One of the most referenced studies about the Diablada is the 1961 book of Julia Elena Fortún, La danza de los diablos (The dance of the devils), in which the theory of a relationship between this dance and a Catalan dance named Ball de diables, was suggested; more specifically with the elements used in the localities of Penedès and Tarragona.[20][21] Julia Elena Fortún, unlike other historians in the Peruvian side, disagrees with the idea of considering the Diablada as a product of the introduction of the autos sacramentales in the Andes, because among the ones studied by her, the thematic of the devil and his temptations was not contemplated.[22]