The debate about the patrimonial identity of the Diablada concerns its roots as well.[1] Chilean and Peruvian organizations suggest that since this dance is inspired in the Andean civilizations previous to the formation of the current national borders, it should belong equally to the three nations and other Andean states such as Argentina and Ecuador as well. Bolivian cultural organizations and government label this as an "unlawful cultural heritage appropriation" and consider that the declaration of the Carnaval de Oruro as one of the Masterpieces of the Oral and Intangible Heritage of Humanity gives Bolivia and the city of Oruro support on this claim.[11] Bolivian scholars such as the professor of ethnomusicology and cultural heritage, Diego Echevers Tórrez, express that the Diablada is not the mere representation of the devils in a defined space, but constitutes the cultural heritage of the city of Oruro with specific actors and environment.[12]