Chilean culture

The culture of Chile reflects the relatively homogeneous population as well as the geographic isolation of the country in relation to the rest of South America. Since colonial times, the Chilean culture has been a mix of Spanish colonial elements with indigenous (mostly Mapuche) culture.

The Huasos of Central Chile and their folk music and dance are central to Chilean folk culture. Even though the folk traditions the Central Chile are central to Chilean cultural and national identity, Chile is both geographically and culturally diverse with both the North and the South having their own folk music and dance due to different indigenous peoples and immigrant groups settling there. Additionally, while some regions of Chile have very strong indigenous heritage, such as Araucanía Region, Easter Island, and Arica y Parinacota Region, some regions lacks considerable indigenous communities and a few other regions have noteworthy non-Spanish European immigrant heritage.

The term Chilenidad describes the Chilean National identity.

Hernán Godoy describes the psychological characteristics of the Chilean, and hence part of the Chilean national identity, with following words: roto, madness, sober, serious, prudent, sense of humor, great fear to the ridicule, servile, cruel, and lack of foresight, among other qualities. Jorge Larraín criticized these older descriptions as "overgeneralized abstractions" impossible to apply to a whole nation.

The national dance is the cueca (short for Zamacueca) and first appeared in 1824. Another form of traditional Chilean song, though not a dance, is the tonada. Arising imported by the Spanish colonists, it is distinguished from the cueca by an intermediate melodic section and a more prominent melody. The cueca was promoted by the Pinochet regime in the 1970s and 1980s for political reasons to promote Chilean nationalism, cultural pride and conservative patriotic fervor.

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