4e8", "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 4, "tileid": "39908872-52dc-4661-a5ef-1dba51fae2be"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Danza de los Chichaconos</strong></p>\n\n<p>La danza de los Chichaconos es una expresi&oacute;n tradicional de la Fiesta del Carmen. Su origen se vincula con la fusi&oacute;n de influencias ind&iacute;genas y coloniales.</p>\n\n<p>&nbsp;</p>\n\n<p>Esta danza est&aacute; presente en la Fiesta de la Virgen del Carmen, celebrada el 16 de julio. Los danzantes participan como parte de las expresiones devocionales.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La danza de los Chichaconos es una expresi&oacute;n tradicional en la que participan ni&ntilde;os, cada uno llevando un mu&ntilde;eco de peluche o juguete. Se baila el 6 de enero, D&iacute;a de Reyes, como parte de las celebraciones religiosas y festivas de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Antiguamente, la danza era interpretada tanto por ni&ntilde;os como por adultos, quienes llevaban un mu&ntilde;eco sobre el hombro sostenido con ambas manos. La procesi&oacute;n era encabezada por tres personas que representaban a los Reyes Magos, seguidas por un personaje que portaba una estrella adornada con frutas, simbolizando la estrella de Oriente que gui&oacute; a los Reyes hasta el Ni&ntilde;o Jes&uacute;s. Adem&aacute;s, un torito arrodillado formaba parte del conjunto, en se&ntilde;al de adoraci&oacute;n. La danza consist&iacute;a en dar tres vueltas a la plaza, organizadas en dos filas. Los mu&ntilde;ecos utilizados en la &eacute;poca misional eran esculturas de madera tallada, representando diferentes figuras. Estas esculturas a&uacute;n se encuentran en la iglesia como parte del patrimonio material.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>Los ni&ntilde;os se organizan en dos filas, sosteniendo sus mu&ntilde;ecos de peluche. Mientras los ni&ntilde;os los llevan sobre el hombro, las ni&ntilde;as los sostienen sobre su pecho.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La danza es interpretada al ritmo de la agrupaci&oacute;n musical Bombilla, que aporta el componente sonoro a la celebraci&oacute;n. Antiguamente ten&iacute;a su propia interpretaci&oacute;n m&uacute;sica</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<p>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana. . Ellas llevaban el estandarte que data de 1957, estaban encargadas de atender a la virgen y atender necesidades de la iglesia y ayudar a la manutenci&oacute;n del templo y recaudar fondos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "8b754513-9a9a-48b1-8f38-ee83c327e4e8", "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 0, "tileid": "d573356f-814b-448d-a36c-f92d0aa54df9"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 0, "tileid": "8b754513-9a9a-48b1-8f38-ee83c327e4e8"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tallado en madera"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Figura II. \u00c1ngel Materiales Madera de cedro. T\u00e9cnica de elaboraci\u00f3n Tallada a mano con aplicaci\u00f3n de policrom\u00eda. La figura fue dise\u00f1ada para ser apreciada \u00fanicamente desde el frente, lo cual es com\u00fan en las esculturas que formaban parte de retablos o altares. Descripci\u00f3n de la pieza Escultura misional que representa a un \u00e1ngel, con un estilo que responde al arte sacro de las misiones jesu\u00edticas. Dimensiones Seg\u00fan el Cat\u00e1logo del Registro de Bienes Muebles de las Misiones de Moxos, la pieza mide: \u2022\t32 cm de alto \u2022\t18 cm de ancho \u2022\t13 cm de profundidad Esta escultura se encuentra registrada con el c\u00f3digo: MX-SJA-ESC-06."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Figura I. \u00c1ngel sin brazos"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8b754513-9a9a-48b1-8f38-ee83c327e4e8", "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 1, "tileid": "a8a53ec0-d417-4921-94be-78d9e67e7bbb"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tallado en madera"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Figura II. \u00c1ngel Materiales Madera de cedro. T\u00e9cnica de elaboraci\u00f3n Tallada a mano con aplicaci\u00f3n de policrom\u00eda. La figura fue dise\u00f1ada para ser apreciada \u00fanicamente desde el frente, lo cual es com\u00fan en las esculturas que formaban parte de retablos o altares. Descripci\u00f3n de la pieza Escultura misional que representa a un \u00e1ngel, con un estilo que responde al arte sacro de las misiones jesu\u00edticas. Dimensiones Seg\u00fan el Cat\u00e1logo del Registro de Bienes Muebles de las Misiones de Moxos, la pieza mide: \u2022\t32 cm de alto \u2022\t18 cm de ancho \u2022\t13 cm de profundidad Esta escultura se encuentra registrada con el c\u00f3digo: MX-SJA-ESC-06."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Figura II. \u00c1ngel"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8b754513-9a9a-48b1-8f38-ee83c327e4e8", "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 2, "tileid": "3b66975c-8b98-4f1e-8a74-cff53c1ba3bc"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tallado en madera"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Madera de cedro. T\u00e9cnica de elaboraci\u00f3n Tallado manual con policrom\u00eda, manteniendo la tradici\u00f3n artesanal y est\u00e9tica de las misiones. Descripci\u00f3n de la pieza Se trata de una escultura misional que representa a un \u00e1ngel. No cuenta con registro en el Cat\u00e1logo del Registro de Bienes Muebles de las Misiones de Moxos."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Figura III. \u00c1ngel"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8b754513-9a9a-48b1-8f38-ee83c327e4e8", "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 2, "tileid": "8e320477-cfe9-460f-8ce7-aeca9f79e874"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tallado en madera"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales Madera de cedro. T\u00e9cnica de elaboraci\u00f3n Tallado manual con aplicaci\u00f3n de policrom\u00eda, siguiendo las t\u00e9cnicas tradicionales del arte misional. Descripci\u00f3n de la pieza Esta escultura misional representa a Cristo, con una expresi\u00f3n y forma que remiten a la devoci\u00f3n popular en las misiones. La pieza no se encuentra registrada en el Cat\u00e1logo del Registro de Bienes Muebles de las Misiones de Moxos."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Figura IV. Cristo"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "8b754513-9a9a-48b1-8f38-ee83c327e4e8", "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 3, "tileid": "809a0ab1-cfa3-45d1-9412-f012cb02e408"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.8741627802039, -14.600795968906539], "type": "Point"}, "id": "74a26a46cc96f82f6b45d1996571e68a", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000035'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 0, "tileid": "8d1d0a60-123b-43f8-9d9a-c5e3fb436ffa"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del conocimiento se mantiene viva a trav&eacute;s de la participaci&oacute;n directa en las festividades. Desde la infancia, los ni&ntilde;os aprenden los pasos, la organizaci&oacute;n de las filas y el simbolismo de los elementos que portan, como los mu&ntilde;ecos de peluche o tallados en madera. La instrucci&oacute;n se realiza en el contexto de la celebraci&oacute;n misma, donde quienes ya han participado en ediciones anteriores ense&ntilde;an a los m&aacute;s peque&ntilde;os, asegurando la continuidad de la tradici&oacute;n. La m&uacute;sica, interpretada por la agrupaci&oacute;n Bombilla, aunque no es la melod&iacute;a original, refuerza la memoria colectiva, ya que los ritmos y melod&iacute;as se asocian con el movimiento de los danzantes y la estructura de la procesi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Los relatos de los mayores desempe&ntilde;an un papel clave en la preservaci&oacute;n de la historia y el significado de la danza. Las generaciones m&aacute;s antiguas comparten recuerdos sobre la manera en que se realizaba la festividad en el pasado, destacando la evoluci&oacute;n de los elementos utilizados y la organizaci&oacute;n de los participantes.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "8b754513-9a9a-48b1-8f38-ee83c327e4e8", "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 0, "tileid": "923454fb-fba4-4850-8d60-86a06664c8dd"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los ajustes m&aacute;s evidentes es la participaci&oacute;n exclusiva de ni&ntilde;os en la actualidad, mientras que en el pasado tambi&eacute;n interven&iacute;an adultos. Este cambio ha modificado la manera en que se ense&ntilde;a y se transmite la pr&aacute;ctica, ya que ahora son los propios ni&ntilde;os quienes asumen el rol de preservar la tradici&oacute;n, bajo la gu&iacute;a de familiares y miembros de la comunidad. Tambi&eacute;n ha variado el tipo de mu&ntilde;ecos empleados en la danza. En la &eacute;poca misional, las figuras eran esculturas de madera tallada, mientras que hoy en d&iacute;a predominan los juguetes de peluche, adapt&aacute;ndose a los materiales disponibles y a las preferencias de los participantes.</p>\n\n<p>&nbsp;</p>\n\n<p>Los elementos simb&oacute;licos de la danza han sufrido modificaciones en su composici&oacute;n y significado. Antiguamente, la procesi&oacute;n inclu&iacute;a figuras como la estrella adornada con frutas, el torito arrodillado y los Reyes Magos, otorgando a la danza una carga representativa m&aacute;s amplia. Con el paso del tiempo, algunas de estas figuras han desaparecido o han cambiado su funci&oacute;n dentro del ritual, permitiendo que la celebraci&oacute;n se enfoque en la participaci&oacute;n de los ni&ntilde;os y en el car&aacute;cter festivo de la fecha. La m&uacute;sica tambi&eacute;n ha pasado por transformaciones, ya que en el pasado contaba con una interpretaci&oacute;n propia, mientras que en la actualidad es la agrupaci&oacute;n Bombilla la que aporta el acompa&ntilde;amiento sonoro, adaptando el ritmo de la danza a nuevas expresiones musicales.</p>\n\n<p>&nbsp;</p>\n\n<p>Antes la danza s&oacute;lo se interpretaba en Reyes, despu&eacute;s de la navidad. Hoy se interpreta en las fiestas de la comunidad.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "8b754513-9a9a-48b1-8f38-ee83c327e4e8", "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 0, "tileid": "537e439b-1bea-4ed1-b8e1-2bf9fdc7dfce"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "arraigo en la comunidad, gracias a la participaci\u00f3n activa de distintas generaciones. Su pr\u00e1ctica permite que los ni\u00f1os se integren desde temprana edad en una tradici\u00f3n que fomenta la identidad y el sentido de pertenencia. La ense\u00f1anza dentro del mismo entorno festivo facilita la transmisi\u00f3n del conocimiento.  El v\u00ednculo con la celebraci\u00f3n religiosa le otorga continuidad y relevancia dentro del calendario festivo local. La devoci\u00f3n a la Virgen del Carmen y la conmemoraci\u00f3n del D\u00eda de Reyes aseguran que la danza siga siendo parte esencial de las festividades, adapt\u00e1ndose a los cambios sin perder su esencia. El acompa\u00f1amiento musical, actualmente a cargo de la agrupaci\u00f3n Bombilla, contribuye a la permanencia de la pr\u00e1ctica, brindando un componente sonoro. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "8b754513-9a9a-48b1-8f38-ee83c327e4e8", "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 0, "tileid": "e8ccb01f-77f7-407a-8c56-e4eb67ff59d3"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la danza de los Chichaconos es la p&eacute;rdida progresiva de algunos de sus elementos tradicionales. La transici&oacute;n de los mu&ntilde;ecos tallados en madera a juguetes de peluche, si bien responde a una adaptaci&oacute;n, podr&iacute;a derivar en la desaparici&oacute;n de ciertos s&iacute;mbolos que formaban parte del patrimonio cultural de la festividad. De igual manera, la reducci&oacute;n de personajes dentro de la procesi&oacute;n, como la estrella adornada con frutas y el torito arrodillado, limita la riqueza simb&oacute;lica de la pr&aacute;ctica y puede afectar la comprensi&oacute;n de su significado original. Si estos cambios contin&uacute;an sin un esfuerzo por documentar y revalorizar los elementos hist&oacute;ricos, la danza podr&iacute;a transformarse en una versi&oacute;n simplificada de lo que fue en el pasado.</p>\n\n<p>&nbsp;</p>\n\n<p>En el pasado, la danza contaba con su propio repertorio musical. A esto se suma la posibilidad de una disminuci&oacute;n en la participaci&oacute;n de la comunidad debido a la migraci&oacute;n o a cambios en las din&aacute;micas sociales. Si las nuevas generaciones no encuentran espacios adecuados para aprender y practicar la danza, su continuidad a largo plazo podr&iacute;a verse amenazada.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "8b754513-9a9a-48b1-8f38-ee83c327e4e8", "provisionaledits": null, "resourceinstance_id": "5ad4a5f4-6854-44b6-95a8-6883830f8193", "sortorder": 0, "tileid": "dcefeb6e-e3c0-4c19-822a-d5bee47ba6f6"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:04.569", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000042, "}, "es": {"description": "Trinidad. Tallado en madera. Jos\u00e9 No\u00e9 Cuellar y Miguel Burgos", "map_popup": "Beni", "name": "PI-080101-00-00-000042, Trinidad. Tallado en madera. Jos\u00e9 No\u00e9 Cuellar y Miguel Burgos"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000042, Trinidad. Tallado en madera. Jos\u00e9 No\u00e9 Cuellar y Miguel Burgos", "principaluser_id": 26, "resourceinstanceid": "33126013-8978-4fc8-b6a7-d52eb0b2377f", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "T\u00e9cnicas artesanales"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000042", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Tallado en madera. Jos\u00e9 No\u00e9 Cuellar y Miguel Burgos"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["85d2818b-e589-4f1b-960d-baaf38a6527f"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "33126013-8978-4fc8-b6a7-d52eb0b2377f", "sortorder": 0, "tileid": "dc5904f5-7413-43bb-90f0-44820974303e"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "33126013-8978-4fc8-b6a7-d52eb0b2377f", "sortorder": 0, "tileid": "ad0f4999-0469-4a05-96ee-34af328a5ea7"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Tallado en madera. Jos&eacute; No&eacute; Cuellar y Miguel Burgos</strong></p>\n\n<p>El tallado en madera es una de las expresiones artesanales m&aacute;s representativas de las comunidades ind&iacute;genas. En este contexto, el trabajo de los artesanos Jos&eacute; No&eacute; Cuellar y Miguel Burgos destaca por su creaci&oacute;n de m&aacute;scaras, esculturas y ornamentos tradicionales que forman parte de las festividades m&aacute;s importantes, como la Chope Piesta. Esta labor, que combina t&eacute;cnicas ancestrales.</p>\n\n<p><strong>Descripci&oacute;n de los materiales que utiliza/procedencia</strong></p>\n\n<p>La materia prima esencial para el tallado es la madera de ochoho, cedro, mara y sorio. Estos materiales son recolectados directamente de los r&iacute;os, donde los artesanos deben buscar entre las orillas las piezas adecuadas, cargarlas como vigas y transportarlas hasta el taller. Este proceso implica una inversi&oacute;n de tiempo, esfuerzo y recursos econ&oacute;micos, aunque a menudo los compradores no valoran estos aspectos y asumen que la madera es barata y, por tanto, el trabajo tambi&eacute;n deber&iacute;a serlo.</p>\n\n<p><strong>Descripci&oacute;n de las herramientas que utiliza</strong></p>\n\n<p>El tallado se realiza utilizando herramientas de filo curvo de diversos tama&ntilde;os y formas de punta, dise&ntilde;adas para facilitar los diferentes tipos de cortes. Las herramientas m&aacute;s conocidas son el &ldquo;pico de &aacute;guila&rdquo; para trabajos de mayor fuerza y el &ldquo;pico de gorri&oacute;n&rdquo;, m&aacute;s peque&ntilde;o y preciso, ideal para dibujar los detalles. Tambi&eacute;n se utilizan buj&iacute;os semiplanos y rectos que permiten trabajar diferentes profundidades y acabados en la madera.</p>\n\n<p><strong>Descripci&oacute;n de la t&eacute;cnica/s</strong></p>\n\n<p>El Centro Artesanal, donde trabajan los maestros talladores, es un espacio dedicado a varias actividades: biguter&iacute;a, costura y confecci&oacute;n de trajes t&iacute;picos, producci&oacute;n de tocados para las moperitas, elaboraci&oacute;n de plumajes alternativos para macheteros y moperitas (que antes se hac&iacute;an con plumas de parabas) y, especialmente, tallados en madera de toda clase, incluyendo esculturas de figuras humanas en alto relieve.</p>\n\n<p>Se elaboran m&aacute;scaras tradicionales de torito, utilizadas en diversas danzas, as&iacute; como achus y japutuquis, fundamentales en las celebraciones culturales. Una m&aacute;scara de torito puede ser tallada en dos horas y pintada en tres horas adicionales; sin embargo, normalmente se comercializa sin adornos. Los comerciantes que las compran las decoran y revenden listas para el baile.</p>\n\n<p>Adem&aacute;s de su trabajo, los maestros talladores imparten clases abiertas a todo p&uacute;blico, incluidos miembros del Cabildo Indigenal. Para facilitar el aprendizaje, el centro proporciona tanto materiales como herramientas a quienes no cuentan con ellos.<br />\nLa madera utilizada, como el ochoo, debe trabajarse en estado verde, ya que una vez seca pierde su flexibilidad y se abolla f&aacute;cilmente, afectando la calidad del tallado. El cedro, por su parte, ofrece un acabado m&aacute;s fino y elegante.</p>\n\n<p>En paralelo al tallado, tambi&eacute;n elaboran plumaje alternativo sobre tela. Esta tarea, que toma aproximadamente un d&iacute;a, incluye cortar la tela, secarla, fabricar la peineta en mediod&iacute;a utilizando tacuara y cintas de embalaje, y tejer la canastilla que forma parte del casco. El bejuco o sipo se emplea como nervadura central en las plumas.<br />\nAunque el plumaje alternativo es por encargo, muchas personas consideran su precio elevado debido a la complejidad de su elaboraci&oacute;n.</p>\n\n<p><strong>Tipos de artesan&iacute;a</strong></p>\n\n<p>Los artesanos elaboran m&aacute;scaras de diferentes danzas, tallados en alto relieve y plumaje alternativo. Adem&aacute;s, fabrican bombos para los macheteros y cajas de repique que acompa&ntilde;an el sonido de las campanas durante las festividades. Tradicionalmente, el sancuti &mdash;instrumento de percusi&oacute;n&mdash; se confeccionaba con palma, pero actualmente tanto los bombos como las cajas se elaboran con venesta.</p>\n\n<p><strong>Destino de la artesan&iacute;a</strong></p>\n\n<p>Las principales fiestas que demandan estas artesan&iacute;as son la Chope Piesta y el 18 de diciembre, festividad patronal. Durante la Chope Piesta, la demanda de m&aacute;scaras aumenta significativamente; sin embargo, este a&ntilde;o no lograron abastecer todos los pedidos debido a la falta de materiales.</p>\n\n<p>Aunque algunos objetos pueden conseguirse en mercados como el Mercado Campesino y el de San Antonio, muchos buscan directamente el trabajo del Centro Artesanal, valorando su calidad y autenticidad. Una m&aacute;scara de torito sin pintar se vende en aproximadamente treinta bolivianos, mientras que pintada puede llegar a sesenta bolivianos. Sin embargo, los comerciantes que las adornan para la danza pueden venderlas entre cien y ciento veinte bolivianos.<br />\nFuera de las temporadas festivas, los artesanos diversifican su producci&oacute;n hacia el tallado de esculturas en alto relieve o buscan otras fuentes de ingreso, como trabajar en mototaxis.</p>\n\n<p><strong>Descripci&oacute;n de la vida del artesano</strong></p>\n\n<p>Jos&eacute; No&eacute; Cuellar lleva dieciocho a&ntilde;os dedicado al tallado en el Centro Artesanal. Su trayectoria incluye experiencias en el TIPNIS, Santa Rosa de Yucumo, San Ignacio de Mojos y en el Instituto de las Urbanas, donde inici&oacute; su formaci&oacute;n pr&aacute;ctica antes de ingresar a la Universidad en la carrera de Bellas Artes, especializ&aacute;ndose en tallado. Trabaj&oacute; tambi&eacute;n en el centro artesanal de San Antonio en Trinidad, aunque all&iacute; carec&iacute;an de mesas adecuadas y herramientas precisas. Actualmente, trabaja en esculturas de macheteros en tallado de madera, proyecto que puede llevar hasta tres d&iacute;as completar.</p>\n\n<p>Durante la pandemia, el centro tuvo que cerrar sus puertas, pero para la Chope Piesta la demanda de m&aacute;scaras ayud&oacute; a reactivar su econom&iacute;a. Jos&eacute; No&eacute; y sus colegas esperan mejorar a&uacute;n m&aacute;s para las festividades de noviembre.</p>\n\n<p>Miguel Burgos, por su parte, aprendi&oacute; el arte de la mano de su maestro Jos&eacute; No&eacute; Cuellar. Lleva diez a&ntilde;os dedicado al tallado y hace tres a&ntilde;os culmin&oacute; sus estudios en el Instituto de Artes de la Universidad, especializ&aacute;ndose en tallado de madera.</p>\n\n<p>Su proyecto de titulaci&oacute;n fue una escultura de un machetero de cuerpo entero de 60 cent&iacute;metros de altura, junto a figuras de una moperita, un achu y un torito. De estas obras, el machetero y el torito fueron vendidos, mientras que el achu permanece en su casa tras haber sido exhibido en una feria. Actualmente, Miguel ense&ntilde;a el arte del dibujo, la pintura y el tallado a tres aprendices. Para &eacute;l, el aprendizaje debe comenzar con el dominio del dibujo y las proporciones correctas, para luego pasar al pintado, el tallado, el lijado, el barnizado y, finalmente, la pintura.</p>\n\n<p>Intentaron en alg&uacute;n momento hacer m&aacute;scaras de yeso como alternativa a la madera, pero el peso resultante fue excesivo.</p>\n\n<p><strong>Perspectivas para el futuro</strong></p>\n\n<p>Aunque Jos&eacute; No&eacute; Cuellar y Miguel Burgos contin&uacute;an ense&ntilde;ando su arte, sus hijos han optado por otros caminos profesionales. Un hijo que sol&iacute;a tallar desde los doce a&ntilde;os emigr&oacute; a Santa Cruz para dedicarse a la mec&aacute;nica, donde obtiene mejores ingresos. Pese a ello, ambos maestros mantienen la esperanza de seguir transmitiendo sus conocimientos a nuevos aprendices y preservar esta valiosa tradici&oacute;n artesanal.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["237ed805-e832-4979-80cb-8d2f6d646d28", "da719d9d-e927-4281-aeef-d551a1da07ff", "e5270642-c871-4c8b-88af-3256b9e5ab85"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "ad0f4999-0469-4a05-96ee-34af328a5ea7", "provisionaledits": null, "resourceinstance_id": "33126013-8978-4fc8-b6a7-d52eb0b2377f", "sortorder": 0, "tileid": "70695ff1-8e80-4db3-abb0-b2b7b7a56a03"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.90269165039184, -14.835503116362403], "type": "Point"}, "id": "e78bba55faa7afe245c165828dd695b9", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000014'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "33126013-8978-4fc8-b6a7-d52eb0b2377f", "sortorder": 0, "tileid": "1cfb1409-fcb1-491a-8b98-dbedd8f36b2f"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["3bf2c2cc-b4a7-4f70-a860-094bb8780fdb", "6695f139-2c35-4e00-b604-8faf86c77f91", "6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del arte del tallado en madera dentro del Centro Artesanal se realiza a trav&eacute;s de una ense&ntilde;anza directa, donde el maestro no solo explica las t&eacute;cnicas, sino que proporciona los materiales y herramientas a quienes no los poseen, facilitando as&iacute; el acceso al aprendizaje. Jos&eacute; No&eacute; Cuellar y Miguel Burgos dedican parte de su tiempo a formar nuevos talladores, empezando desde las bases: primero instruyen en el dibujo para comprender las proporciones del cuerpo humano y los objetos, despu&eacute;s gu&iacute;an en el uso del color y la pintura, y finalmente ense&ntilde;an el tallado, el lijado, el barnizado y la pintura final de la madera. Esta metodolog&iacute;a busca garantizar que el aprendiz desarrolle un dominio progresivo del proceso creativo, evitando errores que afecten la forma y el equilibrio de las figuras.</p>\n\n<p>La ense&ntilde;anza no se limita a quienes pertenecen a un c&iacute;rculo cerrado; cualquier interesado, incluso miembros del Cabildo Indigenal, puede formarse en el taller. A lo largo del tiempo, los maestros han demostrado que no basta con imitar un modelo, sino que es indispensable entender la estructura interna de las figuras para obtener un resultado arm&oacute;nico. El inter&eacute;s por impartir clases tambi&eacute;n refleja un compromiso por mantener vivas las t&eacute;cnicas tradicionales del tallado y la elaboraci&oacute;n de plumajes alternativos, integrando saberes propios del entorno amaz&oacute;nico. Aunque las nuevas generaciones, como los hijos de los artesanos, se han orientado hacia otros oficios por motivos econ&oacute;micos, Jos&eacute; No&eacute; Cuellar y Miguel Burgos contin&uacute;an su esfuerzo de formaci&oacute;n, confiando en que al menos algunos de sus aprendices mantendr&aacute;n vivo este arte en los pr&oacute;ximos a&ntilde;os.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "ad0f4999-0469-4a05-96ee-34af328a5ea7", "provisionaledits": null, "resourceinstance_id": "33126013-8978-4fc8-b6a7-d52eb0b2377f", "sortorder": 0, "tileid": "8b6d3479-19b5-4840-bac3-04b96a26f784"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica del tallado en madera y la elaboraci&oacute;n de plumajes alternativos enfrenta cambios impulsados tanto por factores econ&oacute;micos como por la disponibilidad de materiales. Anteriormente, los artesanos contaban con el respaldo de una ONG para sostener el Centro Artesanal, pero hoy deben costear el alquiler del espacio por cuenta propia. La obtenci&oacute;n de madera tambi&eacute;n ha cambiado: ya no basta con recogerla f&aacute;cilmente, sino que ahora deben recorrer largas distancias a pie hasta los r&iacute;os, cargar las vigas y asumir los costos de transporte. Esta situaci&oacute;n no solo encarece la producci&oacute;n, sino que tambi&eacute;n presiona a los artesanos a buscar nuevas alternativas o limitar la cantidad de piezas elaboradas, como ocurri&oacute; recientemente cuando no lograron cubrir la demanda de m&aacute;scaras para la Chope Piesta. La percepci&oacute;n del p&uacute;blico, que considera que el objeto debe ser barato porque la madera &quot;es barata&quot;, genera una desvalorizaci&oacute;n del trabajo artesanal, empujando a algunos maestros a diversificar su actividad laboral en sectores como el mototaxi.</p>\n\n<p>La t&eacute;cnica tambi&eacute;n se ha visto obligada a experimentar variaciones. Se intent&oacute; utilizar yeso para reemplazar la madera en la fabricaci&oacute;n de m&aacute;scaras, buscando una opci&oacute;n m&aacute;s accesible ante la escasez de materia prima; sin embargo, las m&aacute;scaras resultaron demasiado pesadas para el uso en danza, lo que llev&oacute; a abandonar esa alternativa. En cuanto a los plumajes, la prohibici&oacute;n del uso de plumas de paraba impuls&oacute; la creaci&oacute;n de plumajes alternativos con tela, tacuara y cintas de embalaje. Aunque el proceso de elaboraci&oacute;n sigue siendo laborioso y costoso, el plumaje de tela se ha convertido en una soluci&oacute;n aceptada para preservar las tradiciones sin afectar la fauna. Estos cambios, aunque necesarios, exigen un constante esfuerzo de adaptaci&oacute;n por parte de los artesanos, quienes buscan mantener la esencia de su trabajo enfrentando restricciones de materiales, limitaciones econ&oacute;micas y transformaciones en el mercado.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ad0f4999-0469-4a05-96ee-34af328a5ea7", "provisionaledits": null, "resourceinstance_id": "33126013-8978-4fc8-b6a7-d52eb0b2377f", "sortorder": 0, "tileid": "149015df-727f-4509-ab59-68a554186f3b"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las mayores fortalezas de la pr\u00e1ctica del tallado en madera y la elaboraci\u00f3n de plumajes alternativos es la s\u00f3lida transmisi\u00f3n de conocimientos entre generaciones, aun cuando los hijos de los maestros hayan optado por otros oficios. Jos\u00e9 No\u00e9 Cuellar y Miguel Burgos no solo producen piezas artesanales, sino que tambi\u00e9n dedican tiempo a ense\u00f1ar a nuevos aprendices, brind\u00e1ndoles materiales y herramientas cuando no cuentan con los propios. La formaci\u00f3n es integral: empieza por el dibujo para lograr proporciones adecuadas, contin\u00faa con la pintura y finalmente se aborda el tallado, el lijado, el barnizado y la aplicaci\u00f3n del color. Esta secuencia garantiza que quienes se forman adquieran habilidades completas y respeten los est\u00e1ndares tradicionales de calidad. La persistencia en mantener este m\u00e9todo ha permitido que, incluso en tiempos dif\u00edciles como la pandemia, el Centro Artesanal siga produciendo obras para las festividades m\u00e1s importantes de la regi\u00f3n. La versatilidad de los artesanos representa otra gran fortaleza. No se limitan a un solo tipo de objeto, sino que elaboran m\u00e1scaras de danzas, esculturas en alto relieve, plumajes alternativos, bombos y cajas de repique. Esta capacidad de diversificaci\u00f3n les permite adaptarse a las necesidades del mercado y sostenerse econ\u00f3micamente fuera de la temporada festiva. La elecci\u00f3n de maderas locales como el ochoho, cedro, mara y sorio tambi\u00e9n refleja un conocimiento preciso de los materiales, que determina la calidad y durabilidad de las piezas. Incluso cuando han enfrentado escasez de materia prima, han demostrado ingenio, como en el caso de los plumajes alternativos hechos con tela y estructuras de tacuara. Esta combinaci\u00f3n de ense\u00f1anza comprometida, dominio t\u00e9cnico y adaptaci\u00f3n a los recursos disponibles sostiene la vitalidad del arte del tallado y reafirma su importancia dentro de las tradiciones de San Ignacio de Mojos y sus alrededores."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "ad0f4999-0469-4a05-96ee-34af328a5ea7", "provisionaledits": null, "resourceinstance_id": "33126013-8978-4fc8-b6a7-d52eb0b2377f", "sortorder": 0, "tileid": "c9cdcf8d-0484-44aa-868c-63c8453ca869"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La continuidad del tallado en madera y la elaboraci&oacute;n de plumajes alternativos enfrenta riesgos que no solo afectan la sostenibilidad econ&oacute;mica de los artesanos, sino que tambi&eacute;n comprometen la transmisi&oacute;n de saberes culturales que forman parte de la identidad colectiva de su comunidad. Desde una perspectiva antropol&oacute;gica, la falta de valoraci&oacute;n de las piezas artesanales por parte de los compradores revela una ruptura en la cadena de reconocimiento social que hist&oacute;ricamente aseguraba la supervivencia de estas pr&aacute;cticas. La concepci&oacute;n err&oacute;nea de que la madera recolectada es &quot;barata&quot; desconoce el conjunto de procesos culturales y de trabajo f&iacute;sico necesarios para transformar un recurso natural en un objeto cargado de significado. A esta amenaza se suma la dificultad de acceder a la materia prima adecuada, ya que el proceso de b&uacute;squeda, transporte y tratamiento de la madera ha dejado de ser una actividad cotidiana sencilla para convertirse en una tarea costosa y exigente. Cuando no logran abastecer la demanda de festividades como la Chope Piesta, no solo se pone en riesgo el sustento econ&oacute;mico de los artesanos, sino tambi&eacute;n la presencia de sus creaciones en los rituales festivos, afectando directamente la continuidad de las expresiones culturales locales.</p>\n\n<p>El desinter&eacute;s de las nuevas generaciones por la pr&aacute;ctica artesanal constituye una amenaza a&uacute;n m&aacute;s profunda desde el punto de vista antropol&oacute;gico, pues implica la posible ruptura de los mecanismos de herencia cultural. Aunque Jos&eacute; No&eacute; Cuellar y Miguel Burgos siguen formando aprendices, el hecho de que los j&oacute;venes prefieran oficios m&aacute;s rentables, como la mec&aacute;nica en zonas urbanas, muestra una transformaci&oacute;n de los sistemas de aspiraciones individuales en la comunidad. La p&eacute;rdida de apoyo institucional, como la ausencia de la ONG que sol&iacute;a respaldar el Centro Artesanal, agrava esta situaci&oacute;n al limitar las condiciones para la reproducci&oacute;n del conocimiento tradicional. Los intentos de adaptarse, como el uso de m&aacute;scaras de yeso en lugar de madera, reflejan una tensi&oacute;n constante entre la necesidad de mantener pr&aacute;cticas significativas y las presiones econ&oacute;micas actuales. Desde una lectura antropol&oacute;gica, cada cambio material &mdash;como la sustituci&oacute;n de plumas originales por plumajes de tela&mdash; no es simplemente una modificaci&oacute;n t&eacute;cnica, sino una negociaci&oacute;n entre continuidad cultural y nuevas restricciones impuestas por el contexto contempor&aacute;neo.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ad0f4999-0469-4a05-96ee-34af328a5ea7", "provisionaledits": null, "resourceinstance_id": "33126013-8978-4fc8-b6a7-d52eb0b2377f", "sortorder": 0, "tileid": "5723a1d1-ae11-461c-b675-8a990462dd29"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:03.760", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000069, "}, "es": {"description": "San Javier. Danza Angelitos", "map_popup": "Beni", "name": "PI-080102-00-00-000069, San Javier. 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Danza Angelitos"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c30cbd95-9763-4ba9-824b-4e9888850d47", "sortorder": 0, "tileid": "dac14b0e-ba5f-49c7-9373-8fe8c6afda4e"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Descripci\u00f3n de la funci\u00f3n/uso Las alas forman parte esencial de la vestimenta utilizada en la Danza Angelitos, una expresi\u00f3n tradicional que representa a la legi\u00f3n del coro celestial que cant\u00f3 con j\u00fabilo el nacimiento del Ni\u00f1o Jes\u00fas en Bel\u00e9n. Esta danza se interpreta los d\u00edas 24 y 25 de diciembre, y contin\u00faa hasta el 28 de diciembre, como parte de las festividades navide\u00f1as que combinan la devoci\u00f3n religiosa con el arte esc\u00e9nico comunitario.  Datos hist\u00f3ricos Esta danza se remonta a la \u00e9poca colonial, cuando las misiones jesu\u00edticas se establecieron en la regi\u00f3n. Inspirada en el relato b\u00edblico del nacimiento de Jes\u00fas, la Danza Angelitos busca representar a los \u00e1ngeles del cielo en el momento en que anuncian la buena nueva. Se cree que los pasos coreogr\u00e1ficos actuales fueron creados con el tiempo y que originalmente la forma de bailar era distinta. En sus primeras versiones, la danza se acompa\u00f1aba exclusivamente de flauta y caja, instrumentos tradicionales de la \u00e9poca. Los atuendos tambi\u00e9n eran distintos: las coronas y alas estaban elaboradas en cuero pintado de blanco, y los danzantes llevaban cascabeles en las antepiernas. La bandera, s\u00edmbolo de pureza y paz, era un simple pa\u00f1uelo atado a un palito de madera.  Materiales Las alas modernas se elaboran con materiales como madera, cart\u00f3n y papel plateado.  T\u00e9cnica de elaboraci\u00f3n El proceso de confecci\u00f3n es completamente manual, reflejando la dedicaci\u00f3n artesanal de quienes preservan esta tradici\u00f3n.  Descripci\u00f3n de la pieza Las alas est\u00e1n construidas sobre un armaz\u00f3n de cart\u00f3n, con forma alada, unidas entre s\u00ed por una pieza rectangular de madera que permite fijarlas a la espalda del danzante."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Alas Danza Angelitos"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "93f13d55-f885-4f81-8082-05c6996bc73b", "provisionaledits": null, "resourceinstance_id": "c30cbd95-9763-4ba9-824b-4e9888850d47", "sortorder": 0, "tileid": "2344282e-0600-434e-9ca9-7faaae1f39b5"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales La bandera est\u00e1 confeccionada con tela blanca y una pieza de tubo de PVC que sirve como asta.  T\u00e9cnica de elaboraci\u00f3n Su creaci\u00f3n es manual, como la mayor\u00eda de los elementos que acompa\u00f1an esta danza.  Descripci\u00f3n de la pieza Se trata de una bandera blanca de tela, montada sobre un peque\u00f1o tubo de PVC que facilita su manipulaci\u00f3n durante la danza. Este objeto simboliza la paz, la pureza y la luz divina asociada con la figura angelical."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Bandera Danza Angelitos"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "93f13d55-f885-4f81-8082-05c6996bc73b", "provisionaledits": null, "resourceinstance_id": "c30cbd95-9763-4ba9-824b-4e9888850d47", "sortorder": 1, "tileid": "ff81294a-9da5-4447-8873-e44e96c2d76b"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales La corona est\u00e1 hecha de cart\u00f3n y decorada con papel plateado.  T\u00e9cnica de elaboraci\u00f3n Su elaboraci\u00f3n tambi\u00e9n es completamente manual, siguiendo la tradici\u00f3n de crear cada pieza con esmero artesanal.  Descripci\u00f3n de la pieza Es una circunferencia de cart\u00f3n que se coloca en la cabeza del danzante. En el centro, justo sobre la frente, se levanta una peque\u00f1a cruz del mismo material, s\u00edmbolo de fe y protecci\u00f3n "}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Corona Danza Angelitos"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "93f13d55-f885-4f81-8082-05c6996bc73b", "provisionaledits": null, "resourceinstance_id": "c30cbd95-9763-4ba9-824b-4e9888850d47", "sortorder": 2, "tileid": "08a5f570-40a0-423d-a371-fe65f9a1b549"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos sobre la Danza de los Angelitos han sido transmitidos a lo largo de generaciones de manera directa, principalmente a trav&eacute;s de la ense&ntilde;anza pr&aacute;ctica. En este contexto, los m&aacute;s experimentados compart&iacute;an con los m&aacute;s j&oacute;venes las coreograf&iacute;as, los movimientos y los significados detr&aacute;s de cada elemento de la danza. Este proceso de transmisi&oacute;n se realizaba en espacios de convivencia comunitaria, donde el aprendizaje no solo depend&iacute;a de la instrucci&oacute;n verbal, sino tambi&eacute;n de la observaci&oacute;n y repetici&oacute;n, permitiendo que los ni&ntilde;os y j&oacute;venes se familiarizaran con los gestos y s&iacute;mbolos que la danza representa.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, el proceso de transmisi&oacute;n ha involucrado adaptaciones a lo largo del tiempo, debido a los cambios en la estructura social y cultural de la comunidad. A medida que nuevas generaciones se apropiaban de la danza, se introdujeron modificaciones tanto en la coreograf&iacute;a como en los elementos materiales, como el vestuario y la m&uacute;sica. Este fen&oacute;meno demuestra c&oacute;mo la tradici&oacute;n se mantiene viva y se transforma al integrar nuevas influencias, como lo evidencia la incorporaci&oacute;n de pasos modernos y el uso de agrupaciones musicales contempor&aacute;neas.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "93f13d55-f885-4f81-8082-05c6996bc73b", "provisionaledits": null, "resourceinstance_id": "c30cbd95-9763-4ba9-824b-4e9888850d47", "sortorder": 0, "tileid": "e09d7c37-b73f-4115-b853-5958c7cf3523"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, la Danza de los Angelitos ha experimentado diversas transformaciones, reflejando los cambios en la sociedad y en las pr&aacute;cticas culturales. En sus inicios, la danza se caracterizaba por una estructura m&aacute;s sencilla, acompa&ntilde;ada solo de flauta y caja, y los danzantes usaban vestuarios elaborados de manera artesanal. Estos elementos han cambiado con la incorporaci&oacute;n de coreograf&iacute;as modernas, reconociendo que la m&uacute;sica instrumental, coreograf&iacute;a y mucho de la historia se han difuminado, estos elementos modernos han permitido que la danza siga siendo relevante y atractiva para los j&oacute;venes participantes.</p>\n\n<p>&nbsp;</p>\n\n<p>La influencia de la globalizaci&oacute;n y los nuevos estilos musicales tambi&eacute;n ha dejado su huella en la danza. Mientras que en el pasado los danzantes interpretaban la danza de forma m&aacute;s tradicional, hoy en d&iacute;a se han incorporado ritmos festivos y modernos, lo que da como resultado una fusi&oacute;n de elementos antiguos y nuevos. Esta adaptaci&oacute;n no solo est&aacute; presente en la m&uacute;sica, sino tambi&eacute;n en la forma en que se organiza el evento, como la participaci&oacute;n de ni&ntilde;os de 4 a 5 a&ntilde;os.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "93f13d55-f885-4f81-8082-05c6996bc73b", "provisionaledits": null, "resourceinstance_id": "c30cbd95-9763-4ba9-824b-4e9888850d47", "sortorder": 0, "tileid": "513b1dac-f96f-4fc9-aa73-55fd6ee1d855"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la Danza de los Angelitos es su capacidad para preservar y transmitir valores culturales a trav\u00e9s de generaciones. Esta pr\u00e1ctica fomenta el sentido de pertenencia y el reconocimiento de la identidad local, especialmente al involucrar a los ni\u00f1os y j\u00f3venes en su ejecuci\u00f3n. La participaci\u00f3n activa de las nuevas generaciones asegura que la danza se mantenga viva, fortaleciendo los lazos comunitarios mientras se celebran tradiciones religiosas y festivas de gran importancia.   Aunque la coreograf\u00eda y los elementos musicales han evolucionado a lo largo del tiempo, la danza sigue siendo una manifestaci\u00f3n de devoci\u00f3n. La integraci\u00f3n de nuevas formas coreogr\u00e1ficas y la inclusi\u00f3n de m\u00fasica contempor\u00e1nea permiten que las personas sigan conectadas con la tradici\u00f3n. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "93f13d55-f885-4f81-8082-05c6996bc73b", "provisionaledits": null, "resourceinstance_id": "c30cbd95-9763-4ba9-824b-4e9888850d47", "sortorder": 0, "tileid": "16f86a48-5f51-4548-bbfa-87499543fea2"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Al incorporar elementos modernos, como coreograf&iacute;as actuales o el uso de m&uacute;sica no tradicional, existe el peligro de que la danza pierda su car&aacute;cter representativo de la tradici&oacute;n religiosa y cultural. Si bien la adaptaci&oacute;n es importante para mantener la pr&aacute;ctica, sin la recuperaci&oacute;n de los elementos representativos tradicionales, con el tiempo los cambios podr&iacute;an diluir el simbolismo de la danza.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "93f13d55-f885-4f81-8082-05c6996bc73b", "provisionaledits": null, "resourceinstance_id": "c30cbd95-9763-4ba9-824b-4e9888850d47", "sortorder": 0, "tileid": "adc06295-5cda-44eb-a712-a791939b1506"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Danza Angelitos</strong></p>\n\n<p>La Danza de los Angelitos es una expresi&oacute;n cultural que forma parte de la Fiesta de la Virgen del Carmen y Navidad. Esta danza simboliza la pureza y la devoci&oacute;n, y es protagonizada principalmente por ni&ntilde;os y j&oacute;venes, quienes visten atuendos blancos con alas y aureolas, representando a los &aacute;ngeles.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>La danza Angelitos representa a la legi&oacute;n del coro celestial que cant&oacute; en el nacimiento del Ni&ntilde;o Jes&uacute;s en Bel&eacute;n. Se baila tradicionalmente el 24 y 25 de diciembre, extendi&eacute;ndose hasta el 28 de diciembre.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Su origen se remonta a la &eacute;poca colonial, cuando las misiones jesu&iacute;ticas se establecieron en la regi&oacute;n, introduciendo esta representaci&oacute;n de los &aacute;ngeles en el nacimiento de Jes&uacute;s. Con el tiempo, la coreograf&iacute;a ha sufrido modificaciones, argument&aacute;ndose que en sus inicios ten&iacute;a una forma diferente.</p>\n\n<p>Inicialmente, la danza se acompa&ntilde;aba solo con flauta y caja, y los elementos del vestuario eran elaborados artesanalmente: la corona y las alas eran de cuero pintado de blanco, los danzarines llevaban cascabeles en las piernas y utilizaban un pa&ntilde;uelo adherido a una varilla como bandera.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>En tiempos recientes, la danza ha sido representada por estudiantes del Colegio Jorge Monaterios Saucedo, incorporando pasos coreogr&aacute;ficos modernos. Los ni&ntilde;os, de 4 a 5 a&ntilde;os, se ordenan en dos filas, alternando con movimientos en rondas, manteniendo la esencia de la danza con una estructura m&aacute;s adaptada a las nuevas generaciones.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>Actualmente, la danza es interpretada con el acompa&ntilde;amiento de la agrupaci&oacute;n musical Bombilla, que aporta ritmos festivos y tradicionales a la celebraci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<ul>\n\t<li>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana</li>\n</ul>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "93f13d55-f885-4f81-8082-05c6996bc73b", "provisionaledits": null, "resourceinstance_id": "c30cbd95-9763-4ba9-824b-4e9888850d47", "sortorder": 0, "tileid": "faab746f-e57c-40cd-ad54-b597ddd18a08"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:04.834", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000043, "}, "es": {"description": "Trinidad. Artesana tejedora. Hilda No\u00e9 Fabricano ", "map_popup": "Beni", "name": "PI-080101-00-00-000043, Trinidad. Artesana tejedora. Hilda No\u00e9 Fabricano "}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000043, Trinidad. Artesana tejedora. Hilda No\u00e9 Fabricano ", "principaluser_id": 26, "resourceinstanceid": "20dd8a5b-5459-4167-b2b8-3140020169f6", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89758612443332, -14.837523997544437], "type": "Point"}, "id": "f94df4812f6b8335f3eba4a9c2c781b4", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000015'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "20dd8a5b-5459-4167-b2b8-3140020169f6", "sortorder": 0, "tileid": "e8b61c13-c66d-4114-ae7e-86f5d044a26d"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "20dd8a5b-5459-4167-b2b8-3140020169f6", "sortorder": 0, "tileid": "7ff689d6-76f9-4a25-aaea-e53a3d7a7c87"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Artesana tejedora. Hilda No&eacute; Fabricano </strong></p>\n\n<p>La descripci&oacute;n expone el trabajo artesanal de Hilda No&eacute; Fabricano, una tejedora especializada en la confecci&oacute;n de cintas para camijetas y en la elaboraci&oacute;n de paichichis utilizados en la danza del machetero. A trav&eacute;s del uso de t&eacute;cnicas tradicionales y herramientas espec&iacute;ficas, su trabajo contribuye a mantener pr&aacute;cticas culturales vivas en su comunidad. El contenido detalla los materiales, herramientas, t&eacute;cnicas empleadas, as&iacute; como el destino de las piezas, la trayectoria de la artesana y las perspectivas de continuidad de su labor.</p>\n\n<p><strong>Descripci&oacute;n de los materiales que utiliza/procedencia</strong><br />\nPara la elaboraci&oacute;n de sus piezas, Hilda emplea lanas de hilo de diversos colores, hilos de algod&oacute;n y semillas del &aacute;rbol de pahichichi. Su principal herramienta de trabajo es el telar vertical, acompa&ntilde;ado de distintos instrumentos de tejido que le permiten dar forma y acabado a sus creaciones.</p>\n\n<p><strong>Descripci&oacute;n de las herramientas que utiliza</strong><br />\nEl proceso de tejido de las cintas de la camijeta requiere de varias herramientas espec&iacute;ficas. El costillero es una parte fundamental del telar, ya que selecciona los hilos de abajo y de arriba para formar pares. La espada, otra herramienta esencial, sirve para separar los hilos durante el tejido. Para los acabados finales se utiliza la t&eacute;cnica del macram&eacute;, donde los dise&ntilde;os revelan la identidad de la tejedora, haciendo que su trabajo sea reconocible entre los dem&aacute;s. El travesa&ntilde;o, por su parte, envuelve los hilos de manera similar al costillero; al concluir el tejido, se retira soltando todos los hilos. Para la elaboraci&oacute;n de los paichichis, que son peque&ntilde;os cascabeles usados en la danza del machetero, se utilizan semillas del &aacute;rbol pahichichi y hilos de algod&oacute;n.</p>\n\n<p><strong>Descripci&oacute;n de la t&eacute;cnica/s</strong><br />\nLa t&eacute;cnica de tejido de cintas para la camijeta es un trabajo minucioso que se desarrolla en varias etapas. Primero, el costillero del telar selecciona los hilos para formar los pares necesarios. La espada separa estos hilos para permitir el tejido ordenado y uniforme. Una vez finalizada esta etapa, se realiza el acabado en macram&eacute;, una fase en la que cada dise&ntilde;o lleva la marca personal de la tejedora, permitiendo su identificaci&oacute;n. El travesa&ntilde;o sostiene los hilos durante el proceso y, al concluir, se libera para soltar el tejido. Este mismo cuidado y conocimiento se aplica a la fabricaci&oacute;n de los paichichis.</p>\n\n<p><strong>Tipos de artesan&iacute;a</strong><br />\nHilda No&eacute; Fabricano confecciona principalmente cintas que se utilizan en la elaboraci&oacute;n de camijetas. Cada cinta es &uacute;nica en color y dise&ntilde;o, permitiendo distinguir la camijeta de cada persona. Un par de cintas puede tomarle un d&iacute;a entero de trabajo. En esta labor tambi&eacute;n recibe el apoyo de su esposo, quien participa en el tejido. Adem&aacute;s, Hilda elabora paichichis, peque&ntilde;os cascabeles que se atan a los tobillos de los danzantes macheteros y marcan el ritmo de la m&uacute;sica en cada presentaci&oacute;n.</p>\n\n<p><strong>Destino de la artesan&iacute;a</strong><br />\nLas cintas y los paichichis tienen un uso permanente a lo largo del a&ntilde;o, ya que forman parte esencial de la danza del machetero, pr&aacute;ctica que sigue un calendario festivo-religioso. M&aacute;s all&aacute; de los actos religiosos, los macheteros tambi&eacute;n son invitados a presentaciones en actos c&iacute;vicos y eventos especiales, donde la artesan&iacute;a de Hilda se hace presente, simbolizando el orgullo y la tradici&oacute;n de su comunidad.</p>\n\n<p><strong>Descripci&oacute;n de la vida del artesano</strong><br />\nHilda No&eacute; Fabricano es una mujer que lleva en su ser el esp&iacute;ritu de su pueblo. Habla su lengua originaria, es m&eacute;dica tradicional y tambi&eacute;n costurera. Confecciona camijetas y teje las cintas que las acompa&ntilde;an. Aprendi&oacute; el oficio de su madre desde ni&ntilde;a, ayud&aacute;ndola en la entrega de los trabajos tejidos. Aunque hace diez a&ntilde;os dej&oacute; de tejer, recientemente ha retomado con fuerza su labor artesanal. Hilda sostiene con firmeza que el artesano debe valorar su propio trabajo y vender sus piezas de acuerdo al esfuerzo, al costo del material, al tiempo invertido y al conocimiento transmitido a trav&eacute;s de generaciones.</p>\n\n<p><strong>Perspectivas para el futuro</strong><br />\nEl legado de Hilda est&aacute; asegurado. Sus hijos han aprendido tanto la elaboraci&oacute;n de las cintas como de los paichichis. Cada vez que reciben pedidos grandes, toda la familia se involucra en el trabajo, colaborando en la preservaci&oacute;n y continuidad de esta importante tradici&oacute;n artesanal.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["e5270642-c871-4c8b-88af-3256b9e5ab85", "237ed805-e832-4979-80cb-8d2f6d646d28", "da719d9d-e927-4281-aeef-d551a1da07ff"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "7ff689d6-76f9-4a25-aaea-e53a3d7a7c87", "provisionaledits": null, "resourceinstance_id": "20dd8a5b-5459-4167-b2b8-3140020169f6", "sortorder": 0, "tileid": "f1834483-b878-47b3-b0b6-24fa07048ce9"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "T\u00e9cnicas artesanales"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000043", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Artesana tejedora. Hilda No\u00e9 Fabricano "}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "20dd8a5b-5459-4167-b2b8-3140020169f6", "sortorder": 0, "tileid": "8cdebe55-4d78-4fdb-a68c-2a7655fdc257"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la pr&aacute;ctica de la tejedur&iacute;a y la fabricaci&oacute;n de paichichis es la posible desvalorizaci&oacute;n de los saberes tradicionales debido a la falta de inter&eacute;s de las nuevas generaciones por continuar el oficio. Aunque Hilda No&eacute; Fabricano ha logrado involucrar a sus hijos en el proceso, este tipo de pr&aacute;cticas, que requieren tiempo y dedicaci&oacute;n, a menudo no resultan atractivas para las generaciones m&aacute;s j&oacute;venes en un contexto donde la modernizaci&oacute;n y la tecnolog&iacute;a predominan.</p>\n\n<p>Otro riesgo importante es la comercializaci&oacute;n masiva de productos similares, que puede desplazar a las artesan&iacute;as tradicionales al ofrecer productos m&aacute;s baratos, pero sin la riqueza cultural que caracteriza las piezas originales. Este fen&oacute;meno podr&iacute;a ocasionar que los trabajos tradicionales de tejedur&iacute;a se vean reducidos a una simple mercanc&iacute;a, perdiendo su valor simb&oacute;lico y su conexi&oacute;n con las pr&aacute;cticas comunitarias. De no adoptarse estrategias efectivas de salvaguarda, como la promoci&oacute;n de la autenticidad y el reconocimiento del valor cultural de estas piezas, las artesan&iacute;as como las que realiza Hilda podr&iacute;an verse amenazadas por la homogeneizaci&oacute;n del mercado y la p&eacute;rdida de su car&aacute;cter representativo del patrimonio cultural local.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7ff689d6-76f9-4a25-aaea-e53a3d7a7c87", "provisionaledits": null, "resourceinstance_id": "20dd8a5b-5459-4167-b2b8-3140020169f6", "sortorder": 0, "tileid": "2e0a3d0e-a03a-4791-a260-d3e10eb4a004"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el caso de Hilda No&eacute; Fabricano, el aprendizaje de la tejedur&iacute;a y la elaboraci&oacute;n de paichichis se transmiti&oacute; de manera directa dentro del n&uacute;cleo familiar, particularmente entre madre, hijos incluyendo al esposo quien participa en la elaboraci&oacute;n de la artesan&iacute;a. Cabe aclarar que la artesana s&oacute;lo tuvo hijos varones.</p>\n\n<p>Desde temprana edad, Hilda participaba en las labores de tejido que su madre deb&iacute;a entregar, involucr&aacute;ndose en un proceso de aprendizaje basado en la participaci&oacute;n activa y la colaboraci&oacute;n cotidiana. Esta forma de transmisi&oacute;n no formal se apoya en la acci&oacute;n repetitiva, la correcci&oacute;n en el hacer y el acompa&ntilde;amiento en los ritmos de trabajo, permitiendo que el conocimiento t&eacute;cnico se interiorice como parte de la vida diaria. Este tipo de transferencia de saberes refleja una continuidad cultural donde los oficios tradicionales se preservan mediante una pedagog&iacute;a pr&aacute;ctica, &iacute;ntimamente vinculada a las responsabilidades familiares y a la necesidad de cumplir con los compromisos comunitarios.</p>\n\n<p>Actualmente, este patr&oacute;n de transmisi&oacute;n persiste en la familia de Hilda, donde sus hijos han aprendido tanto la confecci&oacute;n de cintas como la fabricaci&oacute;n de paichichis, participando en los momentos de mayor demanda. Esta din&aacute;mica muestra que el conocimiento artesanal no se transmite de forma espor&aacute;dica, sino en funci&oacute;n de las necesidades colectivas y de la responsabilidad compartida ante la comunidad, especialmente cuando se trata de atender pedidos que acompa&ntilde;an festividades religiosas o eventos culturales. Este modelo reafirma el tejido social a trav&eacute;s del trabajo colectivo, donde los conocimientos artesanales se mantienen como patrimonio vivo gracias a la implicaci&oacute;n constante de las nuevas generaciones, asegurando no solo la supervivencia de las t&eacute;cnicas, sino tambi&eacute;n su pertinencia dentro de las estructuras simb&oacute;licas de la cultura local.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "7ff689d6-76f9-4a25-aaea-e53a3d7a7c87", "provisionaledits": null, "resourceinstance_id": "20dd8a5b-5459-4167-b2b8-3140020169f6", "sortorder": 0, "tileid": "80434960-e7ce-4756-9fdd-40f24c208431"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo de los a&ntilde;os, la pr&aacute;ctica de Hilda No&eacute; Fabricano ha experimentado transformaciones, principalmente en la relaci&oacute;n con la demanda y la colaboraci&oacute;n familiar. Aunque Hilda dej&oacute; de tejer durante un per&iacute;odo de diez a&ntilde;os, su retorno al oficio refleja una reactivaci&oacute;n de pr&aacute;cticas culturales dentro de su entorno inmediato. Este regreso al trabajo artesanal no solo responde a una necesidad personal, sino tambi&eacute;n a la revalorizaci&oacute;n de las tradiciones por parte de las nuevas generaciones. La participaci&oacute;n activa de sus hijos en el proceso de creaci&oacute;n, especialmente cuando surgen pedidos grandes, subraya una transformaci&oacute;n hacia una din&aacute;mica de trabajo colaborativo familiar, lo que implica que la transmisi&oacute;n del oficio se ha adaptado a las exigencias contempor&aacute;neas de la producci&oacute;n artesanal en la comunidad.</p>\n\n<p>Este cambio en la pr&aacute;ctica no solo est&aacute; vinculado a la adaptaci&oacute;n a nuevas formas de organizaci&oacute;n familiar, sino tambi&eacute;n a la integraci&oacute;n de tecnolog&iacute;as o m&eacute;todos que podr&iacute;an haber alterado los procesos tradicionales. Aunque la esencia de la tejedur&iacute;a y la confecci&oacute;n de paichichis sigue siendo la misma, el hecho de que toda la familia participe en la producci&oacute;n, de manera m&aacute;s coordinada y con un enfoque colectivo, refleja un ajuste a las demandas del mercado y a las oportunidades para perpetuar la pr&aacute;ctica en un contexto social m&aacute;s amplio. De este modo, la transformaci&oacute;n no implica una ruptura con las tradiciones, sino una evoluci&oacute;n dentro del marco de la preservaci&oacute;n cultural, donde el conocimiento sigue siendo esencial para mantener la identidad, pero se adapta a nuevas formas de organizaci&oacute;n y producci&oacute;n.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7ff689d6-76f9-4a25-aaea-e53a3d7a7c87", "provisionaledits": null, "resourceinstance_id": "20dd8a5b-5459-4167-b2b8-3140020169f6", "sortorder": 0, "tileid": "7cfc012d-95cc-4c6c-a37d-f22092b600e2"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica artesanal de Hilda No\u00e9 Fabricano radica en la continuidad intergeneracional de los conocimientos. A trav\u00e9s de la ense\u00f1anza directa dentro de su familia, especialmente entre madre e hijos y ense\u00f1\u00f3 tambi\u00e9n al esposo, quien se involucra en elaboraci\u00f3n de la artesan\u00eda, se asegura que las t\u00e9cnicas de tejido y la confecci\u00f3n de paichichis se mantengan vivas. Este proceso de transmisi\u00f3n, que se lleva a cabo en el contexto del trabajo diario y familiar, no solo preserva las formas tradicionales de tejer, sino que tambi\u00e9n refuerza el sentido de identidad y pertenencia a la comunidad. En t\u00e9rminos de patrimonio, esta transmisi\u00f3n representa una pr\u00e1ctica fundamental para la salvaguarda de las costumbres locales, garantizando que las tradiciones no se pierdan con el tiempo, sino que se adapten a las necesidades actuales sin renunciar a sus ra\u00edces culturales. La fortaleza de esta pr\u00e1ctica tambi\u00e9n se observa en su vinculaci\u00f3n directa con el ciclo de festividades y eventos religiosos, lo que otorga a las piezas artesanales un prop\u00f3sito tangible dentro de la vida comunitaria. El hecho de que la producci\u00f3n de cintas y paichichis se realice con un fin espec\u00edfico, como acompa\u00f1ar la danza del machetero, no solo garantiza la relevancia continua de esta actividad, sino que tambi\u00e9n refuerza su papel en la construcci\u00f3n del patrimonio cultural vivo. Esta conexi\u00f3n con la comunidad, as\u00ed como la participaci\u00f3n activa de las nuevas generaciones en el proceso productivo, contribuye a la salvaguarda del conocimiento tradicional, asegurando su vigencia y relevancia en el tiempo."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "7ff689d6-76f9-4a25-aaea-e53a3d7a7c87", "provisionaledits": null, "resourceinstance_id": "20dd8a5b-5459-4167-b2b8-3140020169f6", "sortorder": 0, "tileid": "40684aec-a791-49b4-9570-92af9575d946"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:05.535", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000044, "}, "es": {"description": "Trinidad. Artesana tejedora paichichis. Hilda No\u00e9 Fabricano", "map_popup": "Beni", "name": "PI-080101-00-00-000044, Trinidad. Artesana tejedora paichichis. 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Hilda No\u00e9 Fabricano", "principaluser_id": 26, "resourceinstanceid": "43bf2b4a-08f7-476e-a2ad-d898fd6cb323", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "T\u00e9cnicas artesanales"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000044", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Artesana tejedora paichichis. Hilda No\u00e9 Fabricano"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "43bf2b4a-08f7-476e-a2ad-d898fd6cb323", "sortorder": 0, "tileid": "52c93b42-9d17-4606-abf6-535bf4eb96b3"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.90131835937743, -14.83683062453673], "type": "Point"}, "id": "e09b0b71da98fa3c4cdbfcf6c81bd2fa", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000016'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "43bf2b4a-08f7-476e-a2ad-d898fd6cb323", "sortorder": 0, "tileid": "d62907e3-46d5-4c7d-8735-06f1e8f2e6c2"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Artesana tejedora paichichis. Hilda No&eacute; Fabricano</strong></p>\n\n<p>La elaboraci&oacute;n de artesan&iacute;as tradicionales representa un saber heredado de generaci&oacute;n en generaci&oacute;n, preservando pr&aacute;cticas, t&eacute;cnicas y significados culturales para la identidad de una comunidad. Hilda No&eacute; Fabricano es una artesana especializada en la confecci&oacute;n de cintas de camijeta y paichichis, elementos para la danza del machetero.</p>\n\n<p><strong>Descripci&oacute;n de los materiales que utiliza/procedencia</strong><br />\nPara su trabajo, Hilda utiliza lanas de hilo, herramientas de tejido, emplea tambi&eacute;n semillas del &aacute;rbol de paichichi, obtenidas de &aacute;rboles que, en el pasado, crec&iacute;an cerca del aeropuerto, pero que ahora escasean, raz&oacute;n por la cual su familia sembr&oacute; &aacute;rboles en la calle para garantizar su disponibilidad.</p>\n\n<p><strong>Descripci&oacute;n de las herramientas que utiliza</strong><br />\nPara los paichichis, adem&aacute;s de hilos de algod&oacute;n, se utiliza un tronco con tres clavos que permite abrir las semillas de manera m&aacute;s segura, evitando accidentes que anteriormente ocurr&iacute;an al usar cuchillos o machetes.</p>\n\n<p><strong>Descripci&oacute;n de la t&eacute;cnica/s</strong><br />\nLa elaboraci&oacute;n del paichichi inicia trenzando los hilos de algod&oacute;n, combinando tres colores distintos para formar una peque&ntilde;a cinta donde se insertar&aacute;n las semillas. El proceso de preparaci&oacute;n de las semillas es meticuloso: se debe extraer su contenido venenoso, tarea que antes implicaba hornearlas en barro y abrirlas con machete, un m&eacute;todo lento y riesgoso. Actualmente, las semillas se abren utilizando un tronco adaptado, eliminando la pulpa peligrosa, luego se doran en sart&eacute;n hasta alcanzar un color tostado, se lavan con agua y jab&oacute;n para retirar el aceite y se dejan secar.</p>\n\n<p>Para comenzar el tejido del paichichi, se amarra el trenzado a una silla utilizando una tira de hilo de entre sesenta y setenta cent&iacute;metros. Hilda, conocida por su rapidez en el trabajo &mdash;a las personas con esta habilidad se les llama <em>wakanqui</em>, que significa tener magia en el trabajo&mdash;, contin&uacute;a el procedimiento tensando un hilo de cinco cent&iacute;metros de largo para formar una tira de cincuenta cent&iacute;metros. Luego, con t&eacute;cnica de macram&eacute;, se anudan los hilos con lazo cochinito, alternando colores cada cuatro vueltas para formar una trenza. El procedimiento finaliza cosiendo las semillas, empezando desde un extremo y subiendo en filas hasta completar el adorno. De un cono de hilo base blanco, que cuesta alrededor de cincuenta bolivianos, se pueden obtener aproximadamente sesenta y ocho pares de paichichis.</p>\n\n<p><strong>Tipos de artesan&iacute;a</strong><br />\nLos paichichis son adornos que semejan cascabeles y que son esenciales para la danza del machetero, coloc&aacute;ndose en los tobillos para acompa&ntilde;ar el ritmo de la m&uacute;sica. Su esposo tambi&eacute;n colabora en estas labores.</p>\n\n<p><strong>Destino de la artesan&iacute;a</strong><br />\nLos paichichis elaborados por Hilda se utilizan durante todo el a&ntilde;o en las distintas celebraciones religiosas y festivas donde participa la danza del machetero. Tambi&eacute;n son usados en actos no religiosos cuando el Cabildo recibe invitaciones para representaciones culturales.</p>\n\n<p><strong>Descripci&oacute;n de la vida del artesano</strong><br />\nHilda No&eacute; Fabricano es una artesana que habla su lengua originaria, adem&aacute;s de ser m&eacute;dica tradicional y costurera. Realiza camijetas y cintas, y aunque dej&oacute; de tejer durante diez a&ntilde;os, ha retomado recientemente su oficio. Aprendi&oacute; el arte desde ni&ntilde;a, ayudando a su madre en los encargos de tejido que deb&iacute;an entregar. Para ella, un artesano debe valorar su trabajo, considerando no solo el costo de los materiales, sino tambi&eacute;n el esfuerzo invertido y el tiempo dedicado.</p>\n\n<p><strong>Perspectivas para el futuro</strong><br />\nHilda ha transmitido sus conocimientos a sus hijos, quienes dominan el proceso de elaboraci&oacute;n tanto de cintas como de paichichis. Ante pedidos grandes, toda la familia participa en la producci&oacute;n, asegurando as&iacute; la continuidad de esta importante tradici&oacute;n artesanal.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["237ed805-e832-4979-80cb-8d2f6d646d28", "da719d9d-e927-4281-aeef-d551a1da07ff", "e5270642-c871-4c8b-88af-3256b9e5ab85"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "2cdf3eca-89da-4a1d-8f16-b67c0fe7b153", "provisionaledits": null, "resourceinstance_id": "43bf2b4a-08f7-476e-a2ad-d898fd6cb323", "sortorder": 0, "tileid": "5daddafd-075f-474d-a50c-15c5143cd2e7"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "43bf2b4a-08f7-476e-a2ad-d898fd6cb323", "sortorder": 0, "tileid": "2cdf3eca-89da-4a1d-8f16-b67c0fe7b153"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del conocimiento en el trabajo artesanal de Hilda No&eacute; Fabricano ocurre principalmente a trav&eacute;s de procesos de aprendizaje familiar, donde el saber hacer se comparte en el contexto dom&eacute;stico. Desde peque&ntilde;a, Hilda colaboraba con su madre en las tareas de tejido, participando de manera activa en la confecci&oacute;n de cintas y otros encargos, lo que le permiti&oacute; incorporar no solo las t&eacute;cnicas manuales sino tambi&eacute;n comprender el valor simb&oacute;lico y social de los objetos que produc&iacute;a. Este tipo de ense&ntilde;anza, caracter&iacute;stico de muchas sociedades ind&iacute;genas, privilegia la participaci&oacute;n directa en el trabajo cotidiano como v&iacute;a principal para la adquisici&oacute;n de habilidades, permitiendo que el conocimiento se arraigue en la experiencia. De esta manera, la t&eacute;cnica no se transmite como un cuerpo de reglas expl&iacute;citas, sino como un conjunto de pr&aacute;cticas encarnadas que conectan la memoria familiar con las formas de expresi&oacute;n cultural de la comunidad.</p>\n\n<p>Actualmente, Hilda ha reproducido este mismo mecanismo de ense&ntilde;anza con sus hijos, asegurando la continuidad del tejido de cintas y de la confecci&oacute;n de paichichis a trav&eacute;s de la colaboraci&oacute;n familiar en momentos de alta demanda. Esta forma de transmisi&oacute;n refuerza no solo las destrezas manuales, sino tambi&eacute;n los v&iacute;nculos intergeneracionales, otorgando sentido a la pertenencia y a la responsabilidad colectiva frente a la preservaci&oacute;n de la identidad cultural. Estos modos de aprendizaje revelan c&oacute;mo los saberes tradicionales se sostienen en estructuras de reciprocidad, en las que aprender implica tambi&eacute;n asumir el compromiso de mantener viva la relaci&oacute;n entre el individuo, la familia y la comunidad. En el caso de Hilda, la decisi&oacute;n de sembrar &aacute;rboles de paichichi para garantizar la disponibilidad de materias primas confirma esta visi&oacute;n integral del conocimiento, donde la t&eacute;cnica artesanal no puede separarse del entorno natural ni del tejido social que le da sentido.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "2cdf3eca-89da-4a1d-8f16-b67c0fe7b153", "provisionaledits": null, "resourceinstance_id": "43bf2b4a-08f7-476e-a2ad-d898fd6cb323", "sortorder": 0, "tileid": "8ebaec6a-0559-427e-8f52-9b03ee8886ae"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Una posible transformaci&oacute;n en la pr&aacute;ctica artesanal de Hilda No&eacute; Fabricano se vincula a las variaciones en el acceso a los recursos naturales. La reducci&oacute;n de &aacute;rboles de paichichi en su entorno llev&oacute; a su familia a implementar la siembra deliberada de nuevos ejemplares cerca de su vivienda, asegurando la materia prima necesaria para elaborar los paichichis. Esta acci&oacute;n anticipa un cambio en la forma de gestionar los insumos, pasando de la recolecci&oacute;n a una gesti&oacute;n planificada de los recursos. Esta modificaci&oacute;n refleja un ajuste cultural frente a un entorno cambiante, donde las pr&aacute;cticas tradicionales deben dialogar con nuevas realidades ambientales. Al mismo tiempo, introduce una visi&oacute;n de sostenibilidad que transforma la relaci&oacute;n entre el artesano y su territorio, implicando un conocimiento ecol&oacute;gico que se suma a la herencia t&eacute;cnica recibida.</p>\n\n<p>Una segunda transformaci&oacute;n puede observarse en la manera de transmitir los conocimientos y de organizar la producci&oacute;n artesanal. Al involucrar a sus hijos en la elaboraci&oacute;n de las cintas y paichichis, especialmente ante encargos de gran volumen, Hilda contribuye a que el saber se democratice dentro del grupo familiar, evitando que se concentre exclusivamente en los mayores. Este proceso, aunque mantiene las bases t&eacute;cnicas tradicionales, tambi&eacute;n abre la posibilidad de innovaciones en los estilos, t&eacute;cnicas o tiempos de trabajo, seg&uacute;n las generaciones m&aacute;s j&oacute;venes vayan apropi&aacute;ndose de los saberes. Desde la perspectiva de la antropolog&iacute;a del patrimonio, este tipo de din&aacute;micas permiten comprender que las tradiciones no son estructuras est&aacute;ticas, sino pr&aacute;cticas vivas que se adaptan y se renuevan sin perder su esencia cultural.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "2cdf3eca-89da-4a1d-8f16-b67c0fe7b153", "provisionaledits": null, "resourceinstance_id": "43bf2b4a-08f7-476e-a2ad-d898fd6cb323", "sortorder": 0, "tileid": "856cc58c-670b-4813-be5b-586b633eaa28"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica artesanal de Hilda No\u00e9 Fabricano es su anclaje en una transmisi\u00f3n de saberes basada en la participaci\u00f3n activa de la familia. Desde peque\u00f1a, Hilda integr\u00f3 el tejido a su vida diaria, aprendiendo mediante la colaboraci\u00f3n en la producci\u00f3n que su madre realizaba para entregar trabajos encargados. Este modelo de aprendizaje, caracter\u00edstico de sistemas de transmisi\u00f3n intergeneracional, asegura que el conocimiento t\u00e9cnico no se pierda con el tiempo, al estar inscrito en las actividades cotidianas de la vida comunitaria. En t\u00e9rminos de patrimonio cultural, esta forma de ense\u00f1anza garantiza la permanencia de saberes que no solo tienen un valor utilitario, sino que tambi\u00e9n configuran identidades colectivas, conectando pr\u00e1cticas individuales con memorias comunitarias. El hecho de que toda su familia participe actualmente en la elaboraci\u00f3n de cintas y paichichis cuando hay grandes pedidos muestra una estrategia eficaz de salvaguarda, donde el conocimiento no se concentra en un solo individuo, sino que se reparte y se actualiza de acuerdo con las necesidades. Otra fortaleza importante radica en la capacidad de adaptaci\u00f3n de la artesana frente a los cambios en el entorno y en la disponibilidad de materiales. Ante la disminuci\u00f3n de \u00e1rboles de paichichi en su territorio, la familia de Hilda opt\u00f3 por sembrar nuevos ejemplares cerca de sus viviendas, asegurando de esta forma el acceso sostenible a las semillas indispensables para su trabajo. Desde una perspectiva antropol\u00f3gica y de salvaguarda patrimonial, esta acci\u00f3n revela c\u00f3mo las comunidades no solo conservan tradiciones t\u00e9cnicas, sino que tambi\u00e9n implementan estrategias de resiliencia ecol\u00f3gica que permiten sostener la cadena de producci\u00f3n artesanal. Esta relaci\u00f3n estrecha entre conocimiento t\u00e9cnico, gesti\u00f3n ambiental y compromiso familiar demuestra que la pr\u00e1ctica de Hilda no es una simple repetici\u00f3n de formas antiguas, sino un proceso din\u00e1mico que responde creativamente a las condiciones actuales, fortaleciendo la continuidad cultural de su comunidad."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "2cdf3eca-89da-4a1d-8f16-b67c0fe7b153", "provisionaledits": null, "resourceinstance_id": "43bf2b4a-08f7-476e-a2ad-d898fd6cb323", "sortorder": 0, "tileid": "e86a576c-73bc-4e9c-a477-a8e4e7116aa7"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos m&aacute;s evidentes para la continuidad de la pr&aacute;ctica artesanal de Hilda No&eacute; Fabricano es la escasez de semillas de paichichi, resultado de la desaparici&oacute;n progresiva de los &aacute;rboles en su entorno natural. Antes, los artesanos recolectaban las semillas en zonas como el aeropuerto, donde exist&iacute;an alrededor de doce &aacute;rboles; sin embargo, hoy en d&iacute;a ya no es posible encontrarlos all&iacute;. Esta reducci&oacute;n obliga a estrategias de replanteamiento, como la siembra dom&eacute;stica que emprendi&oacute; la familia Fabricano. Desde una perspectiva antropol&oacute;gica, la p&eacute;rdida de acceso a los recursos naturales esenciales puede debilitar pr&aacute;cticas culturales profundamente arraigadas, afectando su transmisi&oacute;n efectiva. En t&eacute;rminos de patrimonio, esta amenaza natural implica riesgos para la autenticidad de los materiales utilizados, comprometiendo la continuidad tradicional si no se aplican medidas de salvaguarda adecuadas.</p>\n\n<p>Otro riesgo se encuentra en la posible desvalorizaci&oacute;n del trabajo artesanal frente a din&aacute;micas de mercado que no reconocen el tiempo, la t&eacute;cnica ni el significado cultural de las piezas. La propia Hilda enfatiza la necesidad de vender las artesan&iacute;as a precios justos que reflejen no solo la inversi&oacute;n en materiales, sino tambi&eacute;n el esfuerzo y conocimiento invertidos. Sin este reconocimiento, el trabajo artesanal corre el peligro de convertirse en una actividad insostenible, especialmente para las nuevas generaciones. Se entiende que cuando el tejido econ&oacute;mico que sostiene una pr&aacute;ctica cultural se debilita, se erosiona tambi&eacute;n su transmisi&oacute;n. Para evitar este deterioro, se vuelve urgente impulsar acciones de sensibilizaci&oacute;n sobre el valor cultural de la artesan&iacute;a y promover mecanismos de protecci&oacute;n econ&oacute;mica para los portadores de saberes tradicionales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "2cdf3eca-89da-4a1d-8f16-b67c0fe7b153", "provisionaledits": null, "resourceinstance_id": "43bf2b4a-08f7-476e-a2ad-d898fd6cb323", "sortorder": 0, "tileid": "5075988b-37e0-496c-80e8-536f2e070951"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:05.954", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000045, "}, "es": {"description": "Trinidad. Gran Cabildo Indigenal de la Sant\u00edsima Trinidad", "map_popup": "Beni", "name": "PI-080101-00-00-000045, Trinidad. Gran Cabildo Indigenal de la Sant\u00edsima Trinidad"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000045, Trinidad. Gran Cabildo Indigenal de la Sant\u00edsima Trinidad", "principaluser_id": 26, "resourceinstanceid": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Cabildo Indigenal"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000045", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Gran Cabildo Indigenal de la Sant\u00edsima Trinidad"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["ddf3995c-dec2-4682-8889-94924a5fb6fc"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 0, "tileid": "56b9c54a-d9a3-49dd-8f66-06bfb95651b2"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89086267824618, -14.8433121021352], "type": "Point"}, "id": "b6b97bea9088fe7323ad45877188a56f", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000017'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 0, "tileid": "24c1a4d5-ac3d-4c45-8240-b61ca4030316"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 0, "tileid": "a35d37b7-3c7a-464b-8eb0-b0c1556c8a5c"}, {"data": {"1c60b732-8579-11ee-a653-53ebd0470963": ["9c539c14-ff65-4565-85a2-2268e4fe36ed", "6607c5b4-0da3-411e-9e77-603617fa7be8"], "99b0d2b8-d30c-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos de los Cabildos en Mojos</strong></p>\n\n<p>&nbsp;</p>\n\n<p>Las misiones jesu&iacute;ticas necesitaron reestructurar al grupo de ind&iacute;genas en una forma de organizaci&oacute;n que respondiera a las actividades religiosas. Es as&iacute; como se estableci&oacute; la estructura del Cabildo Ind&iacute;gena. Hacia 1700, con la visita del padre Diego Francisco Altamirano, se organiz&oacute; un sistema de autoridades para asentar la religi&oacute;n, fusionando los nuevos cargos con formas tradicionales ind&iacute;genas.</p>\n\n<p>&nbsp;</p>\n\n<p style=\"margin-left:47px\">&ldquo;Manoel F&eacute;lix de Lima observ&oacute; que en Magdalena quienes ocupaban los principales cargos de la reducci&oacute;n eran en su totalidad antiguos caciques; y un informe de 1764 anota la presencia de los jefes tradicionales en las reducciones de Baures, que segu&iacute;an siendo llamados aramas sesenta a&ntilde;os despu&eacute;s de su ingreso en la Misi&oacute;n&rdquo; (Block, 1997: 135).</p>\n\n<p>&nbsp;</p>\n\n<p>Autores como Limpias (2007) y D&rsquo;Orbigny (2002) hacen referencia a esta estructura de poder. D&rsquo;Orbigny, por ejemplo, describe detalladamente el sistema de autoridades:</p>\n\n<p>&nbsp;</p>\n\n<p style=\"margin-left:47px\">&ldquo;El corregidor era el primer jefe, el teniente y el alf&eacute;rez. En una misma misi&oacute;n se reun&iacute;a varios grupos &eacute;tnicos distintos, se separaron en parcialidades, cada parcialidad ten&iacute;a su propio sistema de autoridades, el corregidor, teniente, alf&eacute;rez, alcalde primero, alcalde segundo, comandante, justicia mayor, el sargento mayor. Todos estos jefes usaban un bast&oacute;n con pu&ntilde;o de plata como signo de su poder, todos ellos reunidos formaban el cabildo. Todos los d&iacute;as acud&iacute;an a recibir &oacute;rdenes de los misioneros, para luego hacerlas ejecutar. Si hab&iacute;a alg&uacute;n asunto grave, eran consultados, y no ocurr&iacute;a o no se hac&iacute;a nada extraordinario sin que fuesen llamados a dar su parecer&rdquo; (D&rsquo;Orbigny, 2002: 1378).</p>\n\n<p>&nbsp;</p>\n\n<p>Cada juez o jefe de parcialidad ten&iacute;a subalternos:</p>\n\n<p>&nbsp;</p>\n\n<p style=\"margin-left:47px\">&ldquo;El alguacil y el regidor (&hellip;) Llevaban como insignia una larga vara negra, adornada con plata en su extremidad. El capit&aacute;n, el alf&eacute;rez y el sargento llevaban alabardas y sus atribuciones eran militares. En las procesiones marchaban seguidos de sus flecheros y estaban encargados en tiempo de paz del mantenimiento del orden, de la detenci&oacute;n de los malhechores (&hellip;) Los fiscales, tres por cada secci&oacute;n, llevaban un l&aacute;tigo y eran los encargados de conducir a los indios al trabajo. (&hellip;) Cada parcialidad ten&iacute;a adem&aacute;s dos cruceros, que depend&iacute;an directamente de los jesuitas. Llevaban siempre una peque&ntilde;a cruz de madera negra. Eran por lo general viejos. Sus funciones consist&iacute;an en cuidar a los enfermos, administrarles los remedios, prevenir a los jueces que tal mujer estaba encinta, a fin de que quedara eximida del trabajo; informaban a los religiosos de los nacimientos y defunciones, y serv&iacute;an de intermediarios directos entre el pueblo y el jefe espiritual en todo lo referente a matrimonios, confesiones, etc.&rdquo; (D&rsquo;Orbigny, 2002: 1378).</p>\n\n<p>&nbsp;</p>\n\n<p>Tambi&eacute;n exist&iacute;a una serie de jefes encargados de secciones productivas:</p>\n\n<p>&nbsp;</p>\n\n<p style=\"margin-left:47px\">&ldquo;Se nombraban entre los indios m&aacute;s expertos en las artes y la industria que hab&iacute;an llegado a dirigir los trabajos de su especialidad. Todos llevaban el bast&oacute;n con empu&ntilde;adura de plata. (&hellip;) El maestro de capilla y su segundo, el maestro de canto, depend&iacute;an directamente del religioso encargado de lo espiritual. Dirig&iacute;an la m&uacute;sica, los cantos, los coros de la iglesia y ense&ntilde;aban canto, m&uacute;sica y danza. Instru&iacute;an a los j&oacute;venes en la lectura, escritura y copia de la m&uacute;sica (&hellip;) El sacrist&aacute;n mayor y su segundo estaban encargados de la direcci&oacute;n de los monaguillos; cuidaban de la conservaci&oacute;n y de las reparaciones de los edificios y eran los responsables de los vasos sagrados y de las im&aacute;genes de las iglesias. Vigilaban el lavado, planchado y conservaci&oacute;n de la ropa blanca, en calidad de sastres, costureros y lavanderos. Estaban bajo las inmediatas &oacute;rdenes del cura; cuando sus subordinados se ocupaban de trabajos agr&iacute;colas, quedaban moment&aacute;neamente bajo la dependencia del corregidor. (&hellip;) El capit&aacute;n de estancia, encargado de la direcci&oacute;n y vigilancia de los caballos, de los bovinos y lanares en cada estancia ten&iacute;a bajo sus &oacute;rdenes a un mayordomo que resid&iacute;a all&iacute;. El mayordomo de colegio, guardalmac&eacute;n del colegio que vigilaba los aprovisionamientos, se ocupaba de la mesa com&uacute;n, de la distribuci&oacute;n general de la carne para la semana o de la distribuci&oacute;n especial para los enfermos&rdquo; (D&rsquo;Orbigny, 2002: 1378&ndash;1380).</p>\n\n<p>&nbsp;</p>\n\n<p>Limpias (2007) describe adem&aacute;s otras autoridades seg&uacute;n especialidades, como el &ldquo;capit&aacute;n de pinturas, de carpinter&iacute;a, rosarios, herreros, plateros, otros&rdquo;.</p>\n\n<p>&nbsp;</p>\n\n<p>Los jesuitas conformaron talleres de producci&oacute;n como carpinter&iacute;a, telares, sastrer&iacute;a, curtidur&iacute;a, zapater&iacute;a, trapiches, fundici&oacute;n y herrer&iacute;a. En las cercan&iacute;as de las misiones se instalaron plantaciones de ca&ntilde;averales, cacaotales, algodonales, arrozales, maizales y cafetales. Tambi&eacute;n contaban con estancias de ganado vacuno y caballar, mataderos, barcos y canoas.</p>\n\n<p>&nbsp;</p>\n\n<p>La organizaci&oacute;n que muestran los autores se asemeja a la estructura de los Cabildos actuales, donde la poblaci&oacute;n se divide en cargos y responsabilidades.</p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo Indigenal sigue siendo hoy una instituci&oacute;n fundamental. Tiene un rol central en las festividades religiosas, cuyo calendario permite la participaci&oacute;n y la rememoraci&oacute;n de pr&aacute;cticas culturales e identitarias. M&aacute;s all&aacute; del &aacute;mbito religioso, el Cabildo tambi&eacute;n representa a la comunidad en necesidades materiales como el acceso a vivienda, agua, electricidad e infraestructura, y se articula con otras estructuras ind&iacute;genas a nivel provincial y departamental. As&iacute;, el Cabildo es fuente de integraci&oacute;n y espacio de transmisi&oacute;n de saberes culturales entre generaciones.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Referencias bibliogr&aacute;ficas</strong></p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Block, David (1997). La cultura reduccional de los Llanos de Mojos. Tradici&oacute;n aut&oacute;ctona, empresa jesu&iacute;tica &amp; pol&iacute;tica civil, 1660 &ndash; 1880. Universidad de Nebraska. Sucre.</li>\n\t<li>D&rsquo;Orbigny, A. (2002). Viaje a la Am&eacute;rica Meridional. Tomo VII. Moxos y Chiquitos. La Paz: Editorial Amigos del Libro. (Obra original del siglo XIX)</li>\n\t<li>Limpias, G. (2007). La organizaci&oacute;n social en las misiones jesu&iacute;ticas de Moxos. Sucre: Archivo y Biblioteca Nacionales de Bolivia (ABNB).</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Historia del </strong><strong>Gran Cabildo de la Sant&iacute;sima Trinidad</strong></p>\n\n<p>La historia del Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad se remonta a tiempos en los que el sitio donde hoy se encuentra era un monte, sin casas ni infraestructuras. En ese entonces, las reuniones de los ind&iacute;genas moje&ntilde;os trinitarios se realizaban en casas particulares. Un carpintero, tambi&eacute;n ind&iacute;gena, ofrec&iacute;a su peque&ntilde;o cuarto como espacio para las reuniones de la tropa de &quot;taitas&quot; o ancianos. No exist&iacute;a una sede social establecida y las fiestas tradicionales se llevaban a cabo en patios peque&ntilde;os, acompa&ntilde;adas de rezos en puro dialecto moje&ntilde;o. Los bailes se organizaban en los patios durante los d&iacute;as especiales.</p>\n\n<p>&nbsp;</p>\n\n<p>En aquel tiempo, un ni&ntilde;o &mdash;actualmente de 67 a&ntilde;os&mdash; record&oacute; las palabras de su padre: &quot;&iquest;Por qu&eacute; no nos vamos?&quot;, a lo que el carpintero respondi&oacute;: &quot;Este es nuestro cabildo&quot;. Su padre, Miguel No&eacute; Moy&eacute;, decidi&oacute; que deb&iacute;an buscar un lugar propio para establecer su cabildo. Encontraron un terreno cubierto de monte, donde predominaba el palo santo (tambi&eacute;n llamado &quot;palo diablo&quot;) y la presencia de hormigas grandes y venenosas. Aunque algunos afirmaban que esa tierra ten&iacute;a due&ntilde;o, el padre de familia insisti&oacute; en que se trataba de un terreno bald&iacute;o, un chaparral deshabitado.</p>\n\n<p>&nbsp;</p>\n\n<p>A pesar de las amenazas de un supuesto propietario, un ganadero cuya estancia quedaba a tres kil&oacute;metros de distancia, Miguel No&eacute; Moy&eacute; lider&oacute; a la comunidad en la decisi&oacute;n de ocupar el monte. Algunos se opon&iacute;an, argumentando que el lugar estaba lleno de peligros como jochi pintado, urinas y serpientes cascabel. Sin embargo, Moy&eacute;, como corregidor, afirm&oacute; que el crecimiento de Trinidad justificar&iacute;a la posesi&oacute;n de ese espacio para el cabildo.</p>\n\n<p>&nbsp;</p>\n\n<p>Con la colaboraci&oacute;n de la comunidad, rozaron el monte en un solo d&iacute;a y, tras quince d&iacute;as de secado, prendieron fuego para despejar el &aacute;rea. Comenzaron a construir casitas, asignando el cien por ciento del terreno a los miembros del cabildo y a aquellos que no ten&iacute;an hogar. Aunque el supuesto due&ntilde;o intent&oacute; reclamar la propiedad, no pudo presentar documentos legales que lo respaldaran. Gracias al apoyo del doctor Vargas, amigo de Miguel No&eacute; Moy&eacute;, se logr&oacute; decretar el &aacute;rea como terreno bald&iacute;o a favor de la comunidad ind&iacute;gena.</p>\n\n<p>Miguel No&eacute; Moy&eacute; fue encarcelado por esta acci&oacute;n. Su hijo, de entonces 15 a&ntilde;os, intervino ante las autoridades explicando que su padre no hab&iacute;a robado tierras, sino que estaba defendiendo los derechos de los ind&iacute;genas. Finalmente, el apoyo legal permiti&oacute; su liberaci&oacute;n. El supuesto due&ntilde;o huy&oacute; a Cochabamba, mientras el lugar se consolidaba como un manzano habitado por la comunidad ind&iacute;gena, con una sede social para las reuniones del cabildo.</p>\n\n<p>&nbsp;</p>\n\n<p>Miguel No&eacute; Moy&eacute; proven&iacute;a de Buen Retiro, un territorio en el que solo tres familias lograron permanecer en Trinidad. En 1961, tras un proceso de adjudicaci&oacute;n de tierras, se asignaron parcelas a diferentes comunidades ind&iacute;genas, entre ellas Buen Retiro, y un terreno especial qued&oacute; reservado para el Cabildo Indigenal. Durante a&ntilde;os, las familias vivieron a orillas del r&iacute;o Mamor&eacute;, en condiciones dif&iacute;ciles.</p>\n\n<p>&nbsp;</p>\n\n<p>La casa social del cabildo fue establecida como un espacio exclusivo para reuniones tradicionales de los taitas y las mamas, prohibi&eacute;ndose expresamente la realizaci&oacute;n de reuniones pol&iacute;ticas. Esta normativa se mantiene desde 1960. La poblaci&oacute;n trinitaria, principalmente de origen moje&ntilde;o, habitaba la orilla del Mamor&eacute; y manten&iacute;a lazos culturales con los ignacianos, quienes, aunque con variantes en su forma de hablar, eran recibidos como paisanos cuando visitaban Trinidad.</p>\n\n<p>&nbsp;</p>\n\n<p>El terreno donde se asent&oacute; el cabildo era propenso a inundaciones, por lo que se colocaban troncos y tablas para poder transitar. Con el tiempo, se realizaron rellenos de tierra para evitar las inundaciones, permitiendo as&iacute; la consolidaci&oacute;n de un espacio digno para la preservaci&oacute;n de las tradiciones y la vida comunitaria.</p>\n\n<p><em>(Fuente: Testimonio de Hernesto Nove. Grabaciones Z0000052, Z0000053, carpeta 13 de junio.)</em></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la estructura social</strong></p>\n\n<p>La presente secci&oacute;n describe el funcionamiento y organizaci&oacute;n interna del Cabildo Indigenal de la Sant&iacute;sima Trinidad, detallando sus mecanismos de elecci&oacute;n de autoridades, las funciones de cada cargo y su estructura social actual. Asimismo, expone c&oacute;mo se mantiene la continuidad de sus pr&aacute;cticas religiosas, la organizaci&oacute;n de sus fiestas tradicionales y el rol que cumplen las parcialidades y cuerpos de danza dentro de la vida comunitaria.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la estructura social</strong></p>\n\n<p>La autoridad municipal en Trinidad recae en el alcalde, mientras que la autoridad tradicional es el Cabildo, representado por el Corregidor. El Cabildo Indigenal de la Sant&iacute;sima Trinidad forma parte de la junta vecinal UV.4 del municipio, pero mantiene su autonom&iacute;a. Las decisiones dentro del cabildo se toman en comunidad, involucrando a todas sus autoridades. No reciben financiamiento externo y la organizaci&oacute;n de las fiestas religiosas se realiza con los recursos que logran reunir entre todos los miembros.</p>\n\n<p>&nbsp;</p>\n\n<p>La estructura del cabildo se organiza bajo un sistema de autoridades que se elige anualmente. La elecci&oacute;n del corregidor est&aacute; a cargo de los mayordomos, quienes son las personas m&aacute;s respetadas de la comunidad. Ellos analizan a cada uno de los miembros para proponer un corregidor, cuya designaci&oacute;n debe ser consensuada por toda la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>La composici&oacute;n del cabildo es la siguiente: el corregidor es la m&aacute;xima autoridad ind&iacute;gena, seguido del capit&aacute;n grande; dos caciques (primero y segundo); dos alcaldes (primero y segundo); juez de paz; juez de justicia; teniente; polic&iacute;a; fiscal; albacea; secretaria; y aproximadamente diez comisarios, sumando alrededor de 24 personas. El corregidor es responsable de organizar a la comunidad para las fiestas, actos importantes y establecer relaciones con instituciones p&uacute;blicas y privadas. En el trato comunitario se le reconoce como &ldquo;Tata&rdquo;. Los caciques tienen funciones similares al corregidor y apoyan en las tareas necesarias.</p>\n\n<p>&nbsp;</p>\n\n<p>El cargo de alcalde es el &uacute;nico que puede ser ocupado por mujeres. Los alcaldes supervisan que todos los miembros cumplan con las labores asignadas para la organizaci&oacute;n de las festividades. Por su parte, el juez de paz y el juez de justicia resuelven los conflictos que surjan dentro de la comunidad en base a las normas del cabildo. Cuando se determina una infracci&oacute;n menor, se impone una multa de una arroba o media arroba de ma&iacute;z, destinado a la elaboraci&oacute;n de chicha. En casos de infracciones mayores, se aplica un castigo f&iacute;sico: media arroba equivale a seis latigazos y una arroba a doce latigazos. Estas sanciones buscan reparar el da&ntilde;o cometido y funcionan como una forma de sanci&oacute;n social. En la resoluci&oacute;n de los casos participan tambi&eacute;n el teniente, la polic&iacute;a y el fiscal.</p>\n\n<p>&nbsp;</p>\n\n<p>El albacea tiene a su cargo la custodia de los documentos hist&oacute;ricos del cabildo, que incluyen registros de la propiedad del sitio de viviendas y documentos relativos a su historia. El cargo de secretario, que antiguamente era ejercido por el tercer cacique y luego por el tercer comisario hasta el a&ntilde;o 2005, hoy puede ser ocupado por una persona designada y tambi&eacute;n por mujeres. La secretaria registra las actas de reuniones y otros actos institucionales.</p>\n\n<p>&nbsp;</p>\n\n<p>Los comisarios, aproximadamente diez, son los responsables de transmitir las &oacute;rdenes de las autoridades, coordinar actividades y atender a la comunidad durante los actos colectivos, incluyendo la distribuci&oacute;n de alimentos y chicha.</p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo de la Sant&iacute;sima Trinidad ejerce autoridad sobre las parcialidades. Cada parcialidad nombra a un mayordomo, quien asume la responsabilidad de alimentar a los ni&ntilde;os y hu&eacute;rfanos de la comunidad. Los mayordomos tambi&eacute;n participan en la elecci&oacute;n del corregidor. Cada parcialidad representa a grupos con oficios espec&iacute;ficos, como abadesas, doctrineros, ap&oacute;stoles, meleadores (encargados de buscar miel para la elaboraci&oacute;n de chicha), cuidadores de ganado, orde&ntilde;adores, pastores y tejedores. Actualmente existen doce parcialidades activas, aunque algunas pueden desaparecer temporalmente al trasladarse a otro sitio, siempre regresando al cabildo con la responsabilidad de contribuir con alimentos y presencia.</p>\n\n<p>&nbsp;</p>\n\n<p>Adicionalmente, existen agrupaciones conocidas como cuerpos de danza, entre los cuales se encuentran los macheteros, mamas, toritos, abadesas, angelitos (quienes visten camisa blanca y pantal&oacute;n azul decorados con cintas de colores y portan banderas), reyes magos, barco, san juaneros, jud&iacute;os, Herodes, yuras, graciosos y aruchus (&aacute;ngeles representados por tres personas con sotanas blancas, coronas y banderas blancas, a veces acompa&ntilde;ados de un rosario).</p>\n\n<p>&nbsp;</p>\n\n<p>La fe en Dios ocupa un lugar central en la vida del cabildo. Todas las actividades son dirigidas bajo esta convicci&oacute;n religiosa. El cabildo cuenta con una capilla donde se trasladan los santos de comunidades que han perdido poblaci&oacute;n, para mantener la continuidad de su veneraci&oacute;n y pr&aacute;ctica religiosa.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Modo de funcionamiento</strong></p>\n\n<p>El presente documento re&uacute;ne testimonios orales y reconstrucciones hist&oacute;ricas que permiten comprender la organizaci&oacute;n, las luchas y transformaciones del Cabildo Indigenal de la Sant&iacute;sima Trinidad y la creaci&oacute;n del Subcabildo de la zona Pedro Ignacio Muiba. A trav&eacute;s de relatos comunitarios, se retrata el proceso de elecci&oacute;n de autoridades, el papel del cabildo en la vida social y religiosa, los antecedentes de resistencia ind&iacute;gena frente a la colonizaci&oacute;n, las din&aacute;micas posteriores durante la &eacute;poca de la goma, y las luchas por la tierra y la dignidad en las marchas ind&iacute;genas de fines del siglo XX. Tambi&eacute;n se describen los procesos de dispersi&oacute;n y reconfiguraci&oacute;n territorial de las familias moje&ntilde;as, la construcci&oacute;n de espacios propios y los desaf&iacute;os recientes en la relaci&oacute;n entre el Cabildo Indigenal y su subcabildo.</p>\n\n<p><br />\nPara la elecci&oacute;n de autoridades del cabildo se realizan tres reuniones anuales, comenzando en octubre y culminando antes del primero de enero. La segunda reuni&oacute;n, realizada en noviembre, es decisiva para determinar si habr&aacute; elecciones. Si el corregidor en funciones ha desempe&ntilde;ado un buen trabajo, se ratifica su mandato sin necesidad de elecciones. De lo contrario, se procede a la elecci&oacute;n de un nuevo corregidor. Miguel Noe y su hijo Hernesto fueron los primeros corregidores. Hernesto Nove recuerda:<br />\n&nbsp;</p>\n\n<p style=\"margin-left:47px\">&ldquo;Nac&iacute; en 1963, ya estaban los abuelos. Naveg&aacute;bamos en el arroyo San Juan, en el puente por el palacio de los deportes, hasta all&aacute; llegaban las embarcaciones. Vi c&oacute;mo nuestros abuelos hac&iacute;an sus asambleas en el arroyo. Luego, un se&ntilde;or don&oacute; este lugar a la alcald&iacute;a, y nos trasladamos aqu&iacute;, cuando yo ya era joven.&rdquo;<br />\n(Testimonio de Hernesto Nove. Grabaciones Z0000052, Z0000053, carpeta 13 de junio)</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Funciones del Cabildo</strong><br />\nEl cabildo organiza toda la vida religiosa de la comunidad, ense&ntilde;ando rezos, m&uacute;sica, danza, artesan&iacute;a, elaboraci&oacute;n de m&aacute;scaras y trajes, y preservando las costumbres vinculadas a cada santo o fecha religiosa.<br />\n&nbsp;</p>\n\n<p>Los miembros del cabildo tambi&eacute;n mantienen conocimientos hist&oacute;ricos sobre su conformaci&oacute;n, relatos sobre su cosmovisi&oacute;n, cantos religiosos, medicina tradicional, entre otros saberes. Conservan en la memoria a personajes hist&oacute;ricos como Cipriano Barace y Pedro Ignacio Muiba.<br />\n&nbsp;</p>\n\n<p>La personer&iacute;a jur&iacute;dica del cabildo fue obtenida en 1990, despu&eacute;s de la marcha por la fundaci&oacute;n de la Central de Pueblos Ind&iacute;genas del Beni (CPIB).</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Resistencia de Pedro Ignacio Muiba</strong><br />\nSeg&uacute;n el relato de Luis Tamo, la llegada de los espa&ntilde;oles trajo saqueo, abuso sexual de j&oacute;venes ind&iacute;genas y esclavizaci&oacute;n. Pedro Ignacio Muiba lider&oacute; una rebeli&oacute;n en 1810: idearon una trampa con un pozo cubierto de palos donde murieron varios espa&ntilde;oles. Como represalia, Pedro Ignacio fue capturado, descuartizado y su cabeza empalada. Juan Maraza fue el traidor que lo entreg&oacute;.<br />\n&nbsp;</p>\n\n<p>Tras su muerte, los pueblos se dispersaron. Los espa&ntilde;oles, posteriormente, quemaron documentos ind&iacute;genas. Para defenderse, los ind&iacute;genas comenzaron a usar armas tomadas de los espa&ntilde;oles y lucharon cuerpo a cuerpo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>La &eacute;poca de la goma y nuevas esclavitudes</strong><br />\nEn la d&eacute;cada de 1890, con el auge de la goma, Romulo y Nicol&aacute;s Su&aacute;rez, provenientes de Santa Cruz, aprovecharon el vac&iacute;o poblacional para captar ind&iacute;genas como peones, ofreci&eacute;ndoles comida y vestimenta a cambio de trabajo forzado. Los ind&iacute;genas eran llamados &quot;taitas&quot; y muchas veces, tras ser alcoholizados, eran forzados a castigar a sus propios hermanos ind&iacute;genas.<br />\nEn 1900-1910, Andr&eacute;s Guayocho surgi&oacute; como nuevo l&iacute;der, advirtiendo al pueblo que no deb&iacute;an volver a la esclavitud. Sin embargo, Romulo Su&aacute;rez continu&oacute; capturando ind&iacute;genas, llev&aacute;ndolos a Riberalta, Guayaramer&iacute;n y Cachuela Esperanza.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Guerra del Chaco y reorganizaci&oacute;n ind&iacute;gena</strong><br />\nDurante la Guerra del Chaco (1932-1935), Romulo Su&aacute;rez ofreci&oacute; ind&iacute;genas al ej&eacute;rcito, muchos de los cuales fueron obligados a enrolarse. Simon Noza Villca fue uno de los que particip&oacute; y, al regresar, enfatiz&oacute; la importancia de aprender a manejar armas para no volver a ser esclavizados.<br />\nTras la guerra, se reorganiz&oacute; el cabildo en el &aacute;rea donde hoy est&aacute; el Banco Uni&oacute;n en Trinidad. Se enviaron canoas a las comunidades para convocar a los ind&iacute;genas dispersos, explic&aacute;ndoles que la esclavitud y la guerra hab&iacute;an terminado.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Fundaci&oacute;n y consolidaci&oacute;n del Cabildo Indigenal</strong><br />\nEl cabildo se traslad&oacute; por distintas zonas: desde el &aacute;rea de La Paz y el actual Hotel Jacaranda, hasta instalarse donde hoy es la plaza Pompeya, liderados por el corregidor conocido como Tata Chiriputo.<br />\n&nbsp;</p>\n\n<p>Con apoyo de la Federaci&oacute;n de Campesinos y autoridades locales, en 1964 se les otorga un terreno. En 1974 se construye la primera iglesia de madera y, en 1977, una pareja espa&ntilde;ola don&oacute; materiales para la construcci&oacute;n de una iglesia redonda.<br />\n&nbsp;</p>\n\n<p>En 1988, con la visita del Papa Juan Pablo II, se celebraron los primeros matrimonios colectivos del cabildo. Posteriormente, en 1997 y 2013 se realizaron refacciones, ampliando y mejorando la infraestructura.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Educaci&oacute;n y articulaci&oacute;n regional</strong><br />\nDurante los a&ntilde;os 80, el cabildo alberg&oacute; un colegio ind&iacute;gena, debido a la exclusi&oacute;n en otros centros educativos. Este colegio evolucion&oacute; hasta convertirse en el actual colegio de Fe y Alegr&iacute;a Pedro Ignacio Muiba.<br />\n&nbsp;</p>\n\n<p>Desde 1988, el Cabildo Indigenal se convirti&oacute; en sede de reuniones regionales, impulsando la primera Marcha por la Tierra, Territorio y Dignidad en 1990, y la segunda marcha en 1992.<br />\n&nbsp;</p>\n\n<p>La Confederaci&oacute;n de Pueblos Ind&iacute;genas del Beni (CEPIB) naci&oacute; en el Cabildo Indigenal, el cual fue tambi&eacute;n de los primeros en contar con predios propios.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Dispersi&oacute;n y b&uacute;squeda de la Loma Santa</strong><br />\nTras las rebeliones y el conflicto b&eacute;lico, muchos ind&iacute;genas se dispersaron buscando la &quot;Loma Santa&quot;, un lugar so&ntilde;ado donde no habr&iacute;a enfermedades ni sufrimiento.<br />\nGrupos formaron nuevas comunidades en el Tipnis, Chapare y otras zonas, llevando consigo semillas y cultivos b&aacute;sicos. Algunos lograron establecerse exitosamente, otros regresaron a Trinidad, mientras que otros nunca volvieron.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Fundaci&oacute;n del Subcabildo Pedro Ignacio Muiba</strong><br />\nEn 2005 se cre&oacute; un subcabildo en la zona Pedro Ignacio Muiba para descongestionar el Cabildo Indigenal. Nelson Rocha vendi&oacute; terrenos a precios m&oacute;dicos para la instalaci&oacute;n.<br />\nEl primer corregidor pasante fue V&iacute;ctor Noza Guaji, acompa&ntilde;ado por autoridades alternas como Luis Tamo Cayuba y Avelino Semo Pasema.<br />\n&nbsp;</p>\n\n<p>El subcabildo fue creado tambi&eacute;n con la finalidad de tener un corral propio para la Chope Piesta, dado que el anterior corral de la plaza de la Tradici&oacute;n ya era administrado por la Alcald&iacute;a y se hab&iacute;a comercializado.<br />\n&nbsp;</p>\n\n<p>En 2010 el subcabildo se consolida plenamente, coordinando inicialmente sus acciones con el Cabildo Indigenal. A partir de 2017 surgieron tensiones debido a intentos de administrar recursos propios.</p>\n"}}}, "nodegroup_id": "1c60b732-8579-11ee-a653-53ebd0470963", "parenttile_id": "a35d37b7-3c7a-464b-8eb0-b0c1556c8a5c", "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 0, "tileid": "6802b1f5-0c0f-4c14-bc98-e3828181d676"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal de representaci\u00f3n de autoridad tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Bast\u00f3n de \u201cvirtud\u201d   Materiales La pieza est\u00e1 elaborada a partir de madera de bejuco, una enredadera propia de la regi\u00f3n amaz\u00f3nica. Esta planta, de tallos largos y flexibles, es utilizada tradicionalmente por su resistencia y maleabilidad.  T\u00e9cnica de elaboraci\u00f3n Tallado manual. El proceso de preparaci\u00f3n de la madera de bejuco inicia con el pelado del material. En su estado reci\u00e9n pelado, el bejuco presenta un color amarillo que, con el paso del tiempo, se transforma en un tono marr\u00f3n. Este cambio crom\u00e1tico es parte del proceso natural de maduraci\u00f3n de la madera, lo que tambi\u00e9n aporta una apariencia caracter\u00edstica al bast\u00f3n.  Descripci\u00f3n de la pieza Se trata de un bast\u00f3n que recibe el nombre de \u201cvirtud\u201d o \u201cguachimano\u201d. Su dise\u00f1o responde tanto a fines utilitarios como simb\u00f3licos, siendo un componente esencial en determinadas pr\u00e1cticas rituales y expresiones culturales locales.  Descripci\u00f3n del contexto El bast\u00f3n se utiliza en el marco de la Chope Piesta, una festividad tradicional de la ciudad de Trinidad. Esta celebraci\u00f3n conmemora la fundaci\u00f3n de la ciudad con la llegada de los primeros pobladores. Se trata de un encuentro intercultural al que acuden comunidades de distintos pueblos como San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, Javerianos, Loreto y San Ignacio. En el dialecto trinitario, \u201cchope\u201d significa \u201cfiesta grande\u201d. La fiesta est\u00e1 dedicada a la Sant\u00edsima Trinidad \u2014Padre, Hijo y Esp\u00edritu Santo\u2014 y sigue el calendario lit\u00fargico cat\u00f3lico. Se celebra el domingo posterior a Pentecost\u00e9s, fecha en la que concluye la conmemoraci\u00f3n pascual: Navidad como la pascua del Padre, la Resurrecci\u00f3n como la del Hijo, y Pentecost\u00e9s como la del Esp\u00edritu Santo. La fiesta se convierte as\u00ed en una evocaci\u00f3n del misterio trinitario: un solo Dios en tres personas distintas.  Descripci\u00f3n de la funci\u00f3n/uso El bast\u00f3n de bejuco se emplea en la danza del Achu, que forma parte de los actos festivos y religiosos de la Chope Piesta. La danza y el uso del bast\u00f3n se integran a una serie de expresiones rituales que fortalecen la identidad colectiva y el patrimonio cultural de las comunidades mojenas.  Datos hist\u00f3ricos Antes de la llegada de los europeos, la regi\u00f3n de Moxos estaba habitada por una numerosa poblaci\u00f3n ind\u00edgena de diversos grupos \u00e9tnicos. A finales del siglo XVII, comenzaron a establecerse las misiones jesu\u00edticas, en un contexto donde las comunidades originarias ya hab\u00edan sido diezmadas por epidemias y redadas. Desde 1667 hasta 1767, el actual territorio del Beni form\u00f3 parte de la provincia jesu\u00edtica de Moxos. La Provincia de Moxos fue oficialmente reconocida por ley el 27 de noviembre de 1941, durante el gobierno del general Enrique Pe\u00f1aranda. Hacia 1986, las instituciones estatales comenzaron a involucrarse m\u00e1s activamente en la organizaci\u00f3n de la Chope Piesta. En el pasado, las comunidades tra\u00edan palos en cantidades distintas para construir el corral donde se realizaba el jocheo del toro. El palo encebado, parte importante de la festividad, se transportaba en canoas tras una semana de b\u00fasqueda. Inicialmente, las autoridades municipales no participaban directamente en la organizaci\u00f3n de la fiesta, pero con el tiempo tanto la alcald\u00eda como la prefectura empezaron a apoyar econ\u00f3micamente estas actividades. Las comunidades de las riberas de los r\u00edos Ibare y Mamor\u00e9 contribu\u00edan con productos agr\u00edcolas como yuca, ma\u00edz y pl\u00e1tano. Cada familia organizaba un \"chaquito\" para recolectar alimentos destinados a la festividad. Se reun\u00edan entre 30 y 50 racimos de pl\u00e1tano para su venta e intercambio. Actualmente, al estar muchas de estas comunidades asentadas en Trinidad, ya no pueden abastecerse de la misma manera, por lo que recurren al apoyo de las autoridades locales para cubrir los requerimientos de la fiesta. La cosecha del ma\u00edz, fundamental para la elaboraci\u00f3n de la chicha, coincide con la Chope Piesta. El pl\u00e1tano est\u00e1 disponible todo el a\u00f1o, pero el ma\u00edz debe sembrarse hacia el mes de marzo para estar listo al momento de la celebraci\u00f3n. Seg\u00fan registros del Gobierno Aut\u00f3nomo Municipal de Trinidad, esta festividad se celebra en torno al d\u00eda de la Sant\u00edsima Trinidad, cuya fecha es movible dentro del santoral cat\u00f3lico. La fundaci\u00f3n de Trinidad, en 1686, fue un ejemplo claro de sincretismo religioso, resultado de la combinaci\u00f3n entre la fe cat\u00f3lica y las creencias ind\u00edgenas. El misionero jesuita Cipriano Barace, junto con el sacerdote Pedro Marb\u00e1n, fue clave en este proceso. Adem\u00e1s de evangelizar, ense\u00f1aron oficios como la carpinter\u00eda, la m\u00fasica sacra, la agricultura y la ganader\u00eda, trayendo desde Santa Cruz las primeras cabezas de ganado, lo que marc\u00f3 el inicio del car\u00e1cter ganadero del Beni. La ciudad de Trinidad fue la segunda misi\u00f3n jesu\u00edtica establecida en la regi\u00f3n, despu\u00e9s de Loreto (fundada en 1682). Barace promovi\u00f3 un modelo de organizaci\u00f3n comunitaria centrado en la formaci\u00f3n humana y cristiana. Se establecieron cabildos indigenales, estructuras de gobierno con autoridades elegidas entre los propios habitantes, como el corregidor, el alcalde, doctrineros y ap\u00f3stoles. Estos \u00faltimos acompa\u00f1aban al sacerdote en celebraciones como el Jueves Santo. Las mamas abadesas, mujeres viudas encargadas del cuidado de las iglesias, tambi\u00e9n desempe\u00f1aban un rol destacado en la vida religiosa. Cipriano Barace, nacido en Isaba, Navarra (Espa\u00f1a), lleg\u00f3 a Moxos enviado desde Lima. Era un hombre polifac\u00e9tico: m\u00fasico, evangelizador, panadero, promotor de la ganader\u00eda y la educaci\u00f3n. Falleci\u00f3 a manos de los baures mientras realizaba su labor misionera, convirti\u00e9ndose en m\u00e1rtir. En su honor, el 28 de junio se celebra una fiesta conmemorativa en Trinidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Bast\u00f3n de \u201cvirtud\u201d  "}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "a35d37b7-3c7a-464b-8eb0-b0c1556c8a5c", "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 0, "tileid": "12cd9a25-dab0-4e00-a2b8-f216072dc7f1"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Camijeta Corregidor Materiales La camijeta del corregidor est\u00e1 confeccionada con tela lienzo, acompa\u00f1ada de una cinta tejida en telar, elementos que remiten tanto a t\u00e9cnicas tradicionales como al simbolismo de autoridad dentro de las estructuras organizativas ind\u00edgenas. T\u00e9cnica de elaboraci\u00f3n Su confecci\u00f3n se realiza de manera artesanal, mediante costura manual y tejido de la cinta en un telar vertical, pr\u00e1ctica heredada y conservada en las comunidades originarias de la regi\u00f3n.  Descripci\u00f3n de la pieza Se trata de una camisa ancha, de corte largo, que llega hasta los tobillos. Su dise\u00f1o no responde a criterios est\u00e9ticos modernos, sino a c\u00f3digos simb\u00f3licos que identifican a quien la porta como autoridad leg\u00edtima dentro del Cabildo Indigenal.  Descripci\u00f3n del contexto La camijeta del corregidor cobra sentido pleno dentro del marco festivo de la Chope Piesta, celebraci\u00f3n tradicional de gran importancia en Trinidad. Esta fiesta, cuyo nombre en dialecto trinitario significa \u201cfiesta grande\u201d, se remonta a la fundaci\u00f3n de la ciudad y a la llegada de los primeros pobladores. A ella acud\u00edan personas de diversos pueblos y comunidades: San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, javerianos, Loreto, San Ignacio, entre otros, convirti\u00e9ndose en un punto de encuentro cultural. La Chope Piesta celebra a la Sant\u00edsima Trinidad: Padre, Hijo y Esp\u00edritu Santo. La festividad se inserta en el calendario lit\u00fargico cat\u00f3lico como una correlaci\u00f3n de pascuas: la del Padre (en Navidad), la del Hijo (en la Resurrecci\u00f3n), y la del Esp\u00edritu Santo (en Pentecost\u00e9s). El domingo siguiente a esta \u00faltima se celebra el misterio de la Sant\u00edsima Trinidad \u2014un solo Dios en tres personas distintas\u2014: el Padre como creador, el Hijo como redentor y el Esp\u00edritu Santo como santificador.  Descripci\u00f3n de la funci\u00f3n/uso La camijeta se utiliza como distintivo ceremonial del corregidor, m\u00e1xima autoridad del Gran Cabildo Indigenal de la Sant\u00edsima Trinidad, figura que conserva funciones organizativas y simb\u00f3licas dentro del desarrollo de la fiesta y de la vida comunal.  Datos hist\u00f3ricos Antes de la llegada de los misioneros, la regi\u00f3n de Mojos estaba densamente poblada por numerosos grupos \u00e9tnicos ind\u00edgenas. La colonizaci\u00f3n misional comenz\u00f3 a finales del siglo XVII, con la fundaci\u00f3n de Loreto en 1682, y posteriormente, en 1686, con la creaci\u00f3n de la ciudad de la Sant\u00edsima Trinidad por el jesuita Cipriano Barace. En ese periodo, la regi\u00f3n estaba organizada como la Provincia Jesu\u00edtica de Mojos (1667\u20131767). Sin embargo, la llegada de enfermedades y redadas diezm\u00f3 considerablemente a la poblaci\u00f3n nativa.  En la etapa jesu\u00edtica, el proceso evangelizador incluy\u00f3 una formaci\u00f3n integral de la persona: espiritual, art\u00edstica, manual y educativa. Barace, originario de Isaba (Navarra, Espa\u00f1a), no solo evangelizaba, sino que tambi\u00e9n introdujo la panader\u00eda, ense\u00f1\u00f3 m\u00fasica y promovi\u00f3 actividades como la carpinter\u00eda y la ganader\u00eda. Fue \u00e9l quien trajo las primeras cabezas de ganado desde Santa Cruz, estableciendo as\u00ed el car\u00e1cter ganadero del actual departamento del Beni. La fiesta del 28 de junio, que rinde homenaje a Barace, recuerda su martirio a manos del pueblo Baures, adonde hab\u00eda viajado a misionar.  Durante la \u00e9poca misional, se establecieron autoridades locales elegidas dentro de la propia comunidad ind\u00edgena: corregidor, alcaldes, doctrineros y ap\u00f3stoles. El Cabildo Indigenal representaba una estructura de gobierno y evangelizaci\u00f3n, al estilo espa\u00f1ol, pero adaptado al contexto local. El corregidor, figura principal, era apoyado por otras autoridades, todas ellas nativas. Adem\u00e1s, exist\u00edan parcialidades como la de los Herreros, y roles espec\u00edficos como las Mamas Abadesas (viudas encargadas del templo), doctrineros (catequistas que ense\u00f1aban oraciones y doctrina) y los ap\u00f3stoles (asistentes del sacerdote durante la Semana Santa).  En cuanto al desarrollo de la Chope Piesta, hasta 1986 su organizaci\u00f3n depend\u00eda exclusivamente de las comunidades. Estas aportaban troncos para construir el corral del jocheo del toro y transportaban el palo encebado desde riberas lejanas en canoas. Tambi\u00e9n tra\u00edan alimentos \u2014pl\u00e1tanos, yuca, ma\u00edz\u2014 desde sus chacos. La cosecha del ma\u00edz coincid\u00eda con la fiesta y se utilizaba para preparar chicha, bebida infaltable en las celebraciones. Cada comunidad reun\u00eda hasta 50 racimos de pl\u00e1tano para vender y as\u00ed comprar otros insumos necesarios para la fiesta.  A partir de 1986, las instituciones estatales comenzaron a involucrarse en la organizaci\u00f3n del evento, aportando presupuestos y apoyo log\u00edstico. Con el tiempo, muchas comunidades dejaron de vivir en las riberas de los r\u00edos Ibare y Mamor\u00e9 y se establecieron en Trinidad, lo que limit\u00f3 el acceso a sus antiguos medios de sustento y producci\u00f3n. Actualmente, recurren a la Gobernaci\u00f3n y la Alcald\u00eda para la obtenci\u00f3n de alimentos e insumos. Esta transformaci\u00f3n tambi\u00e9n est\u00e1 documentada en fuentes oficiales. El Gobierno Aut\u00f3nomo Municipal de Trinidad se\u00f1ala:  \u201cEn el santoral cat\u00f3lico, el d\u00eda de la fiesta de la Sant\u00edsima Trinidad es movible, y es por ello que la ciudad capital del Beni, fundada en 1686, celebra su d\u00eda entre las \u00faltimas fechas de mayo o las primeras de junio. La fundaci\u00f3n de Trinidad por Cipriano Barace, \u2018doce leguas m\u00e1s abajo del r\u00edo Loreto\u2019, fue un \u00e9xito del sincretismo, es decir un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas. El misionero jesuita apoyado por otro sacerdote c\u00e9lebre, Pedro Marb\u00e1n, \u2018tent\u00f3\u2019 a la naci\u00f3n de Moxos ense\u00f1ando adem\u00e1s de las bellas artes como la m\u00fasica sacra y la pintura u oficios como la carpinter\u00eda y la alba\u00f1iler\u00eda, las t\u00e9cnicas de la agricultura y la ganader\u00eda. Y quiz\u00e1 es aqu\u00ed donde el Beni nace como un sat\u00e9lite dependiente de la ganader\u00eda cruce\u00f1a; pues Barace, con ayuda de los conquistadores espa\u00f1oles afincados en Santa Cruz, traslad\u00f3 las primeras cabezas de ganado a Mojos atravesando heroicamente 500 kil\u00f3metros. El esfuerzo de Barace fue recompensado por los Mojos que donaron su fe a la Sant\u00edsima Trinidad; y fue as\u00ed que naci\u00f3 la \u2018Chope Piesta\u2019, esa tricentenaria celebraci\u00f3n ind\u00edgena colonial que dura casi una semana entre el \u2018jocheo\u2019 de toros, el \u2018palo encebao\u2019, la danza de los macheteros y la elecci\u00f3n de bellas \u2018moperitas\u2019\u201d (Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f)."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Camijeta Corregidor"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "a35d37b7-3c7a-464b-8eb0-b0c1556c8a5c", "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 1, "tileid": "99b539fa-0c3b-4205-8e74-f5f77e8c6b22"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Santo Estandarte  Materiales El Santo Estandarte tiene un m\u00e1stil que est\u00e1 elaborado en madera de mara, una especie apreciada por su resistencia y durabilidad. Aunque no se ha identificado con certeza el tipo de tela utilizada en su elaboraci\u00f3n, se presume que se trata de un lienzo de buena calidad, dada su funci\u00f3n ceremonial y el cuidado con el que se conserva.  T\u00e9cnica de elaboraci\u00f3n No se cuenta con informaci\u00f3n precisa sobre la t\u00e9cnica con la que fue elaborado el estandarte, pero es posible que haya sido bordado de manera manual, considerando los detalles decorativos y el contexto tradicional de su uso.  Descripci\u00f3n de la pieza La pieza consiste en una tela rectangular con dise\u00f1os bordados, destacando la imagen de la Sant\u00edsima Trinidad como \u00fanico motivo visual. El estandarte luce bordados con hilos de colores plata y dorado, lo que realza su car\u00e1cter sagrado y ceremonial.  Descripci\u00f3n del contexto El Santo Estandarte se encuentra profundamente ligado a fiestas religiosas importantes, como la Semana Santa, Corpus Christi y  la Chope Piesta. La Chope Piesta es una festividad trinitaria de gran importancia que se celebra desde la fundaci\u00f3n de Trinidad, ciudad establecida por los primeros pobladores. Esta fiesta congrega a comunidades de toda la regi\u00f3n: San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, javerianos, Loreto, San Ignacio, entre otros. Es un aut\u00e9ntico encuentro de culturas, cuyo nombre, Chope Piesta, significa \u201cfiesta grande\u201d en dialecto trinitario.  Durante esta celebraci\u00f3n se honra a la Sant\u00edsima Trinidad: Padre, Hijo y Esp\u00edritu Santo. La festividad guarda relaci\u00f3n con el calendario lit\u00fargico cat\u00f3lico, ya que el domingo siguiente a Pentecost\u00e9s se celebra el misterio de la Trinidad \u2014un solo Dios en tres personas distintas. Seg\u00fan la tradici\u00f3n cat\u00f3lica, la Pascua del Padre se celebra en Navidad, la del Hijo en la Resurrecci\u00f3n, y la del Esp\u00edritu Santo en Pentecost\u00e9s; posteriormente, se honra a la Trinidad como un todo, reconociendo al Padre como creador, al Hijo como redentor y al Esp\u00edritu Santo como santificador.  Descripci\u00f3n de la funci\u00f3n/uso El origen del Santo Estandarte se remonta a la \u00e9poca del primer asentamiento en la ciudad de Trinidad cerca del r\u00edo San Juan, cuando a\u00fan era navegable. En ese contexto, el Cabildo tuvo la visita Monse\u00f1or Anasagasti y Monse\u00f1or Manuel Eriguiren, ellos mandaron a confeccionar un estandarte en Espa\u00f1a que representar\u00eda al Cabildo en misas y actos religiosos. Su confecci\u00f3n fue debatida y definida en asamblea del Cabildo, que determin\u00f3 la figura y leyenda que deb\u00eda tener. Se presume que fue tra\u00eddo al pa\u00eds aproximadamente alrededor del a\u00f1o 1965. Su uso es especialmente significativo durante las celebraciones de la Sant\u00edsima Trinidad, el Corpus Christi y la Semana Santa. Una familia era la encargada de custodiar esta pieza.  Con el traslado del Cabildo a su actual sede, la responsabilidad del Santo Estandarte recay\u00f3 en el padre de Luis Temo, quien asumi\u00f3 el cargo cuando \u00e9l ten\u00eda apenas doce a\u00f1os. Esta designaci\u00f3n, considerada de por vida, pas\u00f3 luego a su hermano y, tras su fallecimiento, paso a Luis Temo en 2004. Esta funci\u00f3n es hereditaria, pero \u00fanicamente por l\u00ednea masculina; ni las mujeres de la familia ni los yernos pueden asumirla.   El estandarte, considerado una reliquia sagrada del Cabildo, se utiliza exclusivamente tres veces al a\u00f1o: en la fiesta de la Sant\u00edsima Trinidad, en Corpus Christi y en Semana Santa. Va siempre al frente de la procesi\u00f3n de la danza del Machetero, llevado por su custodio, quien se encarga de su limpieza, cuidado y resguardo. Este lo conserva en una caja especial para protegerlo de da\u00f1os, especialmente de la polilla.  Datos hist\u00f3ricos del contexto de la Chope Piesta En tiempos prehisp\u00e1nicos, el territorio de Mojos estaba habitado por cientos de miles de ind\u00edgenas pertenecientes a diversos grupos \u00e9tnicos. La llegada de los primeros asentamientos externos ocurri\u00f3 con la instalaci\u00f3n de las misiones jesu\u00edticas a finales del siglo XVII. Para ese entonces, la poblaci\u00f3n ind\u00edgena ya hab\u00eda sido considerablemente reducida por epidemias y redadas.  Entre 1667 y 1767, la regi\u00f3n del actual Beni form\u00f3 parte de la Provincia Jesu\u00edtica de Mojos. Esta jurisdicci\u00f3n fue oficialmente creada por Ley del 27 de noviembre de 1941, durante el gobierno del General Enrique Pe\u00f1aranda.  Hacia 1986, las instituciones estatales comenzaron a involucrarse en la organizaci\u00f3n de la Chope Piesta. Antes de ello, las comunidades organizaban la fiesta de manera autogestionada. Se tra\u00edan troncos para construir el corral del jocheo del toro, y el palo encebado se transportaba en canoa durante una semana hasta llegar al lugar de la celebraci\u00f3n. Las familias contribu\u00edan con productos cultivados en sus chacos, como pl\u00e1tano, yuca y ma\u00edz. La venta de racimos de pl\u00e1tanos serv\u00eda para adquirir insumos necesarios para la fiesta. En la actualidad, muchas de estas comunidades han migrado a la ciudad de Trinidad, por lo que ya no es posible sostener la festividad con los mismos recursos propios. Por ello, se recurre al apoyo de la Gobernaci\u00f3n y la Alcald\u00eda.  La cosecha del ma\u00edz se planifica espec\u00edficamente para coincidir con la fiesta, sembr\u00e1ndose alrededor del mes de marzo para elaborar la tradicional chicha. El pl\u00e1tano, por su parte, est\u00e1 disponible todo el a\u00f1o.  Sobre la implicaci\u00f3n institucional, el Gobierno Aut\u00f3nomo Municipal de Trinidad coincide en se\u00f1alar 1986 como un punto de inflexi\u00f3n. En su documento institucional se lee:  \u201cEn el santoral cat\u00f3lico, el d\u00eda de la fiesta de la Sant\u00edsima Trinidad es movible, y es por ello que la ciudad capital del Beni, fundada en 1686, celebra su d\u00eda entre las \u00faltimas fechas de mayo o las primeras de junio. La fundaci\u00f3n de Trinidad por Cipriano Barace, \u2018doce leguas m\u00e1s abajo del r\u00edo Loreto\u2019, fue un \u00e9xito del sincretismo, es decir un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas [...]\u201d. (Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f)  Los jesuitas llegaron a la regi\u00f3n en 1675, fundando la primera misi\u00f3n en Loreto en 1682. Cuatro a\u00f1os despu\u00e9s, el padre Cipriano Barace estableci\u00f3 la ciudad de la Sant\u00edsima Trinidad, acompa\u00f1ado por la imagen de la Virgen Mar\u00eda. Su objetivo era formar al ser humano integralmente a trav\u00e9s de la evangelizaci\u00f3n, la educaci\u00f3n, la ciencia y los oficios. Ense\u00f1aban no solo la doctrina cristiana, sino tambi\u00e9n actividades como la carpinter\u00eda, la m\u00fasica, la agricultura y la ganader\u00eda.  La estructura social instaurada por los jesuitas inclu\u00eda al Cabildo Indigenal, conformado por autoridades ind\u00edgenas \u2014no por espa\u00f1oles\u2014 que gobernaban sus pueblos. Entre sus cargos estaban el corregidor (m\u00e1xima autoridad), alcaldes, doctrineros, ap\u00f3stoles y las mamas abadesas, mujeres viudas encargadas del cuidado del templo. Esta organizaci\u00f3n garantizaba el orden espiritual y civil del pueblo. Los doctrineros ense\u00f1aban a rezar y dirig\u00edan la oraci\u00f3n, mientras que los ap\u00f3stoles asist\u00edan al sacerdote en Semana Santa, incluso en el rito del lavado de pies.  Cipriano Barace, fundador de Trinidad, naci\u00f3 en Isaba, Navarra (Espa\u00f1a), y fue enviado desde Lima con la misi\u00f3n de evangelizar Mojos. Hombre polifac\u00e9tico, era m\u00fasico, introdujo la panader\u00eda y llev\u00f3 el primer ganado al Beni desde Santa Cruz. Fue asesinado por los Baures mientras llevaba la fe a sus territorios, por lo cual es considerado m\u00e1rtir. Su legado es conmemorado cada 28 de junio, fecha en la que se le rinde homenaje."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Santo Estandarte"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "a35d37b7-3c7a-464b-8eb0-b0c1556c8a5c", "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 2, "tileid": "cc93b1cf-3c3b-4ea9-93f9-a07bec6f38ee"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento musical"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Caja Repicadora  Materiales La caja repicadora se elabora con madera del \u00e1rbol de jochoho, de corte delgado, y cuero de vaca. Tanto los extremos del instrumento como las cuerdas que lo sostienen est\u00e1n hechos de cuero vacuno. Para la percusi\u00f3n se utilizan palillos confeccionados con madera de tajibo, valorada por su dureza, aunque tambi\u00e9n pueden emplearse maderas de mara o cuta. Actualmente, solo dos personas dominan la t\u00e9cnica de construcci\u00f3n de este instrumento.  T\u00e9cnica de elaboraci\u00f3n La fabricaci\u00f3n de la caja repicadora inicia con el humedecimiento de la madera del \u00e1rbol de jochoho, lo que permite moldearla con mayor facilidad. Una vez obtenida la forma cil\u00edndrica, se cierran los extremos con cuero de vaca bien tensado. Las cuerdas, tambi\u00e9n de cuero, mantienen la tensi\u00f3n del instrumento. Los palillos, esenciales para su ejecuci\u00f3n, deben tallarse en maderas duras como tajibo, mara o cuta, por su resistencia y buena respuesta sonora.  Descripci\u00f3n de la pieza Es un instrumento de percusi\u00f3n utilizado tradicionalmente en celebraciones religiosas y festivas de gran importancia cultural para el pueblo moje\u00f1o-trinitario.  Descripci\u00f3n del contexto La caja repicadora cobra protagonismo por su presencia para convocar a la poblaci\u00f3n. Resuena durante las celebraciones religiosas, llama a la misa y termina el acto, tambi\u00e9n llama a asambleas del Cabildo y todo acto importante de participaci\u00f3n de la comunidad.   Una de esas celebraciones es la Chope Piesta. Esta festividad nace con la fundaci\u00f3n misma de la localidad de Trinidad, cuando los primeros pobladores se congregaban desde diversos pueblos como San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, Loreto, San Ignacio y otros, conformando un gran encuentro de culturas. En lengua trinitaria, \u201cChope Piesta\u201d significa \u201cfiesta grande\u201d.  Esta festividad celebra a la Sant\u00edsima Trinidad: el Padre, el Hijo y el Esp\u00edritu Santo. Se trata de una conmemoraci\u00f3n religiosa que tiene una correlaci\u00f3n de sucesos lit\u00fargicos: se celebra la Pascua del Padre en Navidad, la del Hijo en la Resurrecci\u00f3n, y, el domingo siguiente a Pentecost\u00e9s, la del Esp\u00edritu Santo. La fiesta de la Sant\u00edsima Trinidad recuerda este misterio central del cristianismo: un solo Dios en tres personas distintas \u2014Padre creador, Hijo redentor y Esp\u00edritu Santo santificador\u2014.  Descripci\u00f3n de la funci\u00f3n/uso En el marco de la danza del machetero, caracter\u00edstica del pueblo moje\u00f1o-trinitario, la caja repicadora se emplea durante la Chope Piesta como instrumento ceremonial. Su sonido repetitivo y vibrante anuncia el paso de los macheteros, acompa\u00f1ando el ritmo de sus movimientos y marcando el ritmo ritual de la celebraci\u00f3n.  Datos hist\u00f3ricos Antes de la llegada de los colonizadores, la regi\u00f3n de Mojos albergaba una gran poblaci\u00f3n ind\u00edgena, compuesta por m\u00faltiples grupos \u00e9tnicos. Con la llegada de los jesuitas en 1675, se fundaron diversas misiones, siendo Loreto la primera en 1682. En 1686, el padre Cipriano Barace fund\u00f3 la ciudad de la Sant\u00edsima Trinidad, convirti\u00e9ndola en el segundo asentamiento jesu\u00edtico en la regi\u00f3n. La ciudad fue establecida bajo el amparo de la Virgen Mar\u00eda, quien \u2014seg\u00fan la doctrina cristiana\u2014 hizo posible la venida de Jesucristo, y por tanto, la revelaci\u00f3n del misterio de la Trinidad.  Durante el periodo jesu\u00edtico (1667-1767), se impuls\u00f3 una profunda transformaci\u00f3n cultural que incluy\u00f3 la evangelizaci\u00f3n, la ense\u00f1anza de las artes, la m\u00fasica, la carpinter\u00eda, la agricultura y la ganader\u00eda. El cabildo ind\u00edgena, estructura de gobierno local adaptada del modelo espa\u00f1ol, fue una pieza clave. Estaba compuesto por autoridades ind\u00edgenas como el corregidor (m\u00e1xima autoridad), alcaldes, doctrineros, ap\u00f3stoles, entre otros. Las mamas abadesas, generalmente viudas, cuidaban los templos y participaban en las danzas con escobas, s\u00edmbolo de su rol dentro de la iglesia.  Los doctrineros ense\u00f1aban la doctrina cristiana y encabezaban las oraciones, especialmente con los ni\u00f1os. Los ap\u00f3stoles asist\u00edan al sacerdote durante celebraciones religiosas como el Jueves Santo, cuando se replicaba el lavado de pies realizado por Jes\u00fas.   Cipriano Barace, nacido en Isaba, Navarra (Espa\u00f1a), fue un misionero polifac\u00e9tico. Enviado desde Lima, ten\u00eda bajo su responsabilidad la regi\u00f3n de Mojos. No solo introdujo la evangelizaci\u00f3n y las ciencias sagradas, sino tambi\u00e9n innovaciones como la panader\u00eda y la ganader\u00eda. Fue \u00e9l quien traslad\u00f3, desde Santa Cruz, las primeras cabezas de ganado al Beni, dando origen a su vocaci\u00f3n ganadera. En homenaje a su legado, el 28 de junio se realiza una celebraci\u00f3n en su memoria. Barace muri\u00f3 asesinado por los ind\u00edgenas Baures, cuando intentaba llevar la fe a su territorio, convirti\u00e9ndose as\u00ed en m\u00e1rtir del cristianismo.  La Provincia de Mojos fue reconocida oficialmente por ley el 27 de noviembre de 1941, durante el gobierno del General Enrique Pe\u00f1aranda. A mediados de los a\u00f1os 80, las instituciones estatales comenzaron a involucrarse en la organizaci\u00f3n de la Chope Piesta. Hasta entonces, la celebraci\u00f3n era organizada \u00fanicamente por las comunidades, quienes tra\u00edan troncos desde diferentes lugares para el corral del jocheo del toro, y transportaban el tradicional palo encebado en canoa. Cada comunidad aportaba alimentos como yuca, pl\u00e1tano y ma\u00edz, cultivados en sus chacos, para sustentar la festividad. Se recolectaban hasta 50 racimos de pl\u00e1tano, los cuales se vend\u00edan para adquirir otros productos necesarios. La fiesta se manten\u00eda gracias al esfuerzo colectivo.  Hoy en d\u00eda, muchas de esas comunidades ya no habitan en las riberas del Ibare y el Mamor\u00e9, sino en la ciudad de Trinidad, lo que ha dificultado el acceso directo a alimentos de producci\u00f3n propia. Por ello, se ha recurrido a la Gobernaci\u00f3n y la Alcald\u00eda para obtener apoyo. La cosecha del ma\u00edz, utilizada para preparar chicha, coincide con la celebraci\u00f3n, por lo que debe sembrarse con cuatro meses de anticipaci\u00f3n, aproximadamente en marzo.  El texto del Gobierno Aut\u00f3nomo Municipal de Trinidad respalda esta cronolog\u00eda al se\u00f1alar:      \u201cEn el santoral cat\u00f3lico, el d\u00eda de la fiesta de la Sant\u00edsima Trinidad es movible, y es por ello que la ciudad capital del Beni, fundada en 1686, celebra su d\u00eda entre las \u00faltimas fechas de mayo o las primeras de junio. La fundaci\u00f3n de Trinidad por Cipriano Barace, \u2018doce leguas m\u00e1s abajo del r\u00edo Loreto\u2019, fue un \u00e9xito del sincretismo, es decir un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas. [...] Barace, con ayuda de los conquistadores espa\u00f1oles afincados en Santa Cruz, traslad\u00f3 las primeras cabezas de ganado a Mojos atravesando heroicamente 500 kil\u00f3metros. El esfuerzo de Barace fue recompensado por los Mojos que donaron su fe a la Sant\u00edsima Trinidad; y fue as\u00ed que naci\u00f3 la \u2018Chope Piesta\u2019, esa tricentenaria celebraci\u00f3n ind\u00edgena colonial que dura casi una semana entre el \u2018jocheo\u2019 de toros, el \u2018palo encebao\u2019, la danza de los macheteros y la elecci\u00f3n de bellas \u2018moperitas\u2019\u201d. (Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f)"}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Caja Repicadora"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "a35d37b7-3c7a-464b-8eb0-b0c1556c8a5c", "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 3, "tileid": "b22d64f7-2af7-44e0-a705-102ec10f245f"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": null, "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de conocimientos en el Cabildo Indigenal de la Sant&iacute;sima Trinidad y en el subcabildo Pedro Ignacio Muiba se ha sostenido a trav&eacute;s de pr&aacute;cticas comunitarias arraigadas en la vida cotidiana. Las reuniones peri&oacute;dicas, las asambleas en espacios naturales como los arroyos, la ense&ntilde;anza de rezos, m&uacute;sica, danzas, relatos hist&oacute;ricos y oficios como la carpinter&iacute;a, reflejan una educaci&oacute;n basada en la participaci&oacute;n activa de las nuevas generaciones. La organizaci&oacute;n de fiestas religiosas, la confecci&oacute;n de m&aacute;scaras y trajes, as&iacute; como la preservaci&oacute;n de narraciones sobre l&iacute;deres hist&oacute;ricos como Pedro Ignacio Muiba, fueron transferidas de abuelos a nietos en contextos de convivencia y trabajo colectivo, donde aprender implicaba hacer, escuchar y observar dentro del propio ritmo de la comunidad. Esta forma de ense&ntilde;anza, vinculada al &quot;hacer en com&uacute;n&quot;, asegura que el conocimiento no solo se memorice, sino que se integre como parte esencial del ser y del estar en el mundo.</p>\n\n<p>Estos modos de transmisi&oacute;n evidencian un sistema formativo donde la memoria social y los afectos desempe&ntilde;an un rol estructurante. No se trata simplemente de conservar tradiciones, sino de actualizar permanentemente el v&iacute;nculo entre pasado, presente y futuro a trav&eacute;s de actos sociales como las peregrinaciones en canoa para reconvocar a las familias dispersas, el fortalecimiento del cabildo tras las guerras y rebeliones, o la creaci&oacute;n de nuevos espacios colectivos como el subcabildo en la zona Pedro Ignacio Muiba. Los relatos sobre las rebeliones, la resistencia, las migraciones en busca de la &quot;Loma Santa&quot; y las estrategias para sobrevivir a las m&uacute;ltiples formas de explotaci&oacute;n configuran una pedagog&iacute;a de la resistencia, donde la transmisi&oacute;n cultural es tambi&eacute;n un acto de reafirmaci&oacute;n identitaria frente a contextos hist&oacute;ricos de violencia y despojo.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "a35d37b7-3c7a-464b-8eb0-b0c1556c8a5c", "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 0, "tileid": "9f3360d6-e077-4cb2-a896-1ba8ae083924"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las pr&aacute;cticas del Cabildo Indigenal de la Sant&iacute;sima Trinidad y del subcabildo Pedro Ignacio Muiba han experimentado transformaciones vinculadas a cambios territoriales, desplazamientos poblacionales y nuevas din&aacute;micas sociales. La migraci&oacute;n de familias hacia zonas como Pedro Ignacio Muiba, motivada por la b&uacute;squeda de tierra propia y mejores condiciones de vida, ha obligado a replantear formas de organizaci&oacute;n tradicional que antes se sosten&iacute;an en el entorno m&aacute;s compacto de la ciudad de Trinidad. La adaptaci&oacute;n de ceremonias, la reconfiguraci&oacute;n de las asambleas y la necesidad de establecer nuevos mecanismos de cohesi&oacute;n como la creaci&oacute;n del subcabildo, muestran c&oacute;mo el conocimiento ancestral se acomoda a contextos diferentes, sin perder su funci&oacute;n de articulador social. La ampliaci&oacute;n de espacios festivos y la incorporaci&oacute;n de j&oacute;venes que no nacieron en los territorios originarios, pero que participan activamente en rituales, sugiere una resignificaci&oacute;n de las pr&aacute;cticas donde el apego a la memoria hist&oacute;rica se combina con nuevas realidades sociales.</p>\n\n<p>Estas transformaciones reflejan la capacidad de las comunidades ind&iacute;genas para negociar su continuidad cultural en escenarios marcados por presiones econ&oacute;micas, urbanizaci&oacute;n y fragmentaci&oacute;n del tejido social. No se trata de una ruptura con el pasado, sino de una din&aacute;mica de relectura permanente donde s&iacute;mbolos, roles y formas de autoridad se actualizan para mantener la vigencia del cabildo como espacio de poder propio. El tr&aacute;nsito de pr&aacute;cticas religiosas originalmente ligadas a las festividades urbanas hacia celebraciones adaptadas a la vida de Pedro Ignacio Muiba ilustra un proceso de reconstrucci&oacute;n identitaria, en el cual el valor de las memorias colectivas y la participaci&oacute;n comunitaria sigue operando como cimiento de las nuevas formas de vida.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "a35d37b7-3c7a-464b-8eb0-b0c1556c8a5c", "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 0, "tileid": "dcebc511-fad4-4426-a629-cd7d3a9f36ab"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica del Cabildo Indigenal de la Sant\u00edsima Trinidad y del subcabildo Pedro Ignacio Muiba reside en su capacidad de mantener la estructura organizativa tradicional, aun cuando las condiciones territoriales y sociales han variado. La persistencia de figuras de autoridad como el cacique, el alf\u00e9rez y el mayordomo, elegidos mediante consenso comunitario, refleja una s\u00f3lida transmisi\u00f3n de valores colectivos donde la responsabilidad comunal, la reciprocidad y el respeto a los mayores siguen teniendo un lugar central. Esta continuidad no solo reafirma los v\u00ednculos identitarios, sino que tambi\u00e9n asegura el traspaso de conocimientos rituales, normas de convivencia y pr\u00e1cticas festivas, que son considerados bienes patrimoniales de car\u00e1cter inmaterial. La reuni\u00f3n peri\u00f3dica de la comunidad en torno a las festividades religiosas, particularmente la Fiesta de la Sant\u00edsima Trinidad, consolida estos lazos, y refuerza la memoria hist\u00f3rica como elemento constitutivo de su ser colectivo. La persistencia de esta organizaci\u00f3n demuestra que el cabildo funciona como un dispositivo de salvaguarda cultural frente a procesos de modernizaci\u00f3n y fragmentaci\u00f3n social. La flexibilidad para integrar nuevos miembros y adaptarse a entornos cambiantes, sin perder el sentido de pertenencia, constituye un ejemplo de resistencia cultural activa. En t\u00e9rminos de patrimonio, esta pr\u00e1ctica representa una manifestaci\u00f3n viva, que exige estrategias de protecci\u00f3n centradas no solo en los rituales visibles, sino tambi\u00e9n en los procesos sociales que los sostienen. La capacidad de articular territorio, espiritualidad y estructura pol\u00edtica a trav\u00e9s de las generaciones, otorga a la pr\u00e1ctica un valor significativo dentro del marco de los esfuerzos contempor\u00e1neos de salvaguardia del patrimonio cultural inmaterial."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "a35d37b7-3c7a-464b-8eb0-b0c1556c8a5c", "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 0, "tileid": "827b8f71-f50f-462a-9c73-183fffa2db35"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica del Cabildo Indigenal de la Sant&iacute;sima Trinidad y del subcabildo Pedro Ignacio Muiba enfrenta una serie de amenazas que comprometen su sostenibilidad en el tiempo. Entre los factores m&aacute;s evidentes se encuentran la migraci&oacute;n de j&oacute;venes hacia &aacute;reas urbanas, la p&eacute;rdida progresiva del idioma originario y el debilitamiento del sistema tradicional de autoridad. A medida que los miembros m&aacute;s j&oacute;venes son expuestos a modelos externos de organizaci&oacute;n y religiosidad, se reduce su participaci&oacute;n activa en las funciones rituales y en la transmisi&oacute;n de saberes intergeneracionales. Tambi&eacute;n se ha documentado una creciente dependencia de normativas e instituciones externas, lo que debilita la autonom&iacute;a de las estructuras ancestrales del cabildo y tensiona su legitimidad. Las transformaciones territoriales, como el crecimiento urbano de la ciudad de Trinidad, afectan directamente la cohesi&oacute;n comunitaria, dificultan las pr&aacute;cticas colectivas en espacios simb&oacute;licamente significativos y reducen la disponibilidad de &aacute;reas para la realizaci&oacute;n de las festividades.</p>\n\n<p>Desde la perspectiva antropol&oacute;gica, estas amenazas pueden interpretarse como una expresi&oacute;n de desplazamiento cultural forzado, en el que las din&aacute;micas de globalizaci&oacute;n y los cambios en la estructura del poder local erosionan la capacidad de las comunidades para ejercer soberan&iacute;a simb&oacute;lica sobre sus pr&aacute;cticas. La desvalorizaci&oacute;n social de las figuras de autoridad tradicional frente a cargos pol&iacute;ticos modernos genera conflictos en el reconocimiento de sus funciones, tanto al interior como fuera de la comunidad. En este contexto, resulta urgente promover acciones de salvaguarda orientadas a revitalizar el inter&eacute;s de las nuevas generaciones mediante programas educativos interculturales, archivos comunitarios de memoria oral y apoyo institucional al ejercicio aut&oacute;nomo del cabildo. Asimismo, se recomienda fortalecer los mecanismos de di&aacute;logo entre las autoridades del cabildo y los gobiernos municipales y departamentales, para garantizar el respeto a su institucionalidad cultural y facilitar la implementaci&oacute;n de medidas de protecci&oacute;n adaptadas a sus formas organizativas.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "a35d37b7-3c7a-464b-8eb0-b0c1556c8a5c", "provisionaledits": null, "resourceinstance_id": "cb45d412-9b69-46c0-a6b6-c4ff8cb3a654", "sortorder": 0, "tileid": "46712bd1-734c-4a8e-a1e7-0918edf3f40d"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:06.706", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000046, "}, "es": {"description": "Trinidad. Cuento El Japutuqui", "map_popup": "Beni", "name": "PI-080101-00-00-000046, Trinidad. Cuento El Japutuqui"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000046, Trinidad. Cuento El Japutuqui", "principaluser_id": 26, "resourceinstanceid": "4b0d247b-aa5e-407d-a5ec-e1ac12eb64bd", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Historia oral"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000046", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Cuento El Japutuqui"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4b0d247b-aa5e-407d-a5ec-e1ac12eb64bd", "sortorder": 0, "tileid": "df44ef69-0c13-4114-81c5-da67aece6204"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89671335898579, -14.839328051022704], "type": "Point"}, "id": "21617500742d843f2f4639d2d5b877cf", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000018'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4b0d247b-aa5e-407d-a5ec-e1ac12eb64bd", "sortorder": 0, "tileid": "cd40ce07-1af0-4e46-9c3c-feb8306124aa"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4b0d247b-aa5e-407d-a5ec-e1ac12eb64bd", "sortorder": 0, "tileid": "9786d2a3-f7c3-4a9a-9d4c-67017968bdab"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Cuento El Japutuqui</strong></p>\n\n<p>El relato del Japutuqui pertenece a la tradici&oacute;n oral moje&ntilde;a trinitaria. Se transmite de generaci&oacute;n en generaci&oacute;n como parte del imaginario hist&oacute;rico y espiritual de los pueblos ind&iacute;genas del Beni. Esta historia forma parte de un conjunto de narraciones donde lo sobrenatural, lo simb&oacute;lico y lo ritual conviven con la vida cotidiana, ofreciendo explicaciones sobre la relaci&oacute;n entre el ser humano, la naturaleza y los esp&iacute;ritus que la habitan.</p>\n\n<p>La fuente principal de esta historia es el Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad, instituci&oacute;n tradicional que conserva y transmite la memoria oral de la comunidad moje&ntilde;a trinitaria. Son sus autoridades, ancianos y sabios quienes mantienen vivos estos relatos como parte de su identidad cultural y espiritual.</p>\n\n<p><strong>Descripci&oacute;n</strong></p>\n\n<p>Se cuenta que en tiempos antiguos exist&iacute;an animales y seres m&aacute;gicos, criaturas extraordinarias, entre ellas personas gigantes. Uno de estos seres sobrenaturales era conocido como el Japutuqui, nombre castellanizado de origen afro, que seg&uacute;n la tradici&oacute;n refiere a un personaje alto, de m&aacute;s de dos metros, considerado el &quot;amo del monte&quot;. Todo lo que encuentra lo doma, sin importar qu&eacute; sea. Se le atribuyen caracter&iacute;sticas ambivalentes: por un lado, ayuda a las personas perdidas en el monte; por otro, es temido por ser can&iacute;bal, raz&oacute;n por la cual sus labios son de un rojo intenso. Su indumentaria est&aacute; dominada por este color porque, seg&uacute;n el relato, se envolv&iacute;a en la sangre de sus enemigos.</p>\n\n<p>La leyenda narra que dos hombres moje&ntilde;os, llamados Anto&ntilde;o y Juano, se perdieron en el monte, un territorio a&uacute;n desconocido para ellos. Estuvieron m&aacute;s de una semana sin poder orientarse, sin siquiera ver las estrellas, debido a la densidad del bosque. Entonces apareci&oacute; el Japutuqui, quien adem&aacute;s de ser veloz e imposible de vencer, hablaba la lengua moje&ntilde;a trinitaria. La presencia de este ser sobrenatural los dej&oacute; sin aliento; no llevaban armas, ni flechas, y sab&iacute;an que enfrentarlo era in&uacute;til.</p>\n\n<p>El Japutuqui comenz&oacute; a jugar con ellos, persigui&eacute;ndolos con gran agilidad, apareciendo siempre delante de su ruta de escape. Cansados y sin salida, el ser les ofreci&oacute; mostrarles el camino de regreso, pero con una condici&oacute;n: uno de ellos deb&iacute;a traicionar al otro. Se dirigi&oacute; a Anto&ntilde;o y le dijo: &ldquo;Traiciona a tu amigo, y te ense&ntilde;ar&eacute; el camino&rdquo;. Anto&ntilde;o, sin dudar, respondi&oacute;: &ldquo;Lo siento, se&ntilde;or, no puedo hacer lo que me pides. &Eacute;l es mi hermano, mi amigo y mi compa&ntilde;ero&rdquo;. El Japutuqui lo observ&oacute; en silencio y se dirigi&oacute; a Juano con la misma propuesta. Juano acept&oacute;, creyendo que as&iacute; salvar&iacute;a su vida.</p>\n\n<p>Reunidos nuevamente, el Japutuqui comunic&oacute; su decisi&oacute;n. Separ&oacute; a los amigos y los envi&oacute; por caminos distintos. Pero m&aacute;s adelante, al reencontrarse con Juano, el Japutuqui le dijo: &ldquo;No me gustan los traidores. Si los dos me hubiesen dicho que s&iacute;, me los com&iacute;a a ambos. Pero t&uacute; fuiste el &uacute;nico que accedi&oacute; a traicionar. Ser&aacute;s mi cena&rdquo;. Con un serrucho de metal, una herramienta afilada que llevaba consigo, cort&oacute; y devor&oacute; a Juano.</p>\n\n<p>Anto&ntilde;o continu&oacute; su camino hasta que, al anochecer, divis&oacute; una comunidad cercana. Pero antes de llegar, el Japutuqui volvi&oacute; a aparecer. Anto&ntilde;o temi&oacute; lo peor, creyendo que tambi&eacute;n ser&iacute;a devorado. Sin embargo, el Japutuqui le dijo: &ldquo;He cumplido mi promesa. Ah&iacute; est&aacute; la comunidad. Pero ahora te pido algo: ha llegado un nuevo Dios, el Dios cristiano, y ya no me respetan, a pesar de que yo soy el conocedor y el due&ntilde;o del monte. T&uacute; bailar&aacute;s por tres a&ntilde;os, pero no entrar&aacute;s a su iglesia. Quiero que recuerden que yo existo. Si no cumples tu promesa, volver&aacute;s a perderte en el monte, sin darte cuenta&rdquo;.</p>\n\n<p>Anto&ntilde;o cumpli&oacute; con lo pactado. Mand&oacute; a tallar una m&aacute;scara en madera, la pint&oacute; de negro con tizones quemados, ti&ntilde;&oacute; los labios con uruc&uacute;, los ojos los dej&oacute; en blanco con resinas de &aacute;rboles. Le a&ntilde;adi&oacute; pelo crespo, &quot;chiri&quot;, hecho de perea, y lo rode&oacute; con una tela roja te&ntilde;ida en uruc&uacute; que at&oacute; a su cabeza y cintura. Llevaba tambi&eacute;n un lazo hecho de cuero, representando el que manejaba el Japutuqui, y replic&oacute; el serrucho con el que el ser cortaba a sus v&iacute;ctimas. Durante tres a&ntilde;os, Anto&ntilde;o cumpli&oacute; el ritual de danzar en nombre del Japutuqui, sin pisar jam&aacute;s una iglesia. Su danza serv&iacute;a como recordatorio para los trinitarios de que los seres del monte a&uacute;n exist&iacute;an, que pod&iacute;an proteger, pero tambi&eacute;n desaparecer a quienes no los respetaban.</p>\n\n<p>Hoy, se cree que el Japutuqui sigue siendo invocado, especialmente en rituales de medicina tradicional para encontrar objetos o personas perdidas. La m&aacute;scara usada debe ser una que jam&aacute;s haya entrado a una iglesia. El esp&iacute;ritu del Japutuqui es considerado salvaje, b&aacute;rbaro. Para contactarlo, el ritual debe comenzar despu&eacute;s de las diez de la noche. Se le ofrece licor &mdash;antiguamente chicha fermentada de cinco o siete d&iacute;as&mdash; servida en una tutuma. Se le coloca un asiento alto, el chicote a su derecha, el serrucho a su izquierda y un cigarro encendido en la m&aacute;scara, que debe consumirse lentamente, como si estuviera fumando.</p>\n\n<p>Durante el ritual se le habla como si estuviera presente. La chicha va disminuyendo hasta que, entre las tres de la madrugada, aparece como un hombre alto, fornido, de presencia intimidante. Algunos creen que fue un esclavo. &Eacute;l susurra: &ldquo;&iquest;Qui&eacute;n me invoca?&rdquo; A lo que se debe responder: &ldquo;T&uacute; eres mi amo&rdquo;. Si uno acepta el compromiso, &eacute;l accede a ayudar. Exige una promesa: danzar por tres a&ntilde;os para que se recuerde que el Japutuqui a&uacute;n existe.</p>\n\n<p>Cuando se cumple el ritual, el Japutuqui act&uacute;a como una fuerza justiciera. Sale como el viento a buscar al culpable, se manifiesta en sue&ntilde;os, deja marcas en la espalda del infractor, oblig&aacute;ndolo a devolver lo robado. Si no lo hace, el Japutuqui puede volverlo loco. Solo cuando se restituye lo hurtado, el esp&iacute;ritu se retira.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["29a2ed34-bbc1-4132-b95f-96d7b7013e10"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "9786d2a3-f7c3-4a9a-9d4c-67017968bdab", "provisionaledits": null, "resourceinstance_id": "4b0d247b-aa5e-407d-a5ec-e1ac12eb64bd", "sortorder": 0, "tileid": "aa9c736d-097c-40b4-b12d-d38a2d27a7ac"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El relato del Japutuqui revela formas de transmisi&oacute;n de conocimientos que operan dentro de una estructura cultural basada en la continuidad ritual, la palabra narrada y la memoria colectiva. La historia, resguardada por el Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad, se comunica por medio del relato oral, conservado y repetido en contextos comunitarios espec&iacute;ficos, como las reuniones de sabios o los momentos de aprendizaje intergeneracional. Esta forma de preservar el conocimiento no se limita a una narraci&oacute;n pasiva; involucra la recreaci&oacute;n de s&iacute;mbolos &mdash;m&aacute;scaras, danzas, pactos espirituales&mdash; que permiten a los m&aacute;s j&oacute;venes asimilar ense&ntilde;anzas pr&aacute;cticas, normas de conducta, advertencias morales y formas de relacionarse con las entidades del monte. En este sentido, el relato no es solo un discurso, sino una herramienta para interpretar el entorno y actuar en &eacute;l, reforzando un v&iacute;nculo ancestral con los seres sobrenaturales y el territorio.</p>\n\n<p>Este tipo de transmisi&oacute;n se inscribe en una cosmovisi&oacute;n que convive en un espacio habitado por inteligencias no humanas, capaces de premiar o castigar, seg&uacute;n la conducta humana. La creaci&oacute;n de la m&aacute;scara del Japutuqui, su uso exclusivo en ciertos rituales y la prohibici&oacute;n de ingresar con ella a la iglesia reflejan tensiones culturales producidas por la imposici&oacute;n religiosa colonial, as&iacute; como estrategias locales de resistencia simb&oacute;lica. El conocimiento se transmite a trav&eacute;s del cuerpo que danza, del objeto que se fabrica con materiales sagrados, del pacto verbal con seres invisibles, en horarios y condiciones precisas. No se trata &uacute;nicamente de un relato fant&aacute;stico, sino de un sistema de conocimiento pr&aacute;ctico que regula la interacci&oacute;n entre humanos y fuerzas del entorno, sustentado en la reciprocidad, el respeto y el cuidado.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "9786d2a3-f7c3-4a9a-9d4c-67017968bdab", "provisionaledits": null, "resourceinstance_id": "4b0d247b-aa5e-407d-a5ec-e1ac12eb64bd", "sortorder": 0, "tileid": "e0e95d4f-ef28-4fd7-8851-8b533fedfb05"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica relacionada con el Japutuqui ha experimentado adaptaciones visibles en su forma de representaci&oacute;n y en su funci&oacute;n dentro de la comunidad moje&ntilde;a trinitaria. En tiempos anteriores, el personaje era una figura activa en el monte, asociada a seres m&aacute;gicos, gigantes y protectores de la naturaleza. Su presencia no solo se evocaba a trav&eacute;s del relato, sino tambi&eacute;n mediante apariciones ritualizadas en contextos de extrav&iacute;o o justicia espiritual. Con la llegada del cristianismo y el desplazamiento de las creencias originarias, se gener&oacute; una reconfiguraci&oacute;n simb&oacute;lica: el Japutuqui ya no es &uacute;nicamente el esp&iacute;ritu del monte, sino un ser que exige memoria y respeto a trav&eacute;s de promesas espec&iacute;ficas, como bailar durante tres a&ntilde;os sin ingresar a la iglesia. Esta modificaci&oacute;n se&ntilde;ala una coexistencia conflictiva entre cosmovisiones, donde la figura tradicional se conserva, pero con condiciones que responden al entorno religioso impuesto.</p>\n\n<p>La introducci&oacute;n de nuevos materiales, t&eacute;cnicas y contextos urbanos tambi&eacute;n ha incidido en la transformaci&oacute;n de la pr&aacute;ctica. La m&aacute;scara del Japutuqui, antes elaborada exclusivamente con tizones, uruc&uacute; y resinas de &aacute;rboles, ahora puede integrar elementos comerciales. Asimismo, la relaci&oacute;n con el personaje puede haberse distanciado del monte como espacio f&iacute;sico, y desplazado hacia interpretaciones m&aacute;s simb&oacute;licas dentro del campo festivo o art&iacute;stico. Estos cambios suponen una p&eacute;rdida parcial, sobre todo son una resignificaci&oacute;n del mito frente a la presi&oacute;n de contextos coloniales, religiosos y modernos. Persisten elementos esenciales: la necesidad de compromiso, la invocaci&oacute;n nocturna, los castigos. Sin embargo, las formas de actualizarlos han sido moldeadas por la necesidad de sobrevivir culturalmente sin romper con los c&oacute;digos propios del territorio ancestral.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "9786d2a3-f7c3-4a9a-9d4c-67017968bdab", "provisionaledits": null, "resourceinstance_id": "4b0d247b-aa5e-407d-a5ec-e1ac12eb64bd", "sortorder": 0, "tileid": "236b7120-5b3b-434d-9c71-d3d18492f072"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La pr\u00e1ctica del Japutuqui presenta una notable capacidad para sostener v\u00ednculos comunitarios y preservar la memoria colectiva. Su fortaleza radica en el modo en que articula el conocimiento m\u00edtico con funciones sociales concretas: advierte sobre la traici\u00f3n, orienta en momentos de extrav\u00edo f\u00edsico o moral y regula conductas a trav\u00e9s de pactos con lo invisible. La historia, transmitida oralmente, contiene normas \u00e9ticas, estructuras de reciprocidad y c\u00f3digos de comportamiento que los miembros de la comunidad reconocen como v\u00e1lidos. La creaci\u00f3n de la m\u00e1scara, la exclusi\u00f3n del templo cristiano y la promesa de danzar durante tres a\u00f1os son componentes que refuerzan el sentido de compromiso con lo ancestral, consolidando una identidad cultural que se define en relaci\u00f3n con el entorno natural y los seres que lo habitan. Esta pr\u00e1ctica, m\u00e1s que un simple relato, se manifiesta como una herramienta de orientaci\u00f3n espiritual y social. Desde una mirada patrimonial, el Japutuqui representa un bien cultural inmaterial de enorme valor, ya que mantiene activas t\u00e9cnicas artesanales, formas de pensamiento ritual y saberes que configuran la relaci\u00f3n entre los moje\u00f1os y su territorio. La m\u00e1scara no es un objeto decorativo, sino una encarnaci\u00f3n simb\u00f3lica del monte y sus guardianes, elaborada con criterios espec\u00edficos que responden a un conocimiento ecol\u00f3gico ancestral. En t\u00e9rminos de salvaguarda, su persistencia en contextos marcados por el cristianismo y las transformaciones modernas demuestra una capacidad de resistencia que merece atenci\u00f3n. La pr\u00e1ctica contin\u00faa funcionando como un medio de fortalecer creencias ancestrales como los ejemplos proporcionados: para resolver conflictos, recuperar objetos perdidos o restaurar el equilibrio cuando se ha transgredido una norma. Esta dimensi\u00f3n unida al poder narrativo que conserva la historia viva, convierte al Japutuqui en una expresi\u00f3n cultural con significados actuales, \u00fatiles y necesarios para la comunidad."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "9786d2a3-f7c3-4a9a-9d4c-67017968bdab", "provisionaledits": null, "resourceinstance_id": "4b0d247b-aa5e-407d-a5ec-e1ac12eb64bd", "sortorder": 0, "tileid": "e334d499-662d-41f8-ad06-94d5fd386cdb"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica del Japutuqui enfrenta riesgos crecientes vinculados a la fragmentaci&oacute;n del conocimiento oral, la p&eacute;rdida de contextos rituales y la presi&oacute;n ejercida por valores religiosos y escolares que deslegitiman las creencias locales. El esp&iacute;ritu, los mitos entran en tensi&oacute;n directa con el imaginario cristiano dominante, que considera estas pr&aacute;cticas como paganas o demonizadas. Esta situaci&oacute;n provoca que muchos portadores sientan verg&uuml;enza o temor de compartir la historia p&uacute;blicamente, lo que debilita los canales de transmisi&oacute;n y reduce la participaci&oacute;n activa de las nuevas generaciones. La migraci&oacute;n, la urbanizaci&oacute;n y la introducci&oacute;n de materiales ajenos a los c&oacute;digos tradicionales tambi&eacute;n afectan la integridad del objeto ritual, diluyendo su valor simb&oacute;lico y su funci&oacute;n dentro del ciclo ceremonial.</p>\n\n<p>Desde la perspectiva de la salvaguarda patrimonial, es urgente atender los procesos de transformaci&oacute;n que amenazan el car&aacute;cter vivo de esta expresi&oacute;n. Al ser una manifestaci&oacute;n que combina narraci&oacute;n, ritual, arte y regulaci&oacute;n social, el Japutuqui deber&iacute;a ser reconocido no como una superstici&oacute;n aislada, sino como parte de un sistema cultural que organiza la relaci&oacute;n entre humanos y fuerzas del entorno. Para proteger esta pr&aacute;ctica, se recomienda el registro audiovisual comunitario de los relatos, la documentaci&oacute;n del proceso de creaci&oacute;n de la m&aacute;scara y la creaci&oacute;n de espacios pedag&oacute;gicos donde se pueda compartir su sentido sin censura. Tambi&eacute;n resulta relevante promover el di&aacute;logo intercultural con actores religiosos, educativos y municipales, de modo que se reconozca el valor de estas expresiones como patrimonio inmaterial que debe ser protegido en su contexto original, respetando las decisiones y saberes de sus portadores.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "9786d2a3-f7c3-4a9a-9d4c-67017968bdab", "provisionaledits": null, "resourceinstance_id": "4b0d247b-aa5e-407d-a5ec-e1ac12eb64bd", "sortorder": 0, "tileid": "c183b05d-e425-46ed-b9b5-2a4aac20bde0"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:06.958", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000047, "}, "es": {"description": "Trinidad. Cuento: El Popacu y el Japutuqui", "map_popup": "Beni", "name": "PI-080101-00-00-000047, Trinidad. Cuento: El Popacu y el Japutuqui"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000047, Trinidad. Cuento: El Popacu y el Japutuqui", "principaluser_id": 26, "resourceinstanceid": "37ae52f2-4fd7-4e68-87d6-d1cba57000cb", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Historia oral"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000047", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Cuento: El Popacu y el Japutuqui"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "37ae52f2-4fd7-4e68-87d6-d1cba57000cb", "sortorder": 0, "tileid": "55a2e1ef-ee92-4aad-9da0-79796e82d104"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "37ae52f2-4fd7-4e68-87d6-d1cba57000cb", "sortorder": 0, "tileid": "82566631-d732-4a21-bb59-98ed0c6c8060"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Cuento: El Popacu y el Japutuqui</strong></p>\n\n<p>&nbsp;</p>\n\n<p>El presente relato forma parte del acervo de la tradici&oacute;n oral transmitida por los pueblos ind&iacute;genas del Beni, particularmente en el contexto de la estructura organizativa ancestral del Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad. Este cuento, cargado de simbolismos vinculados al territorio, a la relaci&oacute;n con los animales y al respeto por las fuerzas de la naturaleza, representa un fragmento de la memoria colectiva que articula saberes sobre la convivencia, el poder y la alianza entre seres del monte. Su valor radica no solo en la narrativa en su funci&oacute;n social como herramienta de ense&ntilde;anza y preservaci&oacute;n cultural.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n</strong></p>\n\n<p>El Popacu es descrito como un ser h&iacute;brido, mitad perro y mitad hombre, dotado de capacidades extraordinarias y asignado como guardi&aacute;n del monte y la pampa. Su figura no corresponde a un animal com&uacute;n, sino a un esp&iacute;ritu protector que vigila el equilibrio del entorno natural. Un d&iacute;a, el Popacu se encuentra con el Japutuqui, otro ser del monte que tambi&eacute;n se considera amo del territorio. Este primer encuentro desata una rivalidad por el dominio del espacio silvestre. La primera vez se enfrentan, y la tensi&oacute;n crece; en una segunda ocasi&oacute;n, el Popacu se muestra m&aacute;s celoso y territorial, mientras que el Japutuqui, seguro de su fuerza, insiste en dominarlo todo, sin importar el tama&ntilde;o o poder del adversario.</p>\n\n<p>&nbsp;</p>\n\n<p>La batalla entre ambos fue larga; algunas versiones dicen que dur&oacute; m&aacute;s de tres noches, otras aseguran que fueron tres meses. Ambos combatientes eran poderosos. El Popacu, con sus colmillos, intentaba hacerle da&ntilde;o al Japutuqui, pero no lograba penetrar su piel, que era sumamente resistente. El Japutuqui, por su parte, hab&iacute;a estado enfrentando al Popacu con las manos limpias, mientras que el Popacu usaba su dentadura. Al cansarse, el Japutuqui decidi&oacute; utilizar su arma definitiva: su lazo m&aacute;gico, capaz de domar a cualquier animal. En medio del combate, enlaz&oacute; al Popacu, lo jal&oacute; con fuerza, lo golpe&oacute; y continuaron luchando hasta que finalmente el lazo logr&oacute; doblegarlo.</p>\n\n<p>&nbsp;</p>\n\n<p>Vencido pero no destruido, el Popacu se rinde y suplica al Japutuqui que no lo mate, argumentando que &eacute;l es el cuidador de todos los perros, de todos los caninos del monte. El Japutuqui reconoce su valor y su funci&oacute;n, y acepta su rendici&oacute;n. A partir de ese momento, ambos hacen una alianza. El Japutuqui le entrega al Popacu su bombo m&aacute;gico, con la promesa de que cada vez que lo necesite, puede tocarlo para pedir ayuda. Desde entonces, el Popacu se convierte en su compa&ntilde;ero inseparable, acompa&ntilde;&aacute;ndolo como un vaquero con su perro, atrayendo a los animales mientras el Japutuqui los doma.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["0237344f-6df2-4a58-b936-077fc7c87175"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "82566631-d732-4a21-bb59-98ed0c6c8060", "provisionaledits": null, "resourceinstance_id": "37ae52f2-4fd7-4e68-87d6-d1cba57000cb", "sortorder": 0, "tileid": "ee2469ea-5621-412e-b6ed-1aadb481d722"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el relato de <em>El Popacu y el Japutuqui</em>, la oralidad no solo act&uacute;a como medio narrativo, sino como una estructura viva de transmisi&oacute;n de conocimientos dentro de las comunidades ind&iacute;genas del Beni. La historia, sostenida y compartida por el Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad, demuestra que el conocimiento sobre el entorno, las jerarqu&iacute;as espirituales del monte y los v&iacute;nculos entre humanos y animales se conserva mediante relatos que se actualizan en la memoria colectiva. Este cuento cumple una funci&oacute;n educativa, al transmitir nociones de respeto hacia la naturaleza, la convivencia con fuerzas sobrenaturales y la resoluci&oacute;n de conflictos a trav&eacute;s de la negociaci&oacute;n, incluso despu&eacute;s de la confrontaci&oacute;n. La permanencia de este tipo de narraciones indica que no se trata solo de entretenimiento, sino de un modo de codificar saberes sociales, territoriales y simb&oacute;licos.</p>\n\n<p>Estas formas narrativas permiten identificar sistemas de organizaci&oacute;n y cosmovisi&oacute;n donde los animales adquieren caracter&iacute;sticas humanas y los humanos se vinculan con atributos animales para explicar sus relaciones con el territorio. La figura del Popacu como guardi&aacute;n de los caninos y del monte, as&iacute; como la del Japutuqui como domador, representa el reconocimiento de roles dentro del ecosistema. La historia tambi&eacute;n revela formas de autoridad y alianza, expresadas a trav&eacute;s de la entrega del bombo m&aacute;gico, que encarna un objeto ritual con valor funcional y espiritual. Su significado se aprende a trav&eacute;s del relato, de la escucha atenta y de la reiteraci&oacute;n oral en espacios comunitarios donde los ancianos, l&iacute;deres o miembros del cabildo funcionan como referentes en la reproducci&oacute;n del conocimiento.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "82566631-d732-4a21-bb59-98ed0c6c8060", "provisionaledits": null, "resourceinstance_id": "37ae52f2-4fd7-4e68-87d6-d1cba57000cb", "sortorder": 0, "tileid": "2116f4bb-0be0-422a-90a9-51498e758a2f"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las transformaciones en la pr&aacute;ctica del relato <em>El Popacu y el Japutuqui</em> pueden observarse en la forma en que se conserva y transmite el contenido narrativo en contextos actuales. La participaci&oacute;n del Gran Cabildo Indigenal como portador colectivo sugiere un esfuerzo por mantener viva la historia dentro de estructuras comunitarias tradicionales. Sin embargo, es posible que las din&aacute;micas de urbanizaci&oacute;n, escolarizaci&oacute;n formal y desplazamiento de j&oacute;venes hacia espacios ajenos a la vida comunal est&eacute;n afectando la continuidad de este tipo de relatos. Al disminuir los espacios de reuni&oacute;n donde las historias son compartidas oralmente &mdash;como veladas, rituales o asambleas ind&iacute;genas&mdash;, el riesgo de fragmentaci&oacute;n o p&eacute;rdida del relato aumenta, especialmente cuando las nuevas generaciones no tienen un v&iacute;nculo cotidiano con los contextos donde estas narraciones cobran sentido.</p>\n\n<p>El cuento refleja una relaci&oacute;n con el entorno que no responde a una l&oacute;gica utilitaria, sino a una percepci&oacute;n animista del mundo, en la que monte, animales y seres humanos est&aacute;n conectados por v&iacute;nculos de respeto, poder y reciprocidad. Si bien estos relatos mantienen su valor simb&oacute;lico, su funcionalidad puede verse alterada cuando se traslada la narraci&oacute;n a otros escenarios, como escuelas o espacios institucionales, donde las formas de interpretaci&oacute;n cambian. En estos casos, la historia corre el riesgo de ser le&iacute;da como f&aacute;bula o mito aislado, perdiendo su relaci&oacute;n directa con los saberes territoriales, los roles de autoridad tradicional y los elementos rituales, como el bombo m&aacute;gico. Esta transformaci&oacute;n puede vaciar de contenido la pr&aacute;ctica, o bien resignificarla, dependiendo de c&oacute;mo se integre la historia en nuevas formas de di&aacute;logo intercultural.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "82566631-d732-4a21-bb59-98ed0c6c8060", "provisionaledits": null, "resourceinstance_id": "37ae52f2-4fd7-4e68-87d6-d1cba57000cb", "sortorder": 0, "tileid": "0c4f1cc1-2f8b-4fd0-8e26-ad0b4dbcc45f"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas del relato El Popacu y el Japutuqui es su capacidad para condensar saberes territoriales, principios de convivencia y valores sociales en una estructura narrativa accesible a todas las generaciones. La historia no solo ofrece una explicaci\u00f3n sobre la relaci\u00f3n entre seres m\u00edticos y el monte, sino que establece modelos de comportamiento basados en el respeto, la cooperaci\u00f3n y el reconocimiento mutuo. El hecho de que esta pr\u00e1ctica sea sostenida por el Gran Cabildo Indigenal de la Sant\u00edsima Trinidad garantiza su enraizamiento comunitario y refuerza su legitimidad como fuente de autoridad cultural. El uso de personajes como el Popacu \u2014cuidador de los caninos\u2014 y el Japutuqui \u2014domador de todo ser vivo\u2014 permite comprender relaciones jer\u00e1rquicas y alianzas dentro del paisaje natural y social. Su funci\u00f3n pedag\u00f3gica est\u00e1 asociada al aprendizaje situado, donde los contenidos se transmiten de acuerdo con la experiencia y el entorno de quienes los reciben. Desde la perspectiva del patrimonio cultural inmaterial, esta pr\u00e1ctica posee una gran capacidad de adaptaci\u00f3n sin perder su sentido original. Al estar basada en la oralidad, su continuidad no depende de soportes escritos ni de infraestructura formal, lo que le otorga flexibilidad y resistencia frente a cambios externos. Esta fortaleza la convierte en un elemento cultural que puede ser salvaguardado mediante el fortalecimiento de los espacios comunitarios y el reconocimiento legal de las autoridades tradicionales como depositarias del conocimiento. El relato articula cosmovisiones en las que la naturaleza no es un recurso, sino un conjunto de entidades con las que se establecen pactos y reciprocidades. Este enfoque, presente en la narrativa y en el s\u00edmbolo del bombo m\u00e1gico, plantea formas de vida que desbordan los marcos institucionales convencionales y que, por lo tanto, requieren ser protegidas como parte del patrimonio vivo de los pueblos ind\u00edgenas."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "82566631-d732-4a21-bb59-98ed0c6c8060", "provisionaledits": null, "resourceinstance_id": "37ae52f2-4fd7-4e68-87d6-d1cba57000cb", "sortorder": 0, "tileid": "b36b67ec-dc0a-4f26-9e14-d536518dd3fc"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89582519531596, -14.836830624537868], "type": "Point"}, "id": "931cc941eb9a17afc77534e4fa37738d", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000019'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "37ae52f2-4fd7-4e68-87d6-d1cba57000cb", "sortorder": 0, "tileid": "0c980079-57f4-4f7f-86e6-540184834158"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Entre los riesgos que enfrenta la pr&aacute;ctica del relato <em>El Popacu y el Japutuqui</em> se encuentra la disminuci&oacute;n de los espacios comunitarios donde tradicionalmente se transmit&iacute;a este tipo de narraciones. La oralidad, al depender de la interacci&oacute;n directa entre generaciones, puede debilitarse cuando se interrumpen los v&iacute;nculos familiares y sociales por migraci&oacute;n, escolarizaci&oacute;n en contextos urbanos o p&eacute;rdida del idioma originario. El relato, que vive en la voz de los portadores del Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad, puede diluirse si estos actores pierden su rol central en la transmisi&oacute;n de conocimientos. La desvinculaci&oacute;n de los j&oacute;venes con las din&aacute;micas comunitarias implica que el relato corra el riesgo de ser relegado a una funci&oacute;n decorativa o folkl&oacute;rica, sin conexi&oacute;n con su contenido simb&oacute;lico ni con su utilidad social.</p>\n\n<p>Desde una perspectiva antropol&oacute;gica, tambi&eacute;n se perciben amenazas cuando estas narraciones son extra&iacute;das de su contexto y utilizadas en formatos que no respetan su naturaleza din&aacute;mica y situada. Transformar la historia en material escolar o tur&iacute;stico sin participaci&oacute;n de los portadores puede provocar descontextualizaci&oacute;n, tergiversaci&oacute;n de significados o apropiaci&oacute;n indebida. Para evitar estos procesos, se recomienda fortalecer las estrategias de salvaguarda desde un enfoque participativo. Entre las acciones necesarias se encuentran la documentaci&oacute;n con consentimiento comunitario, la inclusi&oacute;n de los relatos en programas educativos interculturales validados por los propios cabildos, as&iacute; como el reconocimiento oficial de los portadores como custodios del patrimonio oral. Estas medidas deben partir del respeto a los mecanismos propios de transmisi&oacute;n, garantizando que el relato contin&uacute;e cumpliendo su funci&oacute;n social y simb&oacute;lica dentro del entramado cultural del territorio.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "82566631-d732-4a21-bb59-98ed0c6c8060", "provisionaledits": null, "resourceinstance_id": "37ae52f2-4fd7-4e68-87d6-d1cba57000cb", "sortorder": 0, "tileid": "124ada5e-c966-4359-bfd4-c3bc1a6ec645"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:07.221", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080601-00-00-000029, "}, "es": {"description": "Loreto. Tabalater\u00eda - . Roger Moreno Zelada", "map_popup": "Beni", "name": "PI-080601-00-00-000029, Loreto. Tabalater\u00eda - . Roger Moreno Zelada"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080601-00-00-000029, Loreto. Tabalater\u00eda - . Roger Moreno Zelada", "principaluser_id": 26, "resourceinstanceid": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "T\u00e9cnicas artesanales"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080601-00-00-000029", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Loreto. Tabalater\u00eda - . Roger Moreno Zelada"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3fe1d88c-c4f5-4ee6-9d58-908a6051074e"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "sortorder": 0, "tileid": "bdfdbbc6-9ea9-4919-a170-2de2be21fbe4"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "sortorder": 0, "tileid": "90cad66c-3812-45e8-a493-5918b338a382"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Loreto. Tabalater&iacute;a - . Roger Moreno Zelada</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La tabalater&iacute;a es un arte tradicional en Loreto. Roger Moreno Zelada es un artesano que practica la t&eacute;cnica del curtido y trabajado del cuero, convirti&eacute;ndolo en piezas funcionales y decorativas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Materiales utilizados</strong></p>\n\n<p>Para la elaboraci&oacute;n de sus productos, Roger Moreno Zelada emplea distintos tipos de cuero, cada uno con caracter&iacute;sticas particulares:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Cuero de vaca</li>\n\t<li>Cuero de lagarto</li>\n\t<li>Cuero de caim&aacute;n</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p>Los cueros son adquiridos a comunidades yuracar&eacute;s y a habitantes de Camiaco, Remanzo y Gundonovia, quienes los transportan por el r&iacute;o Mamor&eacute;.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Herramientas del artesano</strong></p>\n\n<p>El trabajo del cuero requiere herramientas espec&iacute;ficas, muchas de las cuales han sido elaboradas por el propio artesano utilizando una amoladora, utiliza:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Punzones</li>\n\t<li>Cuchillas peque&ntilde;as</li>\n\t<li>Cuchillos</li>\n\t<li>Tijeras de cuero (lata)</li>\n\t<li>Corteza del &aacute;rbol Curupau, utilizada en el proceso de curtido.</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Preparaci&oacute;n del curtido</strong></p>\n\n<p>El cuero crudo se sumerge en una mezcla de agua y corteza de Curupau, conocida como sumaqui, en un recipiente como un ba&ntilde;ador o un turril.</p>\n\n<p>Durante una semana, el cuero se &quot;cocina&quot; en esta soluci&oacute;n, eliminando restos de carne y sangre, dejando la suela con pelo.</p>\n\n<p>Si se desea eliminar el pelo, el cuero se traslada a otra mezcla con cal por tres d&iacute;as, tras lo cual el pelo se desprende f&aacute;cilmente mediante raspado.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Obtenci&oacute;n de la corteza de Curupau</strong></p>\n\n<p>La corteza de este &aacute;rbol es esencial para el curtido, ya que otorga resistencia y flexibilidad al cuero. Roger y su maestro intentaron sustituirla con otra corteza de sabor picante, pero sin &eacute;xito. Para obtenerla, deben adentrarse en el monte, caminando un d&iacute;a entero para recolectar cinco sacos de corteza, suficientes para diez cueros.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Elaboraci&oacute;n del sombrero</strong></p>\n\n<p>Se requieren tres d&iacute;as de trabajo, aunque el artesano busca mejorar su velocidad. El adorna el sombrero con tiras trenzadas. Se cortan tiras delgadas de suela que se trenzan para unir y adornar los productos. Una vez terminada la pieza, se pinta y se le aplica barniz para mejorar su apariencia y durabilidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Trabajo con cuero de lagarto y caim&aacute;n</strong></p>\n\n<p>El cuero de caim&aacute;n es especialmente dif&iacute;cil de trabajar por su dureza. La dureza del cuero var&iacute;a seg&uacute;n el tama&ntilde;o del animal, si es de menos de dos metros, el cuero es m&aacute;s blando y d&oacute;cil. Cuando mide m&aacute;s de dos metros, el cuero es m&aacute;s r&iacute;gido y dif&iacute;cil de manipular.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Productos artesanales</strong></p>\n\n<p>Roger Moreno Zelada elabora diversas piezas de tabalater&iacute;a, entre ellas:</p>\n\n<p>&nbsp;</p>\n\n<ul>\n\t<li>Sombreros</li>\n\t<li>Porta celulares</li>\n\t<li>Caronas de suela (protecci&oacute;n para la silla de montar)</li>\n\t<li>Sobreasientos de caballo</li>\n\t<li>Billeteras</li>\n</ul>\n\n<p>&nbsp;</p>\n\n<p><strong>Destino de los productos</strong></p>\n\n<p>Las artesan&iacute;as de Roger son adquiridas por habitantes de Loreto y otras localidades. Su demanda aumenta especialmente en octubre y diciembre, con motivo de las festividades de Las L&aacute;grimas de Loreto y la fiesta patronal. Estas celebraciones atraen a visitantes que buscan llevarse un pedazo de la tradici&oacute;n loretana a trav&eacute;s de estas piezas &uacute;nicas, elaboradas con dedicaci&oacute;n y saber ancestral.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Historia del artesano</strong></p>\n\n<p>Roger Moreno Zelada no siempre fue artesano. Antes de dedicarse a la tabalater&iacute;a, trabajaba como alba&ntilde;il, un oficio que le permit&iacute;a sostener a su familia. Sin embargo, la llegada de la pandemia de Covid-19 cambi&oacute; su vida. Al enfermarse, sufri&oacute; dificultades respiratorias y dolores en la espalda, lo que le impidi&oacute; continuar con su labor en la construcci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Ante la necesidad de encontrar una nueva fuente de ingresos, decidi&oacute; aprender el arte de la tabalater&iacute;a. Sus primeros trabajos fueron para &eacute;l mismo, fueron una billetera y un porta celular. Estos peque&ntilde;os proyectos le permitieron perfeccionar su t&eacute;cnica y, con el tiempo, comenz&oacute; a recibir encargos. Hoy, Roger ha logrado consolidarse como artesano, vendiendo sus productos lo que le permite sostener econ&oacute;micamente su hogar.</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["237ed805-e832-4979-80cb-8d2f6d646d28", "da719d9d-e927-4281-aeef-d551a1da07ff", "e5270642-c871-4c8b-88af-3256b9e5ab85"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": "90cad66c-3812-45e8-a493-5918b338a382", "provisionaledits": null, "resourceinstance_id": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "sortorder": 0, "tileid": "9265f093-e7ee-4215-92b6-0d8cb4346819"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En la comunidad de Loreto, la tradici&oacute;n de la tabalater&iacute;a se transmite de generaci&oacute;n en generaci&oacute;n, no solo a trav&eacute;s de la pr&aacute;ctica cotidiana, sino tambi&eacute;n mediante el aprendizaje directo de los maestros artesanos. Roger Moreno Zelada, quien practica este arte ancestral, aprendi&oacute; de un maestro experimentado que le ense&ntilde;&oacute; los conocimientos del curtido y el trabajo del cuero. El proceso de transmisi&oacute;n de conocimientos incluye la observaci&oacute;n y la imitaci&oacute;n, donde los aprendices asumen las tareas poco a poco, perfeccionando su t&eacute;cnica. A trav&eacute;s de esta relaci&oacute;n maestro-aprendiz, el saber se mantiene vivo y se enriquece con las experiencias personales del artesano, quienes, como Roger, contin&uacute;an perfeccionando su destreza mientras conservan la esencia de la tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Adem&aacute;s, los materiales y herramientas utilizados en la tabalater&iacute;a se adquieren a trav&eacute;s de un conocimiento pr&aacute;ctico que se ha mantenido en las comunidades locales, como la obtenci&oacute;n de la corteza de Curupau, que requiere de un conocimiento del entorno natural y de las rutas para recolectarla. Este proceso de aprendizaje no solo involucra el trabajo de las manos, sino tambi&eacute;n una conexi&oacute;n con el territorio y los recursos naturales.</p>\n\n<p>M&aacute;s all&aacute; de su propio desarrollo, Roger tiene la esperanza de que sus hijos puedan aprender su oficio y continuar con la tradici&oacute;n de la tabalater&iacute;a. Tambi&eacute;n le motiva la idea de ense&ntilde;ar a otras personas interesadas en este arte, transmitiendo su conocimiento y asegurando que esta pr&aacute;ctica siga viva en su comunidad.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "90cad66c-3812-45e8-a493-5918b338a382", "provisionaledits": null, "resourceinstance_id": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "sortorder": 0, "tileid": "1bc8d220-dd3f-403d-8ee3-b878b278cd2b"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica artesanal de la tabalater&iacute;a en Loreto, representada por Roger Moreno Zelada, ha experimentado algunas transformaciones, especialmente en su proceso de aprendizaje y en la adaptaci&oacute;n de nuevas tecnolog&iacute;as. La llegada de la pandemia de Covid-19 fue un punto de inflexi&oacute;n en la vida de Roger, ya que le oblig&oacute; a replantear su oficio y adaptarse a nuevas circunstancias. Antes un alba&ntilde;il, la necesidad de encontrar una fuente de ingresos debido a su enfermedad lo impuls&oacute; a aprender el arte de la tabalater&iacute;a, lo que muestra c&oacute;mo situaciones externas pueden transformar las pr&aacute;cticas artesanales. Adem&aacute;s, la disponibilidad de productos elaborados con cuero en mercados locales o en l&iacute;nea podr&iacute;a incidir en las t&eacute;cnicas y en los materiales utilizados, posiblemente provocando cambios en los dise&ntilde;os y en la producci&oacute;n de la artesan&iacute;a.</p>\n\n<p>&nbsp;</p>\n\n<p>A nivel de t&eacute;cnicas, aunque Roger a&uacute;n emplea m&eacute;todos tradicionales como el curtido manual del cuero utilizando corteza de Curupau, es posible que el uso de herramientas modernas o la b&uacute;squeda de formas de optimizar el proceso, como mejorar la velocidad en la elaboraci&oacute;n de sombreros, marque una evoluci&oacute;n en su pr&aacute;ctica. La introducci&oacute;n de materiales m&aacute;s accesibles o de mayor durabilidad podr&iacute;a alterar las caracter&iacute;sticas de las piezas, y la globalizaci&oacute;n de los mercados podr&iacute;a generar una mayor demanda que impulse a los artesanos a modificar sus m&eacute;todos, tanto en t&eacute;rminos de producci&oacute;n como en t&eacute;rminos de promoci&oacute;n y venta de sus productos.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "90cad66c-3812-45e8-a493-5918b338a382", "provisionaledits": null, "resourceinstance_id": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "sortorder": 0, "tileid": "4b47c292-54b0-4295-9311-b84571ef568a"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica artesanal de la tabalater\u00eda en Loreto es la conservaci\u00f3n y transmisi\u00f3n de t\u00e9cnicas ancestrales que otorgan a las piezas identidad arraigada en la tradici\u00f3n local. Roger Moreno Zelada, al mantener el proceso de curtido, preserva un conocimiento especializado que no solo es un arte, sino tambi\u00e9n una manifestaci\u00f3n cultural de la regi\u00f3n. Este dominio de los materiales naturales, como el cuero de vaca, lagarto y caim\u00e1n, as\u00ed como el uso de herramientas hechas a mano, refleja la habilidad y el compromiso con su oficio, lo que le da un valor distintivo a cada producto que crea. Adem\u00e1s, la tradici\u00f3n de trabajar de forma artesanal garantiza una producci\u00f3n de calidad, que responde a las necesidades de los habitantes locales y a la demanda durante festividades importantes.  Otra fortaleza clave es la adaptabilidad y resiliencia de la poblaci\u00f3n, como lo demuestra la historia de Roger, quien transform\u00f3 su vida al aprender un nuevo oficio durante la pandemia de Covid-19. Este tipo de adaptaci\u00f3n, ante circunstancias adversas, pone de manifiesto la capacidad de los artesanos para reinventarse y continuar aportando a la econom\u00eda local. La pr\u00e1ctica de la tabalater\u00eda tambi\u00e9n genera un fuerte v\u00ednculo con la comunidad, al ser una fuente de ingresos, es un producto codiciado en festividades como Las L\u00e1grimas de Loreto. La demanda creciente de estas piezas durante las festividades refleja la conexi\u00f3n de la comunidad con su identidad cultural."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "90cad66c-3812-45e8-a493-5918b338a382", "provisionaledits": null, "resourceinstance_id": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "sortorder": 0, "tileid": "d5903544-e2ba-4d22-b879-f5f858dc61f2"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos m&aacute;s evidentes que enfrenta la pr&aacute;ctica artesanal de la tabalater&iacute;a es la dependencia de recursos naturales espec&iacute;ficos, como la corteza de Curupau, que es esencial para el proceso de curtido del cuero. La recolecci&oacute;n de esta corteza requiere un arduo trabajo y viajes largos al monte, lo que puede poner en riesgo la sostenibilidad de esta pr&aacute;ctica si el acceso a estos recursos se ve afectado por cambios en el entorno natural, como la deforestaci&oacute;n o la sobreexplotaci&oacute;n. Adem&aacute;s, la dificultad para reemplazar esta corteza con otros materiales, como intent&oacute; Roger con una corteza de sabor picante, subraya la vulnerabilidad de la t&eacute;cnica a la escasez de recursos locales. Si estos recursos se agotan o se vuelven m&aacute;s dif&iacute;ciles de obtener, los artesanos podr&iacute;an verse obligados a modificar sus procesos o, en el peor de los casos, abandonar la pr&aacute;ctica.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo asociado es la amenaza que representa la globalizaci&oacute;n y la industrializaci&oacute;n de la producci&oacute;n. Aunque la artesan&iacute;a de Loreto se distingue por su calidad y por ser una manifestaci&oacute;n cultural propia, la competencia de productos fabricados de manera industrial podr&iacute;a afectar la demanda de estas piezas tradicionales. La producci&oacute;n en masa ofrece precios m&aacute;s bajos, lo que podr&iacute;a desincentivar la compra de productos artesanales, especialmente entre las generaciones m&aacute;s j&oacute;venes que podr&iacute;an priorizar la accesibilidad y la conveniencia sobre el valor cultural y artesanal. Asimismo, la falta de acceso a mercados m&aacute;s amplios o plataformas de venta puede limitar la capacidad de los artesanos para expandir su alcance, lo que pone en peligro su supervivencia econ&oacute;mica y la continuidad de la tradici&oacute;n.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "90cad66c-3812-45e8-a493-5918b338a382", "provisionaledits": null, "resourceinstance_id": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "sortorder": 0, "tileid": "738b0e39-c27b-458a-bb46-7eb90331dcf5"}, {"data": {"2984c165-857c-11ee-a653-53ebd0470963": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "586d1a6c-743a-463e-9370-3e610abf2704", "resourceXresourceId": "040078f4-b256-41fd-a80f-a2d8dedfbe1b"}], "2984c167-857c-11ee-a653-53ebd0470963": "38172670-bde4-4d8f-b56d-c3f88f386698", "2984c168-857c-11ee-a653-53ebd0470963": "2025-02-26"}, "nodegroup_id": "2984c165-857c-11ee-a653-53ebd0470963", "parenttile_id": "25b94ec9-5550-4b95-bc43-fad7c49682ea", "provisionaledits": null, "resourceinstance_id": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "sortorder": 0, "tileid": "1d56777e-22db-4e03-aa95-1256d83a8a94"}, {"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2dc47da8-3afe-47b0-a1f5-1cc7c7689499", "resourceXresourceId": "ce423c87-e5d0-41ce-adbd-03d3513721ed"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "sortorder": 0, "tileid": "25b94ec9-5550-4b95-bc43-fad7c49682ea"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.75896650607794, -15.192807690469152], "type": "Point"}, "id": "8c5e4a060a4cbb1ceb8913e66e6a88bf", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "230359b9-1b01-4cea-881d-e54daf949019", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080601', 'num': '000013'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7fc3da4f-ac06-4b2d-838e-c55871df761b", "sortorder": 0, "tileid": "197ebeab-1fe6-4c04-8108-cbf230f6cdd0"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:08.328", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080501-00-00-000024, "}, "es": {"description": "San Ignacio. Versos para San Ignacio", "map_popup": "Beni", "name": "PI-080501-00-00-000024, San Ignacio. Versos para San Ignacio"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080501-00-00-000024, San Ignacio. Versos para San Ignacio", "principaluser_id": 26, "resourceinstanceid": "e7f785c4-8109-4a33-bf32-905bf864f0e7", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Ichapekene Piesta"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080501-00-00-000024", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio. Versos para San Ignacio"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e7f785c4-8109-4a33-bf32-905bf864f0e7", "sortorder": 0, "tileid": "edc7dac4-99e6-417a-8da2-36a41a6f4d0a"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-65.634839185319, -14.9949568830625], "type": "Point"}, "id": "d9a036614ab7610fc8ded02e193841ad", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "7c630574-4bde-4beb-92f4-d7e3a4b4c5fe", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080501', 'num': '000011'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e7f785c4-8109-4a33-bf32-905bf864f0e7", "sortorder": 0, "tileid": "634f4ded-04a0-4699-b8ee-e5fa43ab46da"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "e7f785c4-8109-4a33-bf32-905bf864f0e7", "sortorder": 0, "tileid": "7bf95485-0e61-4450-9000-0475184a665d"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Ignacio. Versos para San Ignacio</strong></p>\n\n<p>&nbsp;</p>\n\n<p>Los Versos para San Ignacio son una manifestaci&oacute;n de profunda devoci&oacute;n religiosa que se interpreta durante la celebraci&oacute;n de la fiesta Ichapekene Piesta, en honor a San Ignacio. Esta tradici&oacute;n, con un fuerte arraigo en la regi&oacute;n de San Ignacio de Mojos, tiene sus or&iacute;genes en el per&iacute;odo colonial. Los versos, que se cantan en el contexto de la festividad, est&aacute;n cargados de significado espiritual y se presentan como una forma de adoraci&oacute;n y agradecimiento al santo patr&oacute;n de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado social del verso/canci&oacute;n</strong></p>\n\n<p>Los &quot;Versos para San Ignacio&quot; tienen un significado religioso y social, ya que se consideran alabanzas dedicadas a San Ignacio, y se cantan o rezan dependiendo del momento de la festividad. Estas expresiones se realizan durante la misa, en la procesi&oacute;n religiosa, y tambi&eacute;n en la visita a los velorios de los altares de los conjuntos de danza. As&iacute;, se convierten en una forma de mantener viva la devoci&oacute;n hacia el santo, uniendo a la comunidad en la celebraci&oacute;n y en la manifestaci&oacute;n de su fe. Adem&aacute;s, los versos refuerzan los lazos sociales, ya que se comparten en diferentes momentos y espacios de la festividad, permitiendo la interacci&oacute;n y el fortalecimiento de la identidad colectiva.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Familia ling&uuml;&iacute;stica</strong></p>\n\n<p>Los &quot;Versos para San Ignacio&quot; se cantan principalmente en idioma Moxe&ntilde;o Ignaciano, que pertenece a la familia ling&uuml;&iacute;stica Arawak. Adem&aacute;s, existen versiones de los versos en lat&iacute;n y en castellano, lo que refleja la influencia y el mestizaje cultural a lo largo de la historia de la regi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>El coro musical constituye una parcialidad dentro del Cabildo Indigenal, desempe&ntilde;ando un papel fundamental en la preservaci&oacute;n y transmisi&oacute;n de esta manifestaci&oacute;n cultural, vinculada profundamente a la devoci&oacute;n religiosa y a la identidad comunitaria.</p>\n\n<p>Los &quot;Versos para San Ignacio&quot; tienen su origen en las misiones jesu&iacute;ticas, donde se comenzaron a cantar y rezar como parte de las celebraciones religiosas. Estos versos se componen para cada santo, siguiendo el calendario lit&uacute;rgico, y se enuncian en los momentos correspondientes durante las festividades. Esta tradici&oacute;n se mantiene viva hasta la actualidad, y son los miembros del coro musical los encargados de interpretar estos versos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Proceso de la actividad</strong></p>\n\n<p><strong>Antes de la enunciaci&oacute;n de los versos/cantos</strong></p>\n\n<p>Los cantos y versos est&aacute;n escritos en peque&ntilde;os cuadernos que son propiedad de cada integrante del coro musical. Adem&aacute;s, tienen versos escritos en hojas plastificadas que se utilizan en la misa de domingo, celebraciones que no tienen connotaci&oacute;n festiva. Los miembros del coro se re&uacute;nen antes de la misa para repasar y recordar los versos que tienen en sus cuadernos. No realizan ensayos, ya que el tono para su enunciaci&oacute;n est&aacute; memorizado. El Maestro de Capilla es quien dirige el coro y es el responsable de conocer los tonos y los versos que corresponden a cada santo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>En el momento de la enunciaci&oacute;n de los versos/cantos</strong></p>\n\n<p>La enunciaci&oacute;n de los versos y cantos tiene varios momentos a lo largo de la festividad. Comienza con las novenas, donde se emiten versos para San Ignacio en castellano. El coro musical ocupa un espacio espec&iacute;fico en la iglesia, ubicado en la parte superior de la b&oacute;veda. All&iacute; se re&uacute;nen los miembros del coro, cada uno con sus instrumentos, tres flautas, un viol&iacute;n, dos bajones, un bombo y cuatro cantores.</p>\n\n<p>&nbsp;</p>\n\n<p>El 30 de julio, en la madrugada, el coro musical sale de la iglesia con el Puri y la imagen de San Santiago. Por delante van el coro, tocando con los bajones y los instrumentos, sin cantar, solo con la m&uacute;sica. Los Macheteros, los Achus y los Tigres tambi&eacute;n acompa&ntilde;an. Al regresar a la iglesia, el coro toca la m&uacute;sica y el rezador enuncia un breve rosario. Tras esto, salen nuevamente con el Puri, dirigi&eacute;ndose al Cabildo, acompa&ntilde;ados por los macheteros, los sargentos jud&iacute;os y los achus. Regresan a la iglesia para devolver la imagen de San Ignacio, acompa&ntilde;ados nuevamente de la m&uacute;sica de los bajones y los dem&aacute;s instrumentos.</p>\n\n<p>&nbsp;</p>\n\n<p>En la madrugada del 31 de julio, a la una de la ma&ntilde;ana, el coro musical sale con el jerure y los versos que se cantan en los velorios de cada conjunto de danza, en las sedes donde tienen sus altares a San Ignacio. Van acompa&ntilde;ados por las mamitas abadesas, los sargentos jud&iacute;os y algunos achus. Durante el d&iacute;a, para la procesi&oacute;n, la imagen de San Ignacio sale de la iglesia para dar una vuelta alrededor de la plaza. Al salir de la iglesia, se emiten los versos acompa&ntilde;ados del jerure, viol&iacute;n, flautas y caja. En cada esquina se emiten versos diferentes.</p>\n\n<p>&nbsp;</p>\n\n<p>Al finalizar la procesi&oacute;n, se lleva la Santa Bandera al Cabildo, acompa&ntilde;ada por la m&uacute;sica del coro, los macheteros y los achus. La bandera no permanece en el Cabildo, sino que retorna a la iglesia, dando una vuelta a la plaza antes de entrar nuevamente en la iglesia.</p>\n\n<p>&nbsp;</p>\n\n<p>El 2 de agosto, todos los conjuntos de danza se re&uacute;nen en la iglesia tras haber recorrido el pueblo bailando. Es la despedida de la fiesta, que tambi&eacute;n est&aacute; acompa&ntilde;ada del jerure con el coro musical y todos los instrumentos. Los danzantes ingresan a la iglesia para despedirse de los Santos, la Santa Bandera y la bandera boliviana.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Despu&eacute;s de la enunciaci&oacute;n de los versos/cantos</strong></p>\n\n<p>Una vez terminada la fiesta, los versos para San Ignacio se siguen emitiendo durante dos misas m&aacute;s, como una manera de conservar el repertorio para el a&ntilde;o siguiente. Adem&aacute;s, seg&uacute;n el calendario religioso, existen otras festividades para las cuales tambi&eacute;n se enuncian versos correspondientes a cada una de sus fechas respectivas.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "7bf95485-0e61-4450-9000-0475184a665d", "provisionaledits": null, "resourceinstance_id": "e7f785c4-8109-4a33-bf32-905bf864f0e7", "sortorder": 0, "tileid": "b7eff2fd-6fa9-44f3-a8ff-cbd6deff3ab2"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Transmisi&oacute;n de conocimientos</strong></p>\n\n<p>Los &quot;Versos para San Ignacio&quot; se transmiten a trav&eacute;s de mecanismos orales y escritos que garantizan su continuidad en la comunidad de San Ignacio de Mojos. Los integrantes del coro musical memorizan los tonos y versos sin necesidad de ensayos formales, siguiendo la direcci&oacute;n del Maestro de Capilla. Esta pr&aacute;ctica permite que los conocimientos sean preservados de generaci&oacute;n en generaci&oacute;n, en un contexto en el que la interpretaci&oacute;n musical y la enunciaci&oacute;n de los versos son aprendidas mediante la observaci&oacute;n y la participaci&oacute;n en las festividades. Adem&aacute;s, la transmisi&oacute;n oral se refuerza con la repetici&oacute;n c&iacute;clica de los versos en las celebraciones anuales, asegurando su arraigo en la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Por otro lado, el conocimiento escrito tambi&eacute;n desempe&ntilde;a un papel esencial en la preservaci&oacute;n de esta tradici&oacute;n. Los versos est&aacute;n registrados en peque&ntilde;os cuadernos individuales y en hojas plastificadas utilizadas en ceremonias religiosas, lo que permite a los miembros del coro consultarlos cuando es necesario. Esta documentaci&oacute;n contribuye a evitar la p&eacute;rdida de los textos y a mantener la fidelidad del repertorio a lo largo del tiempo. As&iacute;, la combinaci&oacute;n de la oralidad y la escritura establece un equilibrio en la transmisi&oacute;n de los &quot;Versos para San Ignacio&quot;, asegurando su permanencia y fortaleciendo la identidad cultural y religiosa de la comunidad.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "7bf95485-0e61-4450-9000-0475184a665d", "provisionaledits": null, "resourceinstance_id": "e7f785c4-8109-4a33-bf32-905bf864f0e7", "sortorder": 0, "tileid": "35c8c82a-89eb-4dc6-9677-95590d773877"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Transformaciones de la pr&aacute;ctica </strong></p>\n\n<p>Las &quot;Versos para San Ignacio&quot; han experimentado y pueden seguir experimentando transformaciones en funci&oacute;n de los cambios socioculturales y tecnol&oacute;gicos en la comunidad de San Ignacio de Mojos. Una de las principales modificaciones es la progresiva incorporaci&oacute;n del castellano en la interpretaci&oacute;n de los versos, en paralelo al Moxe&ntilde;o Ignaciano, debido a la influencia de la educaci&oacute;n formal y la disminuci&oacute;n de hablantes nativos de la lengua originaria. Este fen&oacute;meno podr&iacute;a alterar la riqueza ling&uuml;&iacute;stica de la tradici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Por otro lado, la digitalizaci&oacute;n y el acceso a nuevas tecnolog&iacute;as podr&iacute;an transformar la manera en que se preservan y difunden los versos. La grabaci&oacute;n en audio y video de las interpretaciones permitir&iacute;a mayor documentaci&oacute;n y difusi&oacute;n de la pr&aacute;ctica fuera del &aacute;mbito local, asegurando su permanencia incluso ante una posible disminuci&oacute;n de participantes en el coro musical.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7bf95485-0e61-4450-9000-0475184a665d", "provisionaledits": null, "resourceinstance_id": "e7f785c4-8109-4a33-bf32-905bf864f0e7", "sortorder": 0, "tileid": "40d2341f-05a9-43e8-ba95-7c187e028c57"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de los \"Versos para San Ignacio\" es su estrecha vinculaci\u00f3n con la identidad y la devoci\u00f3n comunitaria. Esta pr\u00e1ctica no solo refuerza la fe religiosa de los participantes, sino que tambi\u00e9n fomenta la cohesi\u00f3n social, ya que los versos se interpretan en distintos momentos de la festividad, uniendo a la comunidad en torno a un mismo prop\u00f3sito espiritual y cultural. Adem\u00e1s, la estructura organizativa del coro musical, dentro del Cabildo Indigenal, garantiza la continuidad de la tradici\u00f3n, asignando roles espec\u00edficos a sus miembros y asegurando la correcta interpretaci\u00f3n de los versos y la m\u00fasica. Este sentido de pertenencia y responsabilidad fortalece la transmisi\u00f3n generacional, manteniendo la pr\u00e1ctica viva a lo largo del tiempo.  La combinaci\u00f3n de transmisi\u00f3n oral y escrita, permite la preservaci\u00f3n del repertorio y su ense\u00f1anza a las nuevas generaciones. La variedad ling\u00fc\u00edstica en la interpretaci\u00f3n, con versos en Moxe\u00f1o Ignaciano, lat\u00edn y castellano, refleja la riqueza cultural de la comunidad y su capacidad de adaptaci\u00f3n a diferentes contextos hist\u00f3ricos."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "7bf95485-0e61-4450-9000-0475184a665d", "provisionaledits": null, "resourceinstance_id": "e7f785c4-8109-4a33-bf32-905bf864f0e7", "sortorder": 0, "tileid": "54926f99-dac8-44b1-a7b9-e474926cdfb2"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrentan los &quot;Versos para San Ignacio&quot; es la disminuci&oacute;n de hablantes del Moxe&ntilde;o Ignaciano, lo que puede afectar la transmisi&oacute;n de la tradici&oacute;n en su lengua original. A medida que el castellano se convierte en el idioma predominante en la comunidad, existe el peligro de que los versos pierdan su autenticidad ling&uuml;&iacute;stica y se vean progresivamente desplazados por versiones en espa&ntilde;ol. Esta transformaci&oacute;n, aunque facilita la comprensi&oacute;n para nuevas generaciones y visitantes, tambi&eacute;n puede debilitar la riqueza cultural y la identidad hist&oacute;rica de la pr&aacute;ctica.</p>\n\n<p>&nbsp;</p>\n\n<p>El acceso limitado a recursos para la formaci&oacute;n musical y la conservaci&oacute;n de instrumentos tradicionales, como los bajones y violines, podr&iacute;a generar dificultades para mantener la ejecuci&oacute;n original de los versos. La posible interferencia de influencias externas, como la incorporaci&oacute;n de nuevos estilos musicales que no respeten el car&aacute;cter devocional de la pr&aacute;ctica, tambi&eacute;n representa una amenaza a su autenticidad. Sin medidas de protecci&oacute;n y fomento de la ense&ntilde;anza tradicional, los &quot;Versos para San Ignacio&quot; podr&iacute;an verse debilitados con el tiempo.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7bf95485-0e61-4450-9000-0475184a665d", "provisionaledits": null, "resourceinstance_id": "e7f785c4-8109-4a33-bf32-905bf864f0e7", "sortorder": 0, "tileid": "eaeaaa8e-fa6f-4ab8-aa24-2114f24bcccd"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:08.063", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000049, "}, "es": {"description": "Trinidad. Cuento El sol y la luna", "map_popup": "Beni", "name": "PI-080101-00-00-000049, Trinidad. Cuento El sol y la luna"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000049, Trinidad. Cuento El sol y la luna", "principaluser_id": 26, "resourceinstanceid": "587cd4c3-96a8-4d87-9a44-9c66b5714f7b", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89604104149953, -14.840941930709718], "type": "Point"}, "id": "7b6b13f03592a6984b13bcf0dd966aa8", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000021'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "587cd4c3-96a8-4d87-9a44-9c66b5714f7b", "sortorder": 0, "tileid": "344e9d66-caa6-4695-947b-e34820f23f20"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Historia oral"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000049", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Cuento El sol y la luna"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "587cd4c3-96a8-4d87-9a44-9c66b5714f7b", "sortorder": 0, "tileid": "1d82a479-f70b-4a77-8f56-25cb7af25c33"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "587cd4c3-96a8-4d87-9a44-9c66b5714f7b", "sortorder": 0, "tileid": "1e55cccc-5556-4b4f-b553-70b2f6dfb0c8"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Cuento El sol y la luna</strong></p>\n\n<p>Este relato forma parte del acervo oral del Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad, transmitido de generaci&oacute;n en generaci&oacute;n como parte del legado simb&oacute;lico y espiritual de su comunidad. A trav&eacute;s de una narrativa m&iacute;tica, se expresa una visi&oacute;n del universo, las cualidades humanas y motivaciones emocionales. La historia no solo cumple una funci&oacute;n explicativa sobre fen&oacute;menos astron&oacute;micos, sino que tambi&eacute;n act&uacute;a como referente para pr&aacute;cticas rituales y danzas tradicionales festivas.</p>\n\n<p>&nbsp;</p>\n\n<p>El cuento de &quot;El sol y la luna&quot; pertenece a la tradici&oacute;n oral de los pueblos ind&iacute;genas de la Amazon&iacute;a boliviana. Como todo relato oral, ha sido narrado y reinterpretado en distintos contextos, manteniendo un n&uacute;cleo simb&oacute;lico que se transmite sin necesidad de escritura. Su funci&oacute;n no es solo contar una historia, sino tambi&eacute;n educar, advertir y dotar de sentido las pr&aacute;cticas cotidianas y rituales de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>La historia es resguardada y compartida en el Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad, una instituci&oacute;n ancestral que conserva la memoria oral y espiritual del pueblo moje&ntilde;o trinitario. Este cabildo no solo organiza las festividades religiosas y comunitarias, sino que tambi&eacute;n garantiza la transmisi&oacute;n de conocimientos tradicionales como los cuentos, danzas y rituales.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n</strong><br />\nEl relato comienza con la aparici&oacute;n de la primera estrella en el cielo: el sol. Este era una figura poderosa y orgullosa que, en lugar de crear vida, la destru&iacute;a. Fue entonces que otros seres comenzaron a experimentar con la creaci&oacute;n de vida en la Tierra. Entre ellos, hab&iacute;a uno de nombre desconocido que pod&iacute;a dar vida solo con pronunciar palabras. Sin embargo, los seres se dieron cuenta de que el sol no iluminaba todo el tiempo: solo lo hac&iacute;a durante un breve periodo del d&iacute;a, mientras que en la noche, fuerzas malignas atacaban a los humanos.</p>\n\n<p>&nbsp;</p>\n\n<p>Ante esta situaci&oacute;n, surgi&oacute; la luna, descrita como una mujer hermosa que comenz&oacute; a acercarse a la humanidad. Su presencia brind&oacute; una nueva oportunidad de vida a los humanos, quienes sufr&iacute;an de d&iacute;a y mor&iacute;an de noche. La luna, con sus fases y su presencia silenciosa, ofreci&oacute; compa&ntilde;&iacute;a y protecci&oacute;n. No vino sola: la acompa&ntilde;aban las estrellas, que eran sus hijas. El sol, al verla, se enamor&oacute; de inmediato, pero su car&aacute;cter celoso y dominante hac&iacute;a que su brillo opacara a las estrellas y a la misma luna.</p>\n\n<p>&nbsp;</p>\n\n<p>A pesar de las diferencias, ambos se enamoraron. Su forma de comunicarse era a trav&eacute;s de la luz, envi&aacute;ndose se&ntilde;ales a distancia, sin llegar a verse nunca de frente. El sol intent&oacute; muchas veces ver a la luna, pero cada vez que lo hac&iacute;a, terminaba ocult&aacute;ndola. Su frustraci&oacute;n lo llev&oacute; a enfurecerse y buscar una forma de conectar con ella. Al notar el cari&ntilde;o que los humanos sent&iacute;an por la luna, el sol decidi&oacute; darles poder. Sin embargo, estos usaron ese poder para hacer el mal.</p>\n\n<p>&nbsp;</p>\n\n<p>La luna, preocupada por la destrucci&oacute;n causada, otorg&oacute; a los humanos un poder diferente: el de sanar. Esto gener&oacute; un conflicto entre ambos astros. El sol, entristecido por la corrupci&oacute;n de su don, vio c&oacute;mo los humanos se quemaban y destru&iacute;an todo. La tensi&oacute;n entre ellos creci&oacute;, hasta que la luna, en un gesto de amor, le pregunt&oacute; por qu&eacute; estaba enojado. El sol respondi&oacute; que era porque no pod&iacute;a verla. Ella, en cambio, alumbraba a los humanos cuando la necesitaban, mientras &eacute;l iluminaba a todos, pero no recib&iacute;a el mismo afecto.</p>\n\n<p>&nbsp;</p>\n\n<p>El sol, devastado por ese sentimiento, comenz&oacute; a apagarse. Entonces la luna, con su poder y amor, irrumpi&oacute; en el d&iacute;a, cruzando el cielo durante el atardecer solo para verlo unos minutos. Por eso, en algunos d&iacute;as, puede verse la luna en pleno d&iacute;a: es el momento en que ella se esfuerza por ver al sol, su amado.</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["29a2ed34-bbc1-4132-b95f-96d7b7013e10"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "1e55cccc-5556-4b4f-b553-70b2f6dfb0c8", "provisionaledits": null, "resourceinstance_id": "587cd4c3-96a8-4d87-9a44-9c66b5714f7b", "sortorder": 0, "tileid": "18466f69-eb2c-4479-9595-fcc735e96ec1"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n de este relato m&iacute;tico se sustenta en la narraci&oacute;n verbal dentro de espacios comunitarios estructurados, como lo es el Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad. En este contexto, el cuento del sol y la luna no se comunica como un acto individual, sino como una pr&aacute;ctica compartida que involucra roles sociales espec&iacute;ficos. Quienes preservan y relatan estas historias son reconocidos por la comunidad como autoridades culturales, y su funci&oacute;n es reproducir el contenido. Esta forma de transmisi&oacute;n permite que el relato conserve su estructura simb&oacute;lica central, pero a la vez se adapte al ritmo de las transformaciones comunitarias, cumpliendo la funci&oacute;n de preservaci&oacute;n de la memoria colectiva y ritual.</p>\n\n<p>Este tipo de narrativas orales funcionan como sistemas de conocimiento que integran cosmovisi&oacute;n, historia y conducta social. En el caso espec&iacute;fico de este cuento, se observa c&oacute;mo la historia no solo explica el comportamiento de los cuerpos celestes, sino que tambi&eacute;n justifica pr&aacute;cticas rituales como la danza, la distribuci&oacute;n de los personajes en el espacio esc&eacute;nico, el uso de instrumentos musicales espec&iacute;ficos y la representaci&oacute;n simb&oacute;lica del bien y del mal. As&iacute;, la transmisi&oacute;n del conocimiento no ocurre &uacute;nicamente a trav&eacute;s de la palabra, sino tambi&eacute;n mediante el cuerpo, el ritmo, la coreograf&iacute;a y los objetos rituales. Estas expresiones conforman un lenguaje completo que refuerza la identidad colectiva y actualiza los v&iacute;nculos entre lo humano, lo natural y lo divino.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "1e55cccc-5556-4b4f-b553-70b2f6dfb0c8", "provisionaledits": null, "resourceinstance_id": "587cd4c3-96a8-4d87-9a44-9c66b5714f7b", "sortorder": 0, "tileid": "cfbd2d4f-347b-4bde-8f38-c7c5e701d5a4"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica ritual vinculada al cuento del sol y la luna ha experimentado variaciones en su forma de ejecuci&oacute;n, especialmente en lo que respecta a la organizaci&oacute;n del baile. Seg&uacute;n el relato, originalmente exist&iacute;a una disposici&oacute;n clara y diferenciada: las &ldquo;mamitas&rdquo; del pueblo danzaban en el exterior, mientras que al interior participaban figuras que representaban a las estrellas, el sol y la luna. Esta estructura ten&iacute;a una funci&oacute;n simb&oacute;lica, pues cada personaje cumpl&iacute;a un rol en la narraci&oacute;n ritualizada del conflicto y la reconciliaci&oacute;n entre los astros. Sin embargo, en la actualidad, esta distribuci&oacute;n ha perdido parte de su especificidad, y el baile ya no se realiza respetando las posiciones tradicionales. Esta transformaci&oacute;n sugiere una posible desvinculaci&oacute;n entre la pr&aacute;ctica esc&eacute;nica y la dimensi&oacute;n narrativa original.</p>\n\n<p>Estas modificaciones pueden entenderse como el resultado de un proceso de adaptaci&oacute;n cultural ante nuevas din&aacute;micas sociales y religiosas. El debilitamiento del conocimiento sobre el significado de cada personaje dentro del baile refleja una distancia creciente entre la ejecuci&oacute;n de la danza y su funci&oacute;n como relato colectivo. Esto puede deberse a la fragmentaci&oacute;n del sistema de transmisi&oacute;n intergeneracional o a la influencia de pr&aacute;cticas festivas externas que imponen nuevas formas de representaci&oacute;n. La persistencia del baile como elemento festivo, aunque con cambios en su estructura, indica que la comunidad mantiene el gesto ritual, pero con contenidos que tienden a reinterpretarse bajo otros marcos simb&oacute;licos.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "1e55cccc-5556-4b4f-b553-70b2f6dfb0c8", "provisionaledits": null, "resourceinstance_id": "587cd4c3-96a8-4d87-9a44-9c66b5714f7b", "sortorder": 0, "tileid": "8e671c72-e0a6-4d3a-b0b4-4d565db8228a"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de esta pr\u00e1ctica es su capacidad para articular narraci\u00f3n, simbolismo y ritual en una sola expresi\u00f3n cultural viva. El cuento del sol y la luna no se limita a ser contado: se representa corporalmente a trav\u00e9s de la danza, se acompa\u00f1a con m\u00fasica ejecutada con instrumentos tradicionales y se activa dentro de un marco comunitario donde los roles est\u00e1n distribuidos con precisi\u00f3n. Esta integraci\u00f3n permite que la historia conserve su funci\u00f3n explicativa sobre los ciclos del d\u00eda y la noche, pero tambi\u00e9n su dimensi\u00f3n moral y social. El uso de figuras como los toritos \u2014encargados de alejar la maldad\u2014 y el baile en redondilla \u2014que simboliza reconciliaci\u00f3n entre humanos\u2014 demuestra una estructura simb\u00f3lica compleja, sostenida por un entramado colectivo de creencias, afectos y pr\u00e1cticas. Desde el punto de vista del patrimonio cultural inmaterial, la pr\u00e1ctica conserva su legitimidad gracias a su anclaje en la autoridad del Gran Cabildo Indigenal de la Sant\u00edsima Trinidad, lo que garantiza su autenticidad y continuidad. Este tipo de estructuras tradicionales act\u00faa como resguardo ante procesos de fragmentaci\u00f3n cultural, pues no solo preservan el relato, sino tambi\u00e9n las formas leg\u00edtimas de narrarlo y representarlo. En t\u00e9rminos de salvaguarda, esta fortaleza es estrat\u00e9gica: el hecho de que la danza, la m\u00fasica y el relato est\u00e9n vinculados entre s\u00ed, dentro de un calendario ritual y bajo autoridad reconocida, permite activar medidas de protecci\u00f3n que no se limitan al texto del cuento, sino que abarcan el sistema cultural completo. Desde la antropolog\u00eda, se valora esta pr\u00e1ctica no solo por su contenido simb\u00f3lico, sino por su funci\u00f3n organizadora de relaciones sociales y cosmol\u00f3gicas dentro de la comunidad."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "1e55cccc-5556-4b4f-b553-70b2f6dfb0c8", "provisionaledits": null, "resourceinstance_id": "587cd4c3-96a8-4d87-9a44-9c66b5714f7b", "sortorder": 0, "tileid": "540cc7c7-40e0-44be-afca-74884cd610bc"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Entre los riesgos m&aacute;s evidentes que enfrenta esta pr&aacute;ctica se encuentra la alteraci&oacute;n del sentido original del baile, como resultado de la p&eacute;rdida de elementos narrativos fundamentales en su ejecuci&oacute;n. La organizaci&oacute;n del espacio ritual &mdash;que distingu&iacute;a claramente entre quienes representaban al sol, la luna, las estrellas, y los seres humanos&mdash; ya no se respeta. Esta simplificaci&oacute;n genera una ruptura entre el relato m&iacute;tico y su expresi&oacute;n performativa, afectando la transmisi&oacute;n integral del conocimiento que contiene. Tambi&eacute;n se identifica una amenaza en la instrumentalizaci&oacute;n festiva de la danza, que tiende a priorizar la est&eacute;tica o el espect&aacute;culo por encima de la estructura simb&oacute;lica tradicional, lo que debilita el v&iacute;nculo entre la comunidad y su propia memoria colectiva.</p>\n\n<p>Desde la perspectiva del patrimonio cultural inmaterial, la pr&aacute;ctica se encuentra en una situaci&oacute;n fr&aacute;gil si no se refuerzan los mecanismos comunitarios de transmisi&oacute;n. El papel del Gran Cabildo Indigenal como portador del relato resulta fundamental, pero su autoridad podr&iacute;a verse reducida si no se reconocen y documentan adecuadamente estas funciones dentro de pol&iacute;ticas culturales locales o nacionales. La falta de procesos sistem&aacute;ticos de registro, archivo oral y fortalecimiento intergeneracional abre la posibilidad de que el relato se fragmente o incluso desaparezca. En este contexto, se recomienda dise&ntilde;ar estrategias de salvaguarda que incluyan talleres de formaci&oacute;n comunitaria, documentaci&oacute;n audiovisual del relato en sus diferentes versiones, y fortalecimiento institucional del Cabildo como n&uacute;cleo de conservaci&oacute;n. Desde la antropolog&iacute;a, ser&iacute;a pertinente desarrollar investigaciones participativas que no solo registren la historia oral, sino que apoyen activamente su revitalizaci&oacute;n dentro del tejido social que le da sentido.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "1e55cccc-5556-4b4f-b553-70b2f6dfb0c8", "provisionaledits": null, "resourceinstance_id": "587cd4c3-96a8-4d87-9a44-9c66b5714f7b", "sortorder": 0, "tileid": "b1a77841-3342-49eb-98c3-2378ef0449eb"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:07.804", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080501-00-00-000023, "}, "es": {"description": "San Ignacio. Palo encabado y jocheo del toro", "map_popup": "Beni", "name": "PI-080501-00-00-000023, San Ignacio. Palo encabado y jocheo del toro"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080501-00-00-000023, San Ignacio. Palo encabado y jocheo del toro", "principaluser_id": 26, "resourceinstanceid": "f1dc869c-9a0a-4678-bc70-3fdabd43906f", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Pr\u00e1cticas sociales"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080501-00-00-000023", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "0f2b61a6-5f56-4125-b634-84f7191245d8", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Ignacio. Palo encabado y jocheo del toro"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "f1dc869c-9a0a-4678-bc70-3fdabd43906f", "sortorder": 0, "tileid": "3fb590c5-2178-4725-977f-229cb6e81ff3"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "f1dc869c-9a0a-4678-bc70-3fdabd43906f", "sortorder": 0, "tileid": "d99126b2-5f5d-4ee8-b735-e5c24cd43b66"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["cf411e97-63a1-4dcc-ad99-3392a847b37e"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Ignacio. Palo encabado y jocheo del toro</strong></p>\n\n<p>&nbsp;</p>\n\n<p>El Palo encabado y jocheo del toro es una pr&aacute;ctica festiva que se realiza durante la celebraci&oacute;n de la Ichapekene Piesta. Esta tradici&oacute;n es parte de los rituales que rememoran los eventos hist&oacute;ricos ligados a la lucha de San Ignacio contra los Jichis, los esp&iacute;ritus antiguos de la regi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Durante los d&iacute;as de la fiesta, que se celebran entre el 30 de julio y el 2 de agosto, el Palo encabado consiste en una serie de actividades donde se coloca un palo verticalmente en el suelo, con el objetivo de que los participantes, especialmente los j&oacute;venes, intenten alcanzarlo o treparlo, simbolizando el esfuerzo y la perseverancia. Este acto est&aacute; vinculado con los rituales de adoraci&oacute;n y el reconocimiento de las fuerzas naturales y espirituales.</p>\n\n<p>&nbsp;</p>\n\n<p>El jocheo del toro es otro componente significativo de esta festividad, donde se lleva a cabo un enfrentamiento simb&oacute;lico con el toro. Esta actividad forma parte de los rituales en los cuales se busca rendir homenaje a los dioses y esp&iacute;ritus protectores de la regi&oacute;n, todo en el contexto de la Ichapekene Piesta.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado de la actividad</strong></p>\n\n<p>Los juegos del palo encebado (o encebau) y el jocheo del toro son dos actividades profundamente unidas, pues una no ocurre sin la otra. Estas pr&aacute;cticas, de car&aacute;cter festivo, buscan principalmente la diversi&oacute;n de la comunidad, pero su significado va m&aacute;s all&aacute; del entretenimiento. El palo encebado tiene un fuerte componente ritual, vinculado a la festividad de San Ignacio y a la hist&oacute;rica narraci&oacute;n del triunfo de San Ignacio sobre los Jichis, los esp&iacute;ritus antiguos. Cuando la lucha por la Santa Bandera se llevaba a cabo, los Jichis se apoderaron de ella, llev&aacute;ndola a una cueva, San Ignacio recupero la bandera y fue Santiago que la llevo a una monta&ntilde;a para hacerla ondear. Entonces clavar la bandera en el palo encebado es un recordatorio de suceso y la recuperaci&oacute;n de la Santa Bandera.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Participantes</strong></p>\n\n<p>Los participantes en estas actividades son numerosos y desempe&ntilde;an roles fundamentales para la realizaci&oacute;n de la festividad. El conjunto encargado de toda la organizaci&oacute;n son los Toreros. Entre los dem&aacute;s participantes se encuentran:</p>\n\n<p>&nbsp;</p>\n\n<p>Constructores del corral, son varias personas que se encargan de preparar el espacio para el desarrollo de los juegos.</p>\n\n<p>Hombres que cavan el hoyo para el tronco, los responsables de preparar el terreno donde se levantar&aacute; el palo.</p>\n\n<p>Hombres para construir las vigas y levantar el palo, se encargan de la estructura y de la instalaci&oacute;n del palo encebado.</p>\n\n<p>Hombres preparar las vigas para colgar los regalos, ellos instalan las vigas que sostendr&aacute;n los obsequios que se cuelgan del palo.</p>\n\n<p>Hombres para encebar el tronco, es una tarea fundamental para hacer que el tronco resbale, dificultando su ascenso y a&ntilde;adiendo un desaf&iacute;o a la actividad.</p>\n\n<p>Hombres adultos y j&oacute;venes que jalan las cuerdas, ellos participan en el proceso del palo encebado, ayudando a sostener las cuerdas utilizadas en la competencia.</p>\n\n<p>Mujeres que traen y reparten la chicha y la comida, se aseguran que los participantes est&eacute;n bien alimentados y abastecidos durante el evento.</p>\n\n<p>Bailarines, hombres y mujeres, con los m&uacute;sicos de las danzas, los conjuntos de danzas como el Ciervo, Achu y Machetero, acompa&ntilde;an la celebraci&oacute;n con m&uacute;sica y baile.</p>\n\n<p>J&oacute;venes para el jocheo del toro, son los participantes, mayores de 20 y hasta los 40 a&ntilde;os, que se enfrentan al toro simb&oacute;licamente, una de las actividades destacadas de la festividad.</p>\n\n<p>Autoridades caciques de los toreros e integrantes, ellos gu&iacute;an y coordinan el trabajo y el desarrollo de la fiesta, asegur&aacute;ndose de que todo transcurra de acuerdo a las tradiciones.</p>\n\n<p>El Cabildo Indigenal, son la m&aacute;xima autoridad que organiza y supervisa la realizaci&oacute;n de los juegos, siendo el encargado de preservar las tradiciones y el orden en las festividades.</p>\n\n<p>Todos estos participantes trabajan juntos para que los juegos y actividades festivas sean un &eacute;xito, creando un ambiente de camarader&iacute;a, diversi&oacute;n y profunda conexi&oacute;n con las ra&iacute;ces culturales y espirituales del pueblo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La tradici&oacute;n del palo encebado y el jocheo de toros tiene un origen colonial y se remonta a la &eacute;poca en que se instala la misi&oacute;n en el actual pueblo de San Ignacio, poco despu&eacute;s de la construcci&oacute;n de la iglesia en 1751. Estas actividades festivas son comunes en la regi&oacute;n beniana y se realizan en muchas localidades de la zona. Sin embargo, en San Ignacio, el palo encebado y el jocheo poseen un significado hist&oacute;rico vinculados a un evento clave en la historia local.</p>\n\n<p>&nbsp;</p>\n\n<p>El palo encebado representa el triunfo de San Ignacio sobre los Jichis, los esp&iacute;ritus antiguos de la regi&oacute;n que intentaron quedarse con la Santa Bandera. Seg&uacute;n la tradici&oacute;n, cuando se decidi&oacute; trasladar la misi&oacute;n al actual territorio de San Ignacio, los Jichis atacaron la comitiva y se apoderaron de la Santa Bandera, llev&aacute;ndola a una cueva y neg&aacute;ndose a entregarla. Los Jichis son representados por las danzas que se interpretan durante la festividad. Fue San Ignacio quien, con gran valent&iacute;a, ingres&oacute; a la cueva para recuperar la Bandera. Tras salir con ella en su poder, se la entreg&oacute; a Santiago, quien la onde&oacute; en la cima de una monta&ntilde;a. Los primeros en llegar al lugar para rendir homenaje a la Bandera fueron los Achus, quienes prometieron su fe a Cristo.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde entonces, todos los Jichis que se rindieron son representados en las danzas tradicionales de la fiesta. El palo encebado simboliza este triunfo, ya que la persona que llega a la cima del palo debe superar numerosas dificultades, al igual que San Ignacio lo hizo para recuperar la Bandera. Para lograrlo, el palo se embadurna con sebo, jab&oacute;n y aceite, lo que dificulta el ascenso, como una representaci&oacute;n simb&oacute;lica de las pruebas que enfrent&oacute; San Ignacio. Una vez que la persona alcanza la cima, debe ondear la bandera como se&ntilde;al de victoria, marcando el triunfo de San Ignacio sobre los Jichis. Este acto es seguido por los Achus, quienes llegaron primero para rendir homenaje a la Bandera, y despu&eacute;s por los Macheteros, quienes tambi&eacute;n fueron fundamentales en la lucha de San Ignacio contra los Jichis.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Proceso del jocheo de toros y el palo encebado</strong></p>\n\n<p><strong>Antes de la actividad</strong></p>\n\n<p>La organizaci&oacute;n de la fiesta comienza tres meses antes del evento, con la b&uacute;squeda del palo encebado y la madera necesaria para la construcci&oacute;n del corral. La b&uacute;squeda del palo encebado es el tronco de piraquina, su b&uacute;squeda es una labor que se realiza con la ayuda de las comunidades cercanas a San Ignacio.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde mayo, el Cabildo emprende la b&uacute;squeda, viajando de comunidad en comunidad, a veces recorriendo distancias muy largas. En esta ocasi&oacute;n, el palo fue encontrado a unas 4 leguas de distancia. El cacique y el corregidor de cada comunidad acompa&ntilde;an a las autoridades del Cabildo Ind&iacute;genal de San Ignacio en la b&uacute;squeda. Si no se encuentra en un lugar, se contin&uacute;a buscando en otra comunidad. Una vez encontrado, se establece un trato, pero antes de hacer la donaci&oacute;n, las autoridades de la comunidad deben consultar a su poblaci&oacute;n. La donaci&oacute;n se realiza porque todas las comunidades pertenecen al mismo municipio y forman parte del Gran Cabildo de San Ignacio.</p>\n\n<p>&nbsp;</p>\n\n<p>El 7 de junio se procede al corte del tronco, que se deja en un lugar a unos tres kil&oacute;metros de San Ignacio. Un mes despu&eacute;s, el tronco es trasladado al corral en un carret&oacute;n jalado por cuatro bueyes, como si fuera parte de una fiesta, con danzas y m&uacute;sica. A partir de esta fecha, se inicia la novena de la fiesta de la Virgen del Carmen.</p>\n\n<p>&nbsp;</p>\n\n<p>Cuando comienza la novena de San Ignacio, se inicia el proceso de raspado del tronco para quitarle la corteza, dej&aacute;ndolo suave. El corral se construye con madera de tacuara, bejuco y palo de monte. Tres meses antes, tambi&eacute;n se encarga la madera necesaria para la construcci&oacute;n, que es transportada por las comunidades hasta el corral. Se solicita a las comunidades la madera necesaria, que se trae de varias localidades. Se requieren 30 docenas de tacuara y 6 docenas de troncos para postes.</p>\n\n<p>&nbsp;</p>\n\n<p>El Cabildo, junto con los miembros de los conjuntos danzantes, trabaja en la construcci&oacute;n del corral. Tambi&eacute;n pueden participar otras personas que tengan fe en Dios, ya que consideran que al ayudar en la construcci&oacute;n, Dios les brindar&aacute; su ayuda. Adem&aacute;s, otras personas contribuyen con chicha, refrescos y comida de manera voluntaria. Los regalos que se disponen, son donados por la poblaci&oacute;n, especialmente por los comerciantes, quienes tienen fe en San Ignacio.</p>\n\n<p>&nbsp;</p>\n\n<p>La construcci&oacute;n del corral se repite todos los a&ntilde;os; se arma y se desmonta para cada festividad. Asimismo, se solicita a los hacendados el pr&eacute;stamo de toros para el jocheo. Los encargados de esta tarea son los miembros del conjunto de los Toreros, quienes traen los toros al corral un d&iacute;a antes del jocheo. Adem&aacute;s, se designan personas encargadas de alimentar y darles agua a los toros durante este tiempo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Durante la actividad</strong></p>\n\n<p>El 31 de julio, por la tarde, se lleva a cabo el jocheo del toro, un evento que atrae a una multitud que se agrupa para asegurar un lugar en el corral. Afuera de este, las autoridades del Cabildo y los caciques de cada conjunto de danza se re&uacute;nen para compartir con todos el maripeo de chicha.</p>\n\n<p>El 1 de agosto por la ma&ntilde;ana comienza la preparaci&oacute;n del palo encebado, con la participaci&oacute;n de un gran grupo de personas que desempe&ntilde;an distintas tareas, tanto hombres como mujeres, adultos y j&oacute;venes. Varios trabajadores cavan el hoyo donde se colocar&aacute; el tronco, mientras otros preparan las vigas que sostendr&aacute;n el palo. Una vez que el tronco es levantado sobre dos vigas, se procede a adornarlo con diversos regalos, principalmente prendas de vestir y piezas de pl&aacute;stico de uso diario, como baldes y contenedores. Todos estos obsequios son donados por los comerciantes del lugar como un presente a San Ignacio, entregados con fe para recibir su bendici&oacute;n</p>\n\n<p>En la punta del palo se amarra una bandera boliviana, que simboliza la victoria de San Ignacio en la guerra contra los Jichis, ocurrida durante el traslado de la misi&oacute;n al actual emplazamiento. Cuando un joven logra subir a la cima del tronco, debe ondear la bandera en honor al triunfo de San Ignacio sobre los Jichis.</p>\n\n<p>El tronco se embadurna con una mezcla de grasa y jab&oacute;n de lej&iacute;a, mientras otros cuelgan los regalos en un extremo. Posteriormente, se embadurna con aceite de autos. La preparaci&oacute;n de la mezcla de grasa y jab&oacute;n de lej&iacute;a es una tradici&oacute;n que, aunque ha desaparecido en otras regiones, se mantiene viva en San Ignacio.</p>\n\n<p>Luego de varias horas de trabajo, con la ayuda de lazos y camastros hechos de tacuara de siya que sostienen el palo, se logra que el tronco quede en posici&oacute;n vertical. En ese momento, el camaretero hace estallar la camareta. A lo largo de este proceso, comienzan a llegar poco a poco los conjuntos de danza, como los ciervos, los macheteros y los achus. Las mamitas traen comida para los trabajadores y, mientras tanto, se reparte chicha entre todos los presentes.</p>\n\n<p><strong>Por la tarde, el jocheo del toro se reanuda</strong></p>\n\n<p>El 2 de agosto, la gente se re&uacute;ne nuevamente en el corral para continuar con el jocheo del toro y la bajada de los regalos de la cima del palo encebado. Mientras se lleva a cabo el jocheo, se hace una pausa para que los j&oacute;venes comiencen a subir por el palo, ayudados por una soga que amarran a su cintura. Al llegar a la cima, desamarran la bandera y la ondean, as&iacute; como los regalos. Mientras algunos j&oacute;venes desamarran los premios amarrados en el cuello del toro, otros contin&uacute;an subiendo.</p>\n\n<p>Toda la actividad es supervisada por los Toreros, quienes, como Parcialidad del Gran Cabildo Ind&iacute;genal de San Ignacio de Mojos, tienen la responsabilidad de organizar y controlar el evento.</p>\n\n<p><strong>Despu&eacute;s de la actividad</strong></p>\n\n<p>El 3 de agosto, comienza el desarme del corral. Se baja el palo encebado con la presencia de las danzas de macheteros, el coro musical con su m&uacute;sica y las mamitas. Las personas que colaboraron en traer el palo cortan el tronco para utilizarlo como le&ntilde;a. La tacuara y los troncos tambi&eacute;n se reparten entre aquellos que trajeron madera de las otras comunidades, como reconocimiento a su esfuerzo.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "d99126b2-5f5d-4ee8-b735-e5c24cd43b66", "provisionaledits": null, "resourceinstance_id": "f1dc869c-9a0a-4678-bc70-3fdabd43906f", "sortorder": 0, "tileid": "6366a8bd-5b57-4afe-a9c2-ad07e317176b"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-65.63617324328281, -14.993907689201322], "type": "Point"}, "id": "607008505b4e3ae04b25d6a543132730", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "7c630574-4bde-4beb-92f4-d7e3a4b4c5fe", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080501', 'num': '000010'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "f1dc869c-9a0a-4678-bc70-3fdabd43906f", "sortorder": 0, "tileid": "77962484-2154-40fe-9e3f-775722c72f61"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Ensa\u00f1anza colectiva"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los mecanismos de transmisi&oacute;n de los conocimientos en la festividad del Palo Encebado y el Jocheo del Toro en San Ignacio de Mojos se basan principalmente en la oralidad, la participaci&oacute;n comunitaria y la ense&ntilde;anza intergeneracional. El relato sobre la lucha de San Ignacio contra los Jichis y la recuperaci&oacute;n de la Santa Bandera han sido transmitidos de generaci&oacute;n en generaci&oacute;n a trav&eacute;s de los ancianos, el Cabildo Ind&iacute;genal y las autoridades tradicionales. Estos relatos refuerzan la identidad cultural de la comunidad y dan sentido a cada una de las pr&aacute;cticas realizadas en la Ichapekene Piesta. Adem&aacute;s, la estructura organizativa de la festividad permite que el conocimiento sobre la preparaci&oacute;n, ejecuci&oacute;n y simbolismo de las actividades se conserve y se refuerce a&ntilde;o tras a&ntilde;o, gracias a la gu&iacute;a de los caciques y los Toreros, quienes asumen la responsabilidad de coordinar y supervisar la celebraci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>El aprendizaje a trav&eacute;s de la participaci&oacute;n activa es uno de los elementos de transmisi&oacute;n cultural. Desde temprana edad, los j&oacute;venes observan y colaboran en la organizaci&oacute;n del evento, permiti&eacute;ndoles aprender de manera pr&aacute;ctica sobre la selecci&oacute;n del tronco, la construcci&oacute;n del corral, la preparaci&oacute;n de la chicha y los rituales asociados. La comunidad entera se involucra en la festividad, lo que facilita la continuidad del conocimiento mediante la experiencia directa. Asimismo, las danzas tradicionales, como las de los Achus y los Macheteros, constituyen otro medio de ense&ntilde;anza, ya que en ellas se representan los hechos hist&oacute;ricos y los valores de la comunidad. De esta manera, la transmisi&oacute;n del conocimiento en San Ignacio de Mojos no solo se da a trav&eacute;s de la palabra, sino tambi&eacute;n a trav&eacute;s del trabajo conjunto, la observaci&oacute;n y la pr&aacute;ctica ritual, asegurando que la historia y la cultura contin&uacute;en vivas en el tiempo.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "d99126b2-5f5d-4ee8-b735-e5c24cd43b66", "provisionaledits": null, "resourceinstance_id": "f1dc869c-9a0a-4678-bc70-3fdabd43906f", "sortorder": 0, "tileid": "8a103900-8355-4a70-99dd-4a2948fda221"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las pr&aacute;cticas festivas del Palo Encebado y el Jocheo del Toro han experimentado transformaciones a lo largo del tiempo, influenciadas por cambios sociales, materiales y organizativos. Uno de los aspectos m&aacute;s notorios es la variaci&oacute;n en los recursos utilizados para la preparaci&oacute;n del palo encebado. Mientras que antiguamente se empleaban exclusivamente grasa y jab&oacute;n de lej&iacute;a, actualmente se incorporan productos industriales como el aceite de autos, lo que refleja una adaptaci&oacute;n a los materiales disponibles en la actualidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra transformaci&oacute;n significativa es la creciente participaci&oacute;n de comerciantes locales en la donaci&oacute;n de regalos para el Palo Encebado. Anteriormente, los premios eran elementos artesanales o productos tradicionales de la comunidad, mientras que hoy incluyen objetos manufacturados, como prendas de vestir y utensilios de pl&aacute;stico. Este cambio responde a nuevas din&aacute;micas econ&oacute;micas y al acceso a bienes comerciales, lo que da a la festividad un matiz m&aacute;s contempor&aacute;neo sin perder su esencia comunitaria. Adem&aacute;s, la organizaci&oacute;n del evento ha evolucionado, con una mayor planificaci&oacute;n previa y una estructura m&aacute;s definida en la participaci&oacute;n de las autoridades ind&iacute;genas, reflejando una adaptaci&oacute;n a los tiempos modernos sin desvincularse de los valores y significados ancestrales que hacen de esta festividad un pilar de la identidad de San Ignacio de Mojos. Esta transformaci&oacute;n en los bienes utilizados y en la obtenci&oacute;n de materiales refleja una intersecci&oacute;n entre la tradici&oacute;n y la modernidad, donde los conocimientos ancestrales siguen vigentes, pero adapt&aacute;ndose a nuevas realidades econ&oacute;micas y ambientales.</p>\n\n<p>&nbsp;</p>\n\n<p>La adaptaci&oacute;n de los procedimientos organizativos y log&iacute;sticos de la festividad. La b&uacute;squeda del palo encebado sigue siendo una actividad esencial, pero su disponibilidad depende ahora de acuerdos con distintas comunidades, lo que refleja modificaciones en la gesti&oacute;n de los recursos.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d99126b2-5f5d-4ee8-b735-e5c24cd43b66", "provisionaledits": null, "resourceinstance_id": "f1dc869c-9a0a-4678-bc70-3fdabd43906f", "sortorder": 0, "tileid": "0f3bf52f-1776-47c7-91b9-bde1b6c1129c"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica festiva del Palo Encebado y el Jocheo del Toro es la conexi\u00f3n con la identidad cultural de San Ignacio de Mojos. Esta celebraci\u00f3n no solo es un espacio de entretenimiento y convivencia, sino tambi\u00e9n un medio de transmisi\u00f3n de valores, relatos hist\u00f3ricos y creencias espirituales que refuerzan la cohesi\u00f3n social. La participaci\u00f3n activa de diferentes sectores de la comunidad, desde el Cabildo Indigenal hasta los j\u00f3venes y comerciantes, demuestra un fuerte sentido de pertenencia y compromiso con la continuidad de la tradici\u00f3n y la fe en San Ignacio. La dimensi\u00f3n ritual de la festividad, vinculada al triunfo de San Ignacio sobre los Jichis, fortalece la espiritualidad colectiva y el respeto por los ancestros, lo que contribuye a la preservaci\u00f3n de la memoria hist\u00f3rica del pueblo.  La organizaci\u00f3n comunitaria desde el Cabildo Indigenal es una fortaleza troncal que sostiene la festividad. La planificaci\u00f3n comienza con meses de anticipaci\u00f3n e involucra a diversas comunidades en la b\u00fasqueda del palo encebado y la recolecci\u00f3n de materiales para la construcci\u00f3n del corral, lo que fomenta la cooperaci\u00f3n y el intercambio entre pueblos. Asimismo, la estructura jer\u00e1rquica dentro del evento, con la participaci\u00f3n del Cabildo Indigenal, los Toreros y los caciques de danza, garantiza la continuidad de la tradici\u00f3n y la transmisi\u00f3n del conocimiento a las nuevas generaciones. Esta capacidad de autogesti\u00f3n refuerza el sentido de unidad y resiliencia comunitaria, asegurando que la festividad siga siendo un s\u00edmbolo de identidad y fortaleza cultural para San Ignacio de Mojos."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "d99126b2-5f5d-4ee8-b735-e5c24cd43b66", "provisionaledits": null, "resourceinstance_id": "f1dc869c-9a0a-4678-bc70-3fdabd43906f", "sortorder": 0, "tileid": "cca438df-34ff-4c5a-8c0d-a551073f9f85"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la pr&aacute;ctica festiva del Palo Encebado y el Jocheo del Toro es la posible p&eacute;rdida de su significado ritual y cultural. A medida que la festividad atrae a m&aacute;s espectadores y participantes ajenos a la comunidad, existe el peligro de que su sentido simb&oacute;lico y religioso se diluya, convirti&eacute;ndose en un simple espect&aacute;culo sin el trasfondo hist&oacute;rico que lo sustenta. Estos espectadores y participantes en el jocheo, lastiman a los toros, existen jalones, botellas y otros elementos son tirados a los toros. Si bien existe control por la agrupaci&oacute;n de la Parcialidad de los Toreros, estos tipos de espectadores desvirt&uacute;an la actividad.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza importante es la vulnerabilidad de la organizaci&oacute;n comunitaria ante cambios sociales y econ&oacute;micos. La festividad depende de la participaci&oacute;n activa de diferentes actores, desde el Cabildo Indigenal hasta los comerciantes y agricultores que donan materiales y animales. Sin embargo, la migraci&oacute;n de j&oacute;venes hacia centros urbanos en busca de mejores oportunidades puede debilitar la continuidad generacional del evento, dejando en riesgo la disponibilidad de personas que asuman los roles clave dentro de la organizaci&oacute;n.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d99126b2-5f5d-4ee8-b735-e5c24cd43b66", "provisionaledits": null, "resourceinstance_id": "f1dc869c-9a0a-4678-bc70-3fdabd43906f", "sortorder": 0, "tileid": "6e103b25-5072-4662-8e1b-1bbffe953ed5"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:09.730", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000051, "}, "es": {"description": "Trinidad. Danza Machetero", "map_popup": "Beni", "name": "PI-080101-00-00-000051, Trinidad. 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Danza Machetero"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 0, "tileid": "33f5ac34-b042-448f-a50c-cfb816dfd49a"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89596016979084, -14.84623709927682], "type": "Point"}, "id": "cbdd8fdd541b086d96bb103af8e9e701", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000023'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 0, "tileid": "dae07d9f-1cd4-4337-9f71-ecfdcc453bbf"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento musical"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sancuti \u2013 Danza Machetero  Materiales El sancuti machetero, instrumento tradicional del Moje\u00f1o Trinitario, se elabora actualmente con madera delgada proveniente del \u00e1rbol de jochoho y cuero de vaca. Este cuero tambi\u00e9n se utiliza para fabricar las cuerdas que tensan los extremos del instrumento, asegurando su funcionalidad sonora y su resistencia durante las festividades.  T\u00e9cnica de elaboraci\u00f3n La madera de jochoho se humedece para permitir su modelado curvo y uniforme, proceso que requiere gran habilidad. Los extremos se cierran con cuero de vaca cuidadosamente cosido, lo mismo que las cuerdas que lo tensan. Para los palillos utilizados al tocarlo, se seleccionan maderas de alta dureza como tajibo, mara o cuta. Este conocimiento est\u00e1 reservado a solo dos personas de la comunidad que a\u00fan dominan la t\u00e9cnica de construcci\u00f3n del sancuti, lo que lo convierte en un bien cultural de transmisi\u00f3n restringida y valiosa.  Descripci\u00f3n de la pieza El sancuti presenta una estructura cil\u00edndrica con sus dos extremos cerrados por cuero de vaca. Su dise\u00f1o sencillo, pero robusto, responde tanto a las exigencias del ritmo musical como a las condiciones de uso intensivo durante las celebraciones tradicionales.  Descripci\u00f3n del contexto Este instrumento de m\u00fasica parte del conjunto musical que acompa\u00f1a a la danza Machetero. La danza machetero se interpreta en festividades religiosas como la Chope Piesta que significa \u201cfiesta grande\u201d en el dialecto trinitario. Esta celebraci\u00f3n se remonta a la fundaci\u00f3n de la ciudad de Trinidad, cuando los primeros pobladores establecieron un espacio com\u00fan de encuentro intercultural. Durante la fiesta, pueblos de toda la regi\u00f3n como San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, los javerianos, Loreto y San Ignacio, se reun\u00edan para celebrar.  La Chope Piesta conmemora el misterio de la Sant\u00edsima Trinidad \u2013Padre, Hijo y Esp\u00edritu Santo\u2013, y se celebra el domingo siguiente a Pentecost\u00e9s. Esta fecha cierra el ciclo de Pascuas: la del Padre en Navidad, la del Hijo en la Resurrecci\u00f3n, y la del Esp\u00edritu Santo en Pentecost\u00e9s. La fiesta rememora la Trinidad como un solo Dios manifestado en tres personas distintas: el Padre creador, el Hijo redentor y el Esp\u00edritu Santo santificador, constituyendo una expresi\u00f3n viva del sincretismo entre la fe cat\u00f3lica y las cosmovisiones ind\u00edgenas.  Descripci\u00f3n de la funci\u00f3n/uso El sancuti se utiliza en la danza ritual del machetero durante la Chope Piesta. Su sonido anuncia la preparaci\u00f3n de los danzantes, acompa\u00f1a el inicio del baile y se\u00f1ala las pausas. Suele tocarse antes que la caja repicadora, estableciendo el ritmo ceremonial del grupo de macheteros. Tradicionalmente, el instrumento pod\u00eda fabricarse tambi\u00e9n con cuero de anta por su grosor y resistencia, ideal para el uso prolongado durante la fiesta.  Datos hist\u00f3ricos Antes de la llegada de los europeos, la regi\u00f3n de Mojos estaba densamente habitada por diversos grupos \u00e9tnicos ind\u00edgenas. A finales del siglo XVII, comenzaron a establecerse las misiones jesu\u00edticas, siendo Loreto la primera fundada en 1682, seguida por Trinidad en 1686. Para entonces, la poblaci\u00f3n originaria hab\u00eda sido diezmada por enfermedades y expediciones esclavistas. Durante el per\u00edodo comprendido entre 1667 y 1767, el actual Beni constitu\u00eda la Provincia Jesu\u00edtica de Mojos.  En 1941, la Provincia de Mojos fue formalmente creada por ley, durante el gobierno del general Enrique Pe\u00f1aranda. A partir de 1986, las instituciones estatales comenzaron a involucrarse en la organizaci\u00f3n de la Chope Piesta. Hasta entonces, eran las propias comunidades las que asum\u00edan toda la log\u00edstica: tra\u00edan troncos para construir el corral del jocheo del toro, buscaban el palo encebado durante una semana, lo trasladaban en canoa hasta el lugar de la celebraci\u00f3n, y prove\u00edan alimentos como yuca, pl\u00e1tano y ma\u00edz. Cada familia pose\u00eda un chaco o parcela donde cultivaban productos que luego vend\u00edan o intercambiaban para sostener la fiesta. Hoy, al haberse desplazado muchas de estas comunidades hacia la ciudad, la producci\u00f3n propia ha disminuido y se requiere del apoyo de la Gobernaci\u00f3n y la Alcald\u00eda para mantener viva la celebraci\u00f3n.  La Chope Piesta coincide con la cosecha del ma\u00edz, que se siembra aproximadamente en marzo para ser utilizado en la preparaci\u00f3n de la chicha durante la festividad. El pl\u00e1tano, en cambio, est\u00e1 disponible todo el a\u00f1o.  El Gobierno Aut\u00f3nomo Municipal de Trinidad sostiene:      \u201cEn el santoral cat\u00f3lico, el d\u00eda de la fiesta de la Sant\u00edsima Trinidad es movible, y es por ello que la ciudad capital del Beni, fundada en 1686, celebra su d\u00eda entre las \u00faltimas fechas de mayo o las primeras de junio. La fundaci\u00f3n de Trinidad por Cipriano Barace, \u2018doce leguas m\u00e1s abajo del r\u00edo Loreto\u2019, fue un \u00e9xito del sincretismo, es decir, un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas. El misionero jesuita, apoyado por otro sacerdote c\u00e9lebre, Pedro Marb\u00e1n, \u2018tent\u00f3\u2019 a la naci\u00f3n de Moxos ense\u00f1ando, adem\u00e1s de las bellas artes como la m\u00fasica sacra y la pintura, u oficios como la carpinter\u00eda y la alba\u00f1iler\u00eda, las t\u00e9cnicas de la agricultura y la ganader\u00eda. [...] As\u00ed naci\u00f3 la \u2018Chope Piesta\u2019, esa tricentenaria celebraci\u00f3n ind\u00edgena colonial que dura casi una semana entre el \u2018jocheo\u2019 de toros, el \u2018palo encebao\u2019, la danza de los macheteros y la elecci\u00f3n de bellas \u2018moperitas\u2019\u201d (Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f).  Los jesuitas llegaron a Mojos en 1675, siendo Loreto su primera misi\u00f3n. Cipriano Barace fund\u00f3 Trinidad en 1686 con la devoci\u00f3n a la Virgen Mar\u00eda, figura clave en la revelaci\u00f3n del misterio trinitario a trav\u00e9s de Jesucristo. La misi\u00f3n de Barace y otros jesuitas no fue solo evangelizadora: introdujeron conocimientos cient\u00edficos, oficios manuales como la panader\u00eda, la m\u00fasica, el tallado en madera, e impulsaron la organizaci\u00f3n social a trav\u00e9s del Cabildo Indigenal, compuesto por l\u00edderes locales \u2013no espa\u00f1oles\u2013 como corregidores, alcaldes, doctrineros y ap\u00f3stoles. Esta estructura permiti\u00f3 una evangelizaci\u00f3n desde dentro de la comunidad, promoviendo tambi\u00e9n la formaci\u00f3n integral de la persona.  Las mamas abadesas, mujeres viudas encargadas del cuidado del templo, formaban parte de esta estructura eclesi\u00e1stica local. Los doctrineros ense\u00f1aban la fe y encabezaban las oraciones, mientras que los ap\u00f3stoles acompa\u00f1aban al sacerdote durante la Semana Santa.  Cipriano Barace, nacido en Isaba (Navarra, Espa\u00f1a), lleg\u00f3 enviado desde Lima con la responsabilidad de evangelizar Mojos. Hombre polifac\u00e9tico, adem\u00e1s de te\u00f3logo, era m\u00fasico y panadero, y trajo a Trinidad las primeras cabezas de ganado desde Santa Cruz, contribuyendo al perfil ganadero que hoy caracteriza al Beni. Fue asesinado por los ind\u00edgenas Baures al intentar llevarles la fe, raz\u00f3n por la cual es considerado m\u00e1rtir. Se le rinde homenaje cada 28 de junio en la regi\u00f3n."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sancuti \u2013 Danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 7, "tileid": "c9330ec0-a244-4e72-99b5-3196577db66c"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 0, "tileid": "501e2656-51cc-45dd-9ab7-86c257bbdfe9"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Danza Machetero</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La danza del Machetero es una manifestaci&oacute;n cultural viva de las comunidades moje&ntilde;as. Aunque actualmente se presenta como una danza ceremonial, su origen se remonta a pr&aacute;cticas guerreras profundamente vinculadas a la cosmovisi&oacute;n prehisp&aacute;nica. Con el paso del tiempo y la llegada de las misiones, esta danza ha conservado gran parte de sus elementos simb&oacute;licos originales, adapt&aacute;ndolos a contextos religiosos y festivos sin perder su potencia ritual ni sus significados ancestrales. El presente texto ofrece una descripci&oacute;n estructurada de la danza, su historia, los movimientos coreogr&aacute;ficos caracter&iacute;sticos y su acompa&ntilde;amiento musical.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>El Machetero es una danza guerrera que, en su forma actual, se ha transformado en una expresi&oacute;n ceremonial. Se interpreta en actos solemnes con connotaciones religiosas y festivas. A pesar de su adaptaci&oacute;n a estos contextos, mantiene su car&aacute;cter simb&oacute;lico, evocando antiguas pr&aacute;cticas de lucha, desplazamiento y v&iacute;nculo con las fuerzas de la naturaleza.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Originalmente, los guerreros portaban dos armas: el machete y una flecha de aproximadamente un metro y medio de largo, capaz de alcanzar grandes distancias. El uso del plumaje en la indumentaria respond&iacute;a a una representaci&oacute;n simb&oacute;lica del rayo solar, elemento central en la cosmovisi&oacute;n de estos pueblos. Antes de la llegada de las misiones, se rend&iacute;a culto al sol como deidad paterna, mientras que la luna representaba la figura materna. Esta dualidad se manifiesta en la danza mediante gestos que simulan la entrada y salida del sol, como los movimientos de agacharse y levantarse.</p>\n\n<p>&nbsp;</p>\n\n<p>Con la instauraci&oacute;n de las misiones, la danza mantuvo su car&aacute;cter guerrero, reinterpret&aacute;ndose dentro del nuevo marco cultural. El machete, al ser agitado en movimientos de corte, simboliza la acci&oacute;n de abrir camino en el monte. Cuando el danzante encuentra obst&aacute;culos, los supera mediante movimientos circulares y verticales con el machete, representando el acto de cortar la vegetaci&oacute;n densa para avanzar.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>La coreograf&iacute;a de la danza del Machetero se compone de una serie de movimientos que conservan un sentido ritual y pr&aacute;ctico. El desplazamiento b&aacute;sico combina un movimiento circular y otro vertical, repiti&eacute;ndose hasta formar una cruz. En el momento de la adoraci&oacute;n, el bailar&iacute;n realiza dos c&iacute;rculos consecutivos seguidos por un corte vertical, repitiendo esta secuencia dos veces antes de retomar el paso normal y concluir con una inclinaci&oacute;n acompa&ntilde;ada de un golpe de pie.</p>\n\n<p>&nbsp;</p>\n\n<p>El paso b&aacute;sico consiste en dos golpes con el pie derecho, uno con el izquierdo y un &uacute;ltimo con el derecho. La secuencia puede invertirse para generar el segundo paso. Durante la &quot;avanzada&quot;, el danzante realiza una se&ntilde;al con el machete, ejecuta un movimiento circular y termina apuntando hacia adelante.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro paso caracter&iacute;stico consiste en cruzar los pies. Esta acci&oacute;n remite a la destreza necesaria para danzar incluso con un solo pie, y tambi&eacute;n al acto de sacar agua de una canoa. Al levantar un pie a medio metro del suelo e inclinar el cuerpo, se expresa alegr&iacute;a. Cuando el machete se sujeta con ambas manos y el danzante salta con los dos pies, se simula el acto de remar en un bote.</p>\n\n<p>&nbsp;</p>\n\n<p>El paso llamado &ldquo;sembrador&rdquo; consiste en un golpe vertical con el machete y dos sonidos con el paichichi (sonajero de tobillo). Su variaci&oacute;n, con dos golpes de machete y un solo sonido del paichichi, se denomina &ldquo;bato&rdquo; y representa el acto de cazar peces en el lodo, actividad com&uacute;n en agosto durante la temporada seca, cuando los r&iacute;os bajan su caudal.</p>\n\n<p>&nbsp;</p>\n\n<p>El paso marcial combina movimientos circulares con la avanzada, desarroll&aacute;ndose en cuatro tiempos. La &ldquo;redondilla&rdquo; es el paso de confraternizaci&oacute;n, ejecutado en c&iacute;rculo, con tres pasos hacia adelante y tres hacia atr&aacute;s, acompa&ntilde;ado de una inclinaci&oacute;n y posterior elevaci&oacute;n del cuerpo.</p>\n\n<p>&nbsp;</p>\n\n<p>El &ldquo;cernidor&rdquo; alude al trabajo de pelar arroz y se ejecuta balanceando el machete durante la redondilla. Otra parte de esta secuencia implica sujetar el machete como si se fuera a clavar, simbolizando el corte de carne. Finalmente, el &ldquo;machichi&rdquo; es un paso m&aacute;s din&aacute;mico y alegre, tambi&eacute;n parte de la redondilla, que se interpreta luego del almuerzo, como cierre festivo tras haber cumplido con todos los movimientos rituales de la danza.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Acompa&ntilde;amiento musical</strong></p>\n\n<p>La danza del Machetero es acompa&ntilde;ada por diversos ritmos y tonos que var&iacute;an seg&uacute;n el momento de la ejecuci&oacute;n coreogr&aacute;fica. Estos acompa&ntilde;amientos refuerzan el car&aacute;cter ritual, marcial y festivo de la danza, guiando los pasos y resaltando los momentos clave de la interpretaci&oacute;n. La m&uacute;sica cumple una funci&oacute;n integradora, conectando el cuerpo del danzante con los significados simb&oacute;licos que porta cada movimiento.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 0, "tileid": "cd61997f-4913-4b1d-b1d5-c4f6f02daf80"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento musical"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"es": {"direction": "ltr", "value": "Bombo \u2013 Danza Machetero Materiales El bombo utilizado en la danza del machetero del pueblo moje\u00f1o trinitario se elabora con cuero de res y madera de cedro, aunque anteriormente era com\u00fan el uso de cuero de anta o \"chancho de tropa\", un animal silvestre que habita en grupos, lo que facilitaba su caza. Para las cuerdas se empleaba el mismo cuero, denominado wuasca, t\u00e9rmino que tambi\u00e9n se refiere al instrumento usado en la crianza para corregir la conducta de los ni\u00f1os. Este tipo de cuerda refleja la vinculaci\u00f3n entre el uso ritual, la vida cotidiana y la transmisi\u00f3n de normas dentro de la comunidad. T\u00e9cnica de elaboraci\u00f3n La confecci\u00f3n tradicional del bombo consist\u00eda en buscar un tronco o una palmera ancha, cortarla y luego ahuecarla dejando un grosor aproximado de cent\u00edmetro y medio para garantizar resistencia. El proceso implicaba una destreza aprendida a trav\u00e9s de la observaci\u00f3n y la pr\u00e1ctica directa con los mayores. Actualmente, se utiliza la madera del \u00e1rbol jochoho, que es m\u00e1s delgada y maleable. Esta se humedece previamente para moldearla, y luego se cubre con cuero de vaca, tanto en los parches como en las cuerdas. La persistencia de la t\u00e9cnica artesanal se encuentra en manos de apenas dos personas conocedoras del oficio, lo que representa una se\u00f1al de alerta sobre la posible desaparici\u00f3n del saber hacer asociado a este instrumento, un aspecto cr\u00edtico desde el enfoque de salvaguarda del patrimonio inmaterial. Descripci\u00f3n de la pieza El bombo presenta una forma cil\u00edndrica y est\u00e1 cerrado en ambos extremos con cuero de vaca tensado. Su apariencia robusta y resonancia grave le confieren un papel determinante en la marcaci\u00f3n r\u00edtmica de la danza. Descripci\u00f3n del contexto La Chope Piesta, gran celebraci\u00f3n que tiene lugar en Trinidad, tiene ra\u00edces coloniales e ind\u00edgenas profundamente entrelazadas. Este evento surgi\u00f3 tras la fundaci\u00f3n de la ciudad en 1686 por el jesuita Cipriano Barace. Re\u00fane a comunidades provenientes de diferentes pueblos como San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, Loreto y San Ignacio, consolidando as\u00ed un espacio de encuentro cultural. El t\u00e9rmino Chope Piesta proviene del dialecto trinitario y significa \"fiesta grande\". En ella se celebra la festividad de la Sant\u00edsima Trinidad \u2014Padre, Hijo y Esp\u00edritu Santo\u2014 en una secuencia ritual que conecta la Navidad con la Pascua, Pentecost\u00e9s y el domingo siguiente, momento reservado para honrar el misterio de las tres personas divinas en una sola. Descripci\u00f3n de la funci\u00f3n/uso El bombo acompa\u00f1a la danza del machetero durante la Chope Piesta. Tiene la funci\u00f3n de marcar el ritmo del baile con una secuencia de cinco golpes. La danza machetero simboliza la resistencia, la fertilidad y el v\u00ednculo con el territorio, expres\u00e1ndose a trav\u00e9s de movimientos en\u00e9rgicos y marcados. La elecci\u00f3n del palillo de percusi\u00f3n no es arbitraria: debe ser de tajibo, mara o cuta, maderas duras que resisten el uso intensivo. El empleo del bombo en este contexto no solo permite mantener el ritmo, sino que reafirma una memoria corporal que enlaza lo musical con la espiritualidad y el entorno. Datos hist\u00f3ricos Antes de la colonizaci\u00f3n, la regi\u00f3n de Mojos albergaba una densa poblaci\u00f3n ind\u00edgena diversa. Las misiones jesu\u00edticas se asentaron en la zona a finales del siglo XVII, estableciendo el primer contacto sistem\u00e1tico con los pueblos originarios. Entre 1667 y 1767, el actual Beni fue conocido como la Provincia Jesu\u00edtica de Mojos. Posteriormente, en 1941, esta regi\u00f3n fue reconocida oficialmente como provincia bajo el gobierno de Enrique Pe\u00f1aranda. La fundaci\u00f3n de Trinidad en 1686 por Cipriano Barace marc\u00f3 un punto de sincretismo entre el catolicismo europeo y las pr\u00e1cticas ind\u00edgenas locales. Barace introdujo el ganado desde Santa Cruz, trayendo consigo conocimientos agr\u00edcolas, art\u00edsticos y oficios como la panader\u00eda, la carpinter\u00eda y la m\u00fasica. Su labor fue acompa\u00f1ada por estructuras de organizaci\u00f3n ind\u00edgena como el Cabildo, donde las autoridades eran seleccionadas entre los propios habitantes. Entre sus miembros figuraban el corregidor, alcaldes, doctrineros, mamas abadesas y ap\u00f3stoles, cada uno con funciones espec\u00edficas dentro del entramado pol\u00edtico-religioso. En relaci\u00f3n a la Chope Piesta, se registran cambios significativos a partir de 1986, cuando las instituciones gubernamentales comenzaron a involucrarse en la organizaci\u00f3n. Originalmente, la celebraci\u00f3n era sostenida enteramente por las comunidades, que contribu\u00edan con productos agr\u00edcolas como yuca, ma\u00edz y pl\u00e1tanos, cultivados en sus propios chakos. La log\u00edstica inclu\u00eda el transporte colectivo en canoa de troncos para el palo encebao y la construcci\u00f3n del corral del jocheo del toro. Actualmente, muchas comunidades se han desplazado a la ciudad de Trinidad, lo que ha reducido la capacidad de autogesti\u00f3n del evento. Hoy dependen del apoyo log\u00edstico y presupuestario de la Alcald\u00eda y la Gobernaci\u00f3n para mantener viva la festividad. Seg\u00fan un documento del Gobierno Aut\u00f3nomo Municipal de Trinidad: \u201cLa fundaci\u00f3n de Trinidad por Cipriano Barace, \u2018doce leguas m\u00e1s abajo del r\u00edo Loreto\u2019, fue un \u00e9xito del sincretismo, es decir un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas\u201d (s/f). Este sincretismo es visible en la celebraci\u00f3n tricentenaria de la Chope Piesta, que incluye pr\u00e1cticas como la danza de los macheteros, el palo encebao, el jocheo del toro y la elecci\u00f3n de las moperitas, combinando elementos simb\u00f3licos cristianos con formas festivas originarias."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Bombo \u2013 Danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 0, "tileid": "bc94f03b-86db-4fb7-bdaa-4beaf3fe8489"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento musical"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"es": {"direction": "ltr", "value": "Caja tamborcita \u2013 Danza del Machetero  Materiales La caja tamborcita utilizada en la danza del machetero del Moje\u00f1o Trinitario se elabora actualmente con madera delgada del \u00e1rbol de jochoho y cuero de vaca. Estos materiales han reemplazado a los usados tradicionalmente, como el cuero de pillu, debido a la dificultad de conseguirlos en la actualidad.  T\u00e9cnica de elaboraci\u00f3n Para la construcci\u00f3n de esta caja, se selecciona madera delgada de jochoho, la cual se humedece para facilitar su moldeado. Una vez preparada, se le colocan cueros de vaca en los extremos, sujetos con cuerdas tambi\u00e9n hechas de cuero vacuno. Los palillos o baquetas, utilizados para tocar el instrumento, deben ser de maderas duras como el tajibo, la mara o la cuta, que ofrecen mayor resistencia y durabilidad. En la actualidad, solo dos personas conservan el conocimiento necesario para fabricar este instrumento.  Descripci\u00f3n de la pieza La caja tamborcita presenta una estructura cil\u00edndrica. Sus extremos est\u00e1n cubiertos por cuero de vaca, ajustado con precisi\u00f3n para lograr el tono deseado, lo que le da un aspecto tradicional y artesanal.  Descripci\u00f3n del contexto Este instrumento es fundamental en una de las celebraciones m\u00e1s importantes de la identidad moje\u00f1a: la Chope Piesta, expresi\u00f3n que en dialecto trinitario significa \u201cfiesta grande\u201d. Esta festividad, que honra a la Sant\u00edsima Trinidad (Padre, Hijo y Esp\u00edritu Santo), remonta sus or\u00edgenes a la fundaci\u00f3n de la ciudad de Trinidad y re\u00fane a comunidades de distintos pueblos como San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, los javerianos, Loreto y San Ignacio, entre otros. La Chope Piesta se celebra el domingo posterior a la Pascua de Pentecost\u00e9s, fecha en la que se conmemora el misterio de la Sant\u00edsima Trinidad, es decir, un solo Dios en tres personas distintas. Esta celebraci\u00f3n sucede luego de haber vivido otras tres pascuas: la del Padre en Navidad, la del Hijo en la Resurrecci\u00f3n, y la del Esp\u00edritu Santo en Pentecost\u00e9s. Se trata de una evocaci\u00f3n profunda que entrelaza lo religioso con lo cultural, alimentando una identidad colectiva viva.  Descripci\u00f3n de la funci\u00f3n/uso La caja tamborcita tiene la funci\u00f3n esencial de marcar el ritmo en la danza del machetero, danza central en la Chope Piesta. En el pasado, estos tambores se elaboraban con troncos delgados de palmeras, ahuecados hasta obtener un grosor de apenas un cent\u00edmetro. El cuero de pillu, utilizado entonces, ha sido reemplazado por cuero de ternero sullo, es decir, de cr\u00eda no nacida. Las cuerdas eran originalmente de cuero de anta. La caja acompa\u00f1a la marcha y los movimientos rituales de los danzantes, siendo un elemento r\u00edtmico y simb\u00f3lico de la festividad.  Datos hist\u00f3ricos En tiempos prehisp\u00e1nicos, la regi\u00f3n de Mojos estaba densamente habitada por diversas etnias ind\u00edgenas. Con la llegada de las misiones jesu\u00edticas a finales del siglo XVII, se establecieron nuevos asentamientos en el territorio. La poblaci\u00f3n ind\u00edgena, para entonces, ya hab\u00eda sido duramente afectada por enfermedades y redadas. Entre 1667 y 1767, el actual departamento del Beni formaba parte de la Provincia Jesu\u00edtica de Mojos. La provincia de Mojos, como divisi\u00f3n pol\u00edtica, fue formalmente creada mediante Ley el 27 de noviembre de 1941, durante el gobierno del General Enrique Pe\u00f1aranda.  Hacia el a\u00f1o 1986 se produjo un cambio significativo: las instituciones gubernamentales comenzaron a involucrarse en la organizaci\u00f3n de la Chope Piesta. Anteriormente, la celebraci\u00f3n era completamente autogestionada por las comunidades, que llevaban los materiales necesarios para el \u201cjocheo del toro\u201d \u2014una de las actividades centrales\u2014 como troncos para construir el corral o el tradicional \u201cpalo encebado\u201d. Estos elementos eran transportados en canoas desde las riberas de los r\u00edos Ibare y Mamor\u00e9. Las comunidades tambi\u00e9n contribu\u00edan con productos agr\u00edcolas como yuca, pl\u00e1tano y ma\u00edz, provenientes de sus chacos. Los excedentes de la cosecha se vend\u00edan para financiar la fiesta. En la actualidad, muchas comunidades han migrado a Trinidad y ya no tienen acceso a tierras para la producci\u00f3n, lo que ha generado la necesidad de solicitar apoyo a la Gobernaci\u00f3n y a la Alcald\u00eda.  La cosecha de ma\u00edz coincide con la temporada de la Chope Piesta, por lo que su siembra debe comenzar en marzo para poder utilizarse en la preparaci\u00f3n de la chicha. El pl\u00e1tano, en cambio, est\u00e1 disponible durante todo el a\u00f1o.  El involucramiento institucional desde 1986 coincide con lo se\u00f1alado en el documento del Gobierno Aut\u00f3nomo Municipal de Trinidad:   \u201cEn el santoral cat\u00f3lico, el d\u00eda de la fiesta de la Sant\u00edsima Trinidad es movible, y es por ello que la ciudad capital del Beni, fundada en 1686, celebra su d\u00eda entre las \u00faltimas fechas de mayo o las primeras de junio. La fundaci\u00f3n de Trinidad por Cipriano Barace, \u2018doce leguas m\u00e1s abajo del r\u00edo Loreto\u2019, fue un \u00e9xito del sincretismo, es decir un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas. El misionero jesuita apoyado por otro sacerdote c\u00e9lebre, Pedro Marb\u00e1n, \u2018tent\u00f3\u2019 a la naci\u00f3n de Moxos ense\u00f1ando adem\u00e1s de las bellas artes como la m\u00fasica sacra y la pintura u oficios como la carpinter\u00eda y la alba\u00f1iler\u00eda, las t\u00e9cnicas de la agricultura y la ganader\u00eda. Y quiz\u00e1 es aqu\u00ed donde el Beni nace como un sat\u00e9lite dependiente de la ganader\u00eda cruce\u00f1a; pues Barace, con ayuda de los conquistadores espa\u00f1oles afincados en Santa Cruz, traslad\u00f3 las primeras cabezas de ganado a Mojos atravesando heroicamente 500 kil\u00f3metros. El esfuerzo de Barace fue recompensado por los Mojos que donaron su fe a la Sant\u00edsima Trinidad; y fue as\u00ed que naci\u00f3 la \u2018Chope Piesta\u2019, esa tricentenaria celebraci\u00f3n ind\u00edgena colonial que dura casi una semana entre el \u2018jocheo\u2019 de toros, el \u2018palo encebao\u2019, la danza de los macheteros y la elecci\u00f3n de bellas \u2018moperitas\u2019\u201d (Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f).  Los jesuitas llegaron al territorio en 1675. La primera iglesia fue fundada en Loreto en 1682, y cuatro a\u00f1os m\u00e1s tarde, en 1686, el padre Cipriano Barace fund\u00f3 la ciudad de la Sant\u00edsima Trinidad. Esta fundaci\u00f3n se realiz\u00f3 bajo el amparo de la Virgen Mar\u00eda, madre de Jesucristo, quien encarna el misterio trinitario. La ciudad fue la segunda en importancia dentro de las misiones jesu\u00edticas de Mojos, y represent\u00f3 un modelo de formaci\u00f3n integral del ser humano, combinando evangelizaci\u00f3n, educaci\u00f3n, oficios y organizaci\u00f3n comunitaria.  El modelo jesu\u00edtico promov\u00eda no solo la vida espiritual, sino tambi\u00e9n el desarrollo de oficios como el tallado de madera, la panader\u00eda, la m\u00fasica, la agricultura y la ganader\u00eda. Las autoridades locales eran ind\u00edgenas formados dentro del sistema de misiones. El Cabildo Indigenal, basado en la estructura de los cabildos espa\u00f1oles, era dirigido por un corregidor y apoyado por alcaldes, doctrineros, ap\u00f3stoles y mamas abadesas, quienes cumpl\u00edan roles religiosos, educativos y administrativos. Las mamas abadesas, por ejemplo, eran viudas encargadas del cuidado de los templos y participaban en la danza portando escobas simb\u00f3licas para barrer el templo. Los doctrineros ense\u00f1aban a rezar y lideraban las oraciones, mientras que los ap\u00f3stoles acompa\u00f1aban al sacerdote en las celebraciones de Semana Santa.  Cipriano Barace, fundador de Trinidad, naci\u00f3 en Isaba, Navarra (Espa\u00f1a), y fue enviado desde Lima con la responsabilidad de evangelizar Mojos. Adem\u00e1s de misionero, fue m\u00fasico y multifac\u00e9tico: introdujo la panader\u00eda en Trinidad y traslad\u00f3 el primer ganado desde Santa Cruz, sentando las bases de la econom\u00eda ganadera beniana. En homenaje a su legado, cada 28 de junio se le rinde homenaje en Trinidad. Barace muri\u00f3 m\u00e1rtir, asesinado por los ind\u00edgenas Baures cuando intentaba llevarles la fe cristiana, hacia principios del siglo XVIII."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Caja tamborcita \u2013 Danza del Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 1, "tileid": "9eec1ba3-fe76-4579-8b0d-41324741aca1"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Camijeta - Machetero  Materiales La camijeta del machetero se elabora con tela de lienzo y cintas tejidas en telar vertical. Estas cintas, conocidas como vit\u2019e, eran originalmente confeccionadas a partir de algod\u00f3n te\u00f1ido artesanalmente en colores como rojo, verde, violeta o azul. El amarillo, por su parte, era dif\u00edcil de obtener, por lo que rara vez se empleaba. Para lograr los colores deseados, el algod\u00f3n se herv\u00eda, luego se hilaba y finalmente se tej\u00eda en telares verticales tradicionales. En la actualidad, estas cintas se tejen con hilos de algod\u00f3n industrial, pero conservan la t\u00e9cnica y estructura ancestral.  T\u00e9cnica de elaboraci\u00f3n La camijeta consiste en dos piezas unidas por puntadas visibles. Cuando no se emplea cinta tejida en la uni\u00f3n, la prenda adquiere un car\u00e1cter sacro. En los ejemplares destinados a la danza, la cinta tejida no solo une las partes sino que tambi\u00e9n adorna. Los bordados cercanos al cuello presentan dos variantes: uno con bolitas de colores o dise\u00f1os multicolores para autoridades; y otro con dise\u00f1os que evocan el plumaje de jorise, reservado para los bailarines.  Descripci\u00f3n de la pieza Esta prenda es una especie de t\u00fanica corta elaborada con tela de lienzo, cortada en forma de ponchillo y unida a los costados por cintas tejidas. Su caracter\u00edstica m\u00e1s distintiva se encuentra en los bordados decorativos ubicados en la parte delantera del cuello.  Descripci\u00f3n del contexto La danza Machetero es su contexto, y la danza se ejecuta en festividades religiosas como la Chope Piesta, una gran festividad que tiene lugar en la ciudad de Trinidad y que congrega a pobladores de diferentes comunidades como San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, San Ignacio, Loreto y otros. El nombre Chope Piesta proviene del dialecto trinitario y significa \u201cfiesta grande\u201d.  Esta celebraci\u00f3n gira en torno a la Sant\u00edsima Trinidad: el Padre, el Hijo y el Esp\u00edritu Santo. Se celebra el domingo siguiente a Pentecost\u00e9s, en el que se reconoce la unidad de Dios en tres personas. Cada etapa del calendario lit\u00fargico conmemora a una de estas: la Navidad representa al Padre, la Pascua al Hijo, y Pentecost\u00e9s al Esp\u00edritu Santo.  Descripci\u00f3n de la funci\u00f3n y uso La camijeta forma parte del vestuario tradicional de la danza del machetero, ejecutada durante la Chope Piesta. En sus or\u00edgenes, la prenda se confeccionaba con materiales naturales como la corteza del pl\u00e1tano, fibras vegetales y cueros de animales como el anta o el ciervo. Con el tiempo, se incorpor\u00f3 el algod\u00f3n tejido. Se reconocen al menos cuatro tipos de camijeta:  \u2022\tLa camijeta sacra, cosida con puntadas simples y sin cinta tejida.  \u2022\tLa camijeta de autoridad, decorada con colores como rojo y azul, naranja y azul, o blanco.  \u2022\tLa camijeta de danza, colorida y adornada con dise\u00f1os de plumaje.  \u2022\tLa camijeta con cruz roja cosida, que distingu\u00eda a los bautizados de los \u201cb\u00e1rbaros\u201d o no evangelizados.  El cintur\u00f3n o vit\u2019e, originalmente blanco por la dificultad de te\u00f1ido, tambi\u00e9n forma parte del atuendo ritual. Durante los actos solemnes, los danzantes se lo retiran frente a los santos como s\u00edmbolo de humildad. En estos momentos, colocan la mano sobre el pecho, acompa\u00f1ados del rosario, que antiguamente era obligatorio en ceremonias religiosas como Corpus Christi o Pascua. El sacerdote devolv\u00eda la camijeta y el rosario bendecidos, reforzando su carga simb\u00f3lica.  Datos hist\u00f3ricos La regi\u00f3n de Mojos estuvo habitada desde tiempos prehisp\u00e1nicos por numerosos pueblos ind\u00edgenas. A partir de 1667, las misiones jesu\u00edticas se establecieron en el \u00e1rea, que pas\u00f3 a llamarse Provincia Jesu\u00edtica de Mojos hasta 1767. Esta regi\u00f3n fue formalmente constituida como Provincia de Mojos mediante la ley del 27 de noviembre de 1941, durante el gobierno del general Enrique Pe\u00f1aranda.  Uno de los eventos centrales en la historia religiosa y cultural de Trinidad fue la fundaci\u00f3n de la ciudad por el padre jesuita Cipriano Barace en 1686, doce leguas m\u00e1s abajo del r\u00edo Loreto. Barace no solo trajo el evangelio, sino que tambi\u00e9n introdujo pr\u00e1cticas agr\u00edcolas, ganaderas y oficios como la carpinter\u00eda, la alba\u00f1iler\u00eda y la m\u00fasica sacra. Se reconoce su papel clave en el establecimiento del sincretismo religioso, una amalgama entre la doctrina cat\u00f3lica y las creencias ind\u00edgenas. De hecho, \u00e9l mismo fue quien trajo las primeras cabezas de ganado desde Santa Cruz, estableciendo las bases de la tradici\u00f3n ganadera beniana.  El misionero jesuita tambi\u00e9n fund\u00f3 el Cabildo Indigenal, una estructura organizativa compuesta por autoridades ind\u00edgenas como el corregidor, alcalde, doctrineros y ap\u00f3stoles. Estas autoridades no solo dirig\u00edan la comunidad, sino que tambi\u00e9n aplicaban castigos y supervisaban las celebraciones religiosas. Entre los miembros destacados del cabildo se encontraban las Mamas Abadesas, viudas encargadas del cuidado del templo, quienes participaban en las danzas con una escoba, s\u00edmbolo de su labor.  Los doctrineros, catequistas encargados de ense\u00f1ar a rezar y liderar las oraciones, y los ap\u00f3stoles, que acompa\u00f1aban al sacerdote durante la Semana Santa, tambi\u00e9n desempe\u00f1aban un papel vital en la formaci\u00f3n espiritual de la comunidad. El sacerdote lavaba los pies de los ap\u00f3stoles el Jueves Santo, en referencia al gesto de humildad de Jesucristo.  El padre Cipriano Barace naci\u00f3 en Isapa, Navarra, y fue enviado desde Lima con la misi\u00f3n de evangelizar Mojos. Hombre polifac\u00e9tico, adem\u00e1s de evangelizador, fue m\u00fasico y panadero. Su labor fue interrumpida violentamente cuando fue asesinado por los pueblos Baures mientras intentaba llevarles la fe, convirti\u00e9ndose as\u00ed en m\u00e1rtir. En Trinidad se lo recuerda con una celebraci\u00f3n el 28 de junio.  La evoluci\u00f3n de la Chope Piesta tambi\u00e9n muestra el cambio en la participaci\u00f3n de la sociedad. Hasta mediados del siglo XX, la fiesta se organizaba de manera comunitaria: los pueblos tra\u00edan productos como yuca, ma\u00edz y pl\u00e1tano desde sus chacos a la ciudad. Tambi\u00e9n llevaban troncos para construir el corral del jocheo del toro y el palo encebado, transport\u00e1ndolos por canoa. A partir de 1986, las instituciones estatales comenzaron a participar m\u00e1s activamente, colaborando con apoyo log\u00edstico y econ\u00f3mico.  Este proceso coincide con la documentaci\u00f3n oficial que afirma:      \u201cLa fundaci\u00f3n de Trinidad por Cipriano Barace [...] fue un \u00e9xito del sincretismo, es decir un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas. [...] As\u00ed naci\u00f3 la Chope Piesta, esa tricentenaria celebraci\u00f3n ind\u00edgena colonial que dura casi una semana entre el \u2018jocheo\u2019 de toros, el \u2018palo encebao\u2019, la danza de los macheteros y la elecci\u00f3n de bellas \u2018moperitas\u2019\u201d. (Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f)"}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Camijeta - Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 2, "tileid": "e61aecf5-f685-4645-a3b6-fd2b2d522b5e"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento musical"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fifano   Materiales El fifano se elabora a partir del hueso del p\u00e1jaro conocido como Bato, una especie local de ala delgada y resistente que permite moldear el instrumento de manera precisa.  T\u00e9cnica de elaboraci\u00f3n La confecci\u00f3n del fifano requiere de t\u00e9cnicas tradicionales muy cuidadosas. Se inicia calentando espinas de chonta o punzando con madera que se frota como si se tratara de encender fuego, para as\u00ed desgastar el hueso del p\u00e1jaro Bato. Los orificios del instrumento se horadan tomando como referencia marcas hechas con plumas. La boquilla se moldea rellen\u00e1ndola con cera de abeja, lo cual permite producir sonidos m\u00e1s agudos o menos, de acuerdo al gusto del m\u00fasico. En este proceso tambi\u00e9n se utiliza jipuri, que es la punta de las palmas de motac\u00fa, ideal para dar forma a la embocadura del instrumento.  Descripci\u00f3n de la pieza El fifano presenta una estructura larga y delgada, hecha del hueso del p\u00e1jaro bato. Posee seis orificios para el sonido y una boquilla cuidadosamente moldeada.  Descripci\u00f3n del contexto El uso del fifano se utiliza en la m\u00fasica de diferentes danzas, una de las cuales, el Machetero es representado en la Chope Piesta, que tiene lugar desde los tiempos en que se form\u00f3 la localidad de Trinidad con los primeros pobladores. A esta festividad llegaban representantes de todos los pueblos vecinos: San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, los javerianos, Loreto y San Ignacio. Era, y sigue siendo, un encuentro de culturas. En dialecto trinitario, Chope Piesta significa \u201cfiesta grande\u201d.  La celebraci\u00f3n gira en torno a la Sant\u00edsima Trinidad: el Padre, el Hijo y el Esp\u00edritu Santo. Esta festividad tiene un orden espiritual que remite a tres momentos lit\u00fargicos fundamentales: la Navidad, como la pascua del Padre; la Resurrecci\u00f3n, como la pascua del Hijo; y el domingo posterior a Pentecost\u00e9s, como la pascua del Esp\u00edritu Santo. De esta forma, se celebra a un Dios que es uno solo, pero manifestado en tres personas distintas: el Padre creador, el Hijo redentor y el Esp\u00edritu Santo santificador.  Descripci\u00f3n de la funci\u00f3n/uso El fifano es un instrumento musical tradicionalmente utilizado en la danza del machetero del pueblo Moje\u00f1o Trinitario, especialmente durante la Chope Piesta en honor a la Sant\u00edsima Trinidad. Su nombre originario es Suireu scriperu, conocido como la flauta de los macheteros, mientras que Suireu hace referencia a la flauta traversa.  El instrumento se fabrica con el ala del p\u00e1jaro bato, cuyo hueso es delgado y hueco. En ocasiones, se utiliza el hueso de la canilla del mismo animal, que es m\u00e1s largo y permite que el sonido se escuche con mayor potencia, aunque su uso depende de la destreza del flautero.  El fifano es clave para acompa\u00f1ar los pasos del machetero. Tiene seis orificios para moldear los tonos, adem\u00e1s del orificio de la boquilla. Con \u00e9l se pueden imitar diversos sonidos de aves, como el de la gaviota al caer al agua, los cantos de la paloma de monte, el floreo gutural del Chopochoro y los silbidos entrecortados del ave Jichitaruma. Los fifanos de mayor tama\u00f1o tienden a emitir tonos m\u00e1s agudos, lo que los convierte en piezas esenciales para simular la sonoridad del entorno natural.  Datos hist\u00f3ricos Antes de la llegada de los europeos, el territorio de Mojos estaba habitado por cientos de miles de ind\u00edgenas pertenecientes a diversos grupos \u00e9tnicos. Con la llegada de las misiones jesu\u00edticas a fines del siglo XVII, se inici\u00f3 un proceso de transformaci\u00f3n profunda. La primera misi\u00f3n fue Loreto, fundada en 1682. Posteriormente, en 1686, el padre Cipriano Barace fund\u00f3 la ciudad de la Sant\u00edsima Trinidad, segunda poblaci\u00f3n de las misiones jesu\u00edticas de Mojos. \u00c9l lleg\u00f3 desde Lima, siendo un hombre polifac\u00e9tico: m\u00fasico, evangelizador, panadero y agricultor. Fue quien introdujo las primeras cabezas de ganado en Mojos, tray\u00e9ndolas desde Santa Cruz, lo que marc\u00f3 el inicio de la vocaci\u00f3n ganadera del Beni.  Los jesuitas no solo evangelizaban, sino que tambi\u00e9n promov\u00edan la formaci\u00f3n humana integral. Ense\u00f1aban m\u00fasica sacra, pintura, carpinter\u00eda, alba\u00f1iler\u00eda, agricultura y ganader\u00eda. La estructura social de los pueblos inclu\u00eda el Cabildo Indigenal, con autoridades ind\u00edgenas como el corregidor, alcaldes, doctrineros, ap\u00f3stoles y las Mamas Abadesas \u2014viudas que cuidaban el templo\u2014. Los doctrineros ense\u00f1aban la doctrina cristiana y acompa\u00f1aban en las ceremonias; los ap\u00f3stoles, por su parte, asist\u00edan al sacerdote durante los rituales de Semana Santa.  La fiesta de la Chope Piesta tiene una profunda ra\u00edz hist\u00f3rica y espiritual. Hacia 1986, las instituciones del Estado comenzaron a involucrarse en su organizaci\u00f3n. Antes, eran las propias comunidades quienes sosten\u00edan la celebraci\u00f3n: tra\u00edan troncos del monte para construir el corral del jocheo del toro, se encargaban de traer el palo encebado en canoa y cultivaban alimentos en sus chacos. Se reun\u00edan hasta 50 racimos de pl\u00e1tano para vender y comprar otros insumos para la fiesta. Actualmente, muchas de estas comunidades se han asentado en la ciudad de Trinidad, perdiendo as\u00ed el acceso a sus antiguos recursos, por lo que solicitan ayuda a la Gobernaci\u00f3n y a la Alcald\u00eda.  La cosecha del ma\u00edz, imprescindible para elaborar la chicha, coincide con la fecha de la Chope Piesta. Mientras que el pl\u00e1tano est\u00e1 disponible todo el a\u00f1o, el ma\u00edz debe sembrarse al menos cuatro meses antes \u2014en marzo\u2014 para estar listo a tiempo.  Seg\u00fan el Gobierno Aut\u00f3nomo Municipal de Trinidad, la fundaci\u00f3n de la ciudad por Cipriano Barace fue un ejemplo de sincretismo entre la fe cat\u00f3lica y las creencias ind\u00edgenas. Acompa\u00f1ado por el padre Pedro Marb\u00e1n, Barace no solo evangeliz\u00f3, sino que promovi\u00f3 una nueva forma de vida. El texto municipal se\u00f1ala:      \u201cEn el santoral cat\u00f3lico, el d\u00eda de la fiesta de la Sant\u00edsima Trinidad es movible, y es por ello que la ciudad capital del Beni, fundada en 1686, celebra su d\u00eda entre las \u00faltimas fechas de mayo o las primeras de junio. [...] El esfuerzo de Barace fue recompensado por los Mojos que donaron su fe a la Sant\u00edsima Trinidad; y fue as\u00ed que naci\u00f3 la Chope Piesta, esa tricentenaria celebraci\u00f3n ind\u00edgena colonial que dura casi una semana entre el \u2018jocheo\u2019 de toros, el \u2018palo encebao\u2019, la danza de los macheteros y la elecci\u00f3n de bellas \u2018moperitas\u2019\u201d (Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f).  Cipriano Barace naci\u00f3 en Isaba, Navarra (Espa\u00f1a), y fue enviado desde Lima con la responsabilidad de evangelizar en Mojos. Fue asesinado por los Baures, en su intento de llevarles la fe cristiana, convirti\u00e9ndose as\u00ed en m\u00e1rtir de la causa evangelizadora. Su legado es recordado cada 28 de junio con un homenaje en su honor."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fifano "}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 3, "tileid": "5bd9519f-a205-4f8b-8ee9-b349ba731bdf"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Machete \u2013 Danza del machetero  Materiales El machete utilizado en la danza del machetero est\u00e1 elaborado en madera de chonta, una materia prima de gran dureza y resistencia, caracter\u00edstica de las regiones tropicales de Bolivia. Su uso remite a pr\u00e1cticas tradicionales tanto en el \u00e1mbito utilitario como ritual.  T\u00e9cnica de elaboraci\u00f3n La pieza es tallada artesanalmente en madera, mediante t\u00e9cnicas manuales transmitidas de generaci\u00f3n en generaci\u00f3n. El trabajo de talla confiere al machete no solo funcionalidad sino tambi\u00e9n valor simb\u00f3lico y est\u00e9tico dentro de las expresiones culturales de los pueblos moje\u00f1os.  Descripci\u00f3n de la pieza Se trata de una estructura plana de madera, con un mango que facilita su empu\u00f1adura. Esta forma permite movimientos \u00e1giles durante la danza y simula el uso de armas tradicionales en los contextos rituales y festivos.  Descripci\u00f3n del contexto La danza del machetero es parte de la gran festividad trinitaria conocida como la Chope Piesta, una celebraci\u00f3n ancestral que tiene lugar desde la fundaci\u00f3n de la localidad de Trinidad con los primeros pobladores. A este encuentro acuden personas provenientes de diversas comunidades: San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, Loreto, San Ignacio y los javerianos, lo que convierte a la Chope Piesta en un verdadero cruce de culturas. En dialecto trinitario, Chope Piesta significa \u201cfiesta grande\u201d. Esta celebraci\u00f3n est\u00e1 dedicada a la Sant\u00edsima Trinidad: el Padre, el Hijo y el Esp\u00edritu Santo, y se realiza el domingo siguiente a la Pascua de Pentecost\u00e9s. En este marco lit\u00fargico, se celebra el misterio de un solo Dios en tres personas distintas. La festividad encarna una correlaci\u00f3n de eventos espirituales: la Pascua del Padre en Navidad, la del Hijo en la Resurrecci\u00f3n, y finalmente, la del Esp\u00edritu Santo en Pentecost\u00e9s. La Chope Piesta representa, as\u00ed, la solemnidad de un Dios creador, redentor y santificador.  Descripci\u00f3n de la funci\u00f3n/uso El machete es un elemento esencial de la danza Machetero, la cual se interpreta en festividades religiosas como la Chipe Piesta. Hist\u00f3ricamente, no se dispon\u00eda de machetes como los actuales; se utilizaban dagas de chonta denominadas chatrope, de unos cincuenta cent\u00edmetros, empleadas como armas de corta distancia para atravesar animales. En \u00e9pocas a\u00fan m\u00e1s antiguas, se elaboraban cuchillos con piedras afiladas, para lo cual los hombres deb\u00edan recolectar piedras espec\u00edficas: negras para los cuchillos comunes, blancas para cortar carne por su filo superior, y plomas como raederas. Con la llegada de las misiones, se comenzaron a utilizar huesos, espec\u00edficamente las costillas del ganado, para fabricar cuchillos, y posteriormente se reemplazaron por la madera, dando origen al machete conocido como saipe.  Datos hist\u00f3ricos En la \u00e9poca prehisp\u00e1nica, la regi\u00f3n de Mojos estaba habitada por cientos de miles de ind\u00edgenas pertenecientes a diversos grupos \u00e9tnicos. Las primeras incursiones externas ocurrieron con la llegada de las misiones jesu\u00edticas a fines del siglo XVII. Para ese entonces, la poblaci\u00f3n ind\u00edgena hab\u00eda sido duramente afectada por enfermedades y redadas. Desde 1667 hasta 1767, el actual departamento del Beni form\u00f3 parte de la Provincia Jesu\u00edtica de Mojos. M\u00e1s tarde, mediante la Ley del 27 de noviembre de 1941, durante el gobierno del General Enrique Pe\u00f1aranda, se cre\u00f3 oficialmente la provincia de Mojos.  Hacia 1986, las instituciones estatales comenzaron a integrarse a los festejos de la Chope Piesta. Anteriormente, eran las comunidades las que aportaban materiales y alimentos. Se organizaban para traer grandes troncos y construir el corral del jocheo del toro. La b\u00fasqueda del tradicional palo encebado pod\u00eda durar una semana, y el traslado se realizaba en canoa desde zonas ribere\u00f1as hasta el lugar de la celebraci\u00f3n. Las comunidades del r\u00edo Ibare y Mamor\u00e9 aportaban yuca, pl\u00e1tano y ma\u00edz. Cada familia preparaba su propio chaco \u2014terreno de cultivo\u2014 para obtener alimentos que luego se vend\u00edan, permitiendo adquirir otros productos para sostener la fiesta. Con el tiempo, y la migraci\u00f3n hacia la ciudad, esta din\u00e1mica cambi\u00f3, y ahora los organizadores requieren el apoyo de la Gobernaci\u00f3n y la Alcald\u00eda. La Chope Piesta coincide con la cosecha del ma\u00edz, sembrado unos cuatro meses antes, para preparar la chicha. El pl\u00e1tano, en cambio, est\u00e1 disponible todo el a\u00f1o.  Esta informaci\u00f3n se alinea con lo documentado por el Gobierno Aut\u00f3nomo Municipal de Trinidad:      \u201cEn el santoral cat\u00f3lico, el d\u00eda de la fiesta de la Sant\u00edsima Trinidad es movible, y es por ello que la ciudad capital del Beni, fundada en 1686, celebra su d\u00eda entre las \u00faltimas fechas de mayo o las primeras de junio. La fundaci\u00f3n de Trinidad por Cipriano Barace, \u2018doce leguas m\u00e1s abajo del r\u00edo Loreto\u2019, fue un \u00e9xito del sincretismo, es decir, un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas... As\u00ed naci\u00f3 la Chope Piesta, esa tricentenaria celebraci\u00f3n ind\u00edgena colonial que dura casi una semana entre el jocheo de toros, el palo encebao, la danza de los macheteros y la elecci\u00f3n de bellas moperitas.\u201d (Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f)  Los jesuitas llegaron a la regi\u00f3n en 1675, fundando la primera misi\u00f3n en Loreto en 1682. El padre Cipriano Barace, originario de Isaba (Navarra, Espa\u00f1a), fund\u00f3 la ciudad de la Sant\u00edsima Trinidad en 1686. Este sacerdote, m\u00fasico y polifac\u00e9tico misionero, fue tambi\u00e9n quien introdujo la panader\u00eda y trajo las primeras cabezas de ganado desde Santa Cruz, sentando las bases de la econom\u00eda ganadera beniana. La fundaci\u00f3n de Trinidad estuvo inspirada en la Virgen Mar\u00eda como mediadora del misterio trinitario, y fue concebida como un espacio para formar integralmente a la persona humana mediante la evangelizaci\u00f3n, la educaci\u00f3n y el trabajo manual. La estructura del pueblo misional inclu\u00eda su propio Cabildo Indigenal, compuesto por autoridades nativas como el corregidor, alcaldes, doctrineros y ap\u00f3stoles. El corregidor era la m\u00e1xima autoridad, apoyado por otros responsables del orden y la organizaci\u00f3n espiritual y social. Las Mamas Abadesas, mujeres viudas al cuidado del templo, participaban en las danzas portando escobas simb\u00f3licas. Los doctrineros ense\u00f1aban la oraci\u00f3n y la doctrina cristiana a ni\u00f1os y adultos, mientras que los ap\u00f3stoles asist\u00edan al sacerdote durante las celebraciones de Semana Santa, especialmente en el lavado de pies del Jueves Santo.  Cipriano Barace fue asesinado por los ind\u00edgenas baures mientras intentaba evangelizar en sus tierras, por lo cual se le considera m\u00e1rtir de la fe cristiana. Cada 28 de junio se celebra un homenaje en su memoria, reconociendo su papel fundamental en la fundaci\u00f3n cultural, espiritual y econ\u00f3mica de Trinidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Machete \u2013 Danza del machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 4, "tileid": "bd70eaa9-6f51-4bad-a1e5-e47392a66411"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Instrumento de percusi\u00f3n"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Paichichi - Machetero  Materiales Los paichichis est\u00e1n elaborados con semillas del \u00e1rbol conocido como leche leche. Este \u00e1rbol no debe confundirse con el \u00e1rbol de goma, ya que su especie es distinta y sus frutos poseen caracter\u00edsticas sonoras particulares, fundamentales para el uso ritual de estas piezas. T\u00e9cnica de elaboraci\u00f3n  La confecci\u00f3n del paichichi comienza con una estructura de tejido de algod\u00f3n de aproximadamente 40 cent\u00edmetros de largo. Sobre esta base se anudan cuidadosamente cordeles de algod\u00f3n que sostienen las semillas. Cada semilla se enlaza con aguja e hilo, y para asegurar el nudo y evitar que se deslice, se utiliza un cuadrado de goma de medio cent\u00edmetro por lado como soporte interno. El n\u00famero de semillas se ajusta de acuerdo con la cantidad de paichichis que se desea preparar, y cada uno es anudado meticulosamente para garantizar su firmeza y sonoridad.  Descripci\u00f3n de la pieza Se trata de una estructura textil compuesta por algod\u00f3n trenzado, de la cual cuelgan semillas. Estas semillas, al chocar entre s\u00ed durante la danza, producen un sonido caracter\u00edstico que acompa\u00f1a r\u00edtmicamente los movimientos del danzante machetero. Su funci\u00f3n sonora es clave para la ejecuci\u00f3n del ritual.  Descripci\u00f3n del contexto El paichichi es un elemento esencial de la danza Machetero que se ejecuta en las festividades religiosas como la Chope Piesta, una gran festividad trinitaria celebrada desde los primeros tiempos de la fundaci\u00f3n de la localidad de Trinidad, cuando se conform\u00f3 con los primeros habitantes. Esta celebraci\u00f3n congrega a pueblos de toda la regi\u00f3n: San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, comunidades javerianas, Loreto y San Ignacio, entre otros.  En lengua trinitaria, \u201cChope Piesta\u201d significa \u201cfiesta grande\u201d. Se celebra en honor a la Sant\u00edsima Trinidad: el Padre, el Hijo y el Esp\u00edritu Santo. Esta festividad es parte del calendario cat\u00f3lico y guarda una profunda correlaci\u00f3n de acontecimientos religiosos que evocan el misterio de la Trinidad.  La fecha conmemorativa corresponde al domingo siguiente a Pentecost\u00e9s. La pascua del Padre se celebra en Navidad, la del Hijo en la Resurrecci\u00f3n, y la del Esp\u00edritu Santo en Pentecost\u00e9s. Finalmente, el misterio de la Trinidad se recuerda como la unidad de un solo Dios en tres personas: el Padre creador, el Hijo redentor y el Esp\u00edritu Santo santificador. Descripci\u00f3n de la funci\u00f3n/uso  En el marco de la danza de los macheteros del Moje\u00f1o Trinitario, el paichichi cumple una funci\u00f3n sonora y simb\u00f3lica. Es utilizado durante la Chope Piesta, celebraci\u00f3n en honor a la Sant\u00edsima Trinidad. Dentro de esta festividad, los paichichis se denominan schko\u2019i, t\u00e9rmino que remite a la idea de \u201chacerse sentir en el camino\u201d o \u201canunciar la llegada\u201d. El sonido que emiten sirve para comunicar que los guerreros est\u00e1n en camino, como una se\u00f1al ritual de presencia y avance.  Adem\u00e1s de su funci\u00f3n comunicativa, el sonido de las semillas se interpreta como un acto simb\u00f3lico de siembra, reforzando el v\u00ednculo entre la danza, la tierra y los ciclos agr\u00edcolas de la regi\u00f3n.  Datos hist\u00f3ricos Antes de la colonizaci\u00f3n, la regi\u00f3n de Mojos estaba habitada por cientos de miles de personas pertenecientes a diversos pueblos ind\u00edgenas. La llegada de los misioneros jesuitas marc\u00f3 un punto de inflexi\u00f3n: hacia fines del siglo XVII se establecieron las primeras misiones en la zona. Para ese entonces, la poblaci\u00f3n originaria hab\u00eda disminuido dr\u00e1sticamente a causa de enfermedades tra\u00eddas por los europeos y por las redadas esclavistas.  Entre 1667 y 1767, el actual departamento del Beni fue conocido como la Provincia Jesu\u00edtica de Mojos. Esta fue formalmente creada como provincia boliviana mediante la Ley del 27 de noviembre de 1941, durante el gobierno del general Enrique Pe\u00f1aranda.  Un punto crucial en la historia de la Chope Piesta se da hacia 1986, cuando las instituciones estatales comienzan a involucrarse en su organizaci\u00f3n. Anteriormente, las comunidades locales tra\u00edan grandes cantidades de troncos para construir el corral del jocheo del toro. La b\u00fasqueda del \u201cpalo encebado\u201d tomaba hasta una semana e implicaba un traslado en canoa desde los r\u00edos hasta el sitio de celebraci\u00f3n.  Antes de esta institucionalizaci\u00f3n, la fiesta era completamente autogestionada: las comunidades del Ibare y el Mamor\u00e9 aportaban productos como yuca, pl\u00e1tano y ma\u00edz. Cada familia ten\u00eda su chaco, del cual recolectaban hasta 50 racimos de pl\u00e1tano para vender y as\u00ed financiar la compra de otros elementos para la fiesta. La autosostenibilidad marcaba esta celebraci\u00f3n profundamente arraigada en la econom\u00eda comunitaria y en los ciclos agr\u00edcolas. Hoy, al haberse urbanizado muchas de estas comunidades, la producci\u00f3n de alimentos ha disminuido, por lo que se recurre al apoyo de la Gobernaci\u00f3n y la Alcald\u00eda.  La cosecha del ma\u00edz coincide con la fecha de la Chope Piesta. Mientras el pl\u00e1tano se consigue todo el a\u00f1o, el ma\u00edz debe sembrarse aproximadamente en marzo para que est\u00e9 listo a tiempo para la producci\u00f3n de chicha, bebida tradicional indispensable en la festividad.  Seg\u00fan el texto del Gobierno Aut\u00f3nomo Municipal de Trinidad, este involucramiento institucional se vincula tambi\u00e9n con el car\u00e1cter m\u00f3vil de la fecha de celebraci\u00f3n:  \u201cEn el santoral cat\u00f3lico, el d\u00eda de la fiesta de la Sant\u00edsima Trinidad es movible, y es por ello que la ciudad capital del Beni, fundada en 1686, celebra su d\u00eda entre las \u00faltimas fechas de mayo o las primeras de junio. La fundaci\u00f3n de Trinidad por Cipriano Barace, \u2018doce leguas m\u00e1s abajo del r\u00edo Loreto\u2019, fue un \u00e9xito del sincretismo, es decir un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas. El misionero jesuita, apoyado por otro sacerdote c\u00e9lebre, Pedro Marb\u00e1n, \u2018tent\u00f3\u2019 a la naci\u00f3n de Moxos ense\u00f1ando adem\u00e1s de las bellas artes como la m\u00fasica sacra y la pintura u oficios como la carpinter\u00eda y la alba\u00f1iler\u00eda, las t\u00e9cnicas de la agricultura y la ganader\u00eda. [...] Y fue as\u00ed que naci\u00f3 la \u201cChope Piesta\u201d, esa tricentenaria celebraci\u00f3n ind\u00edgena colonial que dura casi una semana entre el \u2018jocheo\u2019 de toros, el \u2018palo encebao\u2019, la danza de los macheteros y la elecci\u00f3n de bellas \u2018moperitas\u2019.\u201d (Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f)  Los primeros jesuitas llegaron a Mojos en 1675, fundando la misi\u00f3n de Loreto en 1682. Cuatro a\u00f1os despu\u00e9s, en 1686, el padre Cipriano Barace estableci\u00f3 la ciudad de la Sant\u00edsima Trinidad, guiado por su devoci\u00f3n a la Virgen Mar\u00eda, quien simboliza el v\u00ednculo con el Hijo y, a trav\u00e9s de \u00e9l, con el misterio de la Trinidad.  Barace, de origen navarro (Espa\u00f1a), era un misionero polifac\u00e9tico: m\u00fasico, panadero, evangelizador y promotor de oficios manuales. Fue \u00e9l quien, con ayuda de los colonos de Santa Cruz, introdujo las primeras cabezas de ganado en Mojos, sentando las bases para lo que hoy es una de las principales actividades econ\u00f3micas del Beni. Por sus obras y sacrificio, se le recuerda con una celebraci\u00f3n el 28 de junio. Fue asesinado por los Baures mientras evangelizaba, convirti\u00e9ndose en m\u00e1rtir por su fe.  Durante la \u00e9poca jesu\u00edtica, los pueblos de misi\u00f3n desarrollaron una estructura de organizaci\u00f3n propia. El cabildo ind\u00edgena, compuesto por autoridades nativas como el corregidor, alcaldes, doctrineros y ap\u00f3stoles, gestionaba tanto los asuntos civiles como religiosos. Las mamas abadesas, mujeres viudas encargadas del cuidado de las iglesias, tambi\u00e9n participaban activamente, incluso en la danza, portando escobas como s\u00edmbolo de limpieza del templo. Estas estructuras buscaban formar integralmente al ser humano, no s\u00f3lo en la fe, sino en el conocimiento de las artes, la educaci\u00f3n y los trabajos manuales, como la m\u00fasica, el tallado o la agricultura."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Paichichi - Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 5, "tileid": "cbe2929e-0009-4d09-a533-ac4cec59133b"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Plumaje jorise \u2013 Danza Machetero  Materiales El plumaje jorise se elabora principalmente con plumas de paraba amarilla y paraba roja. Estas se disponen sobre un casco tejido a mano con fibras de sipu o sipo, una especie de liana delgada y resistente. Para dar estructura a la pieza, se emplean palitos de tacuara en la conformaci\u00f3n de la peineta, que act\u00faa como soporte para el plumaje. Los hilos utilizados est\u00e1n encerados con cera de abeja, lo que los hace m\u00e1s duraderos y evita su rotura con el tiempo.  Las plumas se fijan a una varita delgada conocida como canilla, que sirve de nexo entre la pluma y la peineta. Para este ensamble se utiliza aljorise, una ca\u00f1a hueca que suele encontrarse en las orillas de r\u00edos o cuerpos de agua. Esta estructura compleja permite una sujeci\u00f3n firme y flexible del plumaje.  T\u00e9cnica de elaboraci\u00f3n El proceso de confecci\u00f3n inicia con el tejido del casco en forma de canastilla. Las partes frontal y posterior se cubren con \u201cparches\u201d decorativos realizados con plumas del pecho del loro amarillo, adheridas sobre cuero. Las alas del parabachi\u2014una variedad de paraba con plumaje verde, azul y tonos de matico\u2014se emplean para complementar el dise\u00f1o.  Las canillas de la cola de la paraba roja o amarilla son especialmente valoradas por sus puntas, conocidas como p\u00e9talos del pecho de la paraba. En el caso del plumaje del moje\u00f1o trinitario, estos p\u00e9talos son siempre amarillos, lo cual permite identificar su procedencia. El dise\u00f1o puede incorporar un centro azul o dos rojos, pero el p\u00e9talo grande permanece amarillo. En San Lorenzo predominan las plumas rojas con p\u00e9talos amarillos, adem\u00e1s de detalles hechos con alas de escarabajo que otorgan brillo. En cambio, el plumaje de San Ignacio es blanco. La peineta que une las plumas se ensambla con cordel y tacuaras, reforzando la estructura. Actualmente, este conocimiento est\u00e1 en manos de solo tres personas, lo que muestra el car\u00e1cter especializado y reservado de esta t\u00e9cnica.  Descripci\u00f3n de la pieza La pieza se compone de un casco tejido en forma de canastilla y una peineta que act\u00faa como abanico, permitiendo una distribuci\u00f3n sim\u00e9trica del plumaje. Su aspecto es imponente y colorido, destacando por su elaboraci\u00f3n meticulosa.  Descripci\u00f3n del contexto El uso del plumaje jorise se enmarca como elemento esencial de la danza Machereto. Misma se interpreta en fiestas religiosas como la Chope Piesta, gran fiesta trinitaria conocida que conmemora la Sant\u00edsima Trinidad: Padre, Hijo y Esp\u00edritu Santo. Esta celebraci\u00f3n tiene lugar desde la fundaci\u00f3n de Trinidad por los primeros pobladores y representa un gran encuentro cultural entre diversas comunidades: San Pedro, San Lorenzo, los moje\u00f1os, Naranjito, javerianos, Loreto y San Ignacio, entre otras. En dialecto trinitario, Chope Piesta significa \u201cfiesta grande\u201d.  El evento religioso se celebra el domingo siguiente a la Pascua de Pentecost\u00e9s, recordando el misterio de la Sant\u00edsima Trinidad: un solo Dios en tres personas distintas. Se trata de una continuaci\u00f3n simb\u00f3lica del calendario cristiano: la Navidad conmemora al Padre, la Resurrecci\u00f3n al Hijo, y Pentecost\u00e9s al Esp\u00edritu Santo. As\u00ed, el domingo posterior a Pentecost\u00e9s se celebra la Trinidad, entendida como el Padre creador, el Hijo redentor y el Esp\u00edritu Santo santificador.  Descripci\u00f3n de la funci\u00f3n/uso En la danza del machetero del moje\u00f1o trinitario, el plumaje jorise es un elemento esencial. Esta danza se interpreta durante la Chope Piesta y tiene un car\u00e1cter guerrero. La elecci\u00f3n de las plumas de paraba amarilla\u2014ave que se desplaza en bandadas, con barba negra y temperamento combativo\u2014responde a esta simbolog\u00eda. Seg\u00fan la memoria colectiva, el plumaje fue creado en tiempos de Pedro Ignacio Muyba, un periodo en el cual los macheteros se identificaban como guerreros. As\u00ed, el jorise no es solo un adorno, sino una expresi\u00f3n del esp\u00edritu combativo y comunitario.  Datos hist\u00f3ricos Durante la \u00e9poca prehisp\u00e1nica, la regi\u00f3n de Mojos estaba densamente poblada por diversos grupos ind\u00edgenas. A finales del siglo XVII llegaron las misiones jesu\u00edticas, estableciendo los primeros asentamientos externos. La poblaci\u00f3n ind\u00edgena ya se encontraba diezmada por enfermedades y redadas. Entre 1667 y 1767, el actual departamento del Beni fue conocido como la Provincia Jesu\u00edtica de Mojos.  La Provincia de Mojos fue formalmente creada por Ley el 27 de noviembre de 1941, durante el gobierno del General Enrique Pe\u00f1aranda. Hacia 1986, las instituciones estatales comenzaron a participar activamente en la organizaci\u00f3n de la Chope Piesta. Antes de ello, eran las comunidades quienes asum\u00edan toda la log\u00edstica: tra\u00edan grandes troncos para el corral del jocheo del toro, buscaban el palo encebado durante d\u00edas, lo transportaban en canoa hasta el lugar de la fiesta, y aportaban con productos agr\u00edcolas como yuca, pl\u00e1tano y ma\u00edz desde los r\u00edos Ibare y Mamor\u00e9. Las familias trabajaban en sus chacos para reunir entre 30 y 50 racimos de pl\u00e1tano que luego vend\u00edan y as\u00ed obten\u00edan otros recursos para la celebraci\u00f3n. La fiesta se sosten\u00eda con esfuerzo comunitario.  Hoy en d\u00eda, muchas comunidades ya no viven en el r\u00edo y residen en Trinidad, lo que dificulta el acceso a productos tradicionales. Por ello, se recurre al apoyo de la Gobernaci\u00f3n y la Alcald\u00eda. La cosecha del ma\u00edz, esencial para preparar la chicha, coincide con la fecha de la fiesta, lo que requiere sembrar con al menos cuatro meses de anticipaci\u00f3n, en marzo. El pl\u00e1tano, por su parte, est\u00e1 disponible durante todo el a\u00f1o.  Seg\u00fan el Gobierno Aut\u00f3nomo Municipal de Trinidad (s/f), el d\u00eda de la Sant\u00edsima Trinidad es movible dentro del santoral cat\u00f3lico. Por ello, la ciudad de Trinidad\u2014fundada en 1686\u2014celebra su aniversario entre finales de mayo y principios de junio. Fundada por Cipriano Barace, \u201cdoce leguas m\u00e1s abajo del r\u00edo Loreto\u201d, esta ciudad representa un ejemplo exitoso de sincretismo cultural entre la religi\u00f3n cat\u00f3lica y las creencias originarias. Barace, junto a Pedro Marb\u00e1n, ense\u00f1\u00f3 no solo religi\u00f3n, sino tambi\u00e9n m\u00fasica sacra, pintura, carpinter\u00eda, alba\u00f1iler\u00eda, agricultura y ganader\u00eda. Fue gracias a su labor que llegaron las primeras cabezas de ganado desde Santa Cruz, sentando las bases del car\u00e1cter ganadero del Beni.  Los jesuitas llegaron en 1675, fundando la primera iglesia en Loreto en 1682. En 1686, el padre Cipriano Barace fund\u00f3 la ciudad de la Sant\u00edsima Trinidad, inspir\u00e1ndose en la Virgen Mar\u00eda como madre de Jesucristo. Trinidad fue la segunda poblaci\u00f3n de las misiones jesu\u00edticas de Mojos. La evangelizaci\u00f3n ten\u00eda como prop\u00f3sito formar a la persona humana no solo desde la fe cristiana, sino tambi\u00e9n en el conocimiento cient\u00edfico y t\u00e9cnico, ense\u00f1ando labores manuales como tallado y m\u00fasica.  Durante la \u00e9poca jesu\u00edtica, los pueblos contaban con su propia organizaci\u00f3n interna a trav\u00e9s del Cabildo Indigenal, en el cual no participaban autoridades espa\u00f1olas, sino l\u00edderes ind\u00edgenas elegidos. Este cabildo estaba formado por el corregidor, m\u00e1xima autoridad, y otros cargos como alcalde, doctrinero, y ap\u00f3stoles. Tambi\u00e9n aparec\u00edan figuras como las Mamas Abadesas\u2014viudas encargadas del cuidado de las iglesias, quienes participaban en la danza portando una escoba simb\u00f3lica para limpiar el templo.  Los doctrineros eran catequistas que ense\u00f1aban a rezar, encabezaban oraciones y guiaban a los ni\u00f1os. Los ap\u00f3stoles acompa\u00f1aban al sacerdote en Semana Santa, en particular el Jueves Santo, cuando se les lavaban los pies como lo hizo Jes\u00fas. Esta estructura formativa y religiosa reforzaba tanto la fe como la organizaci\u00f3n social.  Cipriano Barace naci\u00f3 en Isaba, Navarra (Espa\u00f1a), y fue enviado desde Lima para evangelizar Mojos. Era un hombre polifac\u00e9tico: m\u00fasico, conocedor de las ciencias sagradas y pr\u00e1cticas \u00fatiles como la panader\u00eda, que introdujo en Trinidad. Fue \u00e9l quien trajo el ganado desde Santa Cruz, sentando las bases econ\u00f3micas de la regi\u00f3n. Barace muri\u00f3 a principios del siglo XVIII, asesinado por los Baures mientras llevaba la fe cristiana a esa regi\u00f3n. Por este motivo, se le considera m\u00e1rtir, y cada 28 de junio se le rinde homenaje en Trinidad."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Plumaje jorise \u2013 Danza Machetero"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 6, "tileid": "be9280ce-7d24-403c-aae3-4b22b8419f76"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6695f139-2c35-4e00-b604-8faf86c77f91"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En la danza del Machetero, el aprendizaje se realiza a trav&eacute;s de formas de transmisi&oacute;n intergeneracional en las que la acci&oacute;n colectiva ocupa un lugar central. El conocimiento sobre los pasos, gestos y significados se incorpora desde edades tempranas mediante la participaci&oacute;n en los ensayos, las fiestas patronales y las ceremonias religiosas. Son guiados por personas conocedoras de la danza que son miembros del Cabildo.</p>\n\n<p>Se trata de una instrucci&oacute;n formal de ense&ntilde;anza e incorporaci&oacute;n progresiva mediante la repetici&oacute;n en contextos rituales y comunitarios. Los ni&ntilde;os y j&oacute;venes observan, imitan y, con el tiempo, interiorizan no s&oacute;lo la secuencia de los pasos, sino tambi&eacute;n su sentido, sus v&iacute;nculos con pr&aacute;cticas de caza, navegaci&oacute;n, agricultura y cosmolog&iacute;a ancestral.</p>\n\n<p>&nbsp;</p>\n\n<p>Este tipo de transmisi&oacute;n corresponde a un sistema pedag&oacute;gico que no separa el conocimiento de la experiencia, ni al maestro del grupo. Se transmite en espacios compartidos, donde el v&iacute;nculo entre generaci&oacute;n mayor y generaci&oacute;n joven es parte del proceso formativo. Puede entenderse como un ejemplo de conocimiento emp&iacute;rico relacional, en el que los saberes no circulan de manera abstracta, sino que est&aacute;n arraigados en el territorio, en las estaciones del a&ntilde;o, en los ciclos festivos y en la observaci&oacute;n directa del entorno. Cada paso del baile tiene un correlato en una actividad concreta, como cortar monte, remar, sembrar o cernir arroz, lo que permite que la danza funcione como una forma de memoria cultural, sustentada en la pr&aacute;ctica colectiva.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 0, "tileid": "c026f291-ea48-454e-9b3d-cbc9711277f0"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza del Machetero ha experimentado transformaciones a lo largo del tiempo, particularmente desde la instauraci&oacute;n de las misiones religiosas en la regi&oacute;n. Inicialmente concebida como una danza guerrera asociada a pr&aacute;cticas de defensa, caza y desplazamiento en el monte, su incorporaci&oacute;n al calendario festivo religioso implic&oacute; un reordenamiento de sus significados y funciones. Aunque conserva gestos que remiten a acciones b&eacute;licas, como el uso del machete para abrir caminos o la simulaci&oacute;n de t&eacute;cnicas de caza y navegaci&oacute;n, su rol actual se inscribe en contextos ceremoniales vinculados a celebraciones patronales y rituales cat&oacute;licos. Este cambio no borr&oacute; los significados anteriores, sino que los adapt&oacute; al nuevo marco simb&oacute;lico, permitiendo su permanencia mediante una reinterpretaci&oacute;n de los movimientos en funci&oacute;n del orden religioso introducido por las misiones.</p>\n\n<p>&nbsp;</p>\n\n<p>Esta transformaci&oacute;n puede leerse como una forma de resistencia cultural mediante la resignificaci&oacute;n. La permanencia de los pasos que aluden a labores cotidianas como sembrar, remar o pelar arroz indica que, aunque el contexto cambi&oacute;, los macheteros preservaron elementos centrales de su v&iacute;nculo con el entorno natural y con las formas de vida comunitarias. Estas adaptaciones permiten que la danza siga siendo un veh&iacute;culo de identidad colectiva, incluso frente a procesos de cambio social, como la urbanizaci&oacute;n o la influencia de circuitos tur&iacute;sticos, que tienden a simplificar o estandarizar las expresiones culturales para su presentaci&oacute;n p&uacute;blica.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 0, "tileid": "bafda048-868d-44e5-a5e7-12a506b48df5"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las fortalezas m\u00e1s evidentes de la danza del Machetero es su capacidad para conservar estructuras simb\u00f3licas complejas en contextos de transformaci\u00f3n sociocultural. A pesar de la influencia de las misiones religiosas, esta pr\u00e1ctica mantuvo gestos que evocan el antiguo v\u00ednculo con el entorno y con una cosmovisi\u00f3n centrada en la relaci\u00f3n con el sol, la luna, el monte y los ciclos naturales. Cada paso tiene una correspondencia funcional con actividades tradicionales como sembrar, cazar peces, remar, lo que convierte la danza en un veh\u00edculo de transmisi\u00f3n de conocimientos ecol\u00f3gicos y t\u00e9cnicos. Esta articulaci\u00f3n entre gesto y entorno permite que la danza no se reduzca a un espect\u00e1culo, sino que siga funcionando como pr\u00e1ctica viva, donde el cuerpo encarna memorias colectivas ligadas al territorio. Desde el enfoque patrimonial, este tipo de manifestaciones poseen un alto valor porque expresan un saber integral que vincula historia, t\u00e9cnica, espiritualidad y vida comunitaria.  Otra fortaleza reside en su organizaci\u00f3n colectiva, que favorece su sostenibilidad como pr\u00e1ctica social activa. La transmisi\u00f3n generacional no se limita a la ense\u00f1anza de pasos, sino que reproduce valores de respeto, disciplina y pertenencia al grupo. En contextos festivos, la danza moviliza a diferentes sectores de la comunidad \u2014m\u00fasicos, artesanos, l\u00edderes religiosos, j\u00f3venes, inclusive ni\u00f1os y ni\u00f1as\u2014, reforzando los lazos internos y generando un sentido de continuidad hist\u00f3rica. La organizaci\u00f3n puede entenderse como una forma de reproducci\u00f3n cultural situada, en la que los saberes se integran en la pr\u00e1ctica cotidiana y en los momentos rituales sin requerir institucionalizaci\u00f3n formal. En t\u00e9rminos de salvaguarda, este car\u00e1cter colectivo y la permanente adecuaci\u00f3n a los ciclos comunitarios representan una ventaja importante frente a procesos de desarraigo o folclorizaci\u00f3n, ya que permiten a la comunidad ejercer un control activo sobre la evoluci\u00f3n y sentido de la danza."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 0, "tileid": "6366287b-1a68-42fa-909d-cfd3d9008d42"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza del Machetero enfrenta riesgos vinculados a la p&eacute;rdida progresiva del conocimiento situado que sustenta sus movimientos y significados. Si bien los pasos siguen ejecut&aacute;ndose, la desvinculaci&oacute;n de su espacio religioso festivo podr&iacute;a diluirse si las nuevas generaciones no logran comprender la relaci&oacute;n entre el significado y la pr&aacute;ctica de origen. Esto ocurre especialmente cuando la danza se presenta &uacute;nicamente como parte de espect&aacute;culos o celebraciones religiosas sin acompa&ntilde;amiento explicativo o contextual. La fragmentaci&oacute;n del conocimiento intergeneracional, producto de migraciones, escolarizaci&oacute;n descontextualizada y cambios en los modos de vida, debilita el sistema tradicional de aprendizaje por observaci&oacute;n y participaci&oacute;n directa en la comunidad. Desde una perspectiva antropol&oacute;gica, este proceso puede leerse como una desconexi&oacute;n entre la memoria corporal y la experiencia compartida que le daba sentido.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo importante es la estandarizaci&oacute;n de la danza por instituciones externas, colegios, e incluso por contextos sociales diferentes con intensiones tur&iacute;sticas o festivales, donde se privilegia la est&eacute;tica por sobre la funci&oacute;n ritual o comunitaria. En ese proceso, los pasos pueden modificarse o simplificarse, perdiendo su relaci&oacute;n con el grupo social de pertenencia como es el Cabildo.</p>\n\n<p>Esto supone una amenaza para la integridad patrimonial de la danza, entendida no como un objeto esc&eacute;nico, sino como un sistema vivo de conocimientos. Para contrarrestar este deterioro, se recomienda fortalecer la documentaci&oacute;n participativa de la pr&aacute;ctica, involucrando a portadores de saberes y autoridades comunitarias en la elaboraci&oacute;n de registros audiovisuales, descripciones t&eacute;cnicas y relatos orales sobre cada paso y su significado. Asimismo, es pertinente generar espacios de transmisi&oacute;n comunitaria que valoren la danza no solo como espect&aacute;culo, sino como expresi&oacute;n de una relaci&oacute;n hist&oacute;rica con el territorio. Incluir la danza del Machetero en programas educativos propios de la regi&oacute;n y garantizar su inclusi&oacute;n en pol&iacute;ticas de salvaguarda como patrimonio inmaterial contribuir&iacute;a a su preservaci&oacute;n desde una l&oacute;gica comunitaria y no extractiva.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "501e2656-51cc-45dd-9ab7-86c257bbdfe9", "provisionaledits": null, "resourceinstance_id": "d993b32a-f41a-4f5a-91f5-37489ca0fac3", "sortorder": 0, "tileid": "6c42aa5f-0e95-499a-9595-f04a87c958d6"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:08.749", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000050, "}, "es": {"description": "Trinidad. Danza Japutuqui", "map_popup": "Beni", "name": "PI-080101-00-00-000050, Trinidad. Danza Japutuqui"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000050, Trinidad. Danza Japutuqui", "principaluser_id": 26, "resourceinstanceid": "30cf83ad-b90c-4faa-8481-2eb7770828db", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Festividad Chope Piesta"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000050", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Danza Japutuqui"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "30cf83ad-b90c-4faa-8481-2eb7770828db", "sortorder": 0, "tileid": "bb883f5e-34b0-4cfc-bc51-167351858556"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.90172908002181, -14.839049209587827], "type": "Point"}, "id": "bf5e48bb9144072dd2c5d5c3fc585b7b", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000022'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "30cf83ad-b90c-4faa-8481-2eb7770828db", "sortorder": 0, "tileid": "cb9b4e5c-975f-47a6-9a09-6b142968510a"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "30cf83ad-b90c-4faa-8481-2eb7770828db", "sortorder": 0, "tileid": "7be42994-5588-4524-85f5-3e04a5077fa0"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Danza Japutuqui</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La danza del Japutuqui representa una manifestaci&oacute;n cultural profundamente enraizada en las memorias orales del pueblo moje&ntilde;o, particularmente en la regi&oacute;n de la Sant&iacute;sima Trinidad. Su origen se transmite a trav&eacute;s de relatos que oscilan entre lo m&iacute;tico y lo hist&oacute;rico, dando cuenta de un personaje salvaje que vive en el monte y que, dependiendo de la versi&oacute;n, se transforma en un ser temido, respetado o incluso invocado en rituales. Estos relatos, recogidos de testimonios orales, reflejan una visi&oacute;n del mundo donde la naturaleza, la espiritualidad y la convivencia con el mundo salvaje se entrelazan con la historia de la colonizaci&oacute;n y los cambios sociales posteriores. A continuaci&oacute;n, se describen los elementos que conforman esta danza.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>&nbsp;</p>\n\n<p>Se han registrado dos versiones sobre el origen del Japutuqui:</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Versi&oacute;n de Luis Tamo, Doctrinero del Cabildo</strong></p>\n\n<p>Luis Tamo, un hombre cazador, se perdi&oacute; en el monte y convivi&oacute; con los animales durante un largo tiempo. Su rostro se transform&oacute;: se volvi&oacute; oscuro y cubierto de melenas. A su regreso, la comunidad lo reconoci&oacute; como alguien diferente, lo llamaron &ldquo;Japutuqui&rdquo;, en alusi&oacute;n a su cara negra y deformada. Agradecido con Dios por haber sobrevivido, decidi&oacute; confeccionar una m&aacute;scara y una capa para integrarse a las danzas rituales, especialmente a la de los toritos, acompa&ntilde;ado por un tambor. Este tambor ten&iacute;a un poder especial, con &eacute;l pod&iacute;a controlar a los animales.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Versi&oacute;n de Darwin Noza, Encargado de cultura del Cabildo</strong></p>\n\n<p>Japutuqui, tambi&eacute;n conocido como Japuri, es descrito como un ser salvaje, de origen can&iacute;bal, que habitaba el monte y nunca regres&oacute; a la civilizaci&oacute;n. Se dec&iacute;a que descend&iacute;a de una tribu que dominaba elementos m&aacute;gicos. Su tambor hac&iacute;a retumbar el bosque, anunciando su presencia, y su l&aacute;tigo era capaz de dominar cualquier animal. Ten&iacute;a incluso un serrucho, utilizado para cortar personas. Seg&uacute;n el relato, Popacu, el amo del perro esp&iacute;ritu, fue el &uacute;nico que se enfrent&oacute; al Japutuqui. Combatieron durante un largo tiempo &mdash;algunos dicen tres d&iacute;as, otros tres semanas o tres a&ntilde;os&mdash; hasta que Japutuqui rompi&oacute; las reglas al usar armas, venci&oacute; a Popacu y lo convirti&oacute; en su compa&ntilde;ero.</p>\n\n<p>&nbsp;</p>\n\n<p>En tiempos posteriores, ya durante la presencia franciscana luego de la expulsi&oacute;n de los jesuitas, el mito resurgi&oacute;. La figura del Japutuqui se transform&oacute;: ya no devoraba personas, sino que reclamaba ganado vacuno como si fueran suyos, como si fuesen animales salvajes del monte. Se convirti&oacute; entonces en una figura de vaquero que utilizaba su l&aacute;tigo para arrear el ganado, s&iacute;mbolo del lazo con el que pretend&iacute;a recuperar lo que hab&iacute;a perdido durante su extrav&iacute;o.</p>\n\n<p>&nbsp;</p>\n\n<p>Este personaje se convierte en un ser ambiguo: puede devorar a quien se cruce con &eacute;l en el monte si no lo complace, pero tambi&eacute;n es invocado en rituales de b&uacute;squeda de personas desaparecidas. Su comunicaci&oacute;n es a trav&eacute;s de sonidos guturales como bruuuu, bruuuu y uuuuu, uuuuu. Seg&uacute;n los ancianos, los que se aventuran al monte con una cruz corren el riesgo de ser devorados por &eacute;l, por lo que muchos evitan portar s&iacute;mbolos religiosos.</p>\n\n<p>&nbsp;</p>\n\n<p>El Japutuqui es visto, entonces, como un ser que conoce profundamente el monte. En contextos rituales, se le busca como gu&iacute;a para encontrar a los extraviados. Para estos rituales, es esencial que la m&aacute;scara utilizada en la danza jam&aacute;s haya ingresado a una iglesia. Gregorio Noza, un anciano que transmiti&oacute; estas historias, explicaba que los abuelos consideran que si la m&aacute;scara ha sido parte de celebraciones religiosas dentro de templos, pierde su poder. La danza se realiza como una ofrenda a Dios, pero tambi&eacute;n como un acto para aplacar al Japutuqui y evitar que vuelva a devorar personas.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La historia del Japutuqui se transmite principalmente por tradici&oacute;n oral entre los comunarios del Cabildo Indigenal de la Sant&iacute;sima Trinidad. Existen relatos que sit&uacute;an sus or&iacute;genes en &eacute;pocas precoloniales, como en la versi&oacute;n narrada por Darwin Noza. Sin embargo, tambi&eacute;n hay referencias a momentos coloniales y a transformaciones m&aacute;s recientes del personaje y su danza. La figura del Japutuqui ha atravesado distintos periodos hist&oacute;ricos y se ha resignificado constantemente, integrando elementos m&iacute;sticos, sociales y religiosos a lo largo del tiempo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>La danza del Japutuqui se caracteriza por movimientos energ&eacute;ticos y saltos que reflejan la fuerza y el car&aacute;cter salvaje del personaje. Los bailarines deben no solo imitar sus movimientos, sino tambi&eacute;n reproducir sus sonidos guturales, lo que requiere una preparaci&oacute;n especial.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "7be42994-5588-4524-85f5-3e04a5077fa0", "provisionaledits": null, "resourceinstance_id": "30cf83ad-b90c-4faa-8481-2eb7770828db", "sortorder": 0, "tileid": "7ab21eed-5217-4b96-8300-df6a67c8a26f"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la danza del Japutuqui radica en su capacidad de mantener vigente una narrativa compleja sobre la relaci\u00f3n entre el ser humano, la naturaleza y lo espiritual. A trav\u00e9s de la figura del Japutuqui, la comunidad articula conocimientos del monte, temores colectivos, estrategias de supervivencia y formas de resistencia cultural. Esta pr\u00e1ctica no se limita a una expresi\u00f3n art\u00edstica; act\u00faa como un medio para regular comportamientos, advertir sobre lo prohibido, orientar b\u00fasquedas y renovar v\u00ednculos con el entorno natural. El tambor, por ejemplo, no es un simple acompa\u00f1amiento musical, sino un instrumento de poder que, seg\u00fan los relatos, permite controlar animales, atraer peces o hacer vibrar el bosque. El uso ritual de este objeto demuestra c\u00f3mo la danza contiene un saber t\u00e9cnico y simb\u00f3lico que sigue siendo funcional dentro del contexto actual.  Desde el enfoque del patrimonio inmaterial, esta manifestaci\u00f3n representa un reservorio activo de memoria colectiva y una forma de conocimiento transmitido por generaciones. Su vigencia no depende de instituciones formales, sino de la pr\u00e1ctica continua en contextos rituales y comunitarios. La resistencia a introducir las m\u00e1scaras en espacios religiosos institucionalizados, as\u00ed como las condiciones espec\u00edficas para su uso en rituales de b\u00fasqueda, revelan una autonom\u00eda cultural que debe ser reconocida y protegida. La danza no solo conserva elementos propios del periodo precolonial, tambi\u00e9n se adapta sin perder su carga simb\u00f3lica. En t\u00e9rminos de salvaguarda, esta fortaleza plantea la necesidad de apoyar formas de transmisi\u00f3n intergeneracional que no se limiten a la documentaci\u00f3n, sino que reconozcan el valor de los saberes encarnados, los relatos orales y los marcos comunitarios que sostienen su pr\u00e1ctica viva."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "7be42994-5588-4524-85f5-3e04a5077fa0", "provisionaledits": null, "resourceinstance_id": "30cf83ad-b90c-4faa-8481-2eb7770828db", "sortorder": 0, "tileid": "c8e90fbe-ce55-48a0-8819-5d8b74f9c085"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza del Japutuqui ha sido influenciada por los efectos de la modernidad, expresados en la expansi&oacute;n de la educaci&oacute;n formal, la migraci&oacute;n a contextos urbanos y la creciente presencia de pr&aacute;cticas religiosas institucionalizadas. Estos procesos han generado una distancia progresiva entre los j&oacute;venes y las narrativas orales que sostienen la pr&aacute;ctica, lo que pone en riesgo la continuidad de ciertos saberes simb&oacute;licos y formas de transmisi&oacute;n. La presi&oacute;n por adaptar las festividades a formatos reconocidos por autoridades externas, como municipios o instituciones religiosas, tambi&eacute;n ha influido en la representaci&oacute;n del Japutuqui, forzando su estilizaci&oacute;n como figura folcl&oacute;rica. Esta transformaci&oacute;n puede vaciar de sentido algunos elementos rituales, como la imposibilidad de que la m&aacute;scara entre en la iglesia o el uso espec&iacute;fico del tambor en rituales de b&uacute;squeda, descontextualiz&aacute;ndolos de su funci&oacute;n original.</p>\n\n<p>&nbsp;</p>\n\n<p>Los cambios culturales tambi&eacute;n se manifiestan en la forma en que la comunidad reinterpreta su historia a trav&eacute;s de la danza. La memoria colectiva, antes nutrida por una convivencia cotidiana con el monte y sus peligros, ahora se enfrenta a contextos donde la vida rural pierde centralidad frente a modelos urbanos o escolarizados. Aunque la pr&aacute;ctica sigue viva, se observa una reformulaci&oacute;n de su narrativa para ajustarse a las nuevas realidades. El Japutuqui ya no encarna solo lo salvaje, sino que puede adoptar roles contempor&aacute;neos como el de vaquero o guardi&aacute;n del ganado. Esta transformaci&oacute;n no es &uacute;nicamente est&eacute;tica; refleja una adaptaci&oacute;n cultural a nuevas l&oacute;gicas de pertenencia y representaci&oacute;n, donde la danza intenta mantener su legitimidad frente a audiencias que ya no comparten plenamente los marcos rituales originales. Estas transformaciones son parte del proceso mediante el cual una pr&aacute;ctica ancestral busca seguir vigente, enfrentando tensiones entre su sentido ritual comunitario y las expectativas modernas de visibilidad p&uacute;blica y consumo cultural.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7be42994-5588-4524-85f5-3e04a5077fa0", "provisionaledits": null, "resourceinstance_id": "30cf83ad-b90c-4faa-8481-2eb7770828db", "sortorder": 0, "tileid": "5e255f83-f7e8-44a2-b55d-e47183ca3609"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el caso de la danza del Japutuqui, la transmisi&oacute;n de conocimientos se sostiene principalmente en relatos orales compartidos entre generaciones dentro del entorno comunitario. La figura del Japutuqui ha llegado hasta la actualidad mediante narraciones que combinan hechos hist&oacute;ricos, percepciones sobrenaturales y experiencias personales. Estos testimonios permiten comprender que el conocimiento no se codifica de manera formal, sino que se construye y reconfigura seg&uacute;n los cambios del contexto sociocultural.</p>\n\n<p>Este tipo de conocimiento se clasifica como local y situado, y est&aacute; &iacute;ntimamente vinculado al territorio, a la memoria colectiva y al simbolismo ritual. Los relatos en torno al Japutuqui no solo informan sobre un personaje m&iacute;tico, sino que estructuran formas de relaci&oacute;n con lo desconocido, lo salvaje y lo espiritual. La prohibici&oacute;n de que la m&aacute;scara entre a la iglesia, por ejemplo, es una expresi&oacute;n de la coexistencia entre lo ritual ind&iacute;gena y la presencia religiosa colonial, y refleja una frontera simb&oacute;lica que sigue activa. Las acciones que acompa&ntilde;an la danza &mdash;como el uso del tambor en pr&aacute;cticas de b&uacute;squeda o la obligaci&oacute;n de hablar en el lenguaje del Japutuqui&mdash; muestran que el conocimiento se activa en contextos concretos y se valida por su eficacia ritual m&aacute;s que por su codificaci&oacute;n escrita. As&iacute;, la danza funciona como veh&iacute;culo de conocimientos sociales, ecol&oacute;gicos y espirituales que contin&uacute;an transmiti&eacute;ndose por v&iacute;as no institucionalizadas.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "7be42994-5588-4524-85f5-3e04a5077fa0", "provisionaledits": null, "resourceinstance_id": "30cf83ad-b90c-4faa-8481-2eb7770828db", "sortorder": 0, "tileid": "c739a44d-c992-4e84-84ed-f8793e10f4b8"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos m&aacute;s evidentes para la continuidad de la danza del Japutuqui es la p&eacute;rdida progresiva de los referentes narrativos que le dan sentido. A medida que disminuye el n&uacute;mero de personas mayores que conocen los relatos completos, se reduce la posibilidad de transmitir estos conocimientos en su integridad. La historia del Japutuqui est&aacute; compuesta por fragmentos orales que no est&aacute;n sistematizados ni documentados en medios escritos o audiovisuales formales, lo que la hace vulnerable frente a cambios generacionales. Tambi&eacute;n se observa una amenaza cuando la danza es representada &uacute;nicamente como parte del calendario festivo o folkl&oacute;rico, desconect&aacute;ndola de su uso ritual original, como el v&iacute;nculo con los desaparecidos en el monte o su funci&oacute;n como mediador espiritual. El uso de m&aacute;scaras que han ingresado a templos o han sido empleadas sin respetar las restricciones tradicionales tambi&eacute;n ha generado conflictos internos en la comunidad y ha afectado la eficacia simb&oacute;lica del ritual.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza significativa est&aacute; relacionada con la estigmatizaci&oacute;n de la pr&aacute;ctica por parte de sectores religiosos y educativos que la asocian con lo maligno o con supersticiones. Este tipo de interpretaci&oacute;n desacredita su valor cultural y desalienta su aprendizaje entre las nuevas generaciones. La historia oral recogida menciona que algunas personas evitan hablar del Japutuqui por temor a ser asociados con &ldquo;cosas del diablo&rdquo;, lo que contribuye a su marginaci&oacute;n. Desde una perspectiva antropol&oacute;gica y de salvaguarda del patrimonio inmaterial, es urgente implementar medidas que reconozcan y protejan la riqueza de estas expresiones. Se recomienda desarrollar procesos participativos de documentaci&oacute;n audiovisual que respeten los criterios culturales de la comunidad, as&iacute; como talleres intergeneracionales que fortalezcan el aprendizaje en contextos locales. Tambi&eacute;n es fundamental que las pol&iacute;ticas culturales reconozcan la dimensi&oacute;n ritual de la danza y no la reduzcan a un espect&aacute;culo, permitiendo a los portadores mantener el control sobre los sentidos y condiciones de la pr&aacute;ctica.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7be42994-5588-4524-85f5-3e04a5077fa0", "provisionaledits": null, "resourceinstance_id": "30cf83ad-b90c-4faa-8481-2eb7770828db", "sortorder": 0, "tileid": "921bde3c-9155-4dee-8467-c20bb418799e"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:10.311", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000052, "}, "es": {"description": "Trinidad. Danza Sol y Luna", "map_popup": "Beni", "name": "PI-080101-00-00-000052, Trinidad. 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Danza Sol y Luna"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c3c771fe-75da-4d7d-abcb-d87a003e6a35", "sortorder": 0, "tileid": "c92e5cd0-9125-4d60-a822-f60c64c1571c"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Triidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.90131835937385, -14.834175600050784], "type": "Point"}, "id": "d9dddeee06c5c7be88f0aa46e74697b6", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000024'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c3c771fe-75da-4d7d-abcb-d87a003e6a35", "sortorder": 0, "tileid": "1ac60c5a-9763-4c76-8fe2-4932f54fd1ff"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c3c771fe-75da-4d7d-abcb-d87a003e6a35", "sortorder": 0, "tileid": "94cc9f46-a2e4-465e-a807-be824b06fa2d"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Danza Sol y Luna</strong></p>\n\n<p>La danza &ldquo;Sol y Luna&rdquo; forma parte del repertorio ritual y simb&oacute;lico transmitido oralmente por los miembros del Cabildo Indigenal de la Sant&iacute;sima Trinidad, y representa una visi&oacute;n cosmog&oacute;nica profundamente enraizada en la memoria ancestral de los pueblos moje&ntilde;os.</p>\n\n<p>&nbsp;</p>\n\n<p>Esta manifestaci&oacute;n esc&eacute;nica no solo es una representaci&oacute;n del equilibrio entre dos entidades celestiales, sino tambi&eacute;n una met&aacute;fora de la tensi&oacute;n entre la creaci&oacute;n, el poder, el amor y la redenci&oacute;n. Su narrativa y coreograf&iacute;a han sido conservadas por generaciones y reflejan una &eacute;poca anterior a la llegada de los colonizadores, en la que los astros eran considerados seres con voluntad y poder sobre la vida humana.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>Seg&uacute;n la tradici&oacute;n, el sol fue la primera estrella en aparecer en el cielo. Sin embargo, su car&aacute;cter orgulloso y potente hizo que, en lugar de generar vida, causara destrucci&oacute;n. Fue as&iacute; que otros seres intervinieron, experimentando con la creaci&oacute;n y trayendo vida a la tierra.</p>\n\n<p>&nbsp;</p>\n\n<p>Entre estos seres, hab&iacute;a uno que pod&iacute;a crear solo con pronunciar palabras, pero pronto se percataron de que el sol no iluminaba todo el tiempo; solo brillaba por un momento y luego desaparec&iacute;a, dejando la noche en manos de seres malignos que acechaban a los humanos.</p>\n\n<p>Fue entonces que la luna, descrita como una mujer hermosa, se acerc&oacute; a la tierra. Su figura se refleja en las fases lunares: recostada, de pie o mostrando apenas su mirada. Su cercan&iacute;a le otorg&oacute; al ser humano una oportunidad de sobrevivir, pues de noche tambi&eacute;n pod&iacute;an encontrar luz. El sol, al verla, se enamor&oacute; de inmediato, pero su actitud celosa y prepotente provoc&oacute; que la luna se sintiera sola. Aun as&iacute;, comenzaron a comunicarse a trav&eacute;s de sus luces, sin poder encontrarse frente a frente. Cuando el sol intentaba verla, la ocultaba involuntariamente.</p>\n\n<p>&nbsp;</p>\n\n<p>La relaci&oacute;n entre estos astros simboliza un amor inalcanzable. El sol, entristecido por su incapacidad de estar con la luna, otorg&oacute; poder a los humanos. Sin embargo, estos usaron ese poder para hacer el mal, lo cual motiv&oacute; a la luna a contrarrestar esa destrucci&oacute;n con su poder sanador. As&iacute; se gener&oacute; una lucha entre ambos: mientras el sol daba fuerza, la luna equilibraba con curaci&oacute;n. La confrontaci&oacute;n culmin&oacute; cuando la luna le reproch&oacute; al sol que a ella nunca la necesitaba, mientras que los humanos s&iacute;. En su tristeza, el sol se apag&oacute;. La luna, en un acto de amor, irrumpi&oacute; en el d&iacute;a para poder verlo aunque fuera por un instante, lo cual se simboliza en los ocasos donde la luna aparece en el cielo diurno.</p>\n\n<p>&nbsp;</p>\n\n<p>Esta danza es una representaci&oacute;n esc&eacute;nica de esa historia. Actualmente, no se baila exactamente como lo dictan las tradiciones, pero el sentido simb&oacute;lico se mantiene. Las figuras humanas (representadas por las &ldquo;mamitas&rdquo;) rodean el espacio, mientras en el interior bailan otras mujeres caracterizadas como estrellas. En el centro se encuentran el sol y la luna. En el exterior danzan los toritos, seres enviados por Dios para expulsar la maldad. Este c&iacute;rculo coreogr&aacute;fico representa la lucha entre el amor y el odio humano, la necesidad de reconciliaci&oacute;n y el equilibrio c&oacute;smico. Por ello, el baile se realiza en redondilla.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>La historia de esta danza pertenece al relato oral conservado por los comunarios del Cabildo Indigenal de la Sant&iacute;sima Trinidad, quienes atribuyen su origen a &eacute;pocas anteriores a la colonizaci&oacute;n. Seg&uacute;n el testimonio de Darwin Noza, la narrativa y simbolismo de &ldquo;Sol y Luna&rdquo; se remonta a tiempos muy antiguos, cuando los astros eran considerados entidades conscientes con influencia directa sobre la existencia humana. En la cosmovisi&oacute;n de varios pueblos ind&iacute;genas, el sol y la luna no solo ordenan el tiempo, sino que participan activamente en la vida de las personas y son objeto de ritualizaci&oacute;n a trav&eacute;s de danzas y relatos.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>La danza se ejecuta con pasos de marcha al ritmo marcado por la tamborita. La m&uacute;sica, interpretada con flauta de tacuaral, bombo y caja, evoca una marcha constante que simboliza la vigilia de los astros, que nunca descansan aunque no siempre sean visibles. Esta estructura r&iacute;tmica acompa&ntilde;a la formaci&oacute;n circular del baile, reforzando la idea de continuidad, dualidad y equilibrio entre los elementos celestiales y los actos humanos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "94cc9f46-a2e4-465e-a807-be824b06fa2d", "provisionaledits": null, "resourceinstance_id": "c3c771fe-75da-4d7d-abcb-d87a003e6a35", "sortorder": 0, "tileid": "9eae2757-cbef-4858-90c3-f8f1e2b82139"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza &ldquo;Sol y Luna&rdquo; es un ejemplo representativo de c&oacute;mo las comunidades ind&iacute;genas mantienen vigente su memoria hist&oacute;rica a trav&eacute;s de narrativas perform&aacute;ticas y relatos heredados. En este caso, el conocimiento no se encuentra codificado en documentos escritos, sino que circula mediante la palabra hablada, las pr&aacute;cticas rituales y las escenificaciones coreogr&aacute;ficas transmitidas en contextos comunitarios. El testimonio de Darwin Noza, recogido en el archivo del Cabildo Indigenal de la Sant&iacute;sima Trinidad, muestra que esta danza conserva elementos de una cosmovisi&oacute;n anterior a la colonizaci&oacute;n, donde los astros eran considerados seres activos en la creaci&oacute;n y regulaci&oacute;n de la vida.</p>\n\n<p>Desde una perspectiva antropol&oacute;gica, estos mecanismos de continuidad cultural evidencian una epistemolog&iacute;a distinta de la racionalidad occidental. En este caso, la narrativa m&iacute;tica no se presenta como un recurso simb&oacute;lico aislado, sino como una forma v&aacute;lida de explicar el orden del mundo, codificar relaciones sociales y legitimar pr&aacute;cticas presentes. La danza, como acto social y ceremonial, se convierte en un canal activo de ense&ntilde;anza, donde participan varias generaciones y se refuerzan roles, estructuras y v&iacute;nculos colectivos.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "94cc9f46-a2e4-465e-a807-be824b06fa2d", "provisionaledits": null, "resourceinstance_id": "c3c771fe-75da-4d7d-abcb-d87a003e6a35", "sortorder": 0, "tileid": "f0f14339-bd2c-480c-b5d9-a11dac171b1a"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el testimonio recogido sobre la danza &ldquo;Sol y Luna&rdquo; se se&ntilde;ala que actualmente la pr&aacute;ctica no se realiza como en su forma original, lo cual sugiere un proceso de transformaci&oacute;n que responde a condiciones sociales, culturales y organizativas contempor&aacute;neas. Sin embargo, seg&uacute;n el mismo informante, hoy esa estructura coreogr&aacute;fica ha sido modificada o simplificada, lo que podr&iacute;a estar relacionado con cambios en la transmisi&oacute;n intergeneracional, la reorganizaci&oacute;n comunitaria o el desplazamiento de la pr&aacute;ctica hacia espacios festivos m&aacute;s generalizados.</p>\n\n<p>&nbsp;</p>\n\n<p>Este tipo de transformaciones debe entenderse como resultado de adaptaciones que permiten la supervivencia de la tradici&oacute;n en contextos cambiantes. Las formas actuales del baile podr&iacute;an estar respondiendo a nuevas din&aacute;micas de participaci&oacute;n, donde el conocimiento ya no se limita a grupos espec&iacute;ficos, sino que se comparte con un p&uacute;blico m&aacute;s amplio, como ocurre en las fiestas patronales u otros espacios de visibilidad p&uacute;blica. La introducci&oacute;n de estas variaciones tambi&eacute;n puede reflejar tensiones entre la memoria colectiva y la recreaci&oacute;n cultural. Estas modificaciones evidencian que la pr&aacute;ctica se mantiene viva, aunque en constante renegociaci&oacute;n con el entorno social e hist&oacute;rico.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "94cc9f46-a2e4-465e-a807-be824b06fa2d", "provisionaledits": null, "resourceinstance_id": "c3c771fe-75da-4d7d-abcb-d87a003e6a35", "sortorder": 0, "tileid": "8cd52c58-0f9c-40f2-aba6-9c485e1af4f6"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las fortalezas m\u00e1s evidentes de la danza \u201cSol y Luna\u201d es su estrecha relaci\u00f3n con una narrativa m\u00edtica. El relato oral recogido por Darwin Noza no solo da cuenta de una historia cosmol\u00f3gica que explica el origen de la luz, la oscuridad y las emociones humanas, sino que tambi\u00e9n gu\u00eda la estructura coreogr\u00e1fica del baile. Esta articulaci\u00f3n entre mito y acci\u00f3n esc\u00e9nica fortalece la transmisi\u00f3n del conocimiento local, ya que convierte a la danza en una herramienta pedag\u00f3gica para las nuevas generaciones.  Desde la perspectiva del patrimonio cultural inmaterial, esta pr\u00e1ctica mantiene una vitalidad que reside en su funci\u00f3n ritual y en la construcci\u00f3n de v\u00ednculos comunitarios. Esta capacidad de generar sentido a trav\u00e9s de una pr\u00e1ctica compartida le otorga un valor significativo dentro del proceso de salvaguardia cultural. Sostener y fortalecer este tipo de expresiones implica reconocer que no se trata solamente de una manifestaci\u00f3n art\u00edstica, sino de un sistema complejo de saberes, emociones y representaciones que habitan en la memoria, la palabra y el espacio ritual."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "94cc9f46-a2e4-465e-a807-be824b06fa2d", "provisionaledits": null, "resourceinstance_id": "c3c771fe-75da-4d7d-abcb-d87a003e6a35", "sortorder": 0, "tileid": "1fa79689-7f9c-4066-8360-9f07503117bf"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la danza &quot;Sol y Luna&quot; es la p&eacute;rdida de su contexto ritual original, ya que las transformaciones sociales y culturales han alterado su funci&oacute;n dentro de la comunidad. Con la llegada de influencias externas y la urbanizaci&oacute;n de las poblaciones ind&iacute;genas, los espacios tradicionales donde esta danza sol&iacute;a ejecutarse han cambiado o desaparecido, lo que ha dificultado su pr&aacute;ctica aut&eacute;ntica. A medida que las nuevas generaciones se distancian de las creencias y estructuras tradicionales, la danza puede perder su conexi&oacute;n con los elementos espirituales que le dan sentido, reduci&eacute;ndola a una simple expresi&oacute;n folcl&oacute;rica sin la profundidad cultural que hist&oacute;ricamente le ha otorgado identidad. Este tipo de procesos de transformaci&oacute;n pone en riesgo la integridad de la pr&aacute;ctica, ya que la danza pierde su rol como medio de transmisi&oacute;n de saberes y valores, y puede ser percibida &uacute;nicamente como una manifestaci&oacute;n esc&eacute;nica sin su v&iacute;nculo con la cosmovisi&oacute;n ancestral.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo radica en la comercializaci&oacute;n y apropiaci&oacute;n de la danza en contextos ajenos a las comunidades originarias. La danza &ldquo;Sol y Luna&rdquo; podr&iacute;a ser instrumentalizada con fines tur&iacute;sticos o folkl&oacute;ricos, diluyendo su significado ritual y su relaci&oacute;n con la comunidad. Esta apropiaci&oacute;n externa puede despojarla de su valor como patrimonio cultural inmaterial y, en lugar de ser un medio de resistencia y afirmaci&oacute;n cultural, convertirse en un producto estandarizado que no refleja la riqueza de las tradiciones vivas. En este contexto, es fundamental que las comunidades ejerzan control sobre la manera en que se representa y transmite su patrimonio, protegiendo sus saberes de la mercantilizaci&oacute;n que a menudo despoja a las pr&aacute;cticas culturales de su autenticidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde una perspectiva de salvaguarda del patrimonio, es esencial promover estrategias que fortalezcan la conexi&oacute;n entre las nuevas generaciones y las pr&aacute;cticas culturales tradicionales, asegurando que la danza se mantenga en su contexto ritual y no solo como un espect&aacute;culo. Fomentar la transmisi&oacute;n intergeneracional del conocimiento es fundamental para que los valores y significados asociados a la danza se conserven. Adem&aacute;s, se deben establecer pol&iacute;ticas que favorezcan la participaci&oacute;n activa de las comunidades en la toma de decisiones sobre la representaci&oacute;n y el uso de su patrimonio, para evitar que se convierta en un objeto de consumo cultural ajeno a sus ra&iacute;ces. Finalmente, las autoridades culturales deben apoyar a las comunidades en la documentaci&oacute;n y promoci&oacute;n de estas pr&aacute;cticas para que las generaciones futuras puedan conocer y comprender su origen y prop&oacute;sito.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "94cc9f46-a2e4-465e-a807-be824b06fa2d", "provisionaledits": null, "resourceinstance_id": "c3c771fe-75da-4d7d-abcb-d87a003e6a35", "sortorder": 0, "tileid": "3e5e40dd-6548-4b36-a12e-4e1230d49e1c"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:10.589", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000053, "}, "es": {"description": "Trinidad. Danza Toritos", "map_popup": "Beni", "name": "PI-080101-00-00-000053, Trinidad. Danza Toritos"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000053, Trinidad. 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Danza Toritos"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 0, "tileid": "8d917df1-45d6-4b31-9db3-9fcd4bcb6859"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.90131835937731, -14.836830624535509], "type": "Point"}, "id": "053750553b6eb196581938115a08d1d7", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000025'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 0, "tileid": "c704c14f-8644-4902-82bb-0f434aea05cd"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 0, "tileid": "d84c42ae-c74e-4ea7-8616-441254525f3f"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Danza Toritos</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La danza del Torito es una expresi&oacute;n tradicional de la regi&oacute;n de los moxe&ntilde;os trinitarios que se mantiene viva gracias a la transmisi&oacute;n oral de generaciones. Su pr&aacute;ctica est&aacute; estrechamente ligada a significados religiosos, rituales y comunitarios, y sus or&iacute;genes son contados a trav&eacute;s de distintas versiones que se conservan entre las personas mayores del territorio. Las historias recogidas muestran c&oacute;mo la danza no solo responde a un acto festivo, sino que implica una preparaci&oacute;n espiritual y un compromiso colectivo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>Seg&uacute;n el testimonio de Ramona Ichu Are, la danza del Torito rememora un momento clave del nacimiento de Jes&uacute;s. Relata que, al nacer el ni&ntilde;o Jes&uacute;s, nadie lo recibi&oacute; y sent&iacute;a fr&iacute;o. Fue entonces un toro quien se acerc&oacute; y lo calent&oacute; con su cuerpo, brind&aacute;ndole el calor que necesitaba. Este acto es la raz&oacute;n por la que se baila el Torito: en agradecimiento al animal que protegi&oacute; al reci&eacute;n nacido. (Z0000034 Ramona Ichu Are y Peon Lowasebe tambo. Carpeta 11 de junio).</p>\n\n<p>&nbsp;</p>\n\n<p>Una segunda versi&oacute;n, narrada por la se&ntilde;ora Crecencia de Tamo, introduce una historia vinculada al conflicto entre el bien y el mal. En este relato, el diablo le propone a Dios una apuesta. Afirma que no todas las personas que est&aacute;n dentro de la iglesia orando son fieles suyos. Para probarlo, se disfraza con una m&aacute;scara y cascabeles, y entra en el templo. Todas las personas que voltearon a mirarlo quedaron marcadas como suyas. Por este motivo, el padre de Crecencia se opon&iacute;a a que su madre participara en la danza del Torito, la cual, seg&uacute;n ella, era bailada principalmente por mujeres: &ldquo;torito y mam&aacute;s bailan&rdquo;. (Z0000035 Crecencia de Tamo. Carpeta 11 de junio).</p>\n\n<p>&nbsp;</p>\n\n<p>Luis Tamo Cayuba aporta una tercera versi&oacute;n ligada a la econom&iacute;a tradicional y a la espiritualidad comunitaria. Relata que los antepasados de la zona criaban distintos tipos de ganado &mdash;vacas, gallinas, chanchos, caballos&mdash; y recorr&iacute;an amplios territorios con sus animales. En un momento, una peste comenz&oacute; a matar al ganado, lo que gener&oacute; alarma en la poblaci&oacute;n. Para hacer frente a esta situaci&oacute;n, decidieron ofrecer un sacrificio a Dios: carnearon una res, asaron la carne y la compartieron con la comunidad como acto de fe, pidiendo que la enfermedad se aleje. Tras esto, la peste se detuvo. Como muestra de agradecimiento, decidieron bailar para el Padre Celestial y se colocaron m&aacute;scaras representando a sus animales. As&iacute; se origin&oacute; la danza del Torito. Con el tiempo, la danza se integr&oacute; a las grandes fiestas del calendario local, recordando siempre la bendici&oacute;n que recibieron. Desde entonces, cada a&ntilde;o, al son de la m&uacute;sica, vuelven a danzar para mantener esa protecci&oacute;n sobre su ganado vacuno. (Z0000036 Luis Tamo Cayuba. Carpeta 11 de junio).</p>\n\n<p>&nbsp;</p>\n\n<p>El testimonio de Luis Tamo tambi&eacute;n detalla elementos materiales y simb&oacute;licos de la danza. Menciona que las m&aacute;scaras, son talladas, las capas, que antes eran tambi&eacute;n de cuero, han sido reemplazadas por telas, debido al peso del material original. Adem&aacute;s, para acompa&ntilde;ar la danza, se utilizan los &quot;chononos&quot;, objetos que se atan en la pantorrilla y que producen un sonido fuerte al caminar o moverse, imitando el trote del ganado. Esta caracter&iacute;stica se acentu&oacute; con la llegada del ganado espa&ntilde;ol, que fue cruzado con una especie local m&aacute;s peque&ntilde;a llamada &ldquo;gabiru&rdquo;. El paso fuerte del nuevo ganado inspir&oacute; la b&uacute;squeda de un sonido que complementara la danza.</p>\n\n<p>&nbsp;</p>\n\n<p>La danza del Torito no puede ser ejecutada por todos. Quien desea bailarla debe encomendarse al Padre Celestial, pedir perd&oacute;n por sus pecados y solicitar bendici&oacute;n para su familia, su comunidad y sus animales. Solo entonces se considera correcto colocarse la m&aacute;scara, que ya ha sido bendecida. Luis Tamo recalca que no se trata simplemente de &ldquo;querer bailar&rdquo;, sino de hacerlo con devoci&oacute;n y respeto, entendiendo el significado de este acto. Por ello, los ni&ntilde;os que bailan con m&aacute;scara ya est&aacute;n siendo iniciados en este compromiso, que luego se extender&aacute; al rol del machetero.</p>\n\n<p>&nbsp;</p>\n\n<p>Existe tambi&eacute;n una estructura de compromiso en el tiempo: quien decide bailar el Torito debe hacerlo durante tres a&ntilde;os consecutivos. Para ello, manda a hacer su m&aacute;scara y su capa, las cuales deben ser llevadas al doctrinero o cura para ser bendecidas antes de su uso. Solo tras este ritual se considera correcto incorporarse a la danza. Este conjunto de acciones refuerza el car&aacute;cter sagrado y comunitario del Torito, que se constituye no solo como una representaci&oacute;n simb&oacute;lica, sino como una pr&aacute;ctica de fe y continuidad cultural profundamente enraizada en el mundo moxe&ntilde;o trinitario.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "d84c42ae-c74e-4ea7-8616-441254525f3f", "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 0, "tileid": "76e2a5bb-7fbc-492c-8b2c-126cd2684b5c"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara Torito  Material y t\u00e9cnica de elaboraci\u00f3n La m\u00e1scara del Torito es elaborada manualmente a trav\u00e9s de un proceso de tallado con madera de balsa. Esta t\u00e9cnica, heredada de generaciones anteriores, requiere destreza y paciencia, ya que cada pieza debe adquirir una expresi\u00f3n simb\u00f3lica precisa que represente al toro con fuerza y car\u00e1cter.  Descripci\u00f3n de la pieza Se trata de una m\u00e1scara con forma de cabeza de toro, a la que se le incorporan cuernos reales, cuyas puntas se encuentran visiblemente desgastadas por el uso continuo en las celebraciones. Su aspecto imponente y materiales naturales reflejan tanto el poder del animal como la conexi\u00f3n con la naturaleza, elemento central en la cosmovisi\u00f3n de los pueblos de Mojos.  Descripci\u00f3n del contexto La m\u00e1scara del Torito es parte de la danza Torito que se interpreta en la Chope Piesta, una de las celebraciones m\u00e1s significativas de la ciudad de Trinidad. La ciudad fue fundada en 1686 por el padre jesuita Cipriano Barace. Esta fiesta conmemora a la Sant\u00edsima Trinidad \u2013Padre, Hijo y Esp\u00edritu Santo\u2013 y se realiza el domingo siguiente a Pentecost\u00e9s. La festividad celebra tres momentos de la historia cristiana: la Navidad (el Padre), la Resurrecci\u00f3n (el Hijo) y Pentecost\u00e9s (el Esp\u00edritu Santo). La Chope Piesta, expresi\u00f3n que en dialecto trinitario significa \u201cgran fiesta\u201d, articula un conjunto de eventos religiosos y comunitarios que refuerzan la identidad de la regi\u00f3n.  La celebraci\u00f3n representa un espacio de encuentro entre distintas comunidades, ya que tradicionalmente pobladores de San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, Loreto, San Ignacio y de zonas javerianas se congregaban en Trinidad. Esta confluencia de pueblos refleja un tejido cultural denso y diverso, donde convergen pr\u00e1cticas ind\u00edgenas, memorias jesu\u00edticas y espiritualidades sincr\u00e9ticas que han perdurado a lo largo de m\u00e1s de tres siglos.  Descripci\u00f3n de la funci\u00f3n/uso La m\u00e1scara se utiliza durante la danza del Torito, presente en todas las festividades de Trinidad. Esta danza forma parte del complejo ritual de la Chope Piesta y es interpretada por danzantes comprometidos con la tradici\u00f3n, quienes adoptan un rol simb\u00f3lico dentro de la narrativa de la celebraci\u00f3n. El uso de la m\u00e1scara transforma al portador en una figura poderosa dentro del imaginario festivo, asociada tanto a la fertilidad como al sacrificio.  Datos hist\u00f3ricos El territorio de Mojos estuvo habitado, antes de la llegada europea, por una vasta poblaci\u00f3n ind\u00edgena organizada en diversas naciones. A finales del siglo XVII, con la llegada de los jesuitas, se establecen las primeras reducciones. Desde 1667 hasta 1767, el actual departamento del Beni conform\u00f3 la Provincia Jesu\u00edtica de Mojos. Posteriormente, en 1941, se crea oficialmente la provincia de Mojos por Ley, bajo el gobierno del general Enrique Pe\u00f1aranda.  Durante el periodo misional, el padre Cipriano Barace fund\u00f3 la ciudad de la Sant\u00edsima Trinidad en 1686. Proveniente de Navarra, Espa\u00f1a, Barace lleg\u00f3 desde Lima con el encargo de organizar la regi\u00f3n. Su acci\u00f3n no se limit\u00f3 a la evangelizaci\u00f3n; introdujo oficios como la panader\u00eda, la carpinter\u00eda, la m\u00fasica sacra, la agricultura y la ganader\u00eda, trayendo desde Santa Cruz las primeras cabezas de ganado, lo cual marc\u00f3 el perfil productivo del Beni hasta la actualidad. La fundaci\u00f3n de Trinidad simboliz\u00f3 un equilibrio entre los valores cristianos y las creencias ancestrales ind\u00edgenas. En palabras del Gobierno Aut\u00f3nomo Municipal de Trinidad (s/f), este sincretismo fue la base de la \u201cChope Piesta\u201d, celebraci\u00f3n que dura una semana e incluye actividades como el jocheo de toros, el palo encebao, danzas como la del machetero y la elecci\u00f3n de las moperitas.  La organizaci\u00f3n de las comunidades en torno a la festividad inclu\u00eda responsabilidades colectivas: antes de 1986, las comunidades llevaban en canoas los troncos para construir el corral del jocheo del toro, recolectaban entre 30 y 50 racimos de pl\u00e1tano por chaco, y sembraban ma\u00edz con anticipaci\u00f3n para elaborar la chicha. Estas acciones sosten\u00edan la festividad sin depender de instituciones externas. Sin embargo, desde la segunda mitad de la d\u00e9cada de 1980, la Alcald\u00eda (antes Prefectura) comenz\u00f3 a intervenir, brindando recursos y apoyo log\u00edstico. Con el tiempo, muchas familias migraron del r\u00edo a la ciudad, lo que redujo su capacidad de autoabastecimiento. Hoy, los organizadores solicitan apoyo a la Gobernaci\u00f3n y a la Alcald\u00eda para suplir alimentos y materiales necesarios.  La estructura social durante la \u00e9poca jesu\u00edtica inclu\u00eda un Cabildo Indigenal, que no estaba compuesto por autoridades impuestas, sino por l\u00edderes nativos formados para conducir la vida religiosa y comunitaria. El corregidor era la m\u00e1xima autoridad, acompa\u00f1ado por alcaldes, doctrineros y ap\u00f3stoles. Las mamas abadesas, mujeres viudas encargadas del cuidado del templo, tambi\u00e9n ten\u00edan un rol en las danzas rituales. Estas figuras contribu\u00edan a la educaci\u00f3n, organizaci\u00f3n y espiritualidad de los pueblos. En este contexto, la danza del Torito no solo es una expresi\u00f3n festiva, sino una pr\u00e1ctica simb\u00f3lica anclada en una estructura de gobierno ind\u00edgena con roles claramente definidos y funciones transmitidas oralmente.  Cipriano Barace, figura central en la historia de Mojos, muri\u00f3 como m\u00e1rtir a manos del pueblo Baure cuando intentaba llevar la fe a nuevos territorios. En su honor, cada 28 de junio se realiza una ceremonia que recuerda su entrega. Su vida y obra marcan un antes y un despu\u00e9s en la configuraci\u00f3n cultural y productiva del oriente boliviano, siendo recordado tanto como evangelizador como promotor de la autosuficiencia local mediante el conocimiento y el trabajo."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "M\u00e1scara Torito"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d84c42ae-c74e-4ea7-8616-441254525f3f", "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 0, "tileid": "637a529f-dc5b-4227-981f-d3b77daca3a9"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto artesanal de indumentaria"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sombrero jipijapa  T\u00e9cnica de elaboraci\u00f3n La confecci\u00f3n del sombrero jipijapa inicia con la extracci\u00f3n de la fibra vegetal que le da nombre. Esta fibra se pone a secar durante dos d\u00edas bajo el sol, tras lo cual se realiza el tejido principalmente por la noche o durante la ma\u00f1ana, momentos en los que la paja se encuentra ligeramente h\u00fameda y, por tanto, m\u00e1s manejable para trabajar. El resultado final del trenzado presenta un acabado que recuerda a la textura de las hojas de los \u00e1rboles, con un trabajo detallado que puede extenderse por dos o tres d\u00edas hasta completarse la pieza.  En cuanto a la decoraci\u00f3n, antiguamente las cintas que adornaban el sombrero se elaboraban a partir de telas de los propios vestidos de las mujeres. En la actualidad, estas cintas se adquieren comercialmente. Sin embargo, el simbolismo que contienen permanece: representan el cielo azul, la paja verde, y los \u00e1rboles floreciendo en tonos amarillos. Los adornos que complementan el sombrero incluyen espejos, que anteriormente eran representados mediante flores como rosas y otras variedades.  Descripci\u00f3n de la pieza Este sombrero blanco es un accesorio tradicionalmente utilizado por las mujeres. Se integra como parte del vestuario ceremonial y festivo propio de la cultura trinitaria, y su color resalta tanto en los actos religiosos como en las celebraciones colectivas.  Descripci\u00f3n del contexto La elaboraci\u00f3n y uso del sombrero jipijapa se enmarca en una de las festividades m\u00e1s importantes de la regi\u00f3n, la Chope Piesta, que significa \"fiesta grande\" en el dialecto trinitario. Esta celebraci\u00f3n tiene lugar desde los tiempos en que se form\u00f3 la localidad de Trinidad, cuando pobladores de diversas comunidades como San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, Loreto, San Ignacio y los javerianos, se congregaban en un gran encuentro cultural y espiritual.  La Chope Piesta celebra el misterio de la Sant\u00edsima Trinidad: el Padre, el Hijo y el Esp\u00edritu Santo, en una fecha m\u00f3vil del calendario lit\u00fargico, espec\u00edficamente el domingo siguiente a Pentecost\u00e9s. Esta conmemoraci\u00f3n sintetiza una secuencia de pascuas: la del Padre en Navidad, la del Hijo en la Resurrecci\u00f3n, y finalmente, la del Esp\u00edritu Santo en Pentecost\u00e9s. As\u00ed, la festividad representa una profunda devoci\u00f3n hacia un Dios que es uno, pero manifestado en tres personas: el Padre como creador, el Hijo como redentor y el Esp\u00edritu Santo como santificador.  Descripci\u00f3n de la funci\u00f3n/uso El sombrero jipijapa es utilizado por las mujeres como complemento esencial del tipoy, su vestimenta tradicional. Adem\u00e1s de su uso est\u00e9tico y cultural, el sombrero posee un valor simb\u00f3lico al ser parte del atuendo que conecta a las mujeres con sus ra\u00edces y con las expresiones festivas de su comunidad.  Datos hist\u00f3ricos Antes de la llegada de los europeos, la regi\u00f3n de Mojos albergaba a cientos de miles de ind\u00edgenas pertenecientes a diversos grupos \u00e9tnicos. Las primeras incursiones externas se materializaron con el establecimiento de las misiones jesu\u00edticas a finales del siglo XVII. Durante este periodo, muchas comunidades fueron diezmadas por enfermedades y capturas forzadas. De 1667 a 1767, el actual departamento del Beni fue conocido como la Provincia Jesu\u00edtica de Mojos. Posteriormente, la Provincia de Mojos fue formalmente creada por ley el 27 de noviembre de 1941, durante el gobierno del General Enrique Pe\u00f1aranda.  A partir de 1986, las instituciones estatales comenzaron a involucrarse directamente en la organizaci\u00f3n de la Chope Piesta. En sus inicios, eran las comunidades quienes aportaban los recursos y la log\u00edstica: transportaban los troncos para construir el corral del jocheo del toro, buscaban el palo encebado que tra\u00edan en canoa durante una semana, y recolectaban alimentos como yuca, pl\u00e1tano y ma\u00edz desde los chacos. Esta autogesti\u00f3n permit\u00eda que la fiesta se sostuviera por s\u00ed sola. Sin embargo, con el tiempo, muchas comunidades se trasladaron a vivir en Trinidad y perdieron acceso directo a sus chacos, lo que gener\u00f3 una dependencia creciente de la ayuda gubernamental, especialmente de la Gobernaci\u00f3n y la Alcald\u00eda.  La cosecha del ma\u00edz es especialmente significativa, ya que coincide con la fecha de la Chope Piesta. A diferencia del pl\u00e1tano, que est\u00e1 disponible todo el a\u00f1o, el ma\u00edz debe sembrarse aproximadamente cuatro meses antes \u2014alrededor de marzo\u2014 para poder cosecharlo a tiempo y preparar la chicha.  En un documento del Gobierno Aut\u00f3nomo Municipal de Trinidad se afirma que:  \u201cEn el santoral cat\u00f3lico, el d\u00eda de la fiesta de la Sant\u00edsima Trinidad es movible, y es por ello que la ciudad capital del Beni, fundada en 1686, celebra su d\u00eda entre las \u00faltimas fechas de mayo o las primeras de junio. La fundaci\u00f3n de Trinidad por Cipriano Barace, \u2018doce leguas m\u00e1s abajo del r\u00edo Loreto\u2019, fue un \u00e9xito del sincretismo, es decir un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas. El misionero jesuita apoyado por otro sacerdote c\u00e9lebre, Pedro Marb\u00e1n, \u2018tent\u00f3\u2019 a la naci\u00f3n de Moxos ense\u00f1ando adem\u00e1s de las bellas artes como la m\u00fasica sacra y la pintura u oficios como la carpinter\u00eda y la alba\u00f1iler\u00eda, las t\u00e9cnicas de la agricultura y la ganader\u00eda. Y quiz\u00e1 es aqu\u00ed donde el Beni nace como un sat\u00e9lite dependiente de la ganader\u00eda cruce\u00f1a; pues Barace, con ayuda de los conquistadores espa\u00f1oles afincados en Santa Cruz, traslad\u00f3 las primeras cabezas de ganado a Mojos atravesando heroicamente 500 kil\u00f3metros. El esfuerzo de Barace fue recompensado por los Mojos que donaron su fe a la Sant\u00edsima Trinidad; y fue as\u00ed que naci\u00f3 la \u2018Chope Piesta\u2019, esa tricentenaria celebraci\u00f3n ind\u00edgena colonial que dura casi una semana entre el \u2018jocheo\u2019 de toros, el \u2018palo encebao\u2019, la danza de los macheteros y la elecci\u00f3n de bellas \u2018moperitas\u2019\u201d (Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f).  La llegada de los jesuitas se remonta a 1675, con la fundaci\u00f3n de Loreto como primera iglesia en 1682. Posteriormente, en 1686, el padre Cipriano Barace fund\u00f3 la ciudad de la Sant\u00edsima Trinidad, con el prop\u00f3sito de promover una formaci\u00f3n integral: espiritual, intelectual y laboral. Esta visi\u00f3n incluy\u00f3 la ense\u00f1anza de oficios como el tallado, la m\u00fasica, la panader\u00eda y la agricultura, permitiendo que los ind\u00edgenas no dependieran \u00fanicamente de la pesca y la caza.  La estructura de organizaci\u00f3n de los pueblos tambi\u00e9n cambi\u00f3 profundamente con las misiones. Se establecieron Cabildos Indigenales, integrados por autoridades locales \u2014no impuestas desde Espa\u00f1a\u2014 como corregidores, alcaldes, doctrineros y ap\u00f3stoles. Estos \u00faltimos ense\u00f1aban la doctrina cristiana, encabezaban oraciones y colaboraban en celebraciones religiosas como el Jueves Santo. Entre las figuras femeninas destacaban las Mamas Abadesas, viudas que cuidaban de los templos y participaban en las danzas llevando escobas como s\u00edmbolo de limpieza y cuidado espiritual.  Cipriano Barace, originario de Isaba, Navarra (Espa\u00f1a), lleg\u00f3 enviado desde Lima con la responsabilidad de evangelizar en Mojos. Hombre multifac\u00e9tico, adem\u00e1s de misionero era m\u00fasico y panadero. Fue quien introdujo las primeras cabezas de ganado en la regi\u00f3n, tray\u00e9ndolas desde Santa Cruz. En homenaje a su legado, cada 28 de junio se celebra una fiesta en su honor. Su vida termin\u00f3 tr\u00e1gicamente al ser asesinado por los Baures mientras intentaba llevar la fe a esa zona. Por ello, es considerado m\u00e1rtir de la evangelizaci\u00f3n en Bolivia."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Sombrero jipijapa"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d84c42ae-c74e-4ea7-8616-441254525f3f", "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 1, "tileid": "d3ccce5f-534c-41ab-bf05-d187b72b32a8"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tipoy  T\u00e9cnica de elaboraci\u00f3n El tipoy, al igual que la camijeta, era elaboraba originalmente con fibras vegetales. En la actualidad, su confecci\u00f3n ha evolucionado y las mujeres suelen encargar su elaboraci\u00f3n o adquirirlo ya hecho en el Cabildo Indigenal de la Sant\u00edsima Trinidad o en diversos centros de venta locales. Para su producci\u00f3n, se utilizan moldes adaptados a cada talla, y todos los materiales necesarios se adquieren en el mercado. Esta transformaci\u00f3n del proceso artesanal a uno m\u00e1s comercial no ha restado valor simb\u00f3lico al tipoy, que contin\u00faa siendo una prenda de gran relevancia cultural.  Descripci\u00f3n de la pieza Las variantes del tipoy se distinguen seg\u00fan la regi\u00f3n de origen. En el caso de la ciudad de Trinidad, su principal rasgo distintivo es el ponchillo, un cuello elaborado con encaje que se divide en dos partes, adem\u00e1s de una banda de encaje que adorna la parte inferior del fald\u00f3n. Esta es la forma tradicional del tipoy trinitario. El 10 de junio se celebr\u00f3 la emisi\u00f3n de un proyecto de ley que reconoce como patrimonio cultural este dise\u00f1o espec\u00edfico del tipoy, con el objetivo de normar su uso para todas las mujeres.  El conjunto se complementa con un sombrero que simboliza la corona y un collar elaborado con semillas de surari y cotachi. El surari proviene de un \u00e1rbol nativo, mientras que el cotachi se obtiene de una planta que guarda similitud con el ma\u00edz. Para la danza, las mujeres tambi\u00e9n utilizan un pa\u00f1uelo del mismo material del vestido, adornado con encaje alrededor.  Descripci\u00f3n del contexto El uso del tipoy se enmarca en una de las celebraciones m\u00e1s significativas de Trinidad: la Chope Piesta. Esta gran fiesta tiene ra\u00edces en la \u00e9poca fundacional de la ciudad, cuando comenzaron a llegar los primeros pobladores de diversas comunidades como San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, Loreto, San Ignacio y otras regiones javerianas. La Chope Piesta, que en el dialecto trinitario significa \"fiesta grande\", constituye un encuentro de culturas que convoca a todo el pueblo.  La celebraci\u00f3n gira en torno a la festividad de la Sant\u00edsima Trinidad: el Padre, el Hijo y el Esp\u00edritu Santo. Este festejo refleja una profunda correlaci\u00f3n de sucesos religiosos. En el santoral cat\u00f3lico, el domingo siguiente a la Pascua de Pentecost\u00e9s se celebra el misterio de la Sant\u00edsima Trinidad, reconociendo a un solo Dios en tres personas distintas: el Padre creador, el Hijo redentor y el Esp\u00edritu Santo santificador. As\u00ed, la fiesta recorre el ciclo lit\u00fargico desde la Navidad (Pascua del Padre), la Resurrecci\u00f3n (Pascua del Hijo), hasta culminar con el Esp\u00edritu Santo.  Descripci\u00f3n de la funci\u00f3n/uso El tipoy es una prenda de vestir utilizada exclusivamente por mujeres. Su estructura se caracteriza por los encajes que adornan la parte inferior de la falda y el ruedo del ponchillo. Adem\u00e1s de su valor est\u00e9tico, representa una manifestaci\u00f3n identitaria y cultural profundamente enraizada en las costumbres de la regi\u00f3n.  Datos hist\u00f3ricos Durante el periodo prehisp\u00e1nico, la regi\u00f3n de Mojos estaba habitada por cientos de miles de ind\u00edgenas pertenecientes a diversos grupos \u00e9tnicos. A finales del siglo XVII comenzaron a establecerse en el territorio las misiones jesu\u00edticas. Para entonces, gran parte de la poblaci\u00f3n originaria hab\u00eda sido diezmada por enfermedades y redadas.  Entre los a\u00f1os 1667 y 1767, el actual departamento del Beni conformaba la Provincia Jesu\u00edtica de Mojos. Esta fue creada oficialmente por Ley el 27 de noviembre de 1941, bajo el gobierno del general Enrique Pe\u00f1aranda.  Hacia el a\u00f1o 1986, las instituciones estatales comenzaron a integrarse activamente en la organizaci\u00f3n de la Chope Piesta. Antes de esta intervenci\u00f3n institucional, las comunidades eran las encargadas de gestionar todos los recursos necesarios. Tra\u00edan troncos para construir el corral del jocheo del toro, buscaban el palo encebado durante una semana, lo transportaban en canoas desde el r\u00edo hasta el corral. La Alcald\u00eda \u2014que anteriormente era la Prefectura\u2014 no participaba en la organizaci\u00f3n, pero desde ese a\u00f1o empez\u00f3 a colaborar con un presupuesto espec\u00edfico para ciertos elementos, como el transporte del palo encebado.  Las comunidades asentadas en los m\u00e1rgenes de los r\u00edos Ibare y Mamor\u00e9 contribu\u00edan con productos como yuca, pl\u00e1tano y ma\u00edz. Cada familia cultivaba su propio chaco (parcela de tierra) y pod\u00eda reunir hasta 50 racimos de pl\u00e1tano para vender, obteniendo recursos para la compra de otros insumos necesarios. En ese entonces, la fiesta se sosten\u00eda de forma aut\u00f3noma. Actualmente, muchas de estas comunidades ya no habitan los r\u00edos, sino que se han trasladado a la ciudad de Trinidad, por lo que dependen del apoyo de la Gobernaci\u00f3n y la Alcald\u00eda.  La cosecha del ma\u00edz coincide con la Chope Piesta, mientras que el pl\u00e1tano est\u00e1 disponible durante todo el a\u00f1o. El ma\u00edz debe sembrarse con al menos cuatro meses de anticipaci\u00f3n, hacia marzo, para poder cosecharlo a tiempo y preparar la chicha tradicional.  La referencia al a\u00f1o 1986 tambi\u00e9n aparece en los textos del Gobierno Aut\u00f3nomo Municipal de Trinidad, donde se se\u00f1ala:  \u201cEn el santoral cat\u00f3lico, el d\u00eda de la fiesta de la Sant\u00edsima Trinidad es movible, y es por ello que la ciudad capital del Beni, fundada en 1686, celebra su d\u00eda entre las \u00faltimas fechas de mayo o las primeras de junio. La fundaci\u00f3n de Trinidad por Cipriano Barace, \u2018doce leguas m\u00e1s abajo del r\u00edo Loreto\u2019, fue un \u00e9xito del sincretismo, es decir un prol\u00edfico empate entre la religi\u00f3n cat\u00f3lica y las creencias originarias ind\u00edgenas. El misionero jesuita apoyado por otro sacerdote c\u00e9lebre, Pedro Marb\u00e1n, \u2018tent\u00f3\u2019 a la naci\u00f3n de Moxos ense\u00f1ando adem\u00e1s de las bellas artes como la m\u00fasica sacra y la pintura u oficios como la carpinter\u00eda y la alba\u00f1iler\u00eda, las t\u00e9cnicas de la agricultura y la ganader\u00eda. Y quiz\u00e1 es aqu\u00ed donde el Beni nace como un sat\u00e9lite dependiente de la ganader\u00eda cruce\u00f1a; pues Barace, con ayuda de los conquistadores espa\u00f1oles afincados en Santa Cruz, traslad\u00f3 las primeras cabezas de ganado a Mojos atravesando heroicamente 500 kil\u00f3metros. El esfuerzo de Barace fue recompensado por los Mojos que donaron su fe a la Sant\u00edsima Trinidad; y fue as\u00ed que naci\u00f3 la \u2018Chope Piesta\u2019, esa tricentenaria celebraci\u00f3n ind\u00edgena colonial que dura casi una semana entre el \u2018jocheo\u2019 de toros, el \u2018palo encebao\u2019, la danza de los macheteros y la elecci\u00f3n de bellas \u2018moperitas\u2019\u201d.     \t(Gobierno Aut\u00f3nomo Municipal de Trinidad, s/f)  Los jesuitas llegaron a la regi\u00f3n en 1675. La primera misi\u00f3n fue Loreto, fundada en 1682, y poco despu\u00e9s, en 1686, el padre Cipriano Barace fund\u00f3 la ciudad de la Sant\u00edsima Trinidad. Barace ven\u00eda acompa\u00f1ado del s\u00edmbolo mariano, la Virgen Mar\u00eda, quien, seg\u00fan la doctrina, permite la llegada de Jesucristo, encarnando as\u00ed el misterio de la Sant\u00edsima Trinidad.  La fundaci\u00f3n de Trinidad fue la segunda poblaci\u00f3n de las misiones jesu\u00edticas de Mojos y tuvo como objetivo no solo evangelizar, sino tambi\u00e9n formar integralmente a las personas. La ense\u00f1anza abarcaba no solo la fe cristiana, sino tambi\u00e9n el conocimiento de las ciencias humanas, oficios como la carpinter\u00eda, la m\u00fasica y otras habilidades que les permitieran dejar de depender exclusivamente de la pesca y la caza.  Durante el periodo jesu\u00edtico, se estableci\u00f3 una estructura social con autoridades propias. El Cabildo Indigenal no estaba compuesto por espa\u00f1oles, sino por ind\u00edgenas elegidos localmente. Contaba con un corregidor como m\u00e1xima autoridad, acompa\u00f1ado por funcionarios como el alcalde, doctrinero y ap\u00f3stoles. Tambi\u00e9n exist\u00edan figuras como las Mamas Abadesas, mujeres viudas encargadas del cuidado de la iglesia, que participaban en las danzas rituales portando escobas simb\u00f3licas para la limpieza del templo. Los doctrineros eran catequistas que ense\u00f1aban la oraci\u00f3n y la doctrina cristiana, mientras que los ap\u00f3stoles ayudaban al sacerdote especialmente en Jueves Santo, imitando el lavado de pies realizado por Jes\u00fas.  Cipriano Barace naci\u00f3 en Isapa, Navarra (Espa\u00f1a) y fue enviado desde Lima con la responsabilidad de establecer misiones en Mojos. Polifac\u00e9tico y culto, adem\u00e1s de evangelizador, fue m\u00fasico, panadero, y pionero en la introducci\u00f3n de cabezas de ganado en la regi\u00f3n, con apoyo log\u00edstico desde Santa Cruz. Por ello se le reconoce como uno de los impulsores del car\u00e1cter ganadero del departamento del Beni. Cada 28 de junio se le rinde homenaje. Barace muri\u00f3 asesinado por los ind\u00edgenas Baures, mientras intentaba llevar la fe a sus tierras. Por este motivo, es considerado m\u00e1rtir y se valora su entrega como testimonio de fe."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tipoy"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d84c42ae-c74e-4ea7-8616-441254525f3f", "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 2, "tileid": "445efc3e-ef41-45a1-aecf-aae7f01e7135"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En la danza del Torito, los saberes se preservan a trav&eacute;s de relatos intergeneracionales que no solo transmiten historias, sino que refuerzan valores, normas y v&iacute;nculos espirituales. La forma en que Ramona Ichu Are, Crecencia de Tamo y Luis Tamo Cayuba relatan el origen de la danza muestra que los conocimientos no se sistematizan en registros escritos, sino que circulan dentro de la comunidad por medio del habla compartida en espacios familiares y rituales. Estas narraciones &mdash;a menudo ligadas a experiencias religiosas, visiones del bien y el mal, y la gesti&oacute;n del entorno natural&mdash; configuran un sistema educativo propio, en el que lo simb&oacute;lico, lo m&iacute;tico y lo cotidiano est&aacute;n entrelazados. Las palabras de Luis Tamo, por ejemplo, reflejan c&oacute;mo el conocimiento sobre la relaci&oacute;n con el ganado, las enfermedades y los rituales de protecci&oacute;n se transforma en una ense&ntilde;anza colectiva que refuerza la identidad del grupo.</p>\n\n<p>La repetici&oacute;n de actos, como el compromiso de bailar durante tres a&ntilde;os o la obligaci&oacute;n de bendecir la m&aacute;scara con el doctrinero, refuerza el aprendizaje mediante la participaci&oacute;n activa en los rituales. No se trata &uacute;nicamente de ver y escuchar, sino de integrarse de manera gradual en las pr&aacute;cticas, con una clara dimensi&oacute;n de iniciaci&oacute;n que involucra a ni&ntilde;os y adultos. Este tipo de transmisi&oacute;n se inscribe en una l&oacute;gica performativa, donde el conocimiento se activa en el hacer y cobra sentido al interior de una cosmovisi&oacute;n que reconoce la acci&oacute;n ritual como medio de regulaci&oacute;n social, espiritual y ecol&oacute;gica. As&iacute;, las m&aacute;scaras, los materiales utilizados y el comportamiento esperado de los bailarines forman parte de un conjunto de c&oacute;digos que se interpretan y reproducen al interior del grupo, asegurando la continuidad cultural m&aacute;s all&aacute; de los cambios generacionales o materiales.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "d84c42ae-c74e-4ea7-8616-441254525f3f", "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 0, "tileid": "d00fe55a-3e45-46ef-8f5c-56595842b9d5"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de la danza del Torito ha experimentado transformaciones visibles en sus materiales, roles sociales y significados asociados, como resultado de procesos de interacci&oacute;n cultural y cambios en las condiciones de vida de las comunidades. En el testimonio de Luis Tamo Cayuba se menciona que antiguamente las capas eran confeccionadas con cuero de vaca, mientras que en la actualidad se utiliza tela debido al peso del material original. Lo que evidencia una adaptaci&oacute;n tecnol&oacute;gica que responde tanto a la disponibilidad como a la funcionalidad. Esta modificaci&oacute;n no reduce el valor simb&oacute;lico de los elementos, pero refleja c&oacute;mo las comunidades reelaboran sus expresiones culturales sin romper con su dimensi&oacute;n ritual.</p>\n\n<p>Tambi&eacute;n se observan cambios en los procesos de acceso y participaci&oacute;n dentro de la danza. Aunque se mantiene la idea de que quien desee bailar debe encomendarse al padre celestial, pedir perd&oacute;n por sus pecados y comprometerse durante tres a&ntilde;os, el hecho de que los ni&ntilde;os ya participen con m&aacute;scaras desde temprana edad indica una apertura hacia una incorporaci&oacute;n integradora. Esta situaci&oacute;n puede interpretarse como una respuesta a contextos en los que las pr&aacute;cticas culturales enfrentan riesgo de debilitamiento, por lo que la comunidad busca asegurar su continuidad formando desde peque&ntilde;os a los futuros danzantes. Permite a la danza mantenerse vigente, vinculando el pasado con el presente mediante ajustes que responden a la realidad sociocultural y espiritual del grupo.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d84c42ae-c74e-4ea7-8616-441254525f3f", "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 0, "tileid": "6ef5d6b5-6cd3-4259-8e1d-6e0bac765b75"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la danza del Torito es su v\u00ednculo estrecho con la vida espiritual, productiva y social de la comunidad moxe\u00f1o-trinitaria. Lejos de limitarse a una expresi\u00f3n esc\u00e9nica, esta pr\u00e1ctica se construye como parte integral del equilibrio entre lo humano, lo divino y lo natural. Esta dimensi\u00f3n funcional de la danza le otorga un car\u00e1cter de patrimonio vivo, ya que responde a necesidades colectivas y refuerza los v\u00ednculos con el entorno. La promesa de bailar durante tres a\u00f1os, el encargo de m\u00e1scaras bendecidas por el doctrinero y la petici\u00f3n de salud para la familia y los animales son pr\u00e1cticas que preservan un sistema de creencias y regulan la conducta de quienes participan. Otra fortaleza se encuentra en la continuidad intergeneracional del conocimiento, que se transmite por medio de relatos orales, participaci\u00f3n en los rituales y observaci\u00f3n cercana de los mayores. Los ni\u00f1os que bailan con m\u00e1scara no solo repiten movimientos, sino que ingresan gradualmente en un sistema de significados que les permite comprender su pertenencia cultural. Desde el punto de vista del patrimonio cultural inmaterial, esta capacidad de adaptaci\u00f3n y transmisi\u00f3n interna garantiza que la danza no se disocie de su contexto original. Para su salvaguarda, es importante reconocer que esta pr\u00e1ctica mantiene su legitimidad dentro de la comunidad gracias a los valores que representa, respeto por lo sagrado, cuidado de los animales, reciprocidad y cohesi\u00f3n social. "}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "d84c42ae-c74e-4ea7-8616-441254525f3f", "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 0, "tileid": "4a1fa90a-ab02-4a33-990e-d0b25f0ad762"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos que enfrenta la danza del Torito es la p&eacute;rdida progresiva del sentido ritual que sustenta su pr&aacute;ctica. Aunque persisten elementos existe la posibilidad de que estos actos se transformen en formalidades desprovistas de contenido espiritual, especialmente si se prioriza la exhibici&oacute;n p&uacute;blica por encima del significado comunitario. La danza corre el peligro de convertirse en una representaci&oacute;n folclorizada, desconectada de las historias que la originaron, como la peste del ganado o la apuesta simb&oacute;lica entre el bien y el mal relatada por Crecencia de Tamo. Desde una perspectiva antropol&oacute;gica, esto supone una ruptura en el ciclo de reproducci&oacute;n cultural, ya que las pr&aacute;cticas dejan de ser funcionales dentro de la estructura social del grupo y se convierten en simples actos performativos.</p>\n\n<p>Otro aspecto que representa una amenaza es la intervenci&oacute;n de factores externos que podr&iacute;an alterar los modos de transmisi&oacute;n tradicional. Si bien actualmente los ni&ntilde;os aprenden a trav&eacute;s de la participaci&oacute;n directa, este aprendizaje puede verse afectado por procesos de escolarizaci&oacute;n que no reconocen el valor de estas pr&aacute;cticas o por modelos culturales ajenos que menosprecian las expresiones locales.</p>\n\n<p>Desde la perspectiva de salvaguarda del patrimonio inmaterial, es esencial que las acciones de protecci&oacute;n no se limiten a conservar los objetos o las coreograf&iacute;as, sino que refuercen el contexto cultural que les da sentido. Se recomienda, por tanto, impulsar espacios de di&aacute;logo comunitario intergeneracional donde los mayores relaten los or&iacute;genes y valores de la danza, fortalecer la vinculaci&oacute;n con las autoridades tradicionales y fomentar programas educativos que articulen los saberes locales con los sistemas formales de ense&ntilde;anza, respetando sus l&oacute;gicas internas. Solo as&iacute; podr&aacute; mantenerse viva una pr&aacute;ctica que constituye parte fundamental del tejido simb&oacute;lico y social del pueblo moxe&ntilde;o-trinitario.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d84c42ae-c74e-4ea7-8616-441254525f3f", "provisionaledits": null, "resourceinstance_id": "c64f775f-e274-4975-920c-662cec7a0eb4", "sortorder": 0, "tileid": "751456a6-d16a-4dd3-93bd-5dd651ccf009"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:10.975", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000054, "}, "es": {"description": "Trinidad. Chope Piesta o La Sant\u00edsima Trinidad", "map_popup": "Beni", "name": "PI-080101-00-00-000054, Trinidad. Chope Piesta o La Sant\u00edsima Trinidad"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000054, Trinidad. Chope Piesta o La Sant\u00edsima Trinidad", "principaluser_id": 26, "resourceinstanceid": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Festividad Chope Piesta"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000054", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Chope Piesta o La Sant\u00edsima Trinidad"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "sortorder": 0, "tileid": "206f3d7d-2f5b-434b-9e4a-d3b00815fa8d"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "sortorder": 0, "tileid": "d729f1b5-927a-44a3-af17-ed1eca3e5f5e"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["f6149104-3d2f-4c31-8b0f-f58f7e19e8e1"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Chope Piesta o La Sant&iacute;sima Trinidad</strong></p>\n\n<p>La Chope Piesta es una festividad arraigada en la identidad cultural y religiosa de Trinidad, capital del departamento del Beni, Bolivia. Esta celebraci&oacute;n, que se realiza en honor a la Sant&iacute;sima Trinidad, ha perdurado por siglos como expresi&oacute;n del sincretismo entre las creencias originarias de los pueblos ind&iacute;genas y la evangelizaci&oacute;n jesu&iacute;tica. A trav&eacute;s de una serie de rituales, danzas y pr&aacute;cticas comunitarias, la fiesta articula la memoria colectiva del pueblo trinitario, destacando la importancia de sus or&iacute;genes, su espiritualidad y su historia de resistencia y transformaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado de la fiesta</strong><br />\nLa Chope Piesta es considerada una de las festividades m&aacute;s importantes de Trinidad. Su nombre proviene del dialecto trinitario, en el cual <em>chope</em> significa &ldquo;fiesta grande&rdquo;. Representa un gran encuentro de culturas, donde confluyen comunidades de distintos pueblos como San Pedro, San Lorenzo, Moje&ntilde;o, Naranjito, los javerianos, Loreto y San Ignacio.</p>\n\n<p>&nbsp;</p>\n\n<p>La celebraci&oacute;n est&aacute; dedicada a la Sant&iacute;sima Trinidad &mdash;Padre, Hijo y Esp&iacute;ritu Santo&mdash; y se vincula al calendario lit&uacute;rgico cat&oacute;lico, llev&aacute;ndose a cabo el domingo siguiente a la Pascua de Pentecost&eacute;s. Esta fecha tiene un profundo simbolismo teol&oacute;gico, pues marca la culminaci&oacute;n del ciclo pascual: se celebra primero la Pascua del Padre en Navidad, luego la del Hijo en la Resurrecci&oacute;n, y finalmente la del Esp&iacute;ritu Santo en Pentecost&eacute;s. As&iacute;, la fiesta de la Sant&iacute;sima Trinidad honra el misterio de un solo Dios en tres personas distintas: el Padre como creador, el Hijo como redentor y el Esp&iacute;ritu Santo como santificador. La Chope Piesta, por tanto, no es solo una manifestaci&oacute;n cultural, sino tambi&eacute;n una evocaci&oacute;n espiritual que articula estas creencias con las tradiciones locales.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong><br />\nAntes de la llegada de los europeos, la regi&oacute;n de Moxos estaba densamente habitada por diversos grupos &eacute;tnicos ind&iacute;genas. Con la llegada de los jesuitas a finales del siglo XVII, se fundaron las primeras misiones en la zona. En 1675 los misioneros establecieron su presencia, y en 1682 se fund&oacute; la misi&oacute;n de Loreto. Cuatro a&ntilde;os despu&eacute;s, en 1686, el padre Cipriano Barace fund&oacute; la ciudad de la Sant&iacute;sima Trinidad, segunda poblaci&oacute;n jesu&iacute;tica en Moxos, &ldquo;doce leguas m&aacute;s abajo del r&iacute;o Loreto&rdquo;.</p>\n\n<p>&nbsp;</p>\n\n<p>La evangelizaci&oacute;n promovida por los jesuitas no se limit&oacute; a la transmisi&oacute;n de la fe cat&oacute;lica; implic&oacute; tambi&eacute;n la formaci&oacute;n integral de las personas mediante la ense&ntilde;anza de la m&uacute;sica sacra, la pintura, la carpinter&iacute;a, la agricultura y otros oficios. Se instaur&oacute; un sistema organizativo basado en el cabildo ind&iacute;gena, compuesto por autoridades nativas como el corregidor, alcaldes, doctrineros, ap&oacute;stoles y Mamas Abadesas. Este modelo permit&iacute;a que la comunidad se autogestionara seg&uacute;n principios tanto cristianos como comunitarios, en una estructura que promov&iacute;a la educaci&oacute;n y el trabajo colectivo.</p>\n\n<p>&nbsp;</p>\n\n<p>Las Mamas Abadesas, por ejemplo, eran viudas encargadas del cuidado de las iglesias, y su papel simb&oacute;lico se expresa en la danza con la escoba, representando la limpieza del templo. Los doctrineros ense&ntilde;aban la doctrina y encabezaban las oraciones, mientras que los ap&oacute;stoles acompa&ntilde;aban al sacerdote durante la Semana Santa, evocando los actos de Jes&uacute;s en el Jueves Santo.</p>\n\n<p>&nbsp;</p>\n\n<p>Con el paso del tiempo, la Chope Piesta fue integrando elementos de la vida social y productiva de la regi&oacute;n. En la d&eacute;cada de 1980, especialmente a partir de 1986, las instituciones estatales comenzaron a participar activamente en la organizaci&oacute;n. Antes de esta fecha, las comunidades organizaban la fiesta de forma aut&oacute;noma: cada grupo tra&iacute;a materiales y alimentos desde los r&iacute;os Ibare y Mamor&eacute;, como yuca, pl&aacute;tano y ma&iacute;z. La construcci&oacute;n del corral para el jocheo del toro y la b&uacute;squeda del palo encebado eran actividades colectivas que pod&iacute;an durar hasta una semana, realiz&aacute;ndose incluso en canoas.</p>\n\n<p>&nbsp;</p>\n\n<p>Con la urbanizaci&oacute;n y el desplazamiento de las comunidades hacia la ciudad de Trinidad, estas pr&aacute;cticas se han ido modificando, y ahora se depende en mayor medida del apoyo de la Alcald&iacute;a y la Gobernaci&oacute;n para abastecer la fiesta.</p>\n\n<p>&nbsp;</p>\n\n<p>La cosecha de ma&iacute;z, fundamental para la elaboraci&oacute;n de la chicha tradicional, coincide con el tiempo de la Chope Piesta. Para que est&eacute; listo, debe sembrarse hacia marzo. El pl&aacute;tano, por su parte, est&aacute; disponible durante todo el a&ntilde;o, y ha sido hist&oacute;ricamente un recurso clave para la preparaci&oacute;n de alimentos y su comercializaci&oacute;n en el marco de la fiesta.</p>\n\n<p>&nbsp;</p>\n\n<p>La historia de la Chope Piesta tambi&eacute;n est&aacute; estrechamente ligada a la figura de Cipriano Barace. Nacido en Isaba, Navarra (Espa&ntilde;a), fue enviado desde Lima a la regi&oacute;n de Moxos. Hombre polifac&eacute;tico, Barace no solo se destac&oacute; por su vocaci&oacute;n evangelizadora, sino tambi&eacute;n por sus conocimientos musicales y t&eacute;cnicos: introdujo la panader&iacute;a en Trinidad y, con el apoyo de colonos cruce&ntilde;os, trajo las primeras cabezas de ganado a la regi&oacute;n, dando origen a la tradici&oacute;n ganadera del Beni. Muri&oacute; como m&aacute;rtir a manos de los baures, mientras llevaba su misi&oacute;n evangelizadora, a principios del siglo XVIII. En su memoria, cada 28 de junio se realiza un homenaje en Trinidad.</p>\n\n<p>&nbsp;</p>\n\n<p>La Chope Piesta, entonces, no solo conmemora a la Sant&iacute;sima Trinidad, sino tambi&eacute;n a un pasado fundacional tejido entre la resistencia, la fe y la construcci&oacute;n de una identidad cultural viva que sigue transform&aacute;ndose. Esta fiesta tricentenaria integra elementos religiosos, hist&oacute;ricos y sociales que expresan la continuidad del esp&iacute;ritu comunitario y la riqueza de la herencia moxe&ntilde;a.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Cronolog&iacute;a de la fiesta</strong></p>\n\n<p>&nbsp;</p>\n\n<p><strong>Antes de la fiesta</strong></p>\n\n<p>La preparaci&oacute;n de la festividad comienza con varios meses de anticipaci&oacute;n. Por un lado, la alcald&iacute;a organiza las actividades oficiales del municipio, mientras que la directiva del Cabildo Indigenal de la Sant&iacute;sima Trinidad empieza la planificaci&oacute;n, organizaci&oacute;n y ejecuci&oacute;n de sus tareas al menos tres meses antes de la fecha central. En el pasado, era com&uacute;n que grupos de personas llegaran desde distintas regiones trayendo alimentos para compartir con todos los participantes. Sin embargo, debido a los cambios en las condiciones actuales, esta tradici&oacute;n ha disminuido. En su lugar, el Cabildo y la poblaci&oacute;n ind&iacute;gena local se organizan colectivamente para aportar lo necesario y asegurar la realizaci&oacute;n de la fiesta.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Durante la fiesta</strong></p>\n\n<p>Las celebraciones abarcan m&uacute;ltiples espacios y formas de participaci&oacute;n. La alcald&iacute;a desarrolla actividades municipales que se concentran en un programa festivo que comienza una semana antes del d&iacute;a principal. Entre estas se incluyen la elecci&oacute;n de la Moperita (j&oacute;venes mujeres representantes), concursos, ferias de libros, exposiciones de trajes, pinturas, artesan&iacute;as y esculturas. Tambi&eacute;n se organiza la Entrada Folkl&oacute;rica Estudiantil, en la cual colegios e instituciones ensayan por las tardes en diferentes zonas para presentar diversas danzas originarias y nuevas creaciones coreogr&aacute;ficas.</p>\n\n<p>&nbsp;</p>\n\n<p>En el Cabildo Indigenal de la Sant&iacute;sima Trinidad, la organizaci&oacute;n es de car&aacute;cter comunitario. Toda la poblaci&oacute;n residente en el &aacute;rea del Cabildo colabora en los preparativos. A pesar de que anteriormente recib&iacute;an visitas de grupos con alimentos para compartir, actualmente se apoyan en las familias locales para recibir a las agrupaciones de Macheteros provenientes de otras regiones. Cada hogar aporta lo que puede para preparar la comida destinada a los visitantes.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde el s&aacute;bado posterior a la Semana Santa se celebran novenas en la capilla del Cabildo, con misas y rezos diarios. La &uacute;ltima novena se realiza la v&iacute;spera de la procesi&oacute;n. La chicha, bebida tradicional preparada por las memes (mujeres mayores encargadas de las tradiciones), se elabora un d&iacute;a antes, moliendo el ma&iacute;z, cerni&eacute;ndolo y cocin&aacute;ndolo a fuego lento hasta obtener una bebida suave y sin amargor. Una vez enfriada y colada, est&aacute; lista para ser compartida, gracias a los aportes comunitarios.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra actividad importante es la organizaci&oacute;n del Palo Encebau, relacionada al Jocheo del Toro. Semanas antes se selecciona el &aacute;rbol de piraquina (Calycophyllum spruceanumque), que luego es talado por el corregidor, quien da los primeros golpes con el hacha antes de que otros hombres lo ayuden. El tronco se traslada desde una zona cercana al r&iacute;o Ibare en bote militar hasta la Plaza de la Tradici&oacute;n, donde se realiza el jocheo. Una vez preparado y despojado de su corteza, el tronco es arrastrado a la ribera del r&iacute;o y transportado para su uso en la festividad. Sin embargo, esta actividad no se realiz&oacute; por diferentes factores, uno porque el lugar del corral fue cedido a la organizaci&oacute;n de la Alcald&iacute;a, por tanto la ritualidad entorno al cortado en el monte y levantar el tronco en el corral ha dejado de realizarse bajo las costumbres del Cabildo Indigenal enmarcado en las costumbres del pueblo moje&ntilde;o trinitario. Existe otra &aacute;rea en la ciudad en el barrio Pedro Ignacio Muyba donde podr&iacute;a armarse el corral. No se realiz&oacute; porque la desconexi&oacute;n del Cabildo con &aacute;reas de monte ya que carece de territorio en ese lugar. Sin embargo, la actividades en el Cabildo Indigenal de la Sant&iacute;sima Trinidad siguen con apoyo de la misma comunidad. La Fiesta en su totalidad tiene varias actividades, las que est&aacute;n organizadas por la Alcald&iacute;a, como se explica a continuaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Las principales actividades durante la fiesta se desarrollan de la siguiente manera:</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Entrada Estudiantil</strong>. El viernes 10 de junio se da inicio oficial a la fiesta con la Entrada Folkl&oacute;rica Estudiantil, organizada por el municipio. M&aacute;s de 20 agrupaciones estudiantiles presentan danzas tradicionales y nuevas, partiendo desde la rotonda de la avenida Cipriano Barace hasta la plaza Central, donde se ubican las autoridades. Entre las danzas representadas est&aacute;n los Toritos, Abadesas, Achus, Obispos, Biama (similar al carnavalito), danza de la ca&ntilde;a (creada), Chobena trinitaria, Sol y Luna, el Balcero, entre otras.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Velorio</strong>. Se realiza exclusivamente en el Cabildo Indigenal, fue el s&aacute;bado, en la sede, all&iacute; tiene lugar el Velorio. Este acto festivo de danza y alegr&iacute;a re&uacute;ne a todos los comunarios, quienes celebran la novena junto a agrupaciones de Macheteros visitantes. En esta ocasi&oacute;n participaron los grupos de San Joaqu&iacute;n y, al d&iacute;a siguiente, los de San Lorenzo, con una delegaci&oacute;n de aproximadamente treinta personas. Desde las 19:00 hasta las 3:00 de la madrugada, se realiza una especie de procesi&oacute;n con el estandarte sagrado del Cabildo, que solo se saca de la capilla en momentos especiales. Decorado con cintas que var&iacute;an seg&uacute;n la fiesta (rosada para la Sant&iacute;sima Trinidad, celeste para Corpus Christi), el estandarte es llevado por los danzantes en un recorrido alrededor del Cabildo. Participan j&oacute;venes, ni&ntilde;os, adultos, memes, personajes como el torito y m&uacute;sicos tradicionales.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Procesi&oacute;n.</strong> De concurrencia general, fue el domingo parte de la Catedral con la participaci&oacute;n de todas las agrupaciones de Macheteros (de San Joaqu&iacute;n, San Lorenzo, San Ignacio de Moxos, el Cabildo Indigenal de la Sant&iacute;sima Trinidad y el barrio Pedro Ignacio Muiba) junto a danzas escolares. Tras una misa presidida por el Obispo, con sacerdotes, ministros y ac&oacute;litos, la imagen de la Sant&iacute;sima Trinidad es llevada en procesi&oacute;n por las calles cercanas. Durante el recorrido, las agrupaciones bailan y acompa&ntilde;an a la imagen, que al finalizar es devuelta a su altar. Las agrupaciones ingresan bailando a la catedral para rezar, luego se retiran bailando de espaldas en se&ntilde;al de respeto.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Encuentro de Macheteros.</strong> En el Cabildo, por la tarde del domingo, reciben nuevamente a los Macheteros visitantes. Cada grupo exhibe su estilo y ritmo particular. Tambi&eacute;n bailan las memes y los ni&ntilde;os disfrazados de achus, toritos y ni&ntilde;as con tipoy. Comparten un almuerzo y luego se desconcentran.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Jocheo de toros y Palo Encebau</strong>. Organizado por la Alcald&iacute;a, se llev&oacute; a cabo en la tarde del domingo. El tronco del palo encebau es sembrado y cubierto con aceite de autos. En su cima se cuelgan premios como sillas, baldes y art&iacute;culos pl&aacute;sticos, que los j&oacute;venes intentan alcanzar trepando el resbaloso tronco. Al mismo tiempo, se realiza el jocheo: un juego en el que unos quince j&oacute;venes intentan esquivar al toro, mientras uno de ellos sube al palo para ganar los premios. Esta actividad es acompa&ntilde;ada por m&uacute;sica y danza tradicional.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Feria de Alasita.</strong> Organizada por la Alcald&iacute;a, es una actividad exclusiva de esta festividad y de la Fiesta Grande del 18 de noviembre. Re&uacute;ne a alrededor de 40 feriantes organizados en una asociaci&oacute;n heredada de sus padres. Se venden miniaturas de todo tipo: artesan&iacute;as en yeso y madera, muebles diminutos, juguetes, traga monedas, billetitos, casas de vidrio, adem&aacute;s de productos de San Ignacio de Moxos como textiles, art&iacute;culos de cuero, medicina natural y tallados.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Despu&eacute;s de la fiesta</strong></p>\n\n<p>Concluida la festividad &mdash;que se extiende durante cuatro d&iacute;as, incluyendo el Corpus Christi suman cinco&mdash;, tanto la comunidad del Cabildo como el resto de la sociedad trinitaria retoman sus actividades cotidianas. A la vez, comienzan a preparar la pr&oacute;xima celebraci&oacute;n: la Fiesta Grande del 18 de noviembre, organizada de manera similar a la Chope Piesta.</p>\n\n<p>&nbsp;</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Recorrido festivo</strong></p>\n\n<p>La procesi&oacute;n recorre las calles alrededor de la plaza y la Catedral. Desde el Cabildo Indigenal hasta la Catedral se atraviesan varias cuadras, tanto para la ida como para el retorno. Dentro del Cabildo, las actividades festivas se concentran en los alrededores de su iglesia y sede.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Sitio de la fiesta</strong></p>\n\n<p>Los espacios principales donde se desarrolla la festividad son: la plaza central, la Catedral, el Cabildo Indigenal y la Plaza de la Tradici&oacute;n, donde se realiza el jocheo del toro.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Sitio ritual</strong></p>\n\n<p>Los lugares rituales clave por su contenido religioso, base de la fiesta de la Trinidad son la Catedral y el Cabildo Indigenal de la Sant&iacute;sima Trinidad.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "d729f1b5-927a-44a3-af17-ed1eca3e5f5e", "provisionaledits": null, "resourceinstance_id": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "sortorder": 0, "tileid": "c5396b06-a09b-4874-8c73-320f2ac18ba2"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto de escultura"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen Sant\u00edsima Trinidad. Gran Cabildo de la Sant\u00edsima Trinidad Pertenece al Gran Cabildo de la Sant\u00edsima Trinidad, es una imagen peque\u00f1a que tiene varios a\u00f1os en custodio.   Materiales La imagen que representa a la Sant\u00edsima Trinidad, elemento central en la celebraci\u00f3n religiosa de Chope Piesta, est\u00e1 elaborada en yeso. Este material ha sido trabajado manualmente, lo que evidencia una tradici\u00f3n de producci\u00f3n artesanal ligada a la expresi\u00f3n devocional del pueblo trinitario.  T\u00e9cnica de elaboraci\u00f3n La t\u00e9cnica empleada en su confecci\u00f3n es completamente manual, lo que sugiere una continuidad con las pr\u00e1cticas tradicionales de tallado y modelado desarrolladas desde la \u00e9poca misional. Este tipo de elaboraci\u00f3n no solo responde a fines est\u00e9ticos, sino tambi\u00e9n a un profundo sentido simb\u00f3lico y ceremonial.  Descripci\u00f3n de la pieza La imagen representa el misterio de la Sant\u00edsima Trinidad de la fe cat\u00f3lica: un solo Dios en tres personas distintas \u2014Padre, Hijo y Esp\u00edritu Santo. Cada figura de la imagen representa un atributo: el Padre como creador del mundo sostiene el globo en su mano izquierda y porta un cetro que simboliza el poder divino; el Hijo, Jesucristo, est\u00e1 acompa\u00f1ado por la cruz como signo de su sacrificio redentor y el perd\u00f3n de los pecados; y el Esp\u00edritu Santo se manifiesta como una paloma, retomando la iconograf\u00eda del bautismo de Jes\u00fas, en la que inicia su misi\u00f3n evangelizadora. A cada uno le corresponde un atributo espec\u00edfico: al Padre, el poder; al Hijo, el honor; y al Esp\u00edritu Santo, la gloria. Durante la elevaci\u00f3n del cuerpo de Cristo, se rememora la unidad trinitaria con la expresi\u00f3n lit\u00fargica: \u201cPor Cristo, con \u00c9l y en \u00c9l, a ti Dios Padre omnipotente, todo honor, todo poder y toda gloria por los siglos de los siglos\u201d.  Descripci\u00f3n del contexto La celebraci\u00f3n de la Sant\u00edsima Trinidad tiene lugar el domingo siguiente a la Pascua de Pentecost\u00e9s. En esta fecha se conmemora el misterio del Dios trinitario, cuya presencia se despliega a lo largo del calendario lit\u00fargico: el Padre en la Navidad, el Hijo en la Resurrecci\u00f3n y el Esp\u00edritu Santo en Pentecost\u00e9s. Esta secuencia culmina con la fiesta trinitaria, que en Trinidad, capital del departamento del Beni, adquiere un car\u00e1cter altamente significativo. Desde su fundaci\u00f3n, esta ciudad ha sido el epicentro de una fiesta que re\u00fane a pueblos como San Pedro, San Lorenzo, Moje\u00f1o, Naranjito, Loreto, San Ignacio, entre otros. La Chope Piesta, que en lengua trinitaria significa \u201cfiesta grande\u201d, es un punto de encuentro de culturas, memorias y formas de devoci\u00f3n. Esta celebraci\u00f3n sincr\u00e9tica constituye una expresi\u00f3n compleja donde convergen elementos de las tradiciones ind\u00edgenas con los s\u00edmbolos del cristianismo tra\u00eddo por los misioneros jesuitas.  Descripci\u00f3n de la funci\u00f3n/uso La imagen de la Sant\u00edsima Trinidad es el eje en torno al cual se desarrollan las actividades festivas y religiosas durante la Chope Piesta. Su presencia articula el sentido de la celebraci\u00f3n y remite a la unidad familiar y divina del Dios trinitario. A trav\u00e9s de la figura del Padre, que sostiene el mundo como s\u00edmbolo de la creaci\u00f3n; del Hijo, cuya humanidad se expresa en la cruz como signo redentor; y del Esp\u00edritu Santo, que impulsa la evangelizaci\u00f3n desde la imagen de la paloma, se transmite una ense\u00f1anza teol\u00f3gica que ha sido traducida en formas populares de celebraci\u00f3n. El uso de la imagen se extiende desde los actos lit\u00fargicos hasta los rituales comunitarios, como el jocheo de toros, las danzas tradicionales o el palo encebado, articulando un tiempo festivo donde lo sagrado y lo comunitario se integran.  Datos hist\u00f3ricos Antes de la llegada de los jesuitas, la regi\u00f3n de Mojos estaba densamente habitada por diversos grupos \u00e9tnicos ind\u00edgenas. A partir del siglo XVII, la fundaci\u00f3n de misiones jesu\u00edticas transform\u00f3 profundamente este territorio. Los padres misioneros introdujeron nuevas formas de organizaci\u00f3n social, educaci\u00f3n y producci\u00f3n, adem\u00e1s de herramientas art\u00edsticas como la m\u00fasica sacra y la escultura. En 1686, el padre Cipriano Barace fund\u00f3 la ciudad de la Sant\u00edsima Trinidad, la segunda misi\u00f3n de Mojos despu\u00e9s de Loreto. Este proceso no solo signific\u00f3 la evangelizaci\u00f3n, sino tambi\u00e9n el impulso de actividades productivas como la ganader\u00eda \u2014introducida por Barace desde Santa Cruz\u2014 y los trabajos manuales como el tallado y la panader\u00eda. El Cabildo Indigenal, nacido en este contexto, fue estructurado con autoridades locales como el corregidor, los alcaldes, los doctrineros, los ap\u00f3stoles y las mamas abadesas, quienes ejerc\u00edan funciones de liderazgo espiritual, organizativo y educativo en la comunidad.  Durante siglos, la fiesta se sostuvo con la participaci\u00f3n activa de las comunidades ribere\u00f1as del Ibare y Mamor\u00e9, que aportaban yuca, ma\u00edz y pl\u00e1tano desde sus chacos. Este modelo autogestionado permiti\u00f3 la continuidad de la celebraci\u00f3n sin necesidad de financiamiento estatal. Sin embargo, desde mediados de la d\u00e9cada de 1980, se inici\u00f3 una nueva etapa en la que las instituciones p\u00fablicas comenzaron a involucrarse. La Prefectura, ahora Alcald\u00eda, destin\u00f3 fondos para colaborar con elementos log\u00edsticos como el transporte del palo encebado. Esta colaboraci\u00f3n institucional coincidi\u00f3 con un cambio sustancial: muchas familias dejaron sus chacos y se establecieron en la ciudad de Trinidad, lo que afect\u00f3 el modelo tradicional de abastecimiento colectivo. Pese a estos cambios, la Chope Piesta contin\u00faa siendo una celebraci\u00f3n viva que articula el sincretismo entre las creencias ind\u00edgenas y la religi\u00f3n cat\u00f3lica, con un fuerte contenido identitario y patrimonial que merece ser reconocido, documentado y protegido."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Imagen Sant\u00edsima Trinidad. Gran Cabildo de la Sant\u00edsima Trinidad"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "d729f1b5-927a-44a3-af17-ed1eca3e5f5e", "provisionaledits": null, "resourceinstance_id": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "sortorder": 0, "tileid": "b24be2be-3ad2-4528-9bf2-c8b3e9f17688"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La organizaci&oacute;n y desarrollo de la fiesta de la Sant&iacute;sima Trinidad, tal como se lleva a cabo en el Cabildo Indigenal, revela formas sostenidas de transmisi&oacute;n cultural que se basan en la participaci&oacute;n colectiva y en la experiencia compartida. Las tareas de planificaci&oacute;n inician con varios meses de anticipaci&oacute;n, lo que permite involucrar a diferentes generaciones en la preparaci&oacute;n de actividades espec&iacute;ficas como la elaboraci&oacute;n de chicha o la coordinaci&oacute;n de danzas y novenas. Cada acci&oacute;n se realiza siguiendo instrucciones que no est&aacute;n necesariamente escritas, sino que son reiteradas anualmente por quienes ya las han ejecutado antes. Este modelo permite que ni&ntilde;as, ni&ntilde;os, j&oacute;venes y adultos mayores reproduzcan pr&aacute;cticas aprendidas mediante su inmersi&oacute;n activa en los eventos, asumiendo roles espec&iacute;ficos que consolidan el saber desde lo vivencial. La transmisi&oacute;n se da tambi&eacute;n en el acto mismo de la danza, en el modo en que se toca la m&uacute;sica o se organiza la procesi&oacute;n, en la vestimenta, los s&iacute;mbolos utilizados como el estandarte.</p>\n\n<p>&nbsp;</p>\n\n<p>Estas formas de reproducci&oacute;n cultural refuerzan un sistema de conocimiento que se sostiene desde una l&oacute;gica relacional, en la que la memoria colectiva adquiere valor en su ejercicio ritual. Las agrupaciones de macheteros que visitan el Cabildo desde otras regiones son recibidas con hospitalidad y reciprocidad, y en ese acto se reproducen tambi&eacute;n saberes vinculados al protocolo de llegada, al alimento compartido, al respeto por los s&iacute;mbolos sagrados, como el estandarte del cabildo. La preparaci&oacute;n de la chicha, a cargo de las memes, es una pr&aacute;ctica que entrelaza conocimientos t&eacute;cnicos (c&oacute;mo moler, cocer y colar el ma&iacute;z) con un sentido ceremonial que otorga identidad al acto festivo. Este tipo de transmisi&oacute;n permite observar una pedagog&iacute;a comunitaria no escolarizada, donde los aprendizajes se integran en la vida cotidiana y los saberes se actualizan en cada edici&oacute;n de la fiesta, preservando la continuidad cultural mediante la acci&oacute;n social y el reconocimiento de la autoridad simb&oacute;lica de figuras como las memes, el corregidor.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "d729f1b5-927a-44a3-af17-ed1eca3e5f5e", "provisionaledits": null, "resourceinstance_id": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "sortorder": 0, "tileid": "7c60dd92-de80-4a96-8e31-a221e3e13bf2"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La fiesta de la Sant&iacute;sima Trinidad ha experimentado ciertas modificaciones en su desarrollo, particularmente en lo que respecta a los recursos humanos y materiales con los que contaba el Cabildo Indigenal en el pasado. Antes, era com&uacute;n que llegaran grupos con v&iacute;veres diversos para colaborar en la preparaci&oacute;n de los alimentos durante la celebraci&oacute;n; en la actualidad, la responsabilidad recae casi exclusivamente en la poblaci&oacute;n residente del &aacute;rea del Cabildo. Esta transformaci&oacute;n no implica un debilitamiento del sistema organizativo, sino una reconfiguraci&oacute;n de las din&aacute;micas de cooperaci&oacute;n, en las que se prioriza la autogesti&oacute;n comunitaria y el sentido de obligaci&oacute;n compartida. Estas adaptaciones revelan una capacidad de ajuste ante cambios econ&oacute;micos y sociales, manteniendo la estructura simb&oacute;lica de la fiesta aunque con modificaciones en las formas materiales de sostenerla.</p>\n\n<p>El aumento de la participaci&oacute;n institucional tambi&eacute;n marca un giro significativo. La alcald&iacute;a promueve actividades paralelas, como la entrada estudiantil, ferias y concursos, que si bien enriquecen el panorama festivo, introducen elementos formales que operan desde una l&oacute;gica diferente a la del Cabildo. La coexistencia de ambas din&aacute;micas puede generar tensiones o bien complementar la experiencia, dependiendo del grado de articulaci&oacute;n entre las iniciativas. La feria de alasita, por ejemplo, muestra c&oacute;mo pr&aacute;cticas heredadas familiarmente, organizadas por una asociaci&oacute;n con m&aacute;s de una d&eacute;cada de antig&uuml;edad, se insertan en el calendario de festividades, resignificando la relaci&oacute;n entre econom&iacute;a y simbolismo en el contexto urbano. Estas transformaciones responden tambi&eacute;n a procesos de urbanizaci&oacute;n, migraci&oacute;n interna y apertura al turismo, lo que plantea el desaf&iacute;o de sostener la continuidad cultural.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d729f1b5-927a-44a3-af17-ed1eca3e5f5e", "provisionaledits": null, "resourceinstance_id": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "sortorder": 0, "tileid": "06f0f42a-99d3-4e27-b8cb-61a9d4ed0d78"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89857177734613, -14.839485616440271], "type": "Point"}, "id": "9177eb80bfa13f5561fac1140c33756a", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000026'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "sortorder": 0, "tileid": "d9e6b82b-f371-4bd0-b9fd-09cd12c030d5"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las fortalezas m\u00e1s notorias de la fiesta de la Sant\u00edsima Trinidad es la persistencia del sistema organizativo ind\u00edgena encabezado por el Cabildo Indigenal. La planificaci\u00f3n anticipada, el reparto de responsabilidades y la colaboraci\u00f3n entre las familias del \u00e1rea reafirman formas propias de gobierno tradicional que siguen vigentes en el contexto urbano. Aunque las condiciones han cambiado con el tiempo \u2014como la disminuci\u00f3n del apoyo alimentario externo\u2014, la estructura del Cabildo se mantiene como n\u00facleo articulador de la celebraci\u00f3n. Esta capacidad de autogesti\u00f3n refuerza su valor como patrimonio cultural inmaterial, al funcionar como un espacio de reproducci\u00f3n de saberes, pr\u00e1cticas y v\u00ednculos sociales heredados. Esta persistencia puede entenderse como una forma de resistencia simb\u00f3lica frente a la estandarizaci\u00f3n cultural, y como un veh\u00edculo para la transmisi\u00f3n de valores colectivos que sostienen la cohesi\u00f3n del grupo en contextos de transformaci\u00f3n.  Otra dimensi\u00f3n que aporta vigor a la pr\u00e1ctica es la diversidad de actores y generaciones involucradas en las actividades, lo que asegura la continuidad intergeneracional. Participan j\u00f3venes, ni\u00f1as y ni\u00f1os, adultos mayores y mujeres en roles diferenciados pero complementarios, como es el caso de las memes, encargadas de la preparaci\u00f3n de la chicha, o de los j\u00f3venes que escenifican la danza de los macheteros. La presencia de agrupaciones provenientes de otros municipios, como San Joaqu\u00edn, San Lorenzo o San Ignacio de Moxos, refuerza una red regional de afinidades culturales que fortalece el car\u00e1cter identitario de la celebraci\u00f3n. Esta articulaci\u00f3n amplia, sostenida en el tiempo, cumple con condiciones importantes para su salvaguarda: se recrea colectivamente, se adapta sin perder su estructura simb\u00f3lica y contin\u00faa siendo significativa para sus portadores. En t\u00e9rminos de patrimonio, estas caracter\u00edsticas hacen posible no solo su preservaci\u00f3n, sino tambi\u00e9n su reconocimiento como una pr\u00e1ctica cultural viva, capaz de dialogar con nuevas circunstancias sin perder su esencia."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "d729f1b5-927a-44a3-af17-ed1eca3e5f5e", "provisionaledits": null, "resourceinstance_id": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "sortorder": 0, "tileid": "160835d2-1fc5-496d-bc31-e5b310135cad"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos evidentes en el desarrollo actual de la fiesta de la Sant&iacute;sima Trinidad es la paulatina disminuci&oacute;n de recursos comunitarios que antes aseguraban la dimensi&oacute;n colectiva de la celebraci&oacute;n. Anteriormente, grupos externos llegaban con alimentos que eran compartidos para preparar comidas comunitarias; hoy en d&iacute;a, el Cabildo Indigenal debe organizarse internamente con los vecinos del &aacute;rea para cubrir esas necesidades, lo que refleja una falta de apoyo de las instituciones hacia la preservaci&oacute;n de tradiciones ancestrales. Representa una amenaza, ya que pone presi&oacute;n sobre los actores locales, que deben responder con mayores esfuerzos para mantener la continuidad ritual sin contar con el respaldo log&iacute;stico.</p>\n\n<p>&nbsp;</p>\n\n<p>Por otro lado, la separaci&oacute;n entre las actividades organizadas por la alcald&iacute;a y las que impulsa el Cabildo Indigenal evidencia una fragmentaci&oacute;n que podr&iacute;a afectar la comprensi&oacute;n integral de la festividad. La proliferaci&oacute;n de eventos institucionales como ferias, concursos y entradas estudiantiles, aunque enriquecen el calendario festivo, pueden desplazar la centralidad de las expresiones tradicionales, al ubicarse en espacios m&aacute;s visibles y masivos. La superposici&oacute;n de formatos modernos sobre pr&aacute;cticas ancestrales puede desencadenar procesos de folklorizaci&oacute;n o de p&eacute;rdida de sentido comunitario. A diferencia de la presencia del Cabildo y las actividades organizadas por la iglesia cuyo sentido es religioso como lo exige la fiesta de la Trinidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Para la salvaguarda, es fundamental generar mecanismos de coordinaci&oacute;n entre actores institucionales y comunitarios que respeten la autonom&iacute;a organizativa del Cabildo y fortalezcan sus capacidades. Se recomienda documentar las pr&aacute;cticas locales con la participaci&oacute;n activa de sus portadores, crear fondos de apoyo espec&iacute;ficos para cubrir los gastos compartidos &mdash;como la alimentaci&oacute;n durante la fiesta&mdash; y establecer programas de formaci&oacute;n intergeneracional que fortalezcan la transmisi&oacute;n del conocimiento ritual desde una perspectiva vivencial, no escolarizada. Esto contribuir&iacute;a a sostener la vitalidad del patrimonio en su contexto social de origen.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "d729f1b5-927a-44a3-af17-ed1eca3e5f5e", "provisionaledits": null, "resourceinstance_id": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "sortorder": 0, "tileid": "bdb09a1b-0bdc-41cc-a10c-f67c248ed8d5"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "e2247e94-1fde-11f0-a8a9-b3355d3a2630": null}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "c93edcd2-4357-456a-a6a3-3d289b710ef8", "sortorder": 0, "tileid": "380467da-1fbc-4636-bcf9-da1512080c1b"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:11.459", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080101-00-00-000055, "}, "es": {"description": "Trinidad. Fiesta de San Juan", "map_popup": "Beni", "name": "PI-080101-00-00-000055, Trinidad. Fiesta de San Juan"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080101-00-00-000055, Trinidad. Fiesta de San Juan", "principaluser_id": 26, "resourceinstanceid": "81e59094-fafe-41b7-8073-8b14dd4e3009", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta de San Juan"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000055", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Fiesta de San Juan"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e8efa3e9-8c6e-440b-bc18-980b08b2c355"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "81e59094-fafe-41b7-8073-8b14dd4e3009", "sortorder": 0, "tileid": "9302fb4e-7932-4c21-b795-15314c3e557a"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "81e59094-fafe-41b7-8073-8b14dd4e3009", "sortorder": 0, "tileid": "3b7d5ea4-2b7c-488f-ae81-cb15cd6968b9"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["f6149104-3d2f-4c31-8b0f-f58f7e19e8e1"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>Trinidad. Fiesta de San Juan</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La fiesta de San Juan es una de las celebraciones m&aacute;s arraigadas en diversas comunidades, en la que se recuerda un acontecimiento significativo de la vida de Jesucristo: su bautizo por parte de Juan el Bautista. Esta festividad no solo rememora un acto religioso, sino que tambi&eacute;n es un reflejo de la tradici&oacute;n y la comunidad que mantiene viva la fe a trav&eacute;s de los a&ntilde;os, pasando de generaci&oacute;n en generaci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Significado de la fiesta</strong></p>\n\n<p>La fiesta de San Juan se centra en el acto del bautizo de Jes&uacute;s por Juan, un evento que tiene un profundo significado religioso. Seg&uacute;n las escrituras b&iacute;blicas, Jes&uacute;s, obedeciendo la voluntad de su Padre, se dirigi&oacute; al r&iacute;o Jord&aacute;n para ser bautizado por Juan el Bautista. Este evento marca el inicio de una serie de bautizos que se extendieron por todo el pueblo, como un acto de arrepentimiento por los pecados cometidos. En la tradici&oacute;n cristiana, este bautizo fue testificado por la aparici&oacute;n de una paloma, s&iacute;mbolo del Esp&iacute;ritu Santo, descendiendo del cielo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>El bautizo de Jes&uacute;s en el r&iacute;o Jord&aacute;n es uno de los momentos fundamentales en la vida de Cristo. Seg&uacute;n los relatos b&iacute;blicos, Jes&uacute;s viaj&oacute; desde Galilea al r&iacute;o Jord&aacute;n para encontrarse con Juan el Bautista, quien era conocido por predicar el arrepentimiento y por ofrecer el bautizo a todos aquellos que se arrepent&iacute;an de sus pecados. Al ser bautizado por Juan, se sell&oacute; el inicio de un camino de fe para todos los pobladores, quienes, siguiendo el ejemplo de Jes&uacute;s, tambi&eacute;n fueron bautizados como un acto de purificaci&oacute;n espiritual. La presencia del Esp&iacute;ritu Santo, representado por una paloma, fue un signo visible de la bendici&oacute;n divina que acompa&ntilde;aba este acto sagrado.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Cronolog&iacute;a de la fiesta</strong></p>\n\n<p><strong><em>Antes de la fiesta</em></strong></p>\n\n<p>Los preparativos para la fiesta comienzan con la elecci&oacute;n de la persona que representar&aacute; a San Juan Bautista. Esta persona, que debe ser alguien respetado por la comunidad del Cabildo, asume un papel simb&oacute;lico y fundamental en la celebraci&oacute;n. El c&aacute;ntaro de barro, que ser&aacute; utilizado para el bautizo, es preparado con agua, y las flores tambi&eacute;n forman parte del ritual. Adem&aacute;s, quien personifica a San Juan se alista con su vestimenta: una banda de tela blanca que cruza el torso y un fald&oacute;n, tambi&eacute;n blanco.</p>\n\n<p>&nbsp;</p>\n\n<p><strong><em>Durante la fiesta</em></strong></p>\n\n<p>La celebraci&oacute;n tiene lugar en la madrugada, entre las cuatro y cinco de la ma&ntilde;ana, y todas las familias del barrio del Cabildo se agrupan en las puertas de sus casas, esperando con velas encendidas para participar del ritual del bautizo. Cada familia es bautizada en el nombre del Padre, del Hijo y del Esp&iacute;ritu Santo, mientras una persona que representa a San Juan es la encargada de derramar el agua, tal como lo hizo Juan el Bautista. El agua se distribuye en un c&aacute;ntaro, que es llevado por varios hombres, y cuando este se vac&iacute;a, las mismas familias se encargan de llenarlo nuevamente. El recorrido de este ritual abarca todo el barrio, hasta que se retorna a la iglesia de donde comenz&oacute;. A lo largo de todo el recorrido, la m&uacute;sica tradicional de bombo, caja y flauta acompa&ntilde;a el acto, y la tonada que se interpreta es exclusiva para esta ocasi&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>El ritual tiene una fuerte presencia de espiritualidad y comunidad, siendo supervisado por el doctrinero, una figura clave en la tradici&oacute;n del Cabildo. Este l&iacute;der religioso, quien ha cumplido esta funci&oacute;n durante m&aacute;s de 75 a&ntilde;os, fue formado por las monjas y se encarg&oacute; de transmitir la doctrina y las oraciones a la comunidad. En la actualidad, el doctrinero es el &uacute;nico que permanece en su cargo, ya que muchos de los anteriores rezadores han fallecido, y la falta de relevo en este oficio pone en riesgo la continuidad del ritual en las generaciones venideras.</p>\n\n<p>&nbsp;</p>\n\n<p><strong><em>Despu&eacute;s de la fiesta</em></strong></p>\n\n<p>Al concluir el ritual, las familias regresan a sus hogares para descansar el resto de la madrugada. El acto, que simboliza la purificaci&oacute;n espiritual y la uni&oacute;n de la comunidad, sigue siendo un importante v&iacute;nculo entre la fe religiosa y las tradiciones locales. Aunque las generaciones cambian, la esencia del bautizo y los elementos del ritual permanecen intactos, transmitidos de abuelos a hijos y nietos, preservando as&iacute; el legado de esta celebraci&oacute;n religiosa.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "3b7d5ea4-2b7c-488f-ae81-cb15cd6968b9", "provisionaledits": null, "resourceinstance_id": "81e59094-fafe-41b7-8073-8b14dd4e3009", "sortorder": 0, "tileid": "3d77bb96-39d9-454e-a7c4-a744a8492471"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los conocimientos sobre la fiesta de San Juan se transmiten principalmente a trav&eacute;s de la pr&aacute;ctica directa y la observaci&oacute;n. En primer lugar, el proceso de ense&ntilde;anza se lleva a cabo de manera comunitaria, donde las generaciones mayores, quienes han experimentado la tradici&oacute;n a lo largo de su vida, son las encargadas de guiar a los m&aacute;s j&oacute;venes. Los ni&ntilde;os y los nuevos miembros del Cabildo observan c&oacute;mo los adultos preparan los elementos del ritual, como el c&aacute;ntaro de barro, las flores y la vestimenta de San Juan, lo cual les permite aprender, de manera t&aacute;cita, el significado y los pasos del acto religioso. La repetici&oacute;n anual de la celebraci&oacute;n tambi&eacute;n contribuye a que estos conocimientos sean internalizados y se mantengan vivos en la comunidad.</p>\n\n<p>Desde una perspectiva antropol&oacute;gica, esta forma de transmisi&oacute;n de conocimientos refleja una estructura social donde el saber no se encuentra en el plano acad&eacute;mico ni institucional, sino en la vivencia comunitaria. La memoria colectiva se construye mediante la participaci&oacute;n directa y la continuidad de las pr&aacute;cticas. A lo largo de los a&ntilde;os, los roles en el ritual, como el de representarse a San Juan Bautista o el de ser doctrinero, son heredados de una generaci&oacute;n a otra, lo que asegura que la tradici&oacute;n se conserve de manera org&aacute;nica. En este contexto, la transmisi&oacute;n del saber religioso y ritual no solo forma parte de la educaci&oacute;n espiritual, sino que tambi&eacute;n est&aacute; vinculada a un sentido de identidad cultural, reforzando los lazos entre los miembros del Cabildo y manteniendo vivas las tradiciones a pesar del paso del tiempo.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "3b7d5ea4-2b7c-488f-ae81-cb15cd6968b9", "provisionaledits": null, "resourceinstance_id": "81e59094-fafe-41b7-8073-8b14dd4e3009", "sortorder": 0, "tileid": "35e32d1b-88dc-41e0-aa1f-e88cff0aeb05"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.89582519531596, -14.8421405757436], "type": "Point"}, "id": "833452701cd838c31068b0505d8331ac", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000027'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "81e59094-fafe-41b7-8073-8b14dd4e3009", "sortorder": 0, "tileid": "05d8ea13-6284-4746-b61e-844a51bd4af5"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo de los a&ntilde;os, la pr&aacute;ctica de la fiesta de San Juan ha experimentado algunas transformaciones que reflejan cambios tanto en la estructura social como en la din&aacute;mica religiosa de la comunidad. Un aspecto que ha variado considerablemente es la figura del doctrinero, encargado de supervisar y ense&ntilde;ar la doctrina religiosa. Originalmente, este rol era desempe&ntilde;ado por varios individuos que se turnaban para realizar las misas y rezos, lo cual aseguraba la continuidad del ritual. Sin embargo, en la actualidad, solo queda un doctrinero activo, lo que ha generado preocupaci&oacute;n en la comunidad debido a la falta de relevo generacional en este oficio. Esta reducci&oacute;n en el n&uacute;mero de doctrineros, sumada a la escasez de j&oacute;venes interesados en asumir esta responsabilidad, pone en peligro la perpetuaci&oacute;n de la transmisi&oacute;n de los conocimientos religiosos de manera tradicional.</p>\n\n<p>&nbsp;</p>\n\n<p>Estas transformaciones reflejan la evoluci&oacute;n de las estructuras sociales dentro de la comunidad del Cabildo. La disminuci&oacute;n de rezadores j&oacute;venes y la centralizaci&oacute;n del rol en una sola persona pueden verse como el resultado de procesos de cambio social m&aacute;s amplios, como la modernizaci&oacute;n, que afecta la participaci&oacute;n comunitaria en rituales religiosos. La mayor dependencia de una sola figura para la realizaci&oacute;n de los ritos tambi&eacute;n podr&iacute;a reflejar una disrupci&oacute;n en la estructura comunitaria que hist&oacute;ricamente ha fomentado la participaci&oacute;n activa y colectiva. Estos cambios, aunque no alteran completamente la esencia del ritual, se&ntilde;alan la adaptaci&oacute;n de la pr&aacute;ctica a nuevas realidades sociales, donde las costumbres tradicionales enfrentan la presi&oacute;n de mantener su vigencia en un contexto cada vez m&aacute;s individualista y menos vinculado a las estructuras religiosas comunitarias.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "3b7d5ea4-2b7c-488f-ae81-cb15cd6968b9", "provisionaledits": null, "resourceinstance_id": "81e59094-fafe-41b7-8073-8b14dd4e3009", "sortorder": 0, "tileid": "352fd231-f548-44a9-bbaf-b71bc815d744"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica de la fiesta de San Juan radica en su capacidad para mantener una conexi\u00f3n intergeneracional dentro de la comunidad. Esta tradici\u00f3n ha logrado transmitirse de abuelos a hijos y nietos a trav\u00e9s de la participaci\u00f3n directa en el ritual, lo cual refuerza los lazos familiares y comunitarios. La continuidad de la pr\u00e1ctica, a pesar de los cambios sociales, refleja una estructura de saberes que se perpet\u00faa por medio de la observaci\u00f3n y la pr\u00e1ctica compartida, garantizando que la esencia del ritual se conserve a lo largo del tiempo. La comunidad del Cabildo se identifica fuertemente con esta festividad, ya que no solo tiene un componente religioso, sino que tambi\u00e9n forma parte de su patrimonio cultural y su identidad colectiva. Esta pr\u00e1ctica se convierte, entonces, en una forma de salvaguardar la historia y las tradiciones locales, promoviendo la cohesi\u00f3n y el sentido de pertenencia.  Desde una perspectiva de patrimonio cultural, la fiesta de San Juan tambi\u00e9n se destaca por su car\u00e1cter comunitario y participativo, lo que permite que los conocimientos y las costumbres asociadas al ritual no se limiten a un grupo exclusivo, sino que sean accesibles a todos los miembros del barrio. La m\u00fasica tradicional, los s\u00edmbolos religiosos y los elementos materiales como el c\u00e1ntaro de barro y las flores son parte de un patrimonio vivo que sigue siendo utilizado y valorado en la pr\u00e1ctica. La transmisi\u00f3n de estos saberes no solo est\u00e1 relacionada con el aspecto religioso, sino que tambi\u00e9n juega un papel importante en la preservaci\u00f3n de la cultura local y su expresi\u00f3n en el presente. La participaci\u00f3n en el ritual se convierte, entonces, en un acto de salvaguarda del patrimonio cultural, que fortalece la identidad colectiva y asegura que estas tradiciones sigan siendo parte de la vida cotidiana de las futuras generaciones."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "3b7d5ea4-2b7c-488f-ae81-cb15cd6968b9", "provisionaledits": null, "resourceinstance_id": "81e59094-fafe-41b7-8073-8b14dd4e3009", "sortorder": 0, "tileid": "7d436341-46ac-441e-b3d2-f9f1e3a770af"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los principales riesgos que enfrenta la pr&aacute;ctica de la fiesta de San Juan es la falta de relevo generacional, especialmente en el rol del doctrinero. Actualmente, solo queda un doctrinero activo en la comunidad, lo que pone en peligro la continuidad del ritual y la transmisi&oacute;n de los conocimientos religiosos y culturales asociados a la festividad. Esta situaci&oacute;n es un reflejo de un proceso m&aacute;s amplio de cambio social, donde las nuevas generaciones no se sienten atra&iacute;das por el compromiso comunitario que implican estos roles. La ausencia de j&oacute;venes interesados en aprender y asumir funciones tradicionales puede provocar la descontinuidad del ritual, lo que afectar&iacute;a no solo el acto religioso, sino tambi&eacute;n la preservaci&oacute;n de un patrimonio cultural que tiene un valor incalculable para la comunidad del Cabildo.</p>\n\n<p>&nbsp;</p>\n\n<p>En t&eacute;rminos de patrimonio y salvaguarda, otro desaf&iacute;o importante es la falta de documentaci&oacute;n formal de las pr&aacute;cticas y las costumbres vinculadas a la fiesta. Aunque la tradici&oacute;n se mantiene viva gracias a la participaci&oacute;n directa de los miembros de la comunidad, la falta de registros escritos o audiovisuales podr&iacute;a llevar a la p&eacute;rdida de detalles fundamentales con el tiempo. El riesgo de desvanecimiento de pr&aacute;cticas orales y costumbres no registradas pone en peligro la integridad del patrimonio cultural. Para abordar estos riesgos, es crucial implementar medidas que fomenten el inter&eacute;s de las nuevas generaciones por involucrarse en el ritual, tal vez mediante programas de formaci&oacute;n intergeneracional donde los j&oacute;venes se conviertan en parte activa de la tradici&oacute;n. Tambi&eacute;n ser&iacute;a recomendable realizar un proceso de documentaci&oacute;n exhaustiva, registrando tanto las pr&aacute;cticas como las narrativas orales relacionadas con la festividad, asegurando as&iacute; su conservaci&oacute;n y transmisi&oacute;n a trav&eacute;s de formatos accesibles, como archivos digitales y registros audiovisuales. Esta acci&oacute;n contribuir&iacute;a a la salvaguarda del patrimonio y a la continuidad de la pr&aacute;ctica a largo plazo.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "3b7d5ea4-2b7c-488f-ae81-cb15cd6968b9", "provisionaledits": null, "resourceinstance_id": "81e59094-fafe-41b7-8073-8b14dd4e3009", "sortorder": 0, "tileid": "43a3ca9d-dddf-4788-bb0a-44f87dfa44ba"}]}, {"resourceinstance": {"createdtime": "2025-06-30T10:21:28.813", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Chuquisaca", "name": "PI-010401-00-00-000003, "}, "es": {"description": "Fiesta del Aj\u00ed Chuquisaque\u00f1o", "map_popup": "Chuquisaca", "name": "PI-010401-00-00-000003, Fiesta del Aj\u00ed Chuquisaque\u00f1o"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-010401-00-00-000003, Fiesta del Aj\u00ed Chuquisaque\u00f1o", "principaluser_id": 16, "resourceinstanceid": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '05', 'codsA': '00', 'grp_eta': 10100, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Actos festivos"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-010401-00-00-000003", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": null, "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta del Aj\u00ed Chuquisaque\u00f1o"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["fd6bf053-a982-4b7f-a4ad-36c804bb510b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "sortorder": 0, "tileid": "c11eaa37-96cf-434c-a9e3-10609f714680"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "6c03c326-0b8b-11f0-9213-57ab26975163", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '010401', 'num': '000000'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["9d9244de-8ab6-4c66-bc17-6648ffcd9981"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "sortorder": 0, "tileid": "6de132f1-b7ad-4241-bfee-78949b8c23cf"}, {"data": {"833a0f0a-1fe0-11f0-a8a9-b3355d3a2630": "Fiestas"}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "sortorder": 0, "tileid": "20f898ea-7ea7-42f1-ae78-3c4eb7203a7d"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["9f206aef-8f00-49b6-9968-058109e08485"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": null, "e2247e94-1fde-11f0-a8a9-b3355d3a2630": "Ley 2740 / 28 de mayo de 2004"}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "sortorder": 0, "tileid": "042cc48b-e660-4c3a-ba75-0215484df0e7"}, {"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2bcc4a60-38fd-4fe2-b662-1a9a38b43a90", "resourceXresourceId": "b6f990c9-d6c6-434c-99dd-4a5abee8b7b4"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "sortorder": 0, "tileid": "f879caa7-70e0-4b09-91b6-25878d23f54e"}, {"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Fiesta del Aj&iacute; Chuquisaque&ntilde;o es una celebraci&oacute;n tradicional que tiene lugar en Sucre, Bolivia, para honrar al aj&iacute;, un ingrediente emblem&aacute;tico de la gastronom&iacute;a regional. Durante esta festividad, se llevan a cabo diversas actividades que incluyen concursos de preparaci&oacute;n de platos con aj&iacute;, degustaciones, m&uacute;sica folcl&oacute;rica, danzas tradicionales y ceremonias religiosas. Es una ocasi&oacute;n donde la comunidad se re&uacute;ne para compartir su cultura culinaria y reafirmar su identidad, destacando la importancia cultural y econ&oacute;mica del aj&iacute; en la regi&oacute;n chuquisaque&ntilde;a."}}, "ef13f396-0909-11f0-8147-0242ac120006": "c11eaa37-96cf-434c-a9e3-10609f714680"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "20f898ea-7ea7-42f1-ae78-3c4eb7203a7d", "provisionaledits": null, "resourceinstance_id": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "sortorder": 0, "tileid": "68436646-b803-47bc-a2d0-0a5179cb60f2"}, {"data": {"38fdf22a-d2ad-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Durante la festividad, se preparan diversos platillos tradicionales, como el aj&iacute; de fideo, aj&iacute; de carne, y otros guisos, que combinan sabores intensos y especiados propios de la regi&oacute;n. La fiesta resalta la fusi&oacute;n de influencias ind&iacute;genas y coloniales, con ingredientes aut&oacute;ctonos como el ma&iacute;z, la papa y las hierbas, fusionados con t&eacute;cnicas de la cocina espa&ntilde;ola. El aj&iacute;, s&iacute;mbolo de la gastronom&iacute;a local, se convierte en el protagonista de esta celebraci&oacute;n, donde la comida no solo es un fest&iacute;n para los sentidos, sino tambi&eacute;n una forma de preservar y transmitir la identidad cultural de Sucre y sus comunidades."}}, "ba96b762-840c-11ee-8c86-0f5288d73f98": ["bedc56ba-24f7-4000-b9ca-36e2b5e6ae18"]}, "nodegroup_id": "ba96b762-840c-11ee-8c86-0f5288d73f98", "parenttile_id": "20f898ea-7ea7-42f1-ae78-3c4eb7203a7d", "provisionaledits": null, "resourceinstance_id": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "sortorder": 0, "tileid": "ceda1432-318b-49eb-8972-fc7045426505"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["322b3277-4cda-4519-a47e-74db25067384", "44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Las danza de la fiesta incluyen movimientos festivos y coloridos que representan la alegr&iacute;a y la convivencia comunitaria. Las danzas suelen ser interpretadas por grupos de bailarines vestidos con trajes t&iacute;picos de la regi&oacute;n, reflejando la identidad cultural de Chuquisaca. Las festividades est&aacute;n marcadas por una atm&oacute;sfera de confraternidad en la que los asistentes disfrutan tanto de la gastronom&iacute;a como de la m&uacute;sica y danza en un ambiente alegre y comunitario. Las danzas y festivales de esta fiesta son, en su conjunto, una mezcla de rituales ancestrales y celebraciones populares, que refuerzan el v&iacute;nculo entre la cultura ind&iacute;gena y la tradici&oacute;n colonial."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "20f898ea-7ea7-42f1-ae78-3c4eb7203a7d", "provisionaledits": null, "resourceinstance_id": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "sortorder": 0, "tileid": "146b40c0-efb4-4f8e-a6f8-2474afdec30c"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Las ceremonias combinan elementos religiosos, espirituales y culturales. Una de las m&aacute;s importantes es el agradecimiento a la Pachamama, donde se realizan ofrendas de aji y productos agr&iacute;colas en se&ntilde;al de gratitud por las cosechas. Las procesiones, acompa&ntilde;adas de danzas y m&uacute;sica tradicional, recorren las calles mientras la comunidad honra tanto a los santos cat&oacute;licos como a sus creencias ancestrales. Adem&aacute;s, se lleva a cabo la bendici&oacute;n de los alimentos, especialmente el aji, como un acto simb&oacute;lico que conecta la espiritualidad con la gastronom&iacute;a local. Estas ceremonias refuerzan el sentido de identidad comunitaria y mantienen vivas las tradiciones culturales de la regi&oacute;n, fusionando influencias ind&iacute;genas y coloniales.</p>\n"}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "20f898ea-7ea7-42f1-ae78-3c4eb7203a7d", "provisionaledits": null, "resourceinstance_id": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "sortorder": 0, "tileid": "7afcc41b-c7c1-44eb-8b05-5338010fb00e"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fusionan elementos aut&oacute;ctonos, coloniales y populares, creando una atm&oacute;sfera vibrante y festiva. Durante la celebraci&oacute;n, se interpretan ritmos tradicionales con instrumentos aut&oacute;ctonos como charangos, zampo&ntilde;as y tambores, combinados con influencias de la m&uacute;sica colonial mediante guitarras y otros instrumentos europeos. La m&uacute;sica acompa&ntilde;a las danza y procesiones, reflejando tanto el sincretismo religioso como las celebraciones agr&iacute;colas y gastron&oacute;micas. La sonoridad festiva y ritual de la m&uacute;sica refuerza la identidad cultural de la regi&oacute;n, creando una experiencia musical llena de energ&iacute;a y simbolismo."}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "e6323cbf-1077-4730-847e-7aa0919f202d"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["b2b1587f-8eac-4bcd-81c0-16e0747fa991", "18364ef9-7878-439b-9ae6-5d7845e185a1", "ca527379-d007-4fca-b2a9-eb49513e8dc6"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["c174350c-c06f-4baa-b786-a42a7075be64"]}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "20f898ea-7ea7-42f1-ae78-3c4eb7203a7d", "provisionaledits": null, "resourceinstance_id": "cea7a5e7-6c6a-4c34-af4f-8c1216fe1375", "sortorder": 0, "tileid": "ddab1ec8-1aeb-403e-a5bf-391c67fd7ae6"}]}, {"resourceinstance": {"createdtime": "2025-06-30T13:57:24.544", "descriptors": {"en": {"description": 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fundamentada en la riqueza cultural que pervive gracias a que los devotos de esta importante festividad, se&ntilde;alan y aclaman que el Se&ntilde;or de la Santa Cruz de Colquepata es sumamente milagroso, de mucha bendici&oacute;n."}}, "ef13f396-0909-11f0-8147-0242ac120006": "1ecd98ab-d333-4635-a229-fa222fd6fe7c"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "0c7f7a5e-2477-4c8c-bc66-0f47f10b8767", "provisionaledits": null, "resourceinstance_id": "220c47b5-f011-42fd-83b6-a5e1d738c965", "sortorder": 0, "tileid": "9a430138-3c52-42e9-8d2b-9c7faf064c6d"}, {"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": []}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "220c47b5-f011-42fd-83b6-a5e1d738c965", "sortorder": 0, "tileid": "0a35d412-ea85-4197-b464-58766b8d3656"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["f6149104-3d2f-4c31-8b0f-f58f7e19e8e1", "44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La celebraci&oacute;n cuenta con ceremonias religiosas al&nbsp;Se&ntilde;or de la Santa Cruz. Paralelamente, se realizan danzas folkl&oacute;ricas tradicionales, como los tinkus, morenadas, saya afroboliviana y llameradas, ejecutadas por fraternidades que rinden homenaje al santo con trajes coloridos y m&uacute;sica festiva. Tambi&eacute;n hay ferias, m&uacute;sica en vivo, comidas t&iacute;picas y actividades de integraci&oacute;n comunitaria."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "0c7f7a5e-2477-4c8c-bc66-0f47f10b8767", "provisionaledits": null, "resourceinstance_id": "220c47b5-f011-42fd-83b6-a5e1d738c965", "sortorder": 0, "tileid": "9321047b-965e-479d-aa56-20f7a0733fc5"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se celebran misas solemnes y procesiones, donde los fieles acompa&ntilde;an la imagen del Cristo crucificado por las calles con oraciones, flores y cantos. 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Aunque fue incorporada al folclore boliviano durante la colonia y en la rep&uacute;blica, su base cultural se remonta a las tradiciones guerreras y ceremoniales de este pueblo originario."}}, "ef13f396-0909-11f0-8147-0242ac120006": "fea0df08-475d-4c1f-9cf9-bc4ab143a031"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "6155ec96-0a40-43b4-8502-931ba207a669", "provisionaledits": null, "resourceinstance_id": "1f743224-7e2f-438f-a703-70be697f48b4", "sortorder": 0, "tileid": "389561ec-bd48-4c7b-baaa-325fc4be55af"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza incluye&nbsp;saltos, carreras, giros y simulaciones de caza o combate. Los bailarines suelen organizarse en bloques o comparsas y ejecutan coreograf&iacute;as sincronizadas. El vestuario est&aacute; compuesto por plumas coloridas, tocados altos, collares de semillas y huesos, ropas decoradas con motivos &eacute;tnicos, que evocan la conexi&oacute;n con la naturaleza y la fauna del Chaco. Algunos danzantes tambi&eacute;n portan lanzas, arcos o bastones como s&iacute;mbolos de caza.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "6155ec96-0a40-43b4-8502-931ba207a669", "provisionaledits": null, "resourceinstance_id": "1f743224-7e2f-438f-a703-70be697f48b4", "sortorder": 0, "tileid": "d87ef023-568f-4526-afb4-51553605f6d1"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Este patrimonio se encuentra en la Nominaci&oacute;n Nacional."}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "1f743224-7e2f-438f-a703-70be697f48b4", "sortorder": 0, "tileid": "ac42f630-45d0-4c93-b93f-63b53a6ba040"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Se distingue por su ritmo en&eacute;rgico, din&aacute;mico y marcado. 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En versiones m&aacute;s contempor&aacute;neas, se incorporan charangos, guitarras y metales.&nbsp;Generalmente est&aacute;n escritas en espa&ntilde;ol o en ocasiones incorporan vocablos ind&iacute;genas, entre los temas que se encuentran son: la valent&iacute;a y el orgullo guerrero, la conexi&oacute;n con la naturaleza, la resistencia y fuerza cultural, el llamado al baile y la celebraci&oacute;n colectiva."}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["8d25f04c-ea78-4b78-8f65-a3e916a10822", "5acfe410-a1bb-4bf0-b4c5-65cb97c9c3d2", "2b507e22-b2e4-4781-b7be-3b9b2ef3f631"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["b34bf7f9-897a-4a02-9214-457ba3ed2bf4", "6734af3e-4791-4d75-82c4-3fb2b73aed20"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["c174350c-c06f-4baa-b786-a42a7075be64"], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": true}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "6155ec96-0a40-43b4-8502-931ba207a669", "provisionaledits": null, "resourceinstance_id": "1f743224-7e2f-438f-a703-70be697f48b4", "sortorder": 0, "tileid": "7488187f-37dd-44e5-9ad8-53f64c131125"}, {"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "2bcc4a60-38fd-4fe2-b662-1a9a38b43a90", "resourceXresourceId": "f7f10fe8-e59e-4be5-ac0c-e906cd32ade3"}]}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "1f743224-7e2f-438f-a703-70be697f48b4", "sortorder": 0, "tileid": "e9a7eec6-4884-402b-86e5-9eb979e439f5"}]}, {"resourceinstance": {"createdtime": "2025-07-11T11:49:57.304", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-000000-00-00-000021, "}, "es": {"description": " Danza \u201cLa Diablada\u201d", "map_popup": "Nacional", "name": "PI-000000-00-00-000021,  Danza \u201cLa Diablada\u201d"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-000000-00-00-000021,  Danza \u201cLa Diablada\u201d", "principaluser_id": 16, "resourceinstanceid": "7e89599c-1a83-40dc-83f1-c5890220bea9", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '06', 'codsA': '00', 'grp_eta': 10100, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Danza"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-000000-00-00-000021", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": null, "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": " Danza \u201cLa Diablada\u201d"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["f425392e-6399-4440-a432-f07a4f65e4d5"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7e89599c-1a83-40dc-83f1-c5890220bea9", "sortorder": 0, "tileid": "26428d94-308e-4bd2-a96c-9c1eb12bd1a2"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "a9c65048-6928-4580-bd7b-b499e41a163d", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '000000', 'num': '000021'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["a9c65048-6928-4580-bd7b-b499e41a163d"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7e89599c-1a83-40dc-83f1-c5890220bea9", "sortorder": 0, "tileid": "20291b6a-1b16-4d82-8a09-672a998cc6dc"}, {"data": {"833a0f0a-1fe0-11f0-a8a9-b3355d3a2630": "Danza"}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7e89599c-1a83-40dc-83f1-c5890220bea9", "sortorder": 0, "tileid": "a44a6507-cd53-4309-ba09-6dd9bca89fd8"}, {"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La danza de la Diablada tiene su origen en una fusi&oacute;n de elementos prehisp&aacute;nicos, coloniales y religiosos, principalmente en el contexto del Altiplano andino, con fuerte presencia en Oruro, Bolivia, donde alcanza su m&aacute;xima expresi&oacute;n durante el Carnaval de Oruro."}}, "ef13f396-0909-11f0-8147-0242ac120006": "26428d94-308e-4bd2-a96c-9c1eb12bd1a2"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "a44a6507-cd53-4309-ba09-6dd9bca89fd8", "provisionaledits": null, "resourceinstance_id": "7e89599c-1a83-40dc-83f1-c5890220bea9", "sortorder": 0, "tileid": "44166e04-7158-4d28-9efc-6a7ade258435"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": null, "e2247e94-1fde-11f0-a8a9-b3355d3a2630": "Ley 149 / 11 de julio de 2011"}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7e89599c-1a83-40dc-83f1-c5890220bea9", "sortorder": 0, "tileid": "9173a9e0-4b33-41d7-a955-cb907d03452b"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Es una representaci&oacute;n teatral y coreogr&aacute;fica que dramatiza la lucha entre el bien y el mal, donde el Arc&aacute;ngel Miguel&nbsp;enfrenta a las huestes infernales lideradas por Lucifer y los diablos. La danza es vigorosa y estructurada, con movimientos fuertes, pasos marcados, giros, saltos y desplazamientos sincronizados. Los personajes utilizan&nbsp;m&aacute;scaras elaboradas de gran tama&ntilde;o, la m&aacute;s destacada es de los diablos, que est&aacute;n decoradas con cuernos, v&iacute;boras, murci&eacute;lagos, dragones y ojos saltones, con detalles pintados a mano. Los trajes son vistosos, bordados con hilos met&aacute;licos, pedrer&iacute;a, lentejuelas y s&iacute;mbolos que representan fuego, poder y oscuridad. Incluyen capa, pechera, botas altas y guantes. El Arc&aacute;ngel Miguel&nbsp;lleva un traje blanco o dorado, con alas, espada y casco."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "a44a6507-cd53-4309-ba09-6dd9bca89fd8", "provisionaledits": null, "resourceinstance_id": "7e89599c-1a83-40dc-83f1-c5890220bea9", "sortorder": 0, "tileid": "18e5a2bd-091f-41ed-8ec9-d16f433a9cf1"}, {"data": {"e258b3fe-d30d-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Desde la visi&oacute;n andina, los diablos simbolizan seres del Ukhu Pacha, como el T&iacute;o o Wari, que son parte del orden natural y espiritual. Con la colonizaci&oacute;n, estas figuras fueron reinterpretadas como demonios y se integr&oacute; la imagen del Arc&aacute;ngel Miguel como s&iacute;mbolo del bien. As&iacute;, la danza expresa tanto la devoci&oacute;n a la Virgen del Socav&oacute;n como la relaci&oacute;n ancestral con las fuerzas de la tierra."}}, "f6cd147e-8579-11ee-a653-53ebd0470963": ["c533891f-d44c-4616-8130-81b87a070d65", "70fe138a-5536-4ed7-88a8-ceb8bdbd6e0b", "ff02bc82-4c0c-4b30-9b69-9795254ca91e"]}, "nodegroup_id": "f6cd147e-8579-11ee-a653-53ebd0470963", "parenttile_id": "a44a6507-cd53-4309-ba09-6dd9bca89fd8", "provisionaledits": null, "resourceinstance_id": "7e89599c-1a83-40dc-83f1-c5890220bea9", "sortorder": 0, "tileid": "98155066-6b40-4823-a981-e1185e8a462f"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Es interpretada principalmente por bandas de bronce que combinan instrumentos de viento y percusi&oacute;n. Los temas son en&eacute;rgicos y marcados, acompa&ntilde;ando los pasos vigorosos de los danzarines. La m&uacute;sica es fundamentalmente instrumental, aunque en algunas versiones modernas se incluyen letras cantadas, especialmente en introducciones o partes centrales, con tem&aacute;ticas devocionales a la Virgen del Socav&oacute;n, alusiones a la lucha espiritual o referencias a la identidad cultural del Altiplano."}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["5acfe410-a1bb-4bf0-b4c5-65cb97c9c3d2", "2b507e22-b2e4-4781-b7be-3b9b2ef3f631", "b8161b21-fa7c-40b0-b7a7-e3b1a39a7e7f"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["b2b1587f-8eac-4bcd-81c0-16e0747fa991"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": [], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": true}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "a44a6507-cd53-4309-ba09-6dd9bca89fd8", "provisionaledits": null, "resourceinstance_id": "7e89599c-1a83-40dc-83f1-c5890220bea9", "sortorder": 0, "tileid": "286ce212-f313-45c3-b6fe-fd53be8722b3"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Este patrimonio se encuentra en la Nominaci&oacute;n Nacional."}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7e89599c-1a83-40dc-83f1-c5890220bea9", "sortorder": 0, "tileid": "3a3493a0-f193-4d55-9838-f4e50bd3a501"}, {"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": []}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "7e89599c-1a83-40dc-83f1-c5890220bea9", "sortorder": 0, "tileid": "dd0b4439-1312-455a-b957-fd38b61bf93c"}]}, {"resourceinstance": {"createdtime": "2025-09-22T14:57:37.027", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-000000-00-00-000030, "}, "es": {"description": "Decl\u00e1rase el 7 de septiembre de cada a\u00f1o \"D\u00eda de la Danza de la Morenada\"", "map_popup": "Nacional", "name": "PI-000000-00-00-000030, Decl\u00e1rase el 7 de septiembre de cada a\u00f1o \"D\u00eda de la Danza de la Morenada\""}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-000000-00-00-000030, Decl\u00e1rase el 7 de septiembre de cada a\u00f1o \"D\u00eda de la Danza de la Morenada\"", "principaluser_id": 16, "resourceinstanceid": "5df01005-2a2a-42b9-a894-af61870ed53f", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Dabza de la Morenada se caracteriza por el uso de matracas y cadenas que evocan el sufrimiento de los esclavos durante la colonia espa&ntilde;ola.&nbsp;La danza presenta un paso lento y bamboleante en su ritmo, acompa&ntilde;ado por una banda de instrumentos de viento y percusi&oacute;n, como tambores y trompetas.&nbsp;Su origen es controvertido, pero en Bolivia representa una devoci&oacute;n a la&nbsp;<a href=\"https://www.google.com/search?sca_esv=41019ffbed8a8b36&amp;rlz=1C1UUXU_esBO1043BO1043&amp;cs=0&amp;sxsrf=AE3TifM-7ioNI0Ibd3YiO2Dvjw2NdObUcg:1758571802563&amp;q=Virgen+del+Socav%C3%B3n&amp;sa=X&amp;ved=2ahUKEwip-ca8lu2PAxU9Q7gEHabLA_YQxccNegQIChAB\" target=\"_blank\">Virgen del Socav&oacute;n</a>&nbsp;y una forma de resistencia cultural.&nbsp;"}}, "ef13f396-0909-11f0-8147-0242ac120006": "acfc41fe-b2a6-47da-9442-2c248bd36734"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "7f869984-abac-4004-a5e8-a62a8a2db5d8", "provisionaledits": null, "resourceinstance_id": "5df01005-2a2a-42b9-a894-af61870ed53f", "sortorder": 0, "tileid": "1b63d3ad-977d-4104-b3ac-57ea8ea6351e"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza presenta un paso lento y bamboleante, acompa&ntilde;ado por una banda de instrumentos de viento y percusi&oacute;n, como tambores y trompetas.&nbsp;Su origen es controvertido, pero en Bolivia representa una devoci&oacute;n a la&nbsp;<a href=\"https://www.google.com/search?sca_esv=41019ffbed8a8b36&amp;rlz=1C1UUXU_esBO1043BO1043&amp;cs=0&amp;sxsrf=AE3TifM-7ioNI0Ibd3YiO2Dvjw2NdObUcg:1758571802563&amp;q=Virgen+del+Socav%C3%B3n&amp;sa=X&amp;ved=2ahUKEwip-ca8lu2PAxU9Q7gEHabLA_YQxccNegQIChAB\" target=\"_blank\">Virgen del Socav&oacute;n</a>&nbsp;y una forma de resistencia cultural. Al son de una matraca la danza empieza con ritmos monotonos la cual se acompasa con la musica de bandas con melodias populares.</p>\n"}}, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": ["5acfe410-a1bb-4bf0-b4c5-65cb97c9c3d2"], "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["b2b1587f-8eac-4bcd-81c0-16e0747fa991"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["c174350c-c06f-4baa-b786-a42a7075be64"], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": null}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "7f869984-abac-4004-a5e8-a62a8a2db5d8", "provisionaledits": null, "resourceinstance_id": "5df01005-2a2a-42b9-a894-af61870ed53f", "sortorder": 0, "tileid": "c87b7ffe-adc6-44b6-a4cf-27b94909c08b"}, {"data": {"c4431eba-dca7-11ee-a1be-65cdbcd6a3c5": null, "d7e44532-d3e9-11ee-a8c9-b13f60624ac2": [{"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "84b85a2c-c89f-4da7-a20f-2c7ba47dc188", "resourceXresourceId": "b7543a44-2df6-468d-a863-a1a769055402"}, {"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "b9f9a847-7173-4ae2-9004-379bd55bda2b", "resourceXresourceId": "c54cf975-0f15-4531-8dc7-fdf4d6dd2d4e"}, {"inverseOntologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "ontologyProperty": "ac41d9be-79db-4256-b368-2f4559cfbe55", "resourceId": "4ce228ab-f710-4d56-899d-3d7ca491f785", "resourceXresourceId": "5ca5713d-414a-48ba-bad8-f5f0913907bc"}]}, "nodegroup_id": "d7e44532-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7f869984-abac-4004-a5e8-a62a8a2db5d8", "provisionaledits": null, "resourceinstance_id": "5df01005-2a2a-42b9-a894-af61870ed53f", "sortorder": 0, "tileid": "927b9b7a-e6c8-417d-8f50-a8970a939ea1"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Los principales riesgos y amenazas para la danza de la morenada son la desaparici&oacute;n de danzas aut&oacute;ctonas y la alteraci&oacute;n de la ritualidad original debido a su creciente&nbsp;<a href=\"https://www.google.com/search?sca_esv=41019ffbed8a8b36&amp;rlz=1C1UUXU_esBO1043BO1043&amp;cs=0&amp;sxsrf=AE3TifPFsO89kwTTqgdsQy71gqTeWB_FCA%3A1758574057905&amp;q=comercializaci%C3%B3n&amp;sa=X&amp;ved=2ahUKEwixoYfwnu2PAxVrlZUCHa7IK3QQxccNegQIAhAB&amp;mstk=AUtExfA43GWzuypAmO7XqMg-wvIayD9fuBb30HAlJA-CCCt7APkCMg0p82PocgtaegviW_ljci2EMnNkPoOJFNeHoGmjvvQsS8FPc0TosFEUqY1rym9KAo587MoWnOD18ik8lyCkAiQeIInwbBKuGDjBDMhlR0WJ165p0rjw7x7uEyWAbQmPS83VaBhi4IRiyaxmBCoe3wA7f8NmwzHjPui0e5HCv-Z28cDfhkoUqcElmNwi9KBNCOphII7HEpOG3aGF0s2wV9QCa1R3xvKsWZC1l_pg&amp;csui=3\" target=\"_blank\">comercializaci&oacute;n</a>&nbsp;y&nbsp;<a href=\"https://www.google.com/search?sca_esv=41019ffbed8a8b36&amp;rlz=1C1UUXU_esBO1043BO1043&amp;cs=0&amp;sxsrf=AE3TifPFsO89kwTTqgdsQy71gqTeWB_FCA%3A1758574057905&amp;q=homogeneizaci%C3%B3n&amp;sa=X&amp;ved=2ahUKEwixoYfwnu2PAxVrlZUCHa7IK3QQxccNegQIAhAC&amp;mstk=AUtExfA43GWzuypAmO7XqMg-wvIayD9fuBb30HAlJA-CCCt7APkCMg0p82PocgtaegviW_ljci2EMnNkPoOJFNeHoGmjvvQsS8FPc0TosFEUqY1rym9KAo587MoWnOD18ik8lyCkAiQeIInwbBKuGDjBDMhlR0WJ165p0rjw7x7uEyWAbQmPS83VaBhi4IRiyaxmBCoe3wA7f8NmwzHjPui0e5HCv-Z28cDfhkoUqcElmNwi9KBNCOphII7HEpOG3aGF0s2wV9QCa1R3xvKsWZC1l_pg&amp;csui=3\" target=\"_blank\">homogeneizaci&oacute;n</a>,&nbsp;as&iacute; como la&nbsp;<a href=\"https://www.google.com/search?sca_esv=41019ffbed8a8b36&amp;rlz=1C1UUXU_esBO1043BO1043&amp;cs=0&amp;sxsrf=AE3TifPFsO89kwTTqgdsQy71gqTeWB_FCA%3A1758574057905&amp;q=controversia+sobre+su+origen&amp;sa=X&amp;ved=2ahUKEwixoYfwnu2PAxVrlZUCHa7IK3QQxccNegQIAhAD&amp;mstk=AUtExfA43GWzuypAmO7XqMg-wvIayD9fuBb30HAlJA-CCCt7APkCMg0p82PocgtaegviW_ljci2EMnNkPoOJFNeHoGmjvvQsS8FPc0TosFEUqY1rym9KAo587MoWnOD18ik8lyCkAiQeIInwbBKuGDjBDMhlR0WJ165p0rjw7x7uEyWAbQmPS83VaBhi4IRiyaxmBCoe3wA7f8NmwzHjPui0e5HCv-Z28cDfhkoUqcElmNwi9KBNCOphII7HEpOG3aGF0s2wV9QCa1R3xvKsWZC1l_pg&amp;csui=3\" target=\"_blank\">controversia sobre su origen</a>&nbsp;y el riesgo de&nbsp;<a href=\"https://www.google.com/search?sca_esv=41019ffbed8a8b36&amp;rlz=1C1UUXU_esBO1043BO1043&amp;cs=0&amp;sxsrf=AE3TifPFsO89kwTTqgdsQy71gqTeWB_FCA%3A1758574057905&amp;q=etnocidio&amp;sa=X&amp;ved=2ahUKEwixoYfwnu2PAxVrlZUCHa7IK3QQxccNegQIAhAE&amp;mstk=AUtExfA43GWzuypAmO7XqMg-wvIayD9fuBb30HAlJA-CCCt7APkCMg0p82PocgtaegviW_ljci2EMnNkPoOJFNeHoGmjvvQsS8FPc0TosFEUqY1rym9KAo587MoWnOD18ik8lyCkAiQeIInwbBKuGDjBDMhlR0WJ165p0rjw7x7uEyWAbQmPS83VaBhi4IRiyaxmBCoe3wA7f8NmwzHjPui0e5HCv-Z28cDfhkoUqcElmNwi9KBNCOphII7HEpOG3aGF0s2wV9QCa1R3xvKsWZC1l_pg&amp;csui=3\" target=\"_blank\">etnocidio</a>&nbsp;por el desplazamiento de otras expresiones culturales.&nbsp;</p>\n\n<p><strong>Controversia y Reclamaci&oacute;n de Origen:</strong>&nbsp;</p>\n\n<p>La danza genera constantes disputas sobre su origen, como se evidencia en las celebraciones del &quot;D&iacute;a de la Morenada&quot; en Bolivia, reflejando tensiones y la necesidad de proteger su identidad cultural.&nbsp;</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "7f869984-abac-4004-a5e8-a62a8a2db5d8", "provisionaledits": null, "resourceinstance_id": "5df01005-2a2a-42b9-a894-af61870ed53f", "sortorder": 0, "tileid": "5c955ed1-eef8-4563-999f-0e15d135de0c"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '06', 'codsA': '00', 'grp_eta': 10100, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Danza de la Morenada"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-000000-00-00-000030", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "ee157c55-5693-47d3-aac8-1e1292aafe21", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Decl\u00e1rase el 7 de septiembre de cada a\u00f1o \"D\u00eda de la Danza de la Morenada\""}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["f425392e-6399-4440-a432-f07a4f65e4d5"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5df01005-2a2a-42b9-a894-af61870ed53f", "sortorder": 0, "tileid": "acfc41fe-b2a6-47da-9442-2c248bd36734"}, {"data": {"402f3973-857b-11ee-a653-53ebd0470963": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La Danza de la Morenada necesita un analisis antropol&oacute;gico y cultural que defina la originalidad regional en el Estado Plurinacional de Bolvia."}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5df01005-2a2a-42b9-a894-af61870ed53f", "sortorder": 0, "tileid": "a89eeb51-54a9-4855-9e43-f119f46a16a8"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "e2247e94-1fde-11f0-a8a9-b3355d3a2630": "Ley N\u00ba 512, 24 de marzo de 2014"}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "5df01005-2a2a-42b9-a894-af61870ed53f", "sortorder": 0, "tileid": "473bdba8-7791-41f0-a240-52092f69d178"}, {"data": {"833a0f0a-1fe0-11f0-a8a9-b3355d3a2630": "Se caracteriza por sus trajes elaborados con suntuosos bordados y pedrer\u00eda, las m\u00e1scaras con trabajo artesanal muy detallado y colorido presenta rasgos africanos exagerados. 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alegr\u00eda del campo. Representan las lavores agr\u00edcolas como la siembra y el arado, la vestimenta es blanca con adornos negros."}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ef2093b9-8d52-4c95-82dc-b20ba0bc849c", "sortorder": 0, "tileid": "e3587014-8a85-4173-8ce8-b240a53ae563"}, {"data": {"38fdf22a-d2ad-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Esta manifestaci&oacute;n tradicional y cultural esta arraigada con los valores ancestrales y la identidad de las comunidades la cual se expresa en su arte textil y otras tradiciones."}}, "ba96b762-840c-11ee-8c86-0f5288d73f98": ["32e15ed7-1c69-4e79-9423-97c07bf1f9d3", "9e91b30d-b274-4a3a-aad7-6f45b59a8206"]}, "nodegroup_id": "ba96b762-840c-11ee-8c86-0f5288d73f98", "parenttile_id": "e3587014-8a85-4173-8ce8-b240a53ae563", "provisionaledits": null, "resourceinstance_id": "ef2093b9-8d52-4c95-82dc-b20ba0bc849c", "sortorder": 0, "tileid": "68d7846b-5e7b-464d-8a12-b1ef721d3a94"}, {"data": {"bebc4a3e-d2b1-11ee-9bd3-55ef88b37b94": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La Danza de los Jalkas est&aacute; llena de simbolismo, transmitiendo la fuerza, la resistencia y la profunda conexi&oacute;n de la cultura Jalq&#39;a con la tierra, la Madre Tierra (Pachamama), y sus frutos.&nbsp;</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["b1a2f924-1845-4911-9be7-f2c0aab4b964"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "e3587014-8a85-4173-8ce8-b240a53ae563", "provisionaledits": null, "resourceinstance_id": "ef2093b9-8d52-4c95-82dc-b20ba0bc849c", "sortorder": 0, "tileid": "a11a843b-036c-47f2-8982-7dbcaa762388"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La danza proviene de la cultura Jalq&#39;a, desarrollada en el municipio de Ravelo en el departamento de Potos&iacute;, Bolivia.&nbsp;</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "e3587014-8a85-4173-8ce8-b240a53ae563", "provisionaledits": null, "resourceinstance_id": "ef2093b9-8d52-4c95-82dc-b20ba0bc849c", "sortorder": 0, "tileid": "758d0c34-efef-4801-8d4a-1635f7699684"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "danza tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La danza es una expresi\u00f3n de la alegr\u00eda del campo, con movimientos que reflejan el esfuerzo y la satisfacci\u00f3n de las labores agr\u00edcolas. "}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Danza de los Jalq\u00b4as"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "e3587014-8a85-4173-8ce8-b240a53ae563", "provisionaledits": null, "resourceinstance_id": "ef2093b9-8d52-4c95-82dc-b20ba0bc849c", "sortorder": 0, "tileid": "ec4dd6e1-470c-478b-9b70-698a3c6c3a86"}, {"data": {}, "nodegroup_id": "2eef1f82-d3e5-11ee-a8c9-b13f60624ac2", "parenttile_id": "e3587014-8a85-4173-8ce8-b240a53ae563", "provisionaledits": null, "resourceinstance_id": "ef2093b9-8d52-4c95-82dc-b20ba0bc849c", "sortorder": 0, "tileid": "ae1c57a5-afe1-4b1e-93b1-fddcafd0311d"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:19:58.581", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000056, "}, "es": {"description": "San Javier. Danza Los Obispos", "map_popup": "Beni", "name": "PI-080102-00-00-000056, San Javier. Danza Los Obispos"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000056, San Javier. Danza Los Obispos", "principaluser_id": 26, "resourceinstanceid": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "f302725b-a9c3-445c-acff-fa38bf3a58d8", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Fiesta Virgen del Carmen"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000056", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Danza Los Obispos"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["e5d63e34-8914-4171-89c0-ef85e155434b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 0, "tileid": "0b591619-355d-4cd9-83ae-d4e1aecb25c5"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 0, "tileid": "ebbfada3-6fdc-4c97-aa24-9ea7cd5c6d94"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p><strong>San Javier. Danza Los Obispos</strong></p>\n\n<p>&nbsp;</p>\n\n<p>La danza Los Obispos es una representaci&oacute;n de las autoridades eclesi&aacute;sticas y forma parte de la Fiesta de la Virgen del Carmen. Se baila en Navidad, destacando el simbolismo religioso dentro de las festividades.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n de la danza</strong></p>\n\n<p>En esta danza participan tanto hombres como mujeres. Las mujeres visten tipoy y los hombres camijeta. Representa la jerarqu&iacute;a eclesi&aacute;stica, destacando la figura del obispo.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Datos hist&oacute;ricos</strong></p>\n\n<p>Es una danza originaria de San Javier, con m&aacute;s de 40 a&ntilde;os de tradici&oacute;n. Antiguamente, tanto hombres como mujeres vest&iacute;an tipoy blanco. Como parte del ritual, los danzantes entraron al templo en Navidad y realizaron tres reverencias frente al pesebre en se&ntilde;al de respeto y devoci&oacute;n a la Virgen del Carmen.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n coreogr&aacute;fica</strong></p>\n\n<p>Los bailarines se organizan en dos filas intercaladas entre hombres y mujeres. Cada uno lleva un bonete en la cabeza y sostiene una vara decorada con flores y cintas, simulando el cetro de un obispo. La danza es interpretada con la m&uacute;sica de la agrupaci&oacute;n bombilla.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n del contexto de interpretaci&oacute;n de la danza</strong></p>\n\n<p>La fiesta de la Virgen del Carmen se celebra debido a un hecho ocurrido durante la Guerra del Chaco, entre 1930 y 1935. En ese conflicto, un grupo de 33 j&oacute;venes de San Javier fue reclutado para ir a la guerra. Antes de partir, se encomendaron a la Virgen del Carmen, prometiendo instaurar la tradici&oacute;n del velorio en su honor y confeccionar nuevos vestidos para ella si regresaban con vida. Finalmente, retornaron 32 de los 33 soldados; solo uno falleci&oacute;. Esta promesa se hizo por devoci&oacute;n y profundo fervor religioso.</p>\n\n<p>Desde entonces, la celebraci&oacute;n de la Virgen del Carmen se ha mantenido como una tradici&oacute;n en la comunidad, incluyendo actividades como el jocheo de toros y el palo encebado, las cuales con el tiempo se hicieron extensivas. Las autoridades locales tambi&eacute;n adoptaron esta costumbre. Junto a esta festividad, se recuerda adem&aacute;s que San Javier fue la cuarta misi&oacute;n jesu&iacute;tica fundada en 1691, originalmente bajo el nombre de San Francisco Javier. Por ello, el 3 de diciembre tambi&eacute;n se celebra la fiesta en honor a este santo.</p>\n\n<p>La imagen de la Virgen del Carmen ya se encontraba en el lugar desde tiempos antiguos, tallada por los javieranos. En las d&eacute;cadas de 1970 y 1980 comenzaron los robos a iglesias, y de esta serie de hechos delictivos sobrevivieron algunos medallones de plata. El &uacute;ltimo robo ocurri&oacute; en 1985. Las piezas que quedaron fueron resguardadas por el profesor Carmelo Jou, quien ejerc&iacute;a entonces el oficio de doctrinero en la iglesia. Los medallones, por su peso, no pudieron ser robados. Posteriormente, se decidi&oacute; colocarlos en lo alto de una pared de la iglesia &mdash;que a&uacute;n conservaba su estructura misional&mdash; para evitar futuros hurtos, ya que los ladrones no contaban con escaleras.</p>\n\n<p>En otro intento de robo, los medallones fueron trasladados a una casa particular, pero otras piezas valiosas de la iglesia fueron sustra&iacute;das. El caso fue denunciado en Trinidad, y el profesor Jou fue arrestado injustamente. M&aacute;s tarde, se comprob&oacute; su inocencia, aunque nunca se identific&oacute; a los verdaderos culpables. De los 20 medallones originalmente protegidos, hoy solo quedan 18, ya que dos fueron tomados por personas de la misma comunidad de San Javier.</p>\n\n<p>La Virgen del Carmen porta un escapulario, una estampa con su imagen que sostiene en su mano derecha. Este simboliza que cualquier peregrino que desee salvar su alma o vivir bien debe vestir su h&aacute;bito, cuyo color es el marr&oacute;n. En torno a esta devoci&oacute;n surgi&oacute; la Cofrad&iacute;a o Congregaci&oacute;n de Nuestra Se&ntilde;ora del Carmen, conformada por un grupo de mujeres dedicadas a atender a la Virgen, mantener el templo y recaudar fondos. Estas mujeres portaban un estandarte que data de 1957. Con el tiempo, todas han fallecido, quedando en la actualidad solo una integrante anciana. . Ellas llevaban el estandarte que data de 1957, estaban encargadas de atender a la virgen y atender necesidades de la iglesia y ayudar a la manutenci&oacute;n del templo y recaudar fondos.</p>\n"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "ebbfada3-6fdc-4c97-aa24-9ea7cd5c6d94", "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 0, "tileid": "37cb9aea-ad95-4612-a43f-e335cb3815f0"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimenta tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales El tipoy est\u00e1 confeccionado con tela sat\u00e9n, encajes finos y cintas decorativas que realzan su elegancia. Estos materiales, de colores vivos o blancos, le otorgan un aire ceremonial y festivo. T\u00e9cnica de elaboraci\u00f3n La elaboraci\u00f3n del tipoy es completamente manual, lo que permite cuidar cada detalle del dise\u00f1o y adaptar el vestido al cuerpo de quien lo portar\u00e1. Esta forma de confecci\u00f3n refleja el saber tradicional transmitido entre generaciones. Descripci\u00f3n de la pieza Se trata de un vestido que las mujeres utilizan exclusivamente para la fiesta de Los Obispos. Su dise\u00f1o suelto y fresco permite libertad de movimiento durante la danza, mientras que sus detalles decorativos evocan solemnidad y belleza. Descripci\u00f3n de la funci\u00f3n/uso El tipoy representa simb\u00f3licamente a las autoridades de la iglesia, los obispos. Durante la danza, tanto mujeres como varones participan: ellas visten tipoy y los hombres, camijeta. Esta danza se presenta durante las celebraciones navide\u00f1as, en las que se honra el nacimiento del Ni\u00f1o Jes\u00fas. Datos hist\u00f3ricos La danza de Los Obispos es una manifestaci\u00f3n cultural profundamente arraigada en San Javier. En sus or\u00edgenes, tanto hombres como mujeres vest\u00edan tipoy blanco, simbolizando pureza y unidad. Durante la Navidad, los danzantes ingresaban al templo para rendir homenaje al pesebre con tres reverencias solemnes. Esta tradici\u00f3n se mantiene viva desde hace m\u00e1s de cuarenta a\u00f1os, como un testimonio del fervor y la identidad del pueblo javierano."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tipoy \u2013 Danza Los Obispos"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "ebbfada3-6fdc-4c97-aa24-9ea7cd5c6d94", "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 0, "tileid": "6c25342e-1f5e-4e9c-b15e-cc169a22cdd9"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.86835937500545, -14.600406444464483], "type": "Point"}, "id": "54d02b1f7c6be3c730bf1e1d4c3377a7", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000021'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 0, "tileid": "88ffcf31-d512-4205-bde1-334607f7e09a"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Vestimente tradicional"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales La camijeta est\u00e1 elaborada con tela sencilla adornada con cintas rojas, las cuales forman bordes decorativos y una cruz en el centro del pecho, resaltando su car\u00e1cter simb\u00f3lico. T\u00e9cnica de elaboraci\u00f3n Su confecci\u00f3n es manual, lo que permite respetar el dise\u00f1o original y conservar la t\u00e9cnica tradicional que ha perdurado en la comunidad. Descripci\u00f3n de la pieza Es una prenda utilizada por los varones durante la danza. Se complementa con una pa\u00f1oleta roja atada a la cintura, que a\u00f1ade un toque distintivo al atuendo. Descripci\u00f3n de la funci\u00f3n/uso La camijeta, al igual que el tipoy, representa a las autoridades religiosas. Hombres y mujeres participan juntos en esta danza navide\u00f1a: ellas lucen tipoy, ellos camijeta. El baile se realiza durante las festividades de Navidad, en un acto de devoci\u00f3n y tradici\u00f3n comunitaria. Datos hist\u00f3ricos La danza de Los Obispos forma parte esencial del patrimonio cultural de San Javier. Antiguamente, todos los danzantes llevaban tipoy blanco, sin distinci\u00f3n de g\u00e9nero. La entrada al templo en Navidad, con tres reverencias frente al pesebre, era y sigue siendo un momento central del ritual. Desde hace m\u00e1s de cuatro d\u00e9cadas, esta danza se mantiene como una expresi\u00f3n viva de la espiritualidad y la identidad local."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Camijeta \u2013 Danza Los Obispos"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "ebbfada3-6fdc-4c97-aa24-9ea7cd5c6d94", "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 1, "tileid": "b821e4ec-9d44-453a-960e-8334ab63a531"}, {"data": {"18c12700-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Objeto de representaci\u00f3n eclesial"}}, "31247298-d36d-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Materiales El bast\u00f3n ceremonial est\u00e1 hecho de madera y decorado con cintas de colores y flores de tela. Estos adornos lo convierten en un objeto vistoso y simb\u00f3licamente cargado. T\u00e9cnica de elaboraci\u00f3n Su creaci\u00f3n es manual, permitiendo personalizar los detalles y adaptarlos al gusto y significado que cada grupo de danzantes desee transmitir. Descripci\u00f3n de la pieza Aunque el bast\u00f3n es un objeto, cumple una funci\u00f3n fundamental dentro del atuendo de los danzantes varones. Se utiliza en conjunto con la camijeta y la pa\u00f1oleta roja, completando la imagen ceremonial del \"obispo\". Descripci\u00f3n de la funci\u00f3n/uso El bast\u00f3n representa la autoridad de los obispos, emulando su b\u00e1culo lit\u00fargico. Forma parte de la coreograf\u00eda y simbolismo de la danza, ejecutada por hombres y mujeres durante la Navidad. Las mujeres llevan tipoy y los hombres camijeta, todos unidos por el prop\u00f3sito de rendir homenaje en esta festividad religiosa. Datos hist\u00f3ricos La danza Los Obispos es una tradici\u00f3n javierana con m\u00e1s de cuarenta a\u00f1os de historia. Originalmente, todos los participantes vest\u00edan tipoy blanco, sin distinci\u00f3n de g\u00e9nero, y entraban al templo para saludar tres veces al pesebre. El bast\u00f3n ha sido, desde entonces, un s\u00edmbolo de gu\u00eda y autoridad, reforzando el car\u00e1cter sagrado de la danza y su v\u00ednculo con la espiritualidad cristiana."}}, "b37f0a1a-d36c-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Bast\u00f3n \u2013 Danza Los Obispos"}}}, "nodegroup_id": "9afe19c2-d36c-11ee-9b98-6fb8e1f491ad", "parenttile_id": "ebbfada3-6fdc-4c97-aa24-9ea7cd5c6d94", "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 2, "tileid": "a7a9d5b1-f14d-449c-925d-8f8c7c00cbf9"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Aprendizaje colectivo"}}, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La transmisi&oacute;n del conocimiento en torno a la danza Los Obispos se sostiene principalmente en pr&aacute;cticas rituales vivas que se reproducen a&ntilde;o tras a&ntilde;o en la comunidad de San Javier. La participaci&oacute;n activa de bailarines en la coreograf&iacute;a y el uso de vestimentas espec&iacute;ficas refuerzan un proceso de aprendizaje situado, donde la memoria colectiva se mantiene a trav&eacute;s del hacer. Las reverencias al pesebre dentro del templo, realizadas por los danzantes, expresan devoci&oacute;n, son momentos importantes de la tradici&oacute;n. En este sentido, la continuidad de la danza no depende exclusivamente de documentos escritos, sino de la reproducci&oacute;n comunitaria del conocimiento en espacios compartidos de fe, celebraci&oacute;n y respeto mutuo.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "ebbfada3-6fdc-4c97-aa24-9ea7cd5c6d94", "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 0, "tileid": "90824159-3145-42b5-b2b7-4264a4b87b94"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "A lo largo del tiempo, la danza Los Obispos ha experimentado cambios en su vestimenta y en la manera en que se lleva a cabo dentro de la festividad. En sus inicios, tanto hombres como mujeres vest&iacute;an tipoy blanco, mientras que en la actualidad los varones han adoptado la camijeta como parte de su indumentaria. Esta modificaci&oacute;n puede reflejar una adaptaci&oacute;n a nuevas interpretaciones de la identidad cultural o a din&aacute;micas sociales que influyen en la forma en que se representa la tradici&oacute;n."}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ebbfada3-6fdc-4c97-aa24-9ea7cd5c6d94", "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 0, "tileid": "5b9f6832-5941-43eb-bdd7-1b24fb5aa148"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "La danza Los Obispos se sostiene en una fuerte conexi\u00f3n con la identidad cultural de San Javier, reflejando una tradici\u00f3n que ha perdurado por m\u00e1s de cuatro d\u00e9cadas. Su car\u00e1cter comunitario permite que el conocimiento se transfiera de generaci\u00f3n en generaci\u00f3n. La participaci\u00f3n tanto de hombres como de mujeres en la coreograf\u00eda refuerza el sentido de pertenencia y colaboraci\u00f3n dentro de la festividad, fortaleciendo los lazos entre quienes la ejecutan y la comunidad en general."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "ebbfada3-6fdc-4c97-aa24-9ea7cd5c6d94", "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 0, "tileid": "f62ca4a5-63cb-41fa-b04f-e580dc3ac489"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos que enfrenta la danza Los Obispos es la posible p&eacute;rdida de inter&eacute;s por parte de las nuevas generaciones. A medida que cambian las din&aacute;micas sociales y culturales, las pr&aacute;cticas tradicionales pueden verse desplazadas por expresiones m&aacute;s contempor&aacute;neas, reduciendo el n&uacute;mero de personas dispuestas a aprender y mantener viva la tradici&oacute;n. La falta de espacios de formaci&oacute;n dedicados a su ense&ntilde;anza podr&iacute;a debilitar la transmisi&oacute;n del conocimiento, afectando la continuidad de la danza dentro de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Las transformaciones en la vestimenta y en la estructura de la danza pueden, en algunos casos, generar una alteraci&oacute;n en su sentido original. Si los cambios no son producto de un proceso comunitario de adaptaci&oacute;n, existe el riesgo de que se pierdan elementos esenciales que dotan a la pr&aacute;ctica de su identidad.</p>\n\n<p>&nbsp;</p>\n\n<p>En el contexto general existen otros riesgos que enfrenta la pr&aacute;ctica, es la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que la apoyan. La falta de participaci&oacute;n activa de los miembros de la comunidad, sumada a la migraci&oacute;n en busca de empleo, ha reducido el n&uacute;mero de personas comprometidas con la preservaci&oacute;n de las tradiciones. Este fen&oacute;meno afecta directamente a la gesti&oacute;n de la danza, ya que depende de un trabajo colectivo para asegurar que las coreograf&iacute;as, los vestuarios y las festividades se mantengan alineados con sus ra&iacute;ces culturales. La ausencia de una estructura organizativa s&oacute;lida y el sobrecargado liderazgo de los pocos que se quedan al frente pueden dificultar la toma de decisiones y la continuidad de las celebraciones de manera coherente.</p>\n\n<p>&nbsp;</p>\n\n<p>Otro riesgo significativo es la creciente intervenci&oacute;n de actores externos en la organizaci&oacute;n de las festividades y el control de los recursos culturales. Cuando instituciones ajenas a la comunidad, como la alcald&iacute;a, asumen la organizaci&oacute;n de eventos tradicionales, se corre el riesgo de que se pierda el car&aacute;cter autogestionado que hist&oacute;ricamente ha distinguido a estas celebraciones. Adem&aacute;s, el cambio en las din&aacute;micas territoriales, como la reducci&oacute;n de los territorios ind&iacute;genas y el acceso limitado a los recursos, puede impactar negativamente en la capacidad de la comunidad para seguir llevando a cabo estas pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "ebbfada3-6fdc-4c97-aa24-9ea7cd5c6d94", "provisionaledits": null, "resourceinstance_id": "acaa7597-08dd-43b8-b4b2-97bbb360cbc0", "sortorder": 0, "tileid": "cd3feb53-a282-48a5-8430-e51a72730b1d"}]}, {"resourceinstance": {"createdtime": "2025-05-15T12:20:02.040", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Beni", "name": "PI-080102-00-00-000063, "}, "es": {"description": "San Javier. Idioma javeriano", "map_popup": "Beni", "name": "PI-080102-00-00-000063, San Javier. Idioma javeriano"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-080102-00-00-000063, San Javier. Idioma javeriano", "principaluser_id": 26, "resourceinstanceid": "285f8402-e60a-48a7-887d-75fd30355256", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Idioma"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080102-00-00-000063", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": null, "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier. Idioma javeriano"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "285f8402-e60a-48a7-887d-75fd30355256", "sortorder": 0, "tileid": "e9a6e3ae-6173-4943-9356-4d97fb0b003c"}, {"data": {}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "285f8402-e60a-48a7-887d-75fd30355256", "sortorder": 0, "tileid": "8d73e6fa-468a-4c84-9836-3b068740c813"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>A lo largo del tiempo, este idioma ha jugado un papel crucial en las expresiones de la comunidad, desde relatos orales hasta ceremonias religiosas y festividades. La transmisi&oacute;n de estos saberes, sin embargo, se ha debilitado, ya que el n&uacute;mero de hablantes del idioma se ha reducido considerablemente, quedando en manos de una sola persona, el Profesor Carmelo Jou Mozua, quien ha dedicado a&ntilde;os a preservar este conocimiento a trav&eacute;s de registros escritos y grabaciones. A pesar de sus esfuerzos, la falta de nuevos hablantes y la escasa transmisi&oacute;n intergeneracional suponen una amenaza para la continuidad de este idioma y sus correspondientes saberes.</p>\n\n<p>&nbsp;</p>\n\n<p>El conocimiento sobre el idioma y las tradiciones de San Javier est&aacute;, por lo tanto, en peligro, ya que no solo la lengua est&aacute; en riesgo, sino tambi&eacute;n las manifestaciones culturales que dependen de ella, como los cantos, las danzas y la medicina tradicional. La comunidad enfrenta una situaci&oacute;n en la que el aprendizaje y el uso del idioma javeriano se han visto limitados por diversos factores, como la falta de inter&eacute;s por parte de las nuevas generaciones y la falta de apoyo institucional para su ense&ntilde;anza. En este contexto, la preservaci&oacute;n del idioma javeriano no solo depende del esfuerzo individual de personas como el Profesor Jou, sino tambi&eacute;n de un esfuerzo colectivo para revitalizarlo y asegurar que las generaciones venideras puedan conectar con sus ra&iacute;ces culturales.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "8d73e6fa-468a-4c84-9836-3b068740c813", "provisionaledits": null, "resourceinstance_id": "285f8402-e60a-48a7-887d-75fd30355256", "sortorder": 0, "tileid": "578e9e36-105f-4165-a43f-f5251cf3d26d"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica de transmisi&oacute;n del idioma javeriano en San Javier podr&iacute;a enfrentar transformaciones significativas debido a la escasa participaci&oacute;n de las nuevas generaciones en su aprendizaje. A medida que el n&uacute;mero de hablantes se reduce, el riesgo de que este conocimiento se pierda se incrementa, lo que podr&iacute;a dar lugar a la desaparici&oacute;n de una parte esencial de la identidad cultural de la comunidad. Si bien la recopilaci&oacute;n de palabras y las grabaciones realizadas por el Profesor Carmelo Jou han ayudado a preservar lo que queda del idioma, la falta de un proceso de ense&ntilde;anza continuo y la falta de inter&eacute;s por parte de los j&oacute;venes dificultan la transmisi&oacute;n efectiva de estos saberes. Sin una intervenci&oacute;n activa en la ense&ntilde;anza y la valorizaci&oacute;n del idioma, la pr&aacute;ctica de su uso podr&iacute;a transformarse en una tradici&oacute;n en peligro de extinci&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>A medida que se reduce la presencia del idioma en la vida diaria de San Javier, las transformaciones en la pr&aacute;ctica podr&iacute;an llevar a que las tradiciones relacionadas, como las festividades y los cantos, se celebren de manera menos aut&eacute;ntica, perdiendo elementos esenciales de la cultura local. El inter&eacute;s de la comunidad por revitalizar el idioma javeriano podr&iacute;a abrir nuevas formas de transmisi&oacute;n, como la creaci&oacute;n de materiales educativos que ayuden a los j&oacute;venes a conectarse con su patrimonio ling&uuml;&iacute;stico. Sin embargo, la falta de apoyo institucional y la resistencia a incorporar el idioma en los programas educativos representan un obst&aacute;culo significativo. Si no se logra un cambio en la din&aacute;mica de ense&ntilde;anza, la transmisi&oacute;n del idioma podr&iacute;a sufrir una transformaci&oacute;n hacia un conocimiento aislado y relegado, sin un futuro claro para su continuidad.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "8d73e6fa-468a-4c84-9836-3b068740c813", "provisionaledits": null, "resourceinstance_id": "285f8402-e60a-48a7-887d-75fd30355256", "sortorder": 0, "tileid": "024805d7-ae79-4b8b-b5d4-9b0fc0d8435e"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "San Javier"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.876599121102, -14.601735384304149], "type": "Point"}, "id": "c52462d7fc4c700c22a96b958c9c2b53", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "11a18fa4-76f8-4407-a909-d23a08454225", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080102', 'num': '000028'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "285f8402-e60a-48a7-887d-75fd30355256", "sortorder": 0, "tileid": "04ac0b9d-9453-444e-9b6e-95ce52aa290d"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las fortalezas m\u00e1s destacadas en la pr\u00e1ctica de la transmisi\u00f3n del idioma javeriano radica en el esfuerzo individual del Profesor Carmelo Jou Mozua, quien ha dedicado a\u00f1os a recopilar y preservar las palabras javieranas. Su labor de transcribir y registrar en formato digital el vocabulario y las estructuras ling\u00fc\u00edsticas del idioma constituye un valioso recurso para el futuro. Este trabajo no solo asegura que se conserve un archivo de la lengua, sino que tambi\u00e9n ofrece una base s\u00f3lida sobre la que podr\u00edan construirse futuras iniciativas educativas. La creaci\u00f3n de un listado de t\u00e9rminos en javeriano es un testimonio del compromiso de preservar este componente cultural esencial.  El inter\u00e9s mostrado por algunos miembros de la comunidad, como la profesora que ha incorporado palabras javieranas en su ense\u00f1anza del moxe\u00f1o trinitario, refleja una disposici\u00f3n favorable para que el idioma javeriano siga teniendo relevancia. Aunque no se ha consolidado un programa formal de ense\u00f1anza, estos peque\u00f1os actos de integraci\u00f3n del idioma muestran que todav\u00eda hay un espacio para fortalecer la pr\u00e1ctica y generar conciencia sobre su valor cultural. Esta disposici\u00f3n por parte de la comunidad podr\u00eda servir como punto de partida para fomentar el aprendizaje y uso del idioma en las generaciones m\u00e1s j\u00f3venes, contribuyendo a revitalizar y mantener vivas las tradiciones ling\u00fc\u00edsticas locales."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "8d73e6fa-468a-4c84-9836-3b068740c813", "provisionaledits": null, "resourceinstance_id": "285f8402-e60a-48a7-887d-75fd30355256", "sortorder": 0, "tileid": "91212ac2-456f-43ed-a87c-110fbd468a5a"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Uno de los riesgos m&aacute;s evidentes en la pr&aacute;ctica de la transmisi&oacute;n del idioma javeriano es la falta de hablantes activos en la comunidad de San Javier. Con solo una persona que domina el idioma, la transmisi&oacute;n intergeneracional de este conocimiento se ha visto gravemente afectada. La ausencia de nuevos hablantes y el escaso inter&eacute;s de las generaciones m&aacute;s j&oacute;venes por aprender la lengua ponen en peligro la continuidad del idioma. Si no se toman medidas urgentes, este patrimonio ling&uuml;&iacute;stico corre el riesgo de desaparecer en un futuro cercano, con consecuencias negativas para la preservaci&oacute;n de la identidad cultural de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Otra amenaza significativa es la falta de apoyo institucional para la ense&ntilde;anza y promoci&oacute;n del idioma javeriano. A pesar de los esfuerzos del Profesor Carmelo Jou, quien ha recopilado y documentado el vocabulario, la comunidad no cuenta con recursos adecuados ni con una estructura educativa formal para el aprendizaje del idioma. El Instituto de Lengua y Cultura (ILC), encargado de la unificaci&oacute;n ling&uuml;&iacute;stica en la regi&oacute;n, ha mostrado resistencia a incluir el javeriano en sus programas, limitando as&iacute; las oportunidades para su fortalecimiento. Esta falta de respaldo institucional y la carencia de un plan de acci&oacute;n para revitalizar el idioma son factores que agravan a&uacute;n m&aacute;s los riesgos de su desaparici&oacute;n.</p>\n\n<p>&nbsp;</p>\n\n<p>Los riesgos que enfrenta la pr&aacute;ctica de la transmisi&oacute;n del idioma javeriano est&aacute;n directamente relacionados con la fragmentaci&oacute;n y debilitamiento de las estructuras organizativas que hist&oacute;ricamente han apoyado su preservaci&oacute;n. La falta de participaci&oacute;n activa de los miembros de la comunidad y la migraci&oacute;n en busca de empleo han reducido el compromiso de las generaciones actuales con el legado cultural. Este fen&oacute;meno tambi&eacute;n impacta en el mantenimiento del idioma, ya que la transmisi&oacute;n oral y la participaci&oacute;n en las actividades culturales que refuerzan la lengua dependen del esfuerzo colectivo. La disminuci&oacute;n de personas involucradas en estas tareas, junto con la sobrecarga de responsabilidades en los pocos individuos comprometidos, genera dificultades para la continuidad de la lengua javeriana como parte integral de la vida cotidiana de la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p>Asimismo, la intervenci&oacute;n de actores externos y la imposici&oacute;n de din&aacute;micas ajenas a la comunidad tambi&eacute;n constituyen una amenaza para la preservaci&oacute;n del idioma. Al reducir el control local sobre la ense&ntilde;anza y el uso del javeriano, desplazando la responsabilidad de los propios hablantes y expertos de la comunidad. La p&eacute;rdida de acceso a recursos y la disminuci&oacute;n de los territorios ind&iacute;genas agravan a&uacute;n m&aacute;s este riesgo, limitando las posibilidades de fortalecer y revitalizar el idioma javeriano en un contexto de creciente externalizaci&oacute;n de las pr&aacute;cticas culturales.</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "8d73e6fa-468a-4c84-9836-3b068740c813", "provisionaledits": null, "resourceinstance_id": "285f8402-e60a-48a7-887d-75fd30355256", "sortorder": 0, "tileid": "cfc5c1f2-f47c-4a39-80e9-59fa4745dd1c"}]}, {"resourceinstance": {"createdtime": "2025-07-11T11:16:24.008", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Nacional", "name": "PI-000000-00-00-000019, "}, "es": {"description": "Tradicional Entrada  Folkl\u00f3rica Universitaria de la Universidad Mayor de San Andr\u00e9s", "map_popup": "Nacional", "name": "PI-000000-00-00-000019, Tradicional Entrada  Folkl\u00f3rica Universitaria de la Universidad Mayor de San Andr\u00e9s"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-000000-00-00-000019, Tradicional Entrada  Folkl\u00f3rica Universitaria de la Universidad Mayor de San Andr\u00e9s", "principaluser_id": 16, "resourceinstanceid": "4ce2e23d-d761-41da-b199-1060a3f58bd1", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'codAm': '05', 'codsA': '00', 'grp_eta': 10100, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "b726fbaf-d01b-4841-b02c-4bcbe3856718", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Actos festivos"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-000000-00-00-000019", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": null, "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Tradicional Entrada  Folkl\u00f3rica Universitaria de la Universidad Mayor de San Andr\u00e9s"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["fd6bf053-a982-4b7f-a4ad-36c804bb510b"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4ce2e23d-d761-41da-b199-1060a3f58bd1", "sortorder": 0, "tileid": "0609c669-2cd1-4fed-bbac-be03002f9958"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": null, "590ea395-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "a9c65048-6928-4580-bd7b-b499e41a163d", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '000000', 'num': '000019'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["a9c65048-6928-4580-bd7b-b499e41a163d"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4ce2e23d-d761-41da-b199-1060a3f58bd1", "sortorder": 0, "tileid": "c41973c2-cdca-4117-9729-ba6c57d69236"}, {"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": []}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4ce2e23d-d761-41da-b199-1060a3f58bd1", "sortorder": 0, "tileid": "d444fbf1-f330-4356-9602-915498b0ec6f"}, {"data": {"833a0f0a-1fe0-11f0-a8a9-b3355d3a2630": "Festividad"}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4ce2e23d-d761-41da-b199-1060a3f58bd1", "sortorder": 0, "tileid": "dbced348-3591-45b6-82be-087f9a84999f"}, {"data": {"11c41716-d2a3-11ee-9bd3-55ef88b37b94": null, "49a71740-d2a4-11ee-9bd3-55ef88b37b94": ["40963972-6197-48e0-8429-3cea56788dd4"], "7fa423d8-d2a4-11ee-9bd3-55ef88b37b94": null, "d30124fe-d2a4-11ee-9bd3-55ef88b37b94": null, "e2247e94-1fde-11f0-a8a9-b3355d3a2630": "Ley 155 / 19 de julio de 2011"}, "nodegroup_id": "f1455608-d2a2-11ee-9bd3-55ef88b37b94", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "4ce2e23d-d761-41da-b199-1060a3f58bd1", "sortorder": 0, "tileid": "15230877-7dc2-4828-a776-ac5418f012e7"}, {"data": {"4b03a520-090a-11f0-8eb2-0242ac120006": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Es una manifestaci&oacute;n cultural y acad&eacute;mica que se realiza anualmente en La Paz, Bolivia, desde 1988. Es una expresi&oacute;n festiva, art&iacute;stica y educativa, en la que estudiantes, docentes y personal universitario participan activamente para revalorizar, preservar y difundir las danzas, m&uacute;sicas y trajes tradicionales de las diversas regiones del pa&iacute;s."}}, "ef13f396-0909-11f0-8147-0242ac120006": "0609c669-2cd1-4fed-bbac-be03002f9958"}, "nodegroup_id": "ef13f396-0909-11f0-8147-0242ac120006", "parenttile_id": "dbced348-3591-45b6-82be-087f9a84999f", "provisionaledits": null, "resourceinstance_id": "4ce2e23d-d761-41da-b199-1060a3f58bd1", "sortorder": 0, "tileid": "b4791e4f-f403-4d00-b7d7-3665cdbff6fb"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["f6149104-3d2f-4c31-8b0f-f58f7e19e8e1", "44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Durante la festividad, los participantes recorren las principales calles de la ciudad de La Paz, representando desde danzas andinas como la morenada, saya, tinku y caporales, hasta expresiones del oriente y del Chaco. La entrada incluye tambi&eacute;n la exposici&oacute;n de la historia y el contexto cultural de cada danza, promoviendo no solo el espect&aacute;culo, sino tambi&eacute;n la reflexi&oacute;n y valoraci&oacute;n del patrimonio inmaterial."}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "dbced348-3591-45b6-82be-087f9a84999f", "provisionaledits": null, "resourceinstance_id": "4ce2e23d-d761-41da-b199-1060a3f58bd1", "sortorder": 0, "tileid": "a907098e-3714-408c-8f69-37cf4d4d5a74"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>Cada danza est&aacute; acompa&ntilde;ada por m&uacute;sica en vivo, interpretada por bandas de bronce, conjuntos aut&oacute;ctonos o grupos folkl&oacute;ricos, que ejecutan ritmos propios de cada regi&oacute;n. La m&uacute;sica combina melod&iacute;as tradicionales, aut&oacute;ctonas y festivas, con instrumentos como zampo&ntilde;as, bombos, charangos, tarkas, cajas y bronces, dependiendo del origen de la danza. 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charango"}, "nodegroup_id": "86469d3c-8403-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "1fafc6b3-d9f5-47db-8da4-76ab87395cdc", "sortorder": 0, "tileid": "64e93e32-c6fd-4502-88af-f4a028282111"}, {"data": {"bb30bea8-8578-11ee-a653-53ebd0470963": ["44c2c71c-f9b2-4b9e-9590-fd577a475400"], "d8907742-d30a-11ee-ad0c-c33af8cb749d": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "El fandango es una expresi&oacute;n cultural que se muestra a trav&eacute;s del canto y baile, donde los varones se agrupan de dos, uno toca el charango peque&ntilde;o y el otro el grande.&nbsp;"}}}, "nodegroup_id": "bb30bea8-8578-11ee-a653-53ebd0470963", "parenttile_id": "64e93e32-c6fd-4502-88af-f4a028282111", "provisionaledits": null, "resourceinstance_id": "1fafc6b3-d9f5-47db-8da4-76ab87395cdc", "sortorder": 0, "tileid": "3e1f3787-13f7-48b1-b5bc-2b25a8790fad"}, {"data": {"0deae9bc-d31b-11ee-ad0c-c33af8cb749d": null, "87f96ecc-d31b-11ee-ad0c-c33af8cb749d": ["f43eca6f-18fb-485a-842a-dbbb94c2612f"], "911698ac-d322-11ee-ad0c-c33af8cb749d": null, "a38a30cc-d31b-11ee-ad0c-c33af8cb749d": ["ca527379-d007-4fca-b2a9-eb49513e8dc6"], "dc06e4aa-d31a-11ee-ad0c-c33af8cb749d": ["c174350c-c06f-4baa-b786-a42a7075be64"], "e0097cdc-dca4-11ee-a1be-65cdbcd6a3c5": true}, "nodegroup_id": "37cbab0e-d316-11ee-ad0c-c33af8cb749d", "parenttile_id": "64e93e32-c6fd-4502-88af-f4a028282111", "provisionaledits": null, "resourceinstance_id": "1fafc6b3-d9f5-47db-8da4-76ab87395cdc", "sortorder": 0, "tileid": "f060e46f-e57f-4a7a-974b-a2a9aee41835"}, {"data": {"3580759e-d363-11ee-9b98-6fb8e1f491ad": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>El &uacute;nico instrumento musical que acompa&ntilde;a la danza es el charango.&nbsp;</p>\n"}}, "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad": ["a0e4f8bb-9310-4344-b025-2609c8a26ec2"]}, "nodegroup_id": "eac5a1c8-d362-11ee-9b98-6fb8e1f491ad", "parenttile_id": 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como el charango, la valoraci&oacute;n de las mujeres por su canto y baile, y su consagraci&oacute;n como Patrimonio Cultural Inmaterial de Bolivia"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "64e93e32-c6fd-4502-88af-f4a028282111", "provisionaledits": null, "resourceinstance_id": "1fafc6b3-d9f5-47db-8da4-76ab87395cdc", "sortorder": 0, "tileid": "7f2d52cd-5a9c-4c34-af5f-70473a05c8c2"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Identidad cultural, vestimenta tradicional, m\u00fasica y canto, participacion comunitaria, fusi\u00f3n cultural."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "64e93e32-c6fd-4502-88af-f4a028282111", "provisionaledits": null, "resourceinstance_id": "1fafc6b3-d9f5-47db-8da4-76ab87395cdc", "sortorder": 0, "tileid": "66c47283-076e-45fc-89eb-42613f08cdf4"}, {"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": []}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "1fafc6b3-d9f5-47db-8da4-76ab87395cdc", "sortorder": 0, "tileid": "8b90606f-75cf-439d-9d0b-1733c54d21d4"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Los riesgos y amenazas son: p&eacute;rdida de transmisi&oacute;n intergeneracional, desvalorizaci&oacute;n cultural, merzcla con otras expresiones culturales,&nbsp;"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "64e93e32-c6fd-4502-88af-f4a028282111", "provisionaledits": null, "resourceinstance_id": "1fafc6b3-d9f5-47db-8da4-76ab87395cdc", "sortorder": 0, "tileid": "ac1e3355-566f-4a4a-b593-5e2899c62266"}, {"data": {}, "nodegroup_id": "5d0fa6c0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "1fafc6b3-d9f5-47db-8da4-76ab87395cdc", "sortorder": 0, 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Incluir la danza en actividades educativas y promocionar informacion de la danza y la m&uacute;sica.</p>\n"}}, "402f3974-857b-11ee-a653-53ebd0470963": "72a2a3b0-433b-4aea-9a6e-eb703cb2942b"}, "nodegroup_id": "402f3971-857b-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "1fafc6b3-d9f5-47db-8da4-76ab87395cdc", "sortorder": 0, "tileid": "a680e2c5-67e5-4257-bbd6-fc30320af6fb"}]}, {"resourceinstance": {"createdtime": "2025-11-07T09:14:24.380", "descriptors": {"en": {"description": "Indefinido", "map_popup": "Cochabamba", "name": "PI-030000-02-00-000001, "}, "es": {"description": "Organizacion indigenan campesina", "map_popup": "Cochabamba", "name": "PI-030000-02-00-000001, Organizacion indigenan campesina"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "PI-030000-02-00-000001, Organizacion indigenan campesina", "principaluser_id": 87, 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Cuento Los Chanecunes</strong></p>\n\n<p>&nbsp;</p>\n\n<p>El relato de los Chanecunes se inscribe en la memoria oral del Gran Cabildo Indigenal de la Sant&iacute;sima Trinidad, como una de las narraciones que conectan la historia de la ciudad con el mundo espiritual que la rodea. Es un cuento que se refiere al proceso de fundaci&oacute;n definitiva de la ciudad de Trinidad, Bolivia, en su tercer asentamiento, marcado por los problemas ambientales, la presencia de sabidur&iacute;as ancestrales y la intervenci&oacute;n de seres sobrenaturales ligados al agua. Este relato muestra c&oacute;mo el pueblo moje&ntilde;o trinitario encontr&oacute; explicaciones y soluciones dentro de su propio universo simb&oacute;lico y religioso, reafirmando la importancia de los esp&iacute;ritus de la naturaleza y su v&iacute;nculo con la comunidad.</p>\n\n<p>&nbsp;</p>\n\n<p><strong>Descripci&oacute;n</strong></p>\n\n<p>Luego de los dos primeros intentos fallidos de asentamiento debido a constantes inundaciones, los caciques moje&ntilde;os decidieron trasladar la ciudad a una zona m&aacute;s elevada, a unos diez kil&oacute;metros del r&iacute;o Mamor&eacute;. Fue en este tercer asentamiento donde comenz&oacute; la construcci&oacute;n de la actual Catedral de Trinidad, alrededor del a&ntilde;o 1900. En el sitio se congreg&oacute; gran cantidad de personas para levantar la iglesia, pero el clima persist&iacute;a en dificultar el trabajo. Llov&iacute;a sin cesar, intermitentemente, y cada vez que avanzaban con los adobes, las lluvias regresaban y destru&iacute;an los muros que se hab&iacute;an levantado.</p>\n\n<p>&nbsp;</p>\n\n<p>Frente a la situaci&oacute;n, los l&iacute;deres decidieron consultar al Cabildo, que entonces se ubicaba detr&aacute;s de lo que hoy es la iglesia, en la actual casa parroquial. All&iacute;, en reuni&oacute;n, resolvieron recurrir a un abuelo sabio capaz de comunicarse con los esp&iacute;ritus. &Eacute;l les habl&oacute; de los chanecos, o chanecunes, esp&iacute;ritus del agua que no permit&iacute;an el avance de la obra. Aunque inicialmente los ancianos desconfiaron de esta explicaci&oacute;n y atribuyeron el fen&oacute;meno a una simple temporada de lluvias, las dificultades continuaron, llevando a una nueva consulta con el sabio, quien insisti&oacute; en la presencia de los chanecunes.</p>\n\n<p>&nbsp;</p>\n\n<p>Los ancianos del Cabildo, versados en los saberes espirituales, decidieron actuar. Mientras tanto, en San Pedro ya se hab&iacute;an destinado las campanas para la iglesia, pero durante su traslado, el carret&oacute;n que las transportaba fue asaltado misteriosamente, y las campanas desaparecieron. La comunidad interpret&oacute; esto como una se&ntilde;al y dirigi&oacute; su atenci&oacute;n a la laguna Su&aacute;rez, un lugar donde antiguamente existi&oacute; una comunidad trinitaria que fue absorbida por el agua tras una cat&aacute;strofe natural. Pocos sobrevivieron a ese evento, y los abuelos afirmaban que la tierra se abri&oacute; y se los trag&oacute;.</p>\n\n<p>&nbsp;</p>\n\n<p>Entonces se realiz&oacute; una ceremonia ancestral con la intenci&oacute;n de obtener respuestas. Un grupo de caciques, acompa&ntilde;ados por algunas mujeres, ni&ntilde;os y abadesas, se dirigi&oacute; a la laguna. Hablaron al viento, a los &aacute;rboles, a la tierra y al agua en lengua moje&ntilde;a, preguntando por el origen del problema. Cuando el cielo se nubl&oacute; y comenz&oacute; a ventear, del agua emergieron seres altos, blancos, rubios, de ojos celestes, que tambi&eacute;n hablaron en moje&ntilde;o trinitario. Eran los chanecunes. Estos seres afirmaron ser los responsables de los impedimentos, pues la comunidad humana hab&iacute;a olvidado su v&iacute;nculo con ellos, los guardianes del agua.</p>\n\n<p>&nbsp;</p>\n\n<p>Uno de los caciques replic&oacute; que no los hab&iacute;an olvidado, sino que se encontraban construyendo una nueva etapa bajo la gu&iacute;a de un nuevo Dios. El l&iacute;der de los chanecunes expres&oacute; su desconfianza y acus&oacute; a los humanos de destruir lo que los esp&iacute;ritus hab&iacute;an protegido por generaciones. Despu&eacute;s de una conversaci&oacute;n intensa, los chanecunes aceptaron hacer un pacto: permitir&iacute;an la construcci&oacute;n de la nueva iglesia si los humanos promet&iacute;an recordarlos, respetarlos y no volver a ignorarlos.</p>\n\n<p>&nbsp;</p>\n\n<p>Como s&iacute;mbolo de este compromiso, del agua emergieron dos campanas, las mismas que se hab&iacute;an perdido. Los chanecunes advirtieron que todo lo que cae en el agua les pertenece, pero esta vez har&iacute;an una excepci&oacute;n. Las campanas representar&iacute;an el acuerdo y sonar&iacute;an no solo como celebraci&oacute;n de la nueva ciudad, sino tambi&eacute;n como recordatorio de la existencia de los esp&iacute;ritus del agua. Sin embargo, para poder llev&aacute;rselas, los hombres deb&iacute;an sacarlas por sus propios medios.</p>\n\n<p>&nbsp;</p>\n\n<p>Cuando intentaron moverlas, fue imposible: las campanas eran demasiado pesadas. Incluso al sumar m&aacute;s hombres, no lograban volcarlas. Los chanecunes interpretaron esto como falta de compromiso. Un sabio, mascando tabaco, escupi&oacute; alrededor de una de las campanas, lo que fue motivo de indignaci&oacute;n para los esp&iacute;ritus, que consideraron eso una ofensa. Sin embargo, de inmediato, las campanas se volvieron m&aacute;s livianas. El sabio explic&oacute; que esto sucedi&oacute; porque se encontraban en territorio de los chanecunes, y era necesario un acto que rompiera ese dominio simb&oacute;lico. El l&iacute;der espiritual de los chanecunes, molesto, entendi&oacute; que hab&iacute;a sido puesto a prueba y permiti&oacute; que las campanas fueran retiradas.</p>\n\n<p>&nbsp;</p>\n\n<p>Una vez subidas al carret&oacute;n, los chanecunes establecieron el pacto definitivo: la comunidad deber&iacute;a recordar siempre su existencia y respeto, pues gracias a ellos la iglesia podr&iacute;a finalmente erigirse. Aclararon tambi&eacute;n que no pod&iacute;an darse la mano con humanos, ya que el contacto f&iacute;sico pod&iacute;a provocar su encarnaci&oacute;n en un cuerpo humano, impidi&eacute;ndoles regresar a su mundo.</p>\n\n<p>&nbsp;</p>\n\n<p>Desde entonces, dej&oacute; de llover. Despu&eacute;s de a&ntilde;os de obst&aacute;culos, los moje&ntilde;os trinitarios pudieron construir su iglesia. Los caciques proclamaron que, de ah&iacute; en adelante, se deb&iacute;a respetar a los esp&iacute;ritus del bosque, del agua, del viento y de la tierra, porque, en momentos clave, hab&iacute;an sido fundamentales para la supervivencia de su pueblo.</p>\n\n<p>&nbsp;</p>\n"}}, "c5cc0fa0-8417-11ee-8c86-0f5288d73f98": ["29a2ed34-bbc1-4132-b95f-96d7b7013e10"]}, "nodegroup_id": "c5cc0fa0-8417-11ee-8c86-0f5288d73f98", "parenttile_id": "bc279f8a-4128-4802-8240-4d92e10c9fdf", "provisionaledits": null, "resourceinstance_id": "b46c651e-da28-4ff1-bf1a-b69cb07e4842", "sortorder": 0, "tileid": "5b48415b-a51e-46a7-8d85-92674e72f612"}, {"data": {"b0e7a1a6-d3e7-11ee-a8c9-b13f60624ac2": ["6f55ed90-7457-4646-9f3f-17e4dc957335"], "e9127f1a-d3e7-11ee-a8c9-b13f60624ac2": null, "f1c1a9dc-d3e8-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>En el relato de los Chanecunes se identifican formas espec&iacute;ficas mediante las cuales se transmite el conocimiento dentro de la comunidad moje&ntilde;a trinitaria. La narraci&oacute;n est&aacute; estructurada en torno a la palabra viva de los abuelos sabios y el Cabildo Indigenal, que act&uacute;an como depositarios y mediadores de la memoria colectiva. La consulta a un anciano con capacidad de comunicarse con los esp&iacute;ritus del agua refleja una forma de saber validada por la comunidad, en la que la experiencia individual se legitima por su capacidad de dialogar con el mundo no humano. Esta relaci&oacute;n con los seres espirituales, como los chanecunes, se presenta como una creencia a un sistema integral de interpretaci&oacute;n del entorno. Se trata de un sistema de conocimiento relacional, donde la naturaleza, los ancestros y los elementos sagrados act&uacute;an como sujetos con agencia, con los cuales es posible negociar, pactar.</p>\n\n<p>Asimismo, la participaci&oacute;n de los caciques, mujeres, abadesas y ni&ntilde;os en la ceremonia en la laguna evidencia que este tipo de saberes se comparte intergeneracionalmente a trav&eacute;s de pr&aacute;cticas rituales y comunitarias. La comprensi&oacute;n del lenguaje espiritual y el uso de la lengua moje&ntilde;a durante el di&aacute;logo con los chanecunes refuerzan una pedagog&iacute;a basada en la inmersi&oacute;n cultural y en el v&iacute;nculo emocional con el territorio. La acci&oacute;n de hablar a los elementos naturales &mdash;&aacute;rboles, viento, agua, tierra&mdash; no es una met&aacute;fora, sino una pr&aacute;ctica cognitiva que permite establecer comunicaci&oacute;n con fuerzas que afectan directamente la vida comunitaria. Estos mecanismos de transmisi&oacute;n no separan lo simb&oacute;lico de lo material, y ense&ntilde;an a las nuevas generaciones, que el equilibrio con el mundo depende tanto del respeto a los seres visibles como a los invisibles.</p>\n"}}}, "nodegroup_id": "310273ee-d3e7-11ee-a8c9-b13f60624ac2", "parenttile_id": "bc279f8a-4128-4802-8240-4d92e10c9fdf", "provisionaledits": null, "resourceinstance_id": "b46c651e-da28-4ff1-bf1a-b69cb07e4842", "sortorder": 0, "tileid": "5bc2a78c-5ad3-4501-9e7f-2dfc53009cc5"}, {"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": {"features": [{"geometry": {"coordinates": [-64.90034662079289, -14.836740753233855], "type": "Point"}, "id": "be483e010fbc0549565d46748a4514d0", "properties": {"nodeId": "590ea395-83c9-11ee-8351-b3afcc77ba3e"}, "type": "Feature"}], "type": "FeatureCollection"}, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "583f481a-5300-4b6a-84ad-b98f8b1b9713", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '080101', 'num': '000020'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["480a957c-a8ae-4b38-8ac4-bcca5526ed3b"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "b46c651e-da28-4ff1-bf1a-b69cb07e4842", "sortorder": 0, "tileid": "1163b253-a8ba-418c-84e5-7e24ed94a686"}, {"data": {"00d75108-1e0f-11f0-b387-2d5439460cdb": "{'grp_eta': 10300, 'sufijo_grp_model': 13}", "095779fc-dc98-11ee-a1be-65cdbcd6a3c5": "55934b7f-de6f-4f2d-b80d-204a1193d418", "1590de86-d28c-11ee-9bd3-55ef88b37b94": null, "1991315c-dc96-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Historia oral"}}, "2aab3c92-2a94-11f0-a89a-13973ece3e62": "PI-080101-00-00-000048", "3bf0b76e-83da-11ee-8351-b3afcc77ba3e": "46e6a3ce-eacc-49fa-8769-f05d90c29fbf", "40a3ea0a-83d1-11ee-8351-b3afcc77ba3e": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Trinidad. Cuento Los Chanecunes"}}, "6ad432e4-d28c-11ee-9bd3-55ef88b37b94": null, "d7935cd2-83d8-11ee-8351-b3afcc77ba3e": null, "e49ce876-08de-11f0-bf5d-0242ac120006": ["3440d438-b2d9-4343-bc30-d4fb17e9c3ef"]}, "nodegroup_id": "7406f472-83cd-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "b46c651e-da28-4ff1-bf1a-b69cb07e4842", "sortorder": 0, "tileid": "de23538d-1b7c-4e16-995e-29ef0a8d5ae9"}, {"data": {"469a5120-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica narrada en el cuento de los Chanecunes da se&ntilde;ales de haber experimentado transformaciones vinculadas al contexto hist&oacute;rico, clim&aacute;tico y espiritual de la comunidad moje&ntilde;a trinitaria. En un inicio, los v&iacute;nculos con los esp&iacute;ritus del agua estaban incorporados de forma natural a la vida cotidiana. Sin embargo, el intento de establecer un nuevo asentamiento y construir una catedral refleja un proceso de reordenamiento territorial y simb&oacute;lico impulsado por el cristianismo. Esta transici&oacute;n provoc&oacute; tensiones con el orden espiritual anterior, especialmente con los chanecunes, quienes irrumpen como seres reclamando reconocimiento. Este tipo de transformaci&oacute;n puede entenderse como un conflicto entre sistemas de sentido: el universo cristiano que intenta reorganizar el espacio con nuevas jerarqu&iacute;as, y el universo ind&iacute;gena que exige continuidad de respeto y reciprocidad con los seres que habitan el entorno.</p>\n\n<p>&nbsp;</p>\n\n<p>El pacto sellado con los chanecunes, que incluye la entrega de las campanas y el compromiso de mantener su memoria, evidencia una reconfiguraci&oacute;n de la pr&aacute;ctica espiritual. La comunidad no abandona sus saberes ancestrales, sino que los articula con las nuevas formas religiosas impuestas o adoptadas. La imposibilidad de tocar f&iacute;sicamente a los chanecunes sin que estos se encarnen en los humanos refuerza la necesidad de mantener ciertos l&iacute;mites entre ambos mundos, incluso en contextos de negociaci&oacute;n. Este tipo de acuerdos marca una transformaci&oacute;n en la relaci&oacute;n con lo sagrado, ya no se trata solo de venerar, sino de convivir con un orden que incluye a entidades con voluntad, historia y demandas propias. La pr&aacute;ctica espiritual se vuelve m&aacute;s h&iacute;brida, lo que permite sostener la continuidad cultural sin romper con el nuevo marco religioso. Estas adaptaciones se interpretan como estrategias de resistencia cultural y de traducci&oacute;n simb&oacute;lica frente a procesos de colonizaci&oacute;n espiritual.</p>\n"}}}, "nodegroup_id": "469a5120-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "bc279f8a-4128-4802-8240-4d92e10c9fdf", "provisionaledits": null, "resourceinstance_id": "b46c651e-da28-4ff1-bf1a-b69cb07e4842", "sortorder": 0, "tileid": "3f36577e-5528-4407-aab1-42e19a2669ca"}, {"data": {"e6fee282-dca6-11ee-a1be-65cdbcd6a3c5": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "Una de las principales fortalezas de la pr\u00e1ctica narrada en el cuento de los Chanecunes radica en su capacidad de sostener una relaci\u00f3n activa y respetuosa con el entorno espiritual y natural. A trav\u00e9s del Cabildo Indigenal y de los sabios que conocen los ciclos del r\u00edo, los cambios del clima y los comportamientos de los seres invisibles, la comunidad moje\u00f1a conserva un sistema de organizaci\u00f3n que no se basa exclusivamente en lo material, sino en la convivencia con fuerzas que no siempre son visibles. Esta estructura permite gestionar colectivamente situaciones de crisis \u2014como la imposibilidad de construir la iglesia\u2014 mediante el di\u00e1logo ceremonial, la consulta intergeneracional y el uso de la lengua originaria. Desde la perspectiva antropol\u00f3gica, esta pr\u00e1ctica constituye un sistema de gobernanza propio, que reconoce la agencia de los elementos de la naturaleza como actores sociales. Su existencia aporta a la comprensi\u00f3n de c\u00f3mo ciertas sociedades amaz\u00f3nicas mantienen un equilibrio ecol\u00f3gico y espiritual sin necesidad de estructuras externas. Tambi\u00e9n destaca la fortaleza patrimonial de esta pr\u00e1ctica, ya que preserva un relato que articula memoria, territorio, lengua y ritual. La aparici\u00f3n de los chanecunes, su intervenci\u00f3n en el destino del asentamiento y el pacto sellado con las campanas constituyen un testimonio vivo del v\u00ednculo espiritual de la comunidad con el agua y sus guardianes. Este tipo de narrativas no solo cumplen una funci\u00f3n simb\u00f3lica, sino que refuerzan normas de respeto, reciprocidad y l\u00edmites con el ecosistema. Para el enfoque de salvaguarda del patrimonio inmaterial, esta pr\u00e1ctica ofrece un ejemplo de c\u00f3mo las comunidades resguardan sus saberes a trav\u00e9s de relatos performativos que se actualizan en funci\u00f3n de nuevas circunstancias. La transmisi\u00f3n oral, la participaci\u00f3n colectiva en los rituales y la vigencia del idioma moje\u00f1o contribuyen a mantener la pr\u00e1ctica como un bien cultural vivo, en el que la memoria no es solo recuerdo, sino gu\u00eda para las decisiones futuras."}}}, "nodegroup_id": "e6fee282-dca6-11ee-a1be-65cdbcd6a3c5", "parenttile_id": "bc279f8a-4128-4802-8240-4d92e10c9fdf", "provisionaledits": null, "resourceinstance_id": "b46c651e-da28-4ff1-bf1a-b69cb07e4842", "sortorder": 0, "tileid": "bfdff628-8c6d-439f-9b48-0edc49fc5a5d"}, {"data": {"64287b40-d3e9-11ee-a8c9-b13f60624ac2": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "<p>La pr&aacute;ctica relatada en el cuento de los Chanecunes enfrenta riesgos vinculados a la p&eacute;rdida progresiva de los marcos de interpretaci&oacute;n espiritual tradicionales. El olvido de los chanecunes por parte de la comunidad, como lo relatan los sabios, evidencia una fractura en la continuidad simb&oacute;lica entre los humanos y los seres del entorno. Este distanciamiento puede deberse a procesos de modernizaci&oacute;n, desplazamiento de pr&aacute;cticas religiosas ind&iacute;genas por doctrinas cristianas, y p&eacute;rdida de conocimiento intergeneracional. Esta desconexi&oacute;n pone en evidencia un cambio en el sistema de valores y en la l&oacute;gica de convivencia con el territorio, donde los seres no humanos dejan de ser reconocidos como actores con agencia. Si la comunidad deja de percibir a los chanecunes como parte constitutiva de su realidad, se debilita no solo el v&iacute;nculo espiritual, sino tambi&eacute;n la capacidad colectiva para interpretar y responder a fen&oacute;menos ambientales como las inundaciones o alteraciones clim&aacute;ticas.</p>\n\n<p>Tambi&eacute;n representa una amenaza la reducci&oacute;n del uso del idioma moje&ntilde;o trinitario en los rituales, di&aacute;logos con los esp&iacute;ritus y pr&aacute;cticas orales. El relato deja ver que la comunicaci&oacute;n con los chanecunes se dio exclusivamente en esta lengua, lo que confirma su importancia no solo como veh&iacute;culo de identidad, sino tambi&eacute;n como herramienta funcional en contextos rituales. La p&eacute;rdida de esta lengua implicar&iacute;a una ruptura en la eficacia simb&oacute;lica de los encuentros con lo no visible, afectando directamente la vigencia de la pr&aacute;ctica. Desde el enfoque de salvaguarda patrimonial, la transmisi&oacute;n oral y ling&uuml;&iacute;stica resulta vital para que estas manifestaciones contin&uacute;en siendo significativas. Como recomendaci&oacute;n, se sugiere fomentar espacios comunitarios intergeneracionales donde se recopilen, registren y compartan relatos como este en su idioma original. Tambi&eacute;n ser&iacute;a pertinente el dise&ntilde;o participativo de materiales educativos que integren estos saberes en las escuelas locales, as&iacute; como el acompa&ntilde;amiento a los sabios y portadores para el fortalecimiento de sus pr&aacute;cticas rituales y su reconocimiento como custodios del patrimonio vivo.</p>\n\n<p>&nbsp;</p>\n"}}}, "nodegroup_id": "64287b40-d3e9-11ee-a8c9-b13f60624ac2", "parenttile_id": "bc279f8a-4128-4802-8240-4d92e10c9fdf", "provisionaledits": null, "resourceinstance_id": "b46c651e-da28-4ff1-bf1a-b69cb07e4842", "sortorder": 0, "tileid": "f36cf0b4-6007-4a83-8226-2cc103cd5a09"}]}, {"resourceinstance": {"createdtime": "2025-09-24T08:15:29.229", "descriptors": {"en": {"description": "<Nominaci\u00f3n actual>", "map_popup": "Nacional", "name": "<C\u00f3digo principal>, <Nominaci\u00f3n actual>"}, "es": {"description": "<Nominaci\u00f3n actual>", "map_popup": "Nacional", "name": "<C\u00f3digo principal>, <Nominaci\u00f3n actual>"}}, "graph_id": "9b0e22c7-5c56-4be6-aa89-ae2632ba28e8", "graph_publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517", "legacyid": null, "name": "<C\u00f3digo principal>, <Nominaci\u00f3n actual>", "principaluser_id": 16, "resourceinstanceid": "ad383c2d-bc57-4075-86ed-45a30f978a10", "publication_id": "749f333a-8f2f-11f0-9b11-0243bbc25517"}, "tiles": [{"data": {"3bb3aefc-d658-11ee-95bc-e96777d12b77": {"en": {"direction": "ltr", "value": ""}, "es": {"direction": "ltr", "value": "region valles"}}, "590ea395-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39a-83c9-11ee-8351-b3afcc77ba3e": null, "590ea39b-83c9-11ee-8351-b3afcc77ba3e": "a9c65048-6928-4580-bd7b-b499e41a163d", "b629aa06-1e0f-11f0-b387-2d5439460cdb": "{'tipoM': 'PI', 'codU': '000000', 'num': '000000'}", "df26318c-f4e2-11ef-8b16-0242ac120006": ["a9c65048-6928-4580-bd7b-b499e41a163d"]}, "nodegroup_id": "590ea397-83c9-11ee-8351-b3afcc77ba3e", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ad383c2d-bc57-4075-86ed-45a30f978a10", "sortorder": 0, "tileid": "abfb802a-8943-4d4f-91d4-351675026e35"}, {"data": {"1e6d0c58-f4e3-11ef-af7b-0242ac120006": []}, "nodegroup_id": "2984c163-857c-11ee-a653-53ebd0470963", "parenttile_id": null, "provisionaledits": null, "resourceinstance_id": "ad383c2d-bc57-4075-86ed-45a30f978a10", "sortorder": 0, "tileid": "9055b353-e668-4e42-afcc-6a0ef82b29df"}]}]}}