Editing Cueca (section)

== History in Chile ==
In Chile, the cueca developed and spread in bars and taverns,<ref>[[Eugenio Pereira Salas|Pereira Salas, Eugenio]] (1941). [http://www.memoriachilena.cl/archivos2/pdfs/MC0014783.pdf ''Los orígenes del arte musical en Chile''] (PDF). Santiago: Imp. Universitaria. pp. 272-273. Retrieved 10 May 2015.</ref> which were popular centers of entertainment and parties in the nineteenth century.<ref>[[Alcide d'Orbigny|D'Orbigny, Alcide]], II, 1839-1843: 336. Cf. Merino. 1982: 206. D'Orbigny hace referencia a las chinganas que se hallaban en el barrio de ''El Almendral'' en Valparaíso durante 1830: «son casas públicas [...] donde se beben refrescos mientras se ve danzar la cachucha, el zapateo, etc., al son de la guitarra y de la voz; es un lugar de cita para todas las clases sociales, [...], pero donde el europeo se encuentra más frecuentemente fuera de lugar».</ref> During Fred Warpole's stay in Chile between 1844 and 1848, he described some characteristics of the dance: [[guitar]] or [[harp]] accompaniment, hand drumming or [[tambourine]] for rhythm, high-pitched singing, and a unique strumming pattern where the guitarist strums all the strings, punctuated by a slap on the guitar body.<ref>Walpole, Fred. I. 1850:105-106. Cf. Merino 1982:207.</ref>

The Chilean cueca is not just Zamacueca; it is a blend of different dances of the time, with Zamacueca being just one influential aspect. The Chilean cueca is highly structured in terms of dance, lyrics, and music, akin to early European dances from colonial times. While the genre does incorporate some Afro-oriented aspects like Zamacueca, cueca represents a fusion of various genres. To understand its evolution, one should observe the different Spanish, European, and popular dances of the era. The Arab-Andalusian influence is considered the most significant contribution to cueca in all aspects—dancing, singing, and tempo—and is regarded as its primary root.

During the second half of the nineteenth century, cueca spread to various [[Latin America]]n countries, where the dance became known simply as the "[[Chilena (musical genre)|chilena]]" (Chilean).<ref name=":2" /> In Argentina, cueca first appeared in [[Cuyo (Argentina)|Cuyo]], in the central west of the country near the Chilean border, documented as early as around 1840. Unlike the northeast and central west, in [[Buenos Aires]] the dance was known as "cueca" rather than "chilena", with documented presence from the 1850s onward. Similarly, in Bolivia, like much of Argentina, the dance was referred to as "chilena".<ref name="folkloretradiciones.com.ar" /> Chilean sailors and adventurers carried cueca to the Mexican coast,<ref>"Cueca." Britannica Academic, Encyclopædia Britannica, 26 Aug. 2011. academic.eb.com/levels/collegiate/article/cueca/28125#.</ref> specifically in [[Guerrero]] and [[Oaxaca]], where the dance was also called "chilena".<ref>{{cite book |last1=Vega |first1=Carlos |title=Las danzas populares argentinas |date=1986 |publisher=Instituto Nacional de Musicología 'Carlos Vega,' Dirección Nacional de Música, Secretaría de Cultura, Ministerio de Educación y Justicia |isbn=978-950-9726-03-1 |pages=11–41 |language=es |chapter=La Zamacueca Cueca Zamba Chilena Marinera}}</ref><ref>{{cite journal |last1=Stewart |first1=Alex |date=June 2013 |title=La chilena mexicana es peruana: Multiculturalism, Regionalism, and Transnational Musical Currents in the Hispanic Pacific |journal=Latin American Music Review |volume=34 |issue=1 |pages=71–110 |doi=10.7560/LAMR34103 |jstor=43282542 |s2cid=186972683 |id={{ProQuest|1448190733}}}}</ref> In Peru, the dance became immensely popular during the 1860s and 1870s<ref>León, Javier F. (2014). [https://books.google.com/books?id=liV8AwAAQBAJ&dq=marinera+chilena&pg=PA923 «Marinera»]. ''Bloomsbury Encyclopedia of Popular Music of the World - Genres: Caribbean and Latin America'' (en inglés). vol. 9 (1.ª edición). pp. 451-453. {{ISBN|978-1-4411-4197-2}}. Consultado el 11 de julio de 2015. «By the 1860s, a Chilean variant [of the ''zamacueca''] known as the ''chilena'' or ''cueca'' was the most prevalent type of ''zamacueca'' in Peru. After the War of the Pacific (1879-83) and the Chilean occupation of the city of Lima, the name of the dance was changed to ''marinera'' in honor of the Peruvian navy and it was declared the national dance of Peru».</ref><ref>Tompkins, William David (s/f). «Afro-Peruvian Traditions». ''The Garland Encyclopedia of World Music'' (en inglés). «Probably the most important new national musical genre of the nineteenth century was the ''zamacueca'' (or ''zambacueca''), which appeared in coastal Peru not long after 1800. Its choreographic theme, shared with dances derived from it, was a courtship pantomime performed by a man and a woman amid a crowd that accompanied them with rhythmic clapping and supportive shouting. As the dancers advanced and retreated from each other, they rhythmically and provocatively flipped a handkerchief about. The instrumentation varied, but frequently consisted of plucked stringed instruments and a percussive instrument such as the cajon. [...] The ''zamacueca'' became popular in many Latin American countries during the mid-1800s, and numerous regional and national variations developed. In the 1860s and 1870s, the ''zamacueca chilena'', a Chilean version of it, was the most popular form in Peru».</ref> and was also known as the "chilena".<ref name=":0" /><ref name=":1" /><ref>[[Miguel Valle Riestra|Valle Riestra, Víctor Miguel]] (≥ 1881). «Testimonio del coronel EP Víctor Miguel Valle Riestra sobre la destrucción de Chorrillos». Consultado el 31 de octubre de 2014. «Las coplas de la [...] chilena, se escuchaban al mismo tiempo que las oraciones de los moribundos»</ref>

===Twentieth century===
During the twentieth century, cueca became associated with the common man in Chile, and through them, the dance spread to pre-industrialized urban areas such as La Vega, Estación, and Matadero, which were on the outskirts of [[Santiago]] at the time.<ref>Claro Valdés, Samuel, Carmen Peña Fuenzalida y María Isabel Quevedo Cifuentes (1994). [http://www.memoriachilena.cl/archivos2/pdfs/MC0014750.pdf ''Chilena o cueca tradicional''] (PDF). Santiago, Chile: Ediciones Universidad Católica de Chile. p. 543. {{ISBN|956-14-0340-4}}. Consultado el 22 de mayo de 2015.</ref> In the 1970s, cueca and [[Mexican music in Chile|Mexican music]] enjoyed similar levels of popularity in the Chilean countryside.<ref name="Danne1975">{{cite journal |last1=Danemann |first1=Manuel |date=1 January 1975 |title=Situación actual de la música folklórica chilena. Según el 'Atlas del Folklore de Chile' |trans-title=Current situation of Chilean folk music. According to the 'Atlas del Folklore de Chile' |url=https://revistamusicalchilena.uchile.cl/index.php/RMCH/article/view/11394 |journal=Revista Musical Chilena |language=es |volume=29 |issue=131 |pages=38–86}}</ref><ref name="OmarMarco2017">{{Cite journal |last1=Montoya Arias |first1=Luis Omar |last2=Díaz Güemez |first2=Marco Aurelio |date=2017-09-12 |title=Etnografía de la música mexicana en Chile: Estudio de caso |journal=Revista Electrónica de Divulgación de la Investigación |language=es |volume=14 |pages=1–20}}</ref> Due to being distinctly Chilean, cueca was chosen by Pinochet's military dictatorship to be promoted.<ref name="OmarMarco2017" />

Cueca was officially declared the national dance of Chile due to its significant presence throughout the country's history, announced via a public decree in the Official Journal (Diario Oficial) on November 6, 1979.<ref>Ministerio Secretaría General de Gobierno (06 de noviembre de 1979), [http://www.leychile.cl/Navegar?idNorma=224886&idVersion=1979-11-06 «Decreto 23: Declara a la cueca danza nacional de Chile»], ''Biblioteca del Congreso Nacional de Chile'', consultado el 1 de marzo de 2011.</ref> Emilio Ignacio Santana, a cueca specialist, argues that the dictatorship's appropriation and promotion of cueca had negative effects on the genre.<ref name="OmarMarco2017" /> According to Santana, the dictatorship's endorsement resulted in the wealthy landlord ([[huaso]]) becoming the icon associated with cueca, rather than the rural laborer.<ref name="OmarMarco2017" />

===Cueca sola===
{{Interlanguage link multi|Cueca sola|es}} is a solo variant of the cueca created in 1978 by [[Violeta Zúñiga]] and other members of the [[Association of Families of the Detained-Disappeared]] (AFDD) as a non-violent protest against the Pinochet dictatorship. In this form of cueca, a woman ([[arpilleras|arpillerista]]) dances alone while holding a photograph of her [[desaparecidos|disappeared]] loved one. 

During the television [[campaign advertising]] the "No" option in the [[1988 Chilean national plebiscite]], a group of women (played by real-life relatives of the disappeared) performed the cueca sola. This powerful display of resistance was later re-enacted by surviving members of the group for the 2012 [[Academy Award for Best International Feature Film|Academy Award]]-nominated film [[No (2012 film)|''No'']], directed by [[Pablo Larraín]]. 

The symbolic gesture of cueca sola inspired the 1987 song "[[They Dance Alone|They Dance Alone (Cueca Solo)]]" by [[Sting (musician)|Sting]].