Overtime, the mask models were influenced by Tibetan masks as well as elements from Native American cultures such as Sechin, Chavin, Nazca, and Mochica.[1] These masks were traditionally made by each dancer or bought from a Bolivian mask-maker named Antonio Vizacarra, but in 1956 the brothers Alberto and Ramón Velásquez established a workshop in Puno where masks were created and sold for the event.[30] Also, the Diablada was at first small and reserved for important religious dates in the Catholic Church. As the dance further developed, the devil dancers began to accompany groups of Sikuris, which are an assemblage of musicians that play the Siku (the traditional Andean panpipe). Among the first Sikuris that surged at this point were those of the Barrio Mañazo (1892) and Juventud Obrera (1909).[31] Nevertheless, anthropologist José María Arguedas suggests that eventually the role of the Sikuris was minimized to the point that they began to accompany the devil dancers under the new name of Sicu-Morenos.