( '"150 dances at the Cusco's whole Department Existed more than; But many of them have disappeared ...")

Folklore as Ciencia has for object to study in systematic form that tastes, think and the town expresses. One of the orders of study of this Ciencia, they are country dances.
Historically, the dance is the man's ancient creation. Some scenes of dances show us the cave paintings of Prehistoric Europe at the caverns. In Greece, as far as we have knowledge the obligatory teaching of the dance like a means of village education became established officially.

The ceramics of the ancient Peru materialized in glasses of Cultures Nazca and Mochica show scenes of dances, to the equal sign than in Paracas's textilería.

For it, at our territory they served Culturas's existence Pre-Columbian to create a cultural identity in their inhabitants. On the other hand, during the conquest the crash of two totally different cultures takes place. The Tawantinsuyana with cultural own bosses a pantheistic religion and the Hispánica with your Catholic religion. Of this bosses' juxtaposition the range of folkloric expressions happens, so much of the saw as if from the Coast, when having been once many of the elements brought by the conquerors were adapted at our country, like in the case of the attire, musical instruments and you dance. In short, everything was laced in the Ancient Peru to the social aspect. From there that one did not dance for simple fun and from there also the man's relation with nature.

The country dances in our means have a double character: Traditional and sacred; Because dances represent all those aspects of the life considered traditionally like valuable for the individuals and they are expressed with beauty and emotion, being borne from father to son intervening the social inheritance. In like manner, dances are a part of a great range of ceremonies that they reflect the conception of what's supernatural. According to the anthropologist Victor Navarro del Aguila, that Folklore's Cátedra at St. Anthony's National University of the Cusco, in their work was who established Popular dances of the Peru, written it is more than 40 years, state that 150 dances at the Cusco's whole Department existed more than; But many of them have disappeared, one half more or less, and other news have happened at a later time.

Let's see from now on an attempt of classification of the country dances in general:

1. FOR YOUR SOCIAL stratification, PROCEDENCE:

ABORIGINES, AUT6cTONAS Or NATIVES: Qanchi, Q'arachunchu.
CARED ABOUT Or OF MIXED RACIAL ANCESTRY:Contradance
MIXED: Saqra, Majeño.

2. FOR YOUR ORIGIN, antique, EPOCH:

INCA:K'achampa, Qarataka.
COLONIAL:Qhapaq Qolla, Black Qhapaq
REPUBLICANS:Auqachileno, Saqra.

3. FOR YOUR CONTENTS, SIGNIFICANCE, SUBJECT MATTER:

NUNS:Qhapaq Qolla, Black Qhapaq
WARRIORS:Q'arachunchu, K'achampa
CEREMONIALS:Tarpuy, Turkuy
IRONICAL, HUMORISTIC Or PANTOMÍMICAS: Chujchu, Sijlla.

4. FOR THE FORM:
COLLECTIVE: Majeños
PLACE MATS: Dancer, Ukuku.

Inside this folkloric pile that he has the Cusco the following can indicate between the main dances: Auqa Chileno, Majeños, K'achampa, Q'ara ch'unchu, Qhapaq Ch'unchu, Qanchis, Contradanza, Tinta's Carnaval, Chumbivilcana, Carnaval Cusqueño, Tarpuy, Qhapaq Qolla, Qhapaq Negro, Albazo, Sargentos, Wifalas or Sijlla, Chujchu, Waka Waka, Qoyacha, Saqra, Qaratakas, Panadero, Saqsa, St. Roque, Combapata's Carnaval, Waynachura, Ch'unchachas, Danzaq, Uameros, Ch'ekamarka, Oqamujucha, Toro Baile, Wallatas, Antitusuy, Machumachu, Herreros, Diablitos, Barberos, Negrillos, Tucumanos, Ampay's Carnaval, Yunkeño, Inkachu, Sarge, Carnaval of Q'atqa and many others dances, which until now have not been still properly studied and catalogued, which is why his materialization plucks up urgent need. The author comes accomplishing studies on the individual, that we waited himself concretice in the future.