YEAR OF STRENGTHENING NATIONAL SOVEREIGNTY

ANDES UNIVERSITY OF CUSCO

FACULTY OF HEALTH SCIENCES
PROFESSIONAL SCHOOL OF PSYCHOLOGY

THEME:
CHICHA PHENOMENON
SUBJECT:
Social Psychology.
TEACHER:
Jose Antonio Paredes Gordon.
MEMBERS:
● Margareth Alexandra Carrasco Gutierrez
● Milén Mariela Llamoca Condori
● Leon Chayña Kevin William
● Pocohuanca Terrazas Dafne Gabriela
● Ramirez Gonzales K. Alexsandra
● Velasquez Villena Paula

Fourth

2022-II
INDEX
INTRODUCTION
1.1 Background of the study
1.1.1 Origin of chicha culture
1.2 Conceptual Framework
1.2.1 Culture
1.2.2 Stigma
1.2.3 Alienation
1.2.4 Syncretism
1.2.5 Chicha
1.2.6 Phenomenon
1.2.7 Chicha phenomenon
1.3 Contributing factors
1.3.1 Migration process in Peru
1.3.2 Pluriculturality
1.3.3 Informality
1.3.4 The mixture (syncretism)
1.3.5 The flexibility of norms and values
1.3.6 Amalgam of cultures
1.4 Dimensions of chicha culture
1.4.1 The art
1.4.1.1 The music (exponents)
1.4.1.1.1 Evolution (huayno, cumbia, chicha, tecnocumbia)
1.4.1.1.2 Subclassification and sectorization
1.4.1.1.3 The recreation of identity
1.4.1.2 Graphic design
1.4.1.3 Painting (exponents)
1.4.1.4 Sculpture (exponents)
1.4.1.5 Literature (exponents)
1.4.1.6 Dance (exponents)
1.4.1.7 Architecture (exponents)
1.4.1.8 Cinema (exponents)
Gastronomy (food)
1.4.3 Aesthetics
1.4.3.1 Colors
1.4.4 Fashion
1.4.5 Press (eye, aha, the Chinese, etc.)
1.4.5.1 Cheap sensationalism: tabloid press
1.4.5.2 Manipulation of policy in chicha press
1.4.6 Policy
1.4.7 Television
1.4.7.1 The talk shows
1.4.7.2 Garbage programming (this is war, combat, etc.)
1.4.8 Language
1.4.8.1 Argot
1.4.8.2 Jargon
1.5 Current situation of Chicha Culture in Peru
1.6 Threat of combi culture
Discussion
Contextualization
Conclusions
Suggestions
Bibliographies
Attachments
 INTRODUCTION
In these years of the turn of the century, at home, concerns about the so-called were activated.
"chicha culture" in relation to what was happening in two different fields: politics and culture.
First, in the political realm, three events marked the political arena and national attention to
end of the century: 1) the newspapers known as chicha became pamphlets of lies,
of deceit and the deliberate concealment of information; 2) the fraudulent re-re-
election of President Fujimori, who appealed to all kinds of tricks, conspiracy, blackmail
and deceit was anointed with a third unconstitutional mandate; 3) the sudden conversion of
opposition parliamentarians to the government, the so-called turncoats, who reneged or abjured
of the principles that led them to parliament
1.1 Background of the study
1.1.1 Origin of chicha culture
For more than 20 years, from the 1980s to 2000, the negative connotation of
Chicha has been established to describe a variety of situations associated with behaviors.
illegal, outside of established situations, poorly done or informal. In this way, the word
chicha acquires a negative content value. We will see, read and/or listen to
some political analysts and experts from all walks of life, especially in the
media, where the word "chicha" is relevant to all fields.
1.2 Conceptual Framework
1.2.1 Culture
Culture refers to the set of material and spiritual goods of a social group that is transmitted.
from generation to generation in order to guide individual and collective practices. Includes
language, processes, ways of life, customs, traditions, habits, values, patterns
tools and knowledge. The function of culture is to ensure survival and facilitate
the adaptation of subjects in the environment.
Each culture embodies a worldview as a response to the reality experienced by the group.
social. Therefore, there is no social group lacking culture or 'uncultured'. What exists is
there are different cultures and, within these, different cultural groups, even with respect to
to the dominant culture.
The term culture is also used in restricted senses, either to refer to values and
habits that govern specific groups, or to refer to specialized areas of
knowledge or activity. In both cases, the word culture is always accompanied by a
qualifying adjective.
1.2.2 Stigma
In sociology, stigma is seen as the behavior, trait, or condition that one possesses.
an individual, and generates their inclusion in a social group whose members are seen as
inferior, or unacceptable. The reasons for contempt or discrimination are of origins
racial, religious, ethnic, among others.
1.2.3 Alienation
The concept appears in various sciences. Generally, it can be said that alienation
consists of the loss of something that is one's own or that constitutes the essence.
As a result, the alienated subject acts in a way that is different from what is expected or anticipated.

According to the Royal Spanish Academy (RAE), alienation can occur when a
a person or a group modifies their consciousness until it becomes contradictory to that which
he is waiting for his condition. A worker who votes for a political party that promotes free
market, the adjustment and the cut of state services can be considered as a
victim of alienation: due to the action of the media or by another mechanism,
It is about an individual who votes against the interests of their class.
As alienation is called the process by which an individual becomes
someone alien to themselves, who feels strange, who has lost control over themselves.
In this sense, alienation is a process of transformation of consciousness that can be
give so much to an individual as to a community. As a product of alienation, the
people behave contrary to what was expected of them due to their condition
or its nature.
1.2.4 Syncretism
Syncretism is known as the reconciliation of different doctrines or positions. Syncretism,
in this way, it implies the fusion of different elements in unions that, at times, lack
of an internal coherence.
Syncretism is a usual and fundamental mechanism in the constitution of cultures.
human beings. It has occurred throughout History in various areas, generally among the
cultures or civilizations forced geographically or historically to coexist for a long time
time.
In the case of the conquered peoples, their culture is not completely replaced by that of the
conquerors, but assimilated. This means that part of it survives within the culture
dominant, changing it forever.
1.2.5 Chicha
Chicha is the most traditional and emblematic drink of Peruvian gastronomy. With roots
ancestral, this drink was revered by the Incas and over time has become
as a symbol of pride for regions like Arequipa, which yesterday celebrated with 'The chicha festival'
the 481st anniversary of the Spanish founding of the White City.
Chicha is a fermented beverage made from cereals, fruits, or other plant-based ingredients.
They confer a special flavor and a certain degree of alcohol that captivates the palate and uplifts the spirit.
In addition, it plays a fundamental role as a factor of cultural identity.
1.2.6 Phenomenon
The word phenomenon refers to extraordinary or surprising things, for example: 'your new
An electronic device is a phenomenon.
1.2.7 Chicha phenomenon
It arises as a manifestation of the migratory phenomenon from the Andean cities to the
coastal cities, especially Lima.
1.3 Contributing factors
1.3.1 Migration process in Peru
The migration that began in the 50s is recognized as a new and distinct process.
We will refer to 3 periods that marked significantly:
The first refers to the social and spatial origin of the migrants; since they do not belong
to the main capitals and mountainous and coastal provinces and neither to the middle classes
urban areas of merchants, professionals, and employees from those same capitals and provinces.
Secondly, unlike the previous two migrations, the one that began in the 50s does not
it concludes by focusing exclusively on Lima but radiates, as it is known, not only to
the main capitals of the coast as well as those of the highlands and, in the last decade, to the eyebrow of
jungle. A third difference of the latest migration compared to the previous ones and the most
notable is the extraordinarily massive population contingent that moved from the countryside
and the Andes toward Lima and the urban centers of the country. This migration literally enveloped
millions of Peruvians in the course of two or three decades.
It was not, therefore, an episodic, intermittent, and minority process like the previous ones but
a massive, continuous, and global one. It is not by chance, in this sense, that reference is made to the terrified

urban image of the 'invasion' to account for its magnitude. These three characteristics, but
not only they define the migration we talk about as the mode of expression of the rupture
the most important historical event of Peruvian society in this century and that, ultimately, not only
it splits our vision of the century between the eras of rural society and urban society, but
that opens the most decisive trends and directions of the country's evolution, whatever it may be
analysis plan in which we find ourselves. If Peruvian society until the 50s was a society
rural and Andean, it becomes evident that the division between the population that remains and that which migrates

it involves a rupture in the heart of value orientations, behavioral patterns,

the modes of consciousness and social practice that gave meaning to the most intimate and
subjective governing mechanisms of the country's evolution.
When it has been attempted to explain the causes of the breakdown of rural society, the waters have
initially divorced into two types of hypotheses. The first of these explained the
migration stemming from the process of modernization, understood as an effect of power
attraction of Lima and its prestige, the emergence of industry and its possibilities, of the
irradiation of the State and its services or the extent of commercial exchanges. The
another, on the other hand, was aimed at revealing the mechanisms of expulsion from rural society such as
internal determinants of migration: the conflict between population growth of the
Andean and communal population and the scarcity of distributable lands, the appropriation by the
landowners of the communal domains, the extreme rigors of peasant servitude.
Over the years, a new interpretation, which was intended to be slow and persuasive,
he constructed a third explanation based on different mixtures or 'interactions' of the
attraction and repulsion, of the “external and internal” mechanisms. I certainly do not doubt the power
explanatory of these hypotheses. What I resent about them is their pretension to explain the meaning
from the decision to migrate solely due to the 'objective conditions'. What ultimately
unifying such hypotheses is the dismissal of the subjective scenario in which it ended not only
process rather than configure; that is to say, to give meaning to the migratory decision. Ultimately,
accounts, none of those hypotheses explain the central problem of what subjectively led
to choose between permanence or migration. Except for the fact that in an involuntary expression of
racism perceives the rural population as a 'blank slate', a mechanical 'product of
the circumstances" or devoid of the subjectivity and free will that is attributed to the others
human beings.
1.3.2 Pluriculturalism
The "chicha" culture began in the young towns of Lima, those dirty and disorganized ones.
peripheral neighborhoods. In fact, in successive waves, colonial Lima was gradually adorned little by little.

little by little with a growing number of new poor neighborhoods, created from scratch by migrants
Andeans, with everything they could find: cardboard, mismatched boards, iron tiles,
plastic sheets... First in the 1950s, in search of work and a better life
dignified (at that time, the Indians were employed as servants in many estates,
agricultural properties managed by whites). Then, in the years from 70 to 2000, as
result of the terrible events linked to terrorism and armed violence between
the army and the guerrilla movement. Thus, in about twenty years, Lima will triple its
size: the migrants of the rural exodus are no longer a minority, but a majority in the capital.
The most representative aspect of this culture is undoubtedly music: a mix has been added of
Colombian cumbia and Andean rhythms like huayno, the rhythm of American bigbox, of
hip hop, and the sounds have been reordered to make them more 'modern'. Therefore, this
Non-traditional cumbia is in vogue in the poor neighborhoods of Lima, and it is spreading.
quickly across the country. The posters and billboards of these 'chicha' groups (for
for example, Los Shapis, the Yaypén Brothers) show fluorescent colors and almost
psychedelic. Most of the modern cumbia heard throughout Peru belongs to the
chicha culture.
1.3.3 Informality
About 60 percent of the economically active population (EAP) is dedicated to the informal sector, which contracts or expands.

being in some cases a sort of seasonal work that moves from place to place to
based on market demands.
Let us remember, for example, the hundreds of street vendors that spring up during the procession of the Lord.

of the Miracles, in the vicinity of the Pacific Fair, or on the beaches of Lima during the
summer. A clear example of this: For a few years now, they have been very crowded by the
Lima parish, the healing masses celebrated by Father Manuel Rodríguez in the Church
San Miguel Archangel of Maranga, where hundreds of people from various backgrounds attend.
places in the capital and even in provinces and abroad.
1.3.4 The mixture (syncretism)
Cultural syncretism was experienced when people in the neighborhoods began to understand each other despite

of the existing confrontations, and they experienced that the existence of an "other" different from
they in their ways of speaking, of being, of listening to their music or enjoying their food,
It enriched, obviously it was not something predestined or conscious, public spaces played
a very important role in this game of chess and power where public space is
it turned into a free and open space for the interaction of all kinds of people. By
supposedly this brought about discussions and many conflicts but the most important thing, a
cultural learning of daily and everyday practice, helping with this to recognize oneself with
others. Regarding the so-called chicha culture, it emerges under the doors of innovative music.
Chicha, with this I do not intend to say that the creation of a new culture different from the
Lima province that already existed, but rather expanded its scope, its general aspects,
until reaching the famous musical art. This new artistic theme based on expression that
wants to showcase Lima province, based on what makes them feel identified,
not to mark territory, but simply to enjoy an art or a branch of
this in which they will express what they want to say, their feelings, aspirations, desires, and their way of

be.
It is very true, yes, that chicha music can be found throughout Peru, but it is not correct to say
that each person has a chicha spirit or anything like that, this is an idea of tastes
personal preferences and if there are people who do not like chicha, well that is their wish. This is because

Chicha music is a mix of foreign musical creations, such as cumbia and salsa.
tropical music, and other musical genres, and it is also true that throughout Peru the music
Chicha is not the same, each national macro region contributes a little to the music, to the speech,
the new words, the dialects, the new themes, their own rhythm or particular flavor,
generating a wide range of variations of the same type of fly, which besides
new, it is very large, popular and of different shades.
1.3.5 The flexibility of norms and values
It refers to the unscrupulous, outside of the norms, etc. They were socially constructed, we
they extend in all areas of society: both social, political, economic, and cultural. And,
of course, as I have already pointed out, in certain contexts one of its aspects is highlighted.
In the last two years, it is the political sphere that is on the national scene, it is here where
We have been able to realize some of the dimensions related to its negative meaning.
1.3.6 Amalgamation of cultures
Chicha as a blend of cultures.
However, we can say that chicha is rather the syncretism, the mixture of all the
Cultures of the country nested in the capital city. It is not exactly Andean, although it is.
mostly, it is not properly urban either, it is the mixture and intertwining of all the
cultures, including the Creole culture, from Lima.

In such a way that, in certain contexts, some aspects of "culture" have been privileged.
chicha": which is strictly linked to what is done poorly, unscrupulous, criminal; anomic, etc.
That is to say, its negative sense is the most widespread.

1.4 Dimensions of chicha culture

1.4.1 The art
1.4.1.1 Music (exponents)
Chicha music is a musical genre that emerged in the 1960s, after
especially in Lima there were fundamental social changes such as migrations
massive and that of the neighborhoods. This musical genre is the product of a multiplicity of
meeting of local and global cultures; highlighting among the most important the huayno, the
cumbia and diverse Cuban rhythms. Such diversity seems to be what would cause the vitality that
the chicha has remained to this day. All of this made it possible for people, and especially the
who arrived from different places to the capital, the working people, as they used to be called, they
felt identified with this new genre that was coming strong, as the lyrics of the
songs, the rhythm and the style conveyed a lot of feeling and also for that reason it would be
rated as 'the music of the people'.
Among the most important exponents of the Chicha music era were: los Shapis,
Joy, Red Painting, Chacalon and the New Cream, Vico and his Group Caress, The Mirlos, etc.
All these groups contributed their themes, presentations, and energy to move this forward.
movement that began in the 1980s.
1.4.1.1.1 Evolution (huayno, cumbia, chicha, tecnocumbia)
Chicha music or tropical Andean music is the fusion of huayno with coastal cumbia, it is
it brings together traditional elements of the Andean world with instrumentation and sounds of the
costa (Romero and Raez, 2007).
Chicha music is also known as modern huayno, Andean cumbia, chicha folk,
jungle cumbia (Montoya, 1996). Since it consists of a particular instrumentation, such as
the main instrument is the electric guitar, also found is the bass, The chicha music
it is also known as modern huayno, Andean cumbia, folk chicha, jungle cumbia
(Montoya, 1996). Since it consists of a particular instrumentation, as the main
the electric guitar is played, also found are the bass, congas, güiros, bongos,
timbales, choirs and lead vocals, accompanied by a unique choreography or dance empathetic with
the audience.
1.4.1.1.2 Subclassification and sectorization
1.4.1.1.3 The recreation of identity
Chicha culture is part of a cultural identity if it is defined as such.
collective identity linked to a human group and a defined territorial space (Morón,
2012). According to Salmón (2009), chicha "traverses the entire Peruvian territory and has become
in what now distinguishes Peruvians as Peruvians and allows them to integrate by ceasing to
along the traditional rivalries between coastal people, mountain dwellers and jungle inhabitants or between northerners and

southerners" (p.102). However, there are still prejudices about the elements of the culture and
the term 'chicha' is still related to the inferior.
1.4.1.2 Graphic Design
The chicha poster is one of the most well-known expressions of Peruvian folk art,
characterized by the use of letters in fluorescent colors, materialized in posters that
they are plastering throughout the city to announce Andean cumbia concerts.
It is the chicha poster, a manifestation of Peruvian popular art, where its DNA is mixed by
similar to the design and the painting, along with the joyful rhythm of Andean psychedelic cumbia. It is also the
expression of the cholo, of the Peruvian of the people, of the 'chicha', with its colors, its jargon, its music,

gastronomy and experiences,

1.4.1.3 Painting (exponents)
The chicha aesthetic is shaped as a new creative sensitivity from the popular.
driven by young people and previous generations from the chicha music scene,
like another legion of young graphic and plastic artists, children of migrants, who have grown up
listening to this musical genre and adopting this creative form as a way of
claiming the popular from the graphic (Ruta Mare, Carga Máxima, Nación Chicha).
All of them create their artistic works assuming the characteristic of chicha, they give a
coverage of all areas of Lima.
1.4.1.4 Sculpture (exponents)
1.4.1.5 Literature (exponents)
regarding literature as the artistic practice where chicha manifests most recently
his current face when it should have been the first. This if we don't consider literature as the lyrics.
from songs, to street speech or to oral discourses in general, for this reason it is suggested
that the chicha literature has not yet been born. a chicha language that has not been developed
cavalierly to the literature that is different from the brazen language of Oswaldo Reynoso, from
great Cromwell Jara or the marginal Palm Sunday, who represent stadiums
previous in the process of the evolution of chicha. Clearly, there are poets and narrators.
girls like the members of the generation of the 70 with the Hora Zero movement and Eloy
Jáuregui, but we are still waiting for the publication of contemporary chicha speeches that
surely there are, anonymous and marginalized.
1.4.1.6 Dance (exponents)
There is little documentation about the subject of Chicha dance. It is known that it is a
dance of the culture of the Andean Region that is undergoing a process of change as
Resulting from its historical evolution, it is possible to study it from another functional and structural perspective,

by being consistent with the physical and human context in which it is inscribed.
the chicha dance fulfills a very important role as a cultural manifestation and
ancestral because it has managed to transcend in time, it has generated an identity and has benefited
the region on the national stage; leaving it well positioned by making an impact and
contributing to a heritage legacy for society and the development of culture
original.
1.4.1.7 Architecture (exponents)
Chicha architecture is the one that combines the local with the rustic and the provincial.
artisanal with the technological. The traditional with the modern. It is an architecture that seeks
to somehow represent this new identity of the newcomer, of the provincial who
arrives in Lima, etc. Because chicha (stylistic current) is defined in Lima, in architecture.
overcoat. And from there, for the same reason that it emerges in this city, it spreads throughout the
country.
1.4.1.8 Cinema (exponents)
"Cine Chicha": low-budget movies made in provinces, a new current in cinema
Peruvian that is slowly gaining followers. These films made in places as varied as
Puno, Cajamarca or Iquitos, using local actors, basic equipment, with little money but
with great enthusiasm. These films have arrived in Lima thanks to the film clubs and the centers
cultural events, but very few have seen them. Their greatest success has been in the provinces, where
they have mostly been blockbusters.
There are important movies and documentaries about Chicha music, where we can
to learn more about this genre, about Peruvian popular culture and the experience of the migrant in
capital, in order to understand more about Chicha culture in detail. How
The King
The World of the Poor (film 1985)
Juliana (movie 1989)
Chicha City (documentary 2005)
Gastronomy (food)
There is still more 'meat' to register because the scholars of local cuisine have
found that while there are no strictly chicheros dishes, the new Limeños prefer
mix traditional dishes in combinations that seem impossible to many
to consume. They call it 'chicha food'. Historically, it is noted that such dishes were
prepared with what was not normally consumed, with what was leftover, like the entrails.
Although now, these dishes constitute a large part of Peru's culinary wealth.
Chicha culture is expressed even in food where it is possible to find mixtures that
they would be unacceptable for a good Limeño gourmet, since for example, after a
wantan soup (a typical dish of Chinese Peruvian food), served on the same plate as ceviche
with papa a la huancaína and noodles in green sauce, placing a fried egg on top; the
known as "combinado", which is a typical expression of the chicha. This expresses on one hand the
complex interaction of cultural traits unique to different places in the country, such as
it shows another attempt to construct a new identity that links them to the city;
Of course, it is no longer the same as it was a few decades ago.
Aesthetics
The word aesthetics has different meanings depending on the area that studies it, there are
philosophical, artistic, and even religious meanings. However, within the present work
the term aesthetics will be defined in order to arrive at a better definition of the concept of
"chicha aesthetic", therefore it is only relevant to mention the aesthetic in relation to the
objects, communities, and urban spaces, as these are directly related to the
definitions of chicha culture.
Vilar defines it as a composition of visible elements and connotations possessed by the
objects. All visual elements have a series of qualities and properties for which
human beings can feel indifferent, attracted or repelled. That is their aesthetics. In
addition, Vilar adds that aesthetics is intervened by the creator, the visual object that denotes
a aesthetics, and the audience that consumes it. That is to say, aesthetics could not exist without the

intervention of these three elements since they all represent a part of the same. A clear
an example of this is the perception of any object that is located within a room,
for this object to be in that position and come to denote an aesthetic it had to
being created by someone and to be appreciated it must have an observer. On the other hand,
Tamayo (2002) represents aesthetics as 'the study of the essence and substance of things.
beautiful and it is the part of philosophy that helps us understand them.
Tamayo, in the same way that Vilar claims that aesthetics goes beyond what can be
perceived by the senses, because it only occurs when it manages to connect with the innermost part of
human soul. On the other hand, unlike Vilar, Tamayo defines aesthetics as a
an impossible concept to separate from art while Vilar associates it with any object that possesses it.
creator and consumer audience. According to Múnera, aesthetics refers to 'the different
forms of expression manifested in communities.” With this quote, the author wants to say that
the aesthetic does not only refer to the beautiful and artistic as Tamayo mentions, but
manifestations and expressions of communities can also be referred to as
aesthetics, as they help us relate the human with the habitat in which it is found. Múnera
add that everything aesthetic refers to sensations, sensitivity, and imaginations
provoked by elements both tangible and intangible and can be a tool for
research because it helps us to define the practices of a social group.
1.4.3.1 Social Aesthetics
It is in relation to what was mentioned by Múnera that a concept of aesthetics based on arises
in their relationship with popular societies in Latin American contexts. According to Hernández,
Social aesthetics is the set of manifestations through which the factors are expressed.
that foster the emotional bond between the habitat and the user. These manifestations
framed in the everyday actions of a community over a territory, generate
a form of relationship with him, which manifests itself in different ways; some explicit,
as in the case of forms of expression, some others implicit, like in the case of evaluations
emotional, subjective, or symbolic. The manifestations referred to by Hernández,
they are actions that human beings perform daily and routinely within their own
social space, such as rites, cults, practices and traditions passed down from generation to generation.
With ideas similar to Hernández, Arango describes social aesthetics as: The sensitive factor.
that accompanies the complex process of building popular habitat, a mix of initiatives
individual and collective, in which the inhabitants are their own creators, participate in
they have the same needs, carry similar traditions, and participate in the same
myths and imagination. Through this quote, it can be concluded that social aesthetics represent the
expressions of a collective regarding the space where it is situated as its
traditions, symbols, gestures, and other aspects both tangible and intangible. Just like
Hernández, Arango defines social aesthetics as an essential factor to have a study.
complete of popular Latin American aesthetics since it states that according to the theory
established regarding aesthetics in general, it would not be valid to study aspects such as the
fashions, ornamental practices, and clothing.
1.4.4 Fashion
The word fashion is used in different fields, in the same way as design. The term
fashion comes from the Latin modus and refers to the common denominator of the ways of
act during each stage of humanity, such as customs, clothing, ways of
combing, etc. (Lando, 2009). However, in the present research it is used attached
only with its relation to clothing and society. The following will be presented
definitions to clarify it:
First of all, Garavito defines fashion as a discourse that can communicate.
For example, just by seeing a green scarf, one can already decipher
through that garment, the person wearing it is in favor of abortion. Another example presented
it is the use of burqas, which indicate the religious beliefs of the wearer. Add that
In addition to communicating idiosyncrasies, fashion is capable of contextualizing them in a space and

time, as determined by the fashions of specific eras in time, like the

bell-bottom pants from the 70s or the colorful suits from the 80s. Therefore, for
Fashion is not a superficiality or materialism, but a means of communication.
mute. There is also the definition of the word 'fashion' that refers to the choice of
certain objects that will create distinction in that moment and social context. As described by the
authors González and García "Fashion is primarily a symbolic mode of distinction and
social assimilation, whereby an individual expresses and reinforces their identification or
differentiation with a specific social group This quote exposes, in the same way that it
Garavito says that fashion can communicate as it can be decisive at the moment of
identify the characteristics that describe the human being, since this is used as part of
its identity construction. These authors define it as a symbol that can be
represented by something tangible like clothing or by something intangible like music,
what humans use to communicate to the world that they belong to the collective that
use the same symbols as they do and that have their characteristics.
On one side, much more historical, Entwistle defines fashion as a historical system and
geographical that can be found under specific social circumstances because it varies
depending on the moment and place where it is found. The author adds that since its beginnings
fashion was used by the new capitalist society to rebel against the laws and
standards stipulated by royalty and aristocracy, that is to say, fashion represents a message
since its beginnings. In addition, the present author expresses that for fashion to exist it is necessary that

a certain group of people employs it and feels defined by it since fashion is not just the
production of clothing but also the aesthetic ideas behind them. Entwistle,
González and García have similar concepts because both define fashion as a
representative symbol of certain characteristics defined by a social group positioned in
a moment and place. The three authors present fashion as a crucial part of identity
of the people and the message they project daily. On the other hand, Ávila and Linares
(2006) define fashion as a term with two meanings. Firstly, they define it
like a speech that groups verbal and non-verbal behaviors that are found in
fishing during a certain time and place. Secondly, they affirm fashion as
behavior trend because according to the authors, fashion not only involves the
way of dressing but also involves the value we give to our actions.
They add that fashion has to do with communication, since when involving it
with the human body, it generates that it emits a message guided by it. In
conclusion, all the previously mentioned authors, except for Lando, define the
fashion as a discourse or symbol that goes far beyond the tangible. Garavito, González and
García and Entwistle agree that fashion defines the person who uses it because
it has an aesthetic load full of meanings behind it. Ávila and Linares do not incorporate the
dress within the term fashion but they do affirm that they are related to each other and both are
necessary to deliver the message. One of the aspects that makes chicha press very
Singular in Latin America is its connection to the mass culture that originated in Lima.
This culture called chicha represents a group of customs from a Lima subculture, and that
a group of the press adopted to create a new style of entertainment. This is how it has been
called chicha perhaps because of its connection to the indigenous to a cultural manifestation that
It has to do with the presence of groups of Andean settlers in the capital of Lima.

1.4.5 Press (eye, aha, the Chinese, etc.)

It is the name given to the tabloids of Peruvian news outlets that emerged in the 1980s.
focused on sensationalist crime reporting and later tabloid press. Was part of
national acculturation around the year 2000, when it was popularized by Alberto Fujimori
to discredit opponents of his government and to favor him in the general elections of
year 2000. Its successors were the popular press, which covers family topics such as the
known daily Trome, and the entertainment press, driven by the television program
Magaly TeVe. The showbiz or media personalities have remained over time.
characterized by being suggestive to the general public and was constantly regulated by the
Ethics Committee. In the year 2010, television channels focused on a youthful audience.
with contests and sequences from the entertainment industry itself. The tabloids take advantage of the

sensationalism of news to be a trend. Most are flashy headlines,

large and double meaning, these are accompanied by images and pessimistic descriptions.
On the cover, they come accompanied by images of suggestive models, with the showgirls emerging.
from the street.

1.4.5.1 Cheap sensationalism: tabloid press

In Peru, sensationalist press, like in other countries, has existed for several
decades. But only from the mid-80s and during the 90s did a press emerge in Lima
even spicier than the mere sensationalist so-called chicha press, characterized
especially for its vulgar style of tendentious exploitation of the female sex, attacks and
hurtful adjectives to public figures, elderly people, disabled individuals, and anything that could
to be news, utility, impact, or of human interest. Inspired by the newspaper El Popular, precursor
from this type of sensationalism, the tabloid press began to expand, first in Lima and
then in provinces, opting for the tabloid format and popularizing a range of colors
strident on their covers, to frame the big headlines alongside monumental
color photographs of women posing in tiny thongs. The use of language
colloquial has popularized the style of these diaries. Evaluating that a large number of
inhabitants in Lima understand and speak in slang, it has become a trend; especially
for young people and over the years it has been considered the language of the popular classes.
It is these very popular classes that mostly use and ingeniously invent new ones.
words to facilitate a conversation that also contains classic double meaning and humor
creole. As for the typical reader profile of the chicha newspapers, it is closely
related to social classes and the level of education of the population. In Peru, people read
newspapers often. According to the Marketing Manager's Report prepared by the company
Support Opinion and Market Ltd. In April 2004, approximately three out of four people
People over 12 years old usually read a newspaper at least once a week. It is possible to
to perceive that the inclination of certain readership towards chicha press is related to the
proximity in the use of language in the covers, that is to say the jargon in the headlines, subtitles
and some internal news, which provide readers with easy understanding and reading. According to
a survey conducted by the Peruvian Company for Research and Markets.
1.4.5.2 Manipulation of policy in the chicha press
Starting in 1997, both the followers and the critics of chicha newspapers have
coincided in calling them trash press, and they have become the most newspapers
controversial in the country. However, this event was not so much due to their daily print runs. The
Chicha newspapers suddenly separated from the everyday vulgar humor of entertainment.
to get involved in a political tangle, unprecedented in the history of the press
national. It was during the government of Alberto Fujimori (1990-2000) that a
a group of chicha newspapers to raise the image and promote the works of the then president,
creating chaos and confusion among public opinion. As would later be proven,
Fujimori and his former advisor Vladimiro Montesinos subsidized and paid large sums of money
to the owners of these newspapers in order to defame on the front pages anyone who
It would represent the opposition. The news that appeared daily was nothing less than a show.
circus.
Policy
Fujimori conducted an unusual electoral campaign that demonstrated how little the analysts knew.
of the Peruvians because only a few identified him as a serious presidential candidate. The
The fact is that in just a few weeks of campaigning, Fujimori jumped from being an anecdote to competing with

Vargas Llosa, who until that moment was considered the virtual winner.
It was the triumph, they said, of an outsider, a newcomer, chosen by masses that had been
ignored by observers. One of the products of that stage of social turmoil and
Politics was the new 'chicha' press that learned to collaborate with sensationalist television.
that is to reflect in the press popular characters, news dramas, etc.
called 'small screen'. At that time, the Reader-Television-Chicha Press triangle was emphasized.
But also, and this was one of the most striking characteristics of the stage, the chicha press.
it was used politically by the Government, reaching unprecedented extremes in both history
general of journalism as well as of politics. Alberto Fujimori was elected President but he had
a parliamentary majority against him that made governance difficult. So, allied with the
militaries, in 1992 promoted a coup that closed Parliament. In the elections of 1995
he called for elections that were grossly manipulated and that he obviously won. In the
In the year 2000, he was reelected, but the level of corruption had already surpassed all limits.
permissible and was forced to resign in 2002 while on a tour abroad and
taking refuge in Japan. This whole process of democratic darkness was accompanied by the
Chicha Political press managed by the intelligence services led by the advisor, today
in the middle of the trial, Vladimiro Montesinos. Several sensationalist newspapers appeared during that time.

years combining the usual news of showgirls, scandals, and violence, with campaigns
against the political enemies of the regime. The journalists who participated in this practice
they had the guarantee that they would never be prosecuted because of Fujimorism and the Service of
Intelligence also controlled the Judiciary.
Thanks to that impunity, low-priced newspapers like Mañanero, El Chino, La circulated.
Chuchi, 'The Reforma, El Tío, El Chato, La Yuca all subsidized by the government, according to
it has been known in absolute detail afterwards, when Justice regained its independence and was
It is possible to take the accused for corruption to court.
Television
The birth of television was an event that quickly changed everything. And indeed,
the difference of cinema, the little idiot box arrived at homes every day, with productions
own, local and international, with a rich array of stars and characters that
they quickly became famous.
In our country, this boom occurred in the 80s and 90s, with the emergence of the first
national production programs, with the 1990s being the most memorable decade, as the
local television was invaded by a number of popular cut formats like lostalk
shows hosted by traveling comedians. These spaces were the beginning of the
called 'trash television' that emerged at that time as part of a mechanism created by
the then president of Peru, Alberto Fujimori and the former presidential advisor Vladimiro
Montesinos: the chicha press. The chicha press and trash television went hand in hand, they
they provided feedback and were aimed at distracting the attention of the large crowd, self-promoting the
the ruling government and persecute political enemies who were protesting against the
pretensions of perpetuity in the power that Fujimori had at that time.

1.4.7.1 The talk shows

 It is a television program focused on listening to the opinion of one or several guests, to
sometimes in debate format, mostly these programs air at midnight
programs in which the protagonists are ordinary and common people who do not belong to the
world of television, they are interviewed by the host in order to share their
personal experiences that they are living or have lived at some point in their lives. They often
issues related to social, family, or sexual problems that manage to capture the
the attention of viewers, and many may even identify with some of
the testimonies.
1.4.7.2 Garbage programming (this is war, combat, etc.)
They are programs characterized by their poor quality of form and content, in which
first the chabacanería, the vulgarity, the morbidity and, at times, even the obscenity and the character
pornographic. Television can be an ally of education, culture, freedom and
it can contribute to improving the level of coexistence and respect among citizens. If misused,
It can cause the opposite. Trash programs are filling up space on the networks.
local and national, private or public. Parallel trials, presumption of guilt;
lies, base instincts, bonds, mistreatment; it spits on the memory of the dead;
vulgar language, shouting, slander. Morbidness and sensationalism. In that media circus, magicians, witches,
Martians, bingo players, and celebrities.

1.4.8 Language
They are popular communications among people belonging to a marginalized group of the
society where mockery, jokes, and ridicule exist as a form of group entertainment
groups that are part of the chicha phenomenon use to exist harmony among them
the jargon and the slang, in other words part of the creole culture. Well, the chicha music was,
definitely, the most structured and powerful language that these sectors could use to
expressing their creativity of the first expressions of migrations in Lima were the
shantytowns, as a consequence of an attempt at urbanization and location by this population
of people coming from the other Peru to the modern region of the country. Thus, these new
communities were formed in order to maintain the spirit of their Andean origin, their traditions, and
the hope of returning to their lands.
CONTEXTUALIZATION
What is 'la chicha' in today's Peru? Is it just a musical phenomenon? It addressed two
proposals about this distinctly Peruvian cultural phenomenon. First, that chicha is
a cultural phenomenon developed specifically in the city of Lima; that is to say, its
configuration and manifestation correspond to society, to the city in which it has been
developed in the last forty years, due to political and economic changes
occurred in the last decades.
And, secondly, that chicha is not only a musical phenomenon, but mainly,
a social phenomenon characterized by behaviors defined as 'bold':
aggressive, demanding, and exigent attitudes of the new Limeños who seek benefit
own or common in a demanding way, in front of an establishment that does not take them into account.

Chicha will probably disappear as quickly as it came, and, aided by the context, it will emerge.
a variant that will replace it in popular taste. In fact, the chicha is varying so much in
their musical expressions as journalistic, seeking new spaces and forms of
expression.
SUGGESTIONS
We agree that everything that is inherent to culture is acceptable because in Peru
There will always be changes in customs, both in music, art, folklore, unlike
from earlier times in the Coast, Highlands, and Jungle where the customary essence of
each locality in music, art, folklore, and other activities inherent to their cultures
being acceptable for the content and richness of each customary activity.. And at the same time also
To suggest to all cultural groups in music, art, folklore, etc., to spread before
citizenship for us Peruvians to be proud of the cultural richness of Peru
deep.
CONCLUSIONS
For years, chicha art has been regarded as something informal, from the people, considered by many
as bad taste and tacky since it was developed in the street itself, created by people from
day by day, those who developed it and did it as a way without having studied,
communicating with others. We believe that recognition nowadays comes from the
aesthetic and impactful that it becomes, where through lettering, colors, the large
sizes, it began to resonate very well in the eyes of the Peruvian public and then the world. This
was accompanied by the fact that they started to see exhibitions in museums, it began to be used in

advertising campaigns began to be used as a graphic resource in packaging. What in

the set led to a recognition as such.
BIBLIOGRAPHIES

The Chicha Phenomenon in History timeline

Timetoast Timelines. Retrieved September 13, 2022, from

Unable to access or retrieve information from the provided link.

CHICHA MUSIC The tropical Andean music in the city of Cuzco. (1 C.E.).

Invalid input. Please provide the text you would like to have translated.

ha.pdf?sequence=1&isAllowed=y
Iriate, M. (n.d.). Sociology of Music: 'Chicha', a cultural product of hybridity

social in Peru. Journal of Ricardo Palma University.

Unable to access the provided URL for translation.

CULTURAL CHANGES IN PERU. (n.d.-a). Ministry of Culture.

Unable to access the content of the provided URL.

Chicha Culture in Peru. (n.d.). Retrieved September 13, 2022, from

Unable to access or translate content from external links.