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:
“A culture may be conceived as a network of beliefs and purposes in which any string in the net pulls and is pulled by the others, thus perpetually changing the configuration of the whole. If the cultural element called morals takes on a new shape, we must ask what other strings have pulled it out of line. It cannot be one solitary string, nor even the strings nearby, for the network is three-dimensional at least.”
—Jacques Barzun (b. 1907)
“As the twentieth century ends, commerce and culture are coming closer together. The distinction between life and art has been eroded by fifty years of enhanced communications, ever-improving reproduction technologies and increasing wealth.”
—Stephen Bayley (b. 1951)
“We do not need to minimize the poverty of the ghetto or the suffering inflicted by whites on blacks in order to see that the increasingly dangerous and unpredictable conditions of middle- class life have given rise to similar strategies for survival. Indeed the attraction of black culture for disaffected whites suggests that black culture now speaks to a general condition.”
—Christopher Lasch (b. 1932)