La Cueca: National Dance of Chile

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The national dance of Chile is the "Cueca" (or "Zamacueca",) given national status by Decree #28 of September 18, 1979. The Cueca has been danced in Chile since approximately 1824, and is the only dance which has survived from the time of colonization to the present. It is considered not only the national dance of Chile, but perhaps the best expression of the Chilean spirit.

There is much speculation as to where the Cueca originated. It is generally accepted that the Cueca began in Lima, Peru, but some maintain its origin to be Chile. There is no definitive evidence either way. There are also scholars who believe there is a possibility that the rhythms of the Cueca are of African or Indian origin, yet others feel it may be European (Spanish). In some respects, there are "zoomorphic" elements of the Cueca which may be reflective of the behavior and movements of the amorous conquest of the rooster and chicken. The man's steps roughly reflect the wheeling and enthusiasm of the rooster's amorous struggle, while the defensive and cautious nature of the chicken can be seen in the movements of the woman. Versions of the Cueca include the Cueca Nortina, Cueca Criolla, Cueca Campesina, Cueca Valseada, Cueca de Velorios, Cueca Larga del 21, Cueca Larga, Cueca Larga del Balance, Cueca Larga del Capote, Las Cuecas Cómicas, Cueca de Destreza, Cueca Robada, Cueca Libre Pensamiento, Cueca Portena, El Pequén, Cuecas de Chapecaos, and Cueca Chilota.

The Cueca is a very complex dance, and the music is generally performed with one or two voices accompanied by guitar, piano, harp, accordion, or other instruments. Sometimes guitars are substituted with a group of musicians playing brass instruments or pan pipes. The music will also include percussion instruments, supported by hand clapping which stimulates the dancers. In the beginning, the man approaches a woman and offers his arm. The woman rises, and accompanies him on a brief pass around the room. The then face each other, both brandishing a handkerchief, and begin to dance. Both partners dance separately, never touching yet never losing contact with each other through their facial expressions and their movements.

The initial steps are very short, tranquil, and hesitant. The handkerchiefs move softly, and following the continuous circling of the Cueca, the man pursues the woman who flees from him. Using the handkerchief as if it were a soft lasso, the man surrounds her with it without touching her, and brings her steadily and persistently to his side. The woman approaches him with elegance and flirtatiousness, then as slightly lifts her skirt with her left hand and gracefully moving her handkerchief with the right, she flees from him again. This continues with the man's footwork becoming ever more complex, almost as though he is having a competition of skill against himself, until with the last turn the man ends with his arm around his partner and with one knee on the ground.