Folklore

Music and Dance

Mapuche Kultrum

During the period between early agricultural settlements and to the late pre-Hispanic period, northern Chile was a region of Andean culture that was influenced by altiplano traditions spreading to the coastal valleys of the north. While southern regions were areas of Mapuche cultural activities. Through the colonial period following the conquest, and during the early Republican period, the country’s culture was dominated by the Spanish. Other European influences, primarily English, French, and German began in the 19th century and have continued to this day. German migrants influenced the Bavarian style

Frutillar

rural architecture and cuisine in the south of Chile in cities such as Valdivia, Frutillar, Puerto Varas, Osorno, Temuco, Pucón and Puerto Montt.

Music in Chile ranges from folkloric music , popular music and also to classical music. Its large geography generates different musical expressions in the north, center and south of the country, including also Easter Island and Mapuche music. The national dance is the cueca. Another form of traditional Chilean song, though not a dance, is the tonada. Arising from music imported by the Spanish colonists, it is distinguished from the cueca by an intermediate melodic section and a

Victor jara

more prominent melody. Between 1950 and 1970 appears a rebirth in folk music leading by groups such as Los de Ramon and Los Huasos Quincheros among others with composers such as Raul de Ramon, Violeta Parra, Nicanor Molinare and others. In the mid-1960s native musical forms were revitalized by the Parra family with the Nueva Canción Chilena, which

Violeta Parra

was associated with political activists and reformers such as Victor Jara, and by the folk singer and researcher on folklore and Chilean ethnography, Margot Loyola.

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