User:Tony24644/Chingana

A chingana was a traditional establishment in 19th century Chile and Peru that served as a combination of tavern, dance hall, and social gathering place for the lower classes. These venues played a significant role in the development of Chilean folk culture, particularly the cueca dance.^[1]

Etymology

The term derives from the Quechua word chinkana, meaning "labyrinth" or "hiding place."^[2] Alternative etymologies suggest a connection to the Spanish verb chingar ("to drink alcohol frequently").^[3] During the colonial period, the term came to designate informal establishments offering food, drink, music, and dancing.

Historical Development

Origins

Chinganas developed from rural ramadas (temporary shelters made of branches) in the central zone of Chile, particularly in Santiago's La Chimba district. By the early 19th century, Santiago had over forty such establishments operating primarily on Sundays and Mondays.^[4] Historian Gabriel Salazar identifies chinganas as spaces where popular identity formed, often operated by single women who provided food, lodging, and entertainment to itinerant workers and sailors in Valparaíso.^[5]

Golden Age (1820-1870)

During this period, chinganas became centers of popular culture: Hosted celebrations for weddings, harvests, and construction projects Featured payas (improvised poetic duels), such as the famous 1790 contest between El mulato Taguada and Javier de la Rosa in Curicó^[6] Served as the primary venue for developing the zamacueca (precursor to the cueca) Employed female cantoras (singers) who provided musical entertainment

Urbanization and Regulation

After 1820, chinganas moved from city outskirts to central locations like Santiago's La Cañada district. Authorities began regulating them in 1823 due to concerns about public drunkenness, gambling and violent altercations^[7] In 1872, Benjamín Vicuña Mackenna introduced regulated fondas populares to replace chinganas.^[8] Notable establishments included: "El Parral" (Teresa Plaza's chingana) "El Arenal" (Peta Bustamante's chingana) "Aquí está Silva"

Modern Legacy

By the 20th century, chinganas had evolved into: fondas - temporary establishments during Independence Day celebrations Chicherías - traditional taverns Commercial establishments playing recorded music These modern versions maintain some elements of the original chinganas but lack their spontaneous, folkloric character.^[9]

References

^ Salazar Vergara, Gabriel (1985). Labradores, peones y proletarios. LOM Ediciones. p. 147. ISBN 978-956-00-0129-6. {{cite book}}: Check |isbn= value: checksum (help)
^ Ovalle, Alonso de (1646). Histórica relación del Reino de Chile. Instituto de Literatura Chilena. p. 89.
^ Lenz, Rudolfo (1904). "Diccionario etimológico de las voces chilenas derivadas de lenguas indígenas americanas". Universidad de Chile: 112.
^ Vicuña Mackenna, Benjamín (1869). Historia crítica y social de Santiago. Vol. 2. Imprenta del Ferrocarril. p. 203.
^ Salazar, Gabriel (2002). Mujeres de la tierra: en la sociedad colonial chilena. Editorial Sudamericana. pp. 78–82. ISBN 978-956-262-150-4. {{cite book}}: Check |isbn= value: checksum (help)
^ Pereira Salas, Eugenio (1978). Los orígenes del arte musical en Chile. Editorial Universitaria. p. 64.
^ Grez, Verónica (1998). "La chingana: un espacio de sociabilidad popular". Revista de Historia Social y de las Mentalidades. 2 (1): 45–67.
^ Vicuña Mackenna, Benjamín (1872). La transformación de Santiago. Imprenta de la Librería del Mercurio. p. 156.
^ Donoso Fritz, Karen (2013). "De la chingana a la fonda". Cultura y sociedad en Chile republicano. Uqbar Editores. ISBN 978-956-9171-24-9. {{cite book}}: Check |isbn= value: checksum (help)

[1] Salazar Vergara, Gabriel (1985). Labradores, peones y proletarios. LOM Ediciones. p. 147. ISBN 978-956-00-0129-6. {{cite book}}: Check |isbn= value: checksum (help)

[2] Ovalle, Alonso de (1646). Histórica relación del Reino de Chile. Instituto de Literatura Chilena. p. 89.

[3] Lenz, Rudolfo (1904). "Diccionario etimológico de las voces chilenas derivadas de lenguas indígenas americanas". Universidad de Chile: 112.

[4] Vicuña Mackenna, Benjamín (1869). Historia crítica y social de Santiago. Vol. 2. Imprenta del Ferrocarril. p. 203.

[5] Salazar, Gabriel (2002). Mujeres de la tierra: en la sociedad colonial chilena. Editorial Sudamericana. pp. 78–82. ISBN 978-956-262-150-4. {{cite book}}: Check |isbn= value: checksum (help)

[6] Pereira Salas, Eugenio (1978). Los orígenes del arte musical en Chile. Editorial Universitaria. p. 64.

[7] Grez, Verónica (1998). "La chingana: un espacio de sociabilidad popular". Revista de Historia Social y de las Mentalidades. 2 (1): 45–67.

[8] Vicuña Mackenna, Benjamín (1872). La transformación de Santiago. Imprenta de la Librería del Mercurio. p. 156.

[9] Donoso Fritz, Karen (2013). "De la chingana a la fonda". Cultura y sociedad en Chile republicano. Uqbar Editores. ISBN 978-956-9171-24-9. {{cite book}}: Check |isbn= value: checksum (help)

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