Culture
The folk culture of Chile has mostly Spanish origins, especially the huaso culture of the central part of the country, as it arose in the colonial period due to cattle ranching. It could therefore be considered an offshoot of Spanish popular culture of the 17th an 18th centuries as are the folk cultures of the rest of Latin America and also, its direct descendents, Andalusian and Castilian folk cultures. The Andalusian forms in the huaso dress is apparent to Europeans and the music and dances show Spanish origins, even though both have been adapted and are distinct from dress, music and dance in Spain today.
The ranches called fundos, where the huasos lived and worked show strong similarity with Spanish vernacular architecture, especially in the canal roofs and the interior courtyards. The fundo is now thought of as traditional Chilean architecture and is associated with the huaso.
As well as the huaso culture of the central part of the country can be seen the German, Chilote, Croatian and Magallanic culture in the south, and the Andean culture in the north.
Chile's Nueva Canción movement in modern Chilean folk culture is adapted from the folk music of the north, not of the brass bands but of the panpipes and quenas. The traditional Chilean folk music of the huasos were also popularised, particularly the tonadas, folk songs sung with a guitar, mainly on the topics of love. Several folk groups who dress in huaso costume became famous nationwide.
The folk culture that is mainly associated with the Chilean national identity is that of the huasos as that is where the Chilean state was form and it spread northwards and southwards in the late 19th century.
Read more about this topic: Chilean People
Famous quotes containing the word culture:
“The future is built on brains, not prom court, as most people can tell you after attending their high school reunion. But you’d never know it by talking to kids or listening to the messages they get from the culture and even from their schools.”
—Anna Quindlen (b. 1953)
“The highest end of government is the culture of men.”
—Ralph Waldo Emerson (1803–1882)
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)