This study aims to analyze the emotions aroused by tropical Andean music—popularly known as chicha—present in the advertising of a well-known beverage brand in university students. The power music exerts in advertising is already commonly known as well as how it can intensify the effect of the message and trigger an emotional reaction in the consumer. This Peruvian musical genre is usually closely related to Peruvian identity and attributes of its population such as racial and cultural intermixing, creativity and self-improvement. In recent years, this sound resource has been established in the commercial communication of Peruvian brands aimed at the modern neo-Limenian; many of them descendants of migrants, proud of their origin and culture. This study is qualitative with a phenomenological approach. Through 16 interviews, the study shows how the presence of this musical genre can arouse positive emotions in the sample. In addition, the choice of music has to be coherent with the narrative structure of the advertising message to ensure optimal emotions.

El presente estudio de investigación tiene como objetivo general describir la relación entre la estética chicha y las marcas de diseño de moda independiente limeñas entre los años 2010-2020. Hace muchos años se iniciaron olas migratorias a la capital del Perú (Lima). Mencionados cambios en la demografía nacional generaron el surgimiento de una nueva estética dentro de la ciudad, la estética chicha. Esta estética caracterizada por colores llamativos, altos contrastes y expresiones divertidas, rápidamente empezó a ser empleada por diferentes expresiones creativas como el diseño de moda independiente. Para poder lograrlo, se busca responder a la siguiente pregunta: ¿De qué manera se han relacionado la estética de la cultura chicha y las marcas de diseño de moda independiente limeñas entre los años 2010-2020? Para lograr responderla, se desarrollará un marco teórico de la investigación que se centrará en explicar los conceptos de estética de la cultura chicha y de diseño de moda independiente para luego poder establecer la relación entre ambos. Para ello, se emplearán diferentes autores que hayan desarrollado conceptos relevantes para el estudio. El proceso de investigación se realizó a través de una metodología con enfoque cualitativo y diseño etnográfico. Se entrevistarán a representantes de dos marcas de diseño independiente fundadas en Lima (Perú) que emplean la estética chicha en sus diseños a través de entrevistas semi-estructuradas. Se busca hallar las motivaciones y razones personales detrás de la incorporación de este recurso en su proceso creativo. / The present research study has the general objective of describing the relationship between chicha aesthetics and independent fashion design brands in Lima between the years 2010-2020. Many years ago migrants from Perú began to arrive to its capital, Lima. Mentioned changes in the national demography generated the emergence of a new aesthetic within the city, the chicha aesthetic. Characterized by striking colors, high contrasts and fun expressions, this aesthetic quickly began to be used by different creative expressions such as independent fashion design. In order to achieve this objective, it seeks to answer the following question: How have the aesthetics of the Chicha culture and the independent fashion design brands of Lima been related between the years 2010-2020? In order to answer it, a theoretical framework of the research will be developed and focused on explaining the concepts of aesthetics of the Chicha culture and independent fashion design, in order to afterwards establish the relationship between the two. For this, different authors who have developed relevant concepts for the study will be used. The research process was carried out through a methodology with a qualitative approach and ethnographic design. Two independent design brands founded in Lima (Peru) that use chicha aesthetics in their designs will be interviewed through semi-structured interviews. It seeks to find the motivations and personal reasons behind the incorporation of this resource in your creative process.

Engager une anthropologie de l’ivresse rituelle et collective dans un contexte festif – notamment funéraire - andin s’avère un champ de recherche fécond et fascinant tant la chicha, cette boisson épaisse de maïs fermenté, contient tout un monde de significations et l’ivresse, dont elle découle, favorise diverses formes de mise en relation avec le monde animé environnant et avec les morts. En ce sens, elle est performative puisqu’elle permet à ces entités d’exister et de devenir de sérieux interlocuteurs pour les humains. À partir d’une ethnographie dans la région andine de Cochabamba (Bolivie), dans la communauté paysanne quechua de Qhoari et dans le village également quechua d’Arani, l’ébriété et le boire collectif sont analysés comme une action qui consolide le lien social, renforce l’identité de groupe et rapproche du sacré. L’ivresse est alors recherchée, désirée et valorisée. En somme, elle est un moyen de communication qui permet d’établir des relations réciproques aussi bien entre les humains eux-mêmes qu’entre ces derniers et la Pachamama, tous les êtres qui peuplent la nature animée. C’est à travers la boisson alcoolisée que les hommes font entendre leurs requêtes auprès de ces entités surnaturelles car ce n’est qu’en état d’ébriété avancée que l’on peut dialoguer avec elles, qu’elles nous apparaissent en alter ego. En effet, l’humide est symbole de vie, le sec renvoie à la mort. Les offrandes de libations et les sacrifices sanglants favorisent la réhydratation et l’alimentation des entités diaboliques et des morts. Prolongeant cette réflexion, c’est à travers des mécanismes somme toute très proches de ceux à l’œuvre lors des offrandes que le corps du buveur, saccagé par l’alcool, presque moribond, prend tout son sens sacrificiel. / An Andean anthropological focus on ritual and collective intoxication within a festive setting – in particular in funeral contexts - leads to a prolific and fascinating field of research since chicha, the thick fermented corn beverage, contains a world of meaning. The drunkenness it engenders promotes diverse ways of creating links with not only the surrounding animated world but also with the dead. In that sense, it is performative because it makes exist these entities who become serious interlocutors for the humans. This ethnography conducted in the Andean region of Cochabamba (Bolivia), in the Quechua peasant communities of Qhoari and in the nearby village of Arani, analyzes inebriation as a collective action that consolidates social ties, strengthens group identity and even brings the sacred closer. Intoxication is therefore sought, desired and valued. In short, it is a means of communication that allows the establishment of reciprocal relations among humans and between them and the Pachamama (all beings that inhabit animated nature). It is through liquor that human requests can be heard by supernatural entities who can dialogue with them only when they are inebriated, appearing through an alter ego. In fact, wetness is the symbol of life; dryness refers to death. Offerings of libations and blood sacrifices promote the rehydration and nurturing of evil entities and the dead. It is through mechanisms very similar to those at work in such offerings that the body of the drinker, wrecked by alcohol, almost agonizing, acquires its sacrificial meaning.

La presente investigación tiene como propósito el estudio de la música chicha. Este género musical, como producto de una serie de circunstancias que se han producido en estas tres últimas décadas, se ha convertido en un fenómeno socio-cultural de importancia. Su consumo mayoritario y su impacto en el país, sobre todo desde los años 1980 en adelante, ha despertado un inusitado interés, no sólo de cultores y detractores también de la intelectualidad, de estudiosos de la cultura, de científicos sociales que han visto en ella la manifestación de un Perú de esta época, discutiendo su rol dentro de la cultura peruana. / Tesis

The major focus of this dissertation is the ancestor worship that is inferred to have been practiced in the multiethnic Middle Sicán theocratic state (AD 950-1100) that prospered on the northern North Coast of Peru. The major objective is twofold: (1) demonstrating by archaeological means that ancestors were indeed worshipped in the Middle Sicán society and (2) elucidating the nature and role of the inferred ancestor cult and associated rituals and ceremonies. Ancestor (and the veneration of it) is one of the themes that have the deepest roots in the anthropological thoughts; nevertheless, many archaeologists have uncritically invoked ancestor veneration without sufficient theoretical underpinning and empirical support, to the point that James Whitley (2002) decried "too many ancestors." This dissertation thus begins with a review of the earlier anthropological discoveries and theoretical debates on what ancestor is and who becomes an ancestor, including the cases in the Andes. Based on this review of previous studies, it is hypothesized that the select members of deceased Middle Sicán elites were transformed into an ancestor through a series of prescribed processes. This hypothesis is examined in terms of the five possible material correlates of the inferred Sicán ancestors extracted from the regional archaeological database of the study area accumulated by the Sicán Archaeological Project (SAP) for the last three decades. The role of the inferred Middle Sicán ancestor cult is approached from the ideological perspective. It is inferred that the ancestor cult was employed by the ruling group as an ideological and political means to justify the existence and extension of social hierarchies and inequalities and thus targeted at wider populations different in genealogical origins as opposed to family or lineage members. This study focuses attention on the food preparations and consumptions documented by a test excavation at the principle plaza of the Sicán capital, "Great Plaza," adjacent to the inferred ancestral tombs and hypothesizes that the commensality among the living and the dead during feasts there served not only to commemorate the inferred ancestors, but also to bring together people in different social tiers and to consolidate the highly stratified, multiethnic Middle Sicán society. Two excavations at the ceremonial core of the Middle Sicán state capital, one at the Huaca Loro West Cemetery in 2006 and the other at the Great Plaza in 2008, provide varied lines of evidence that support the above two hypotheses. The results suggest that ancestor worship was indeed practiced during the Middle Sicán Period. By maintaining and monopolizing the ritual access to the Sicán Deity through their ancestors, the Sicán elites reproduced their religious and political power and retained the legitimacy of their social status. Concurrently, the Sicán elites consciously employed their ancestor cult for social integration. After the Middle Sicán Period, these ancestors seem to have retained their spiritual viability even after the later Chimú Empire took the control of this region. If not recognized as the Sicán anymore, they were remembered and honored by the living for over four centuries. On the basis of the merits of traditional approach (e.g., the study of architecture, iconography, bioarchaeology, and ethnohistory and ethnography in the Andes), this study gives primacy to the direct focus on the material residues and relational contexts and patterns of ritual activities and studies their change and stability through time in relation to other historical contingencies. The merit of focusing on the trajectories of ritual activities themselves in a long and wide perspective is that it sheds light on the regional peculiarities and contingent nature of the inferred ancestor veneration, which may be overlooked in cross-cultural, ethnological arguments about the nature, role, and capacity of ancestors. It also provides a wealth of information not only to determine what types of activities took place, but also to explore the intangible symbolic significance behind those activities. As a result, this approach provides a practical solution to the justified criticism by Whitley (2002) and demonstrates how we should approach ancestor veneration and what evidence we would need in order to appropriately define it in archaeological record.

Inka Colonialism, the Chicha Consumption and the Feasting: A Perspective from the "Commensal Politics"This essay treats the "commensal politics" of feasting in the Inka state and its implications for understanding certain domains of political action and pre-Hispanic colonialism. State-sponsored feasts were usually political and ritual and comprised an important instrument in manipulating power relations and the public production and consumption of some food and drink. Some archeological and ethnographic implications of commensal politics also are discussed. / Este ensayo analiza el concepto de carácter de "banquetes políticos" de los festines o fiestas públicas en el Estado inka y sus implicancias con el fin de entender ciertos aspectos de la conducta política y el colonialismo prehispánicos. Por lo general, los banquetes auspiciados por el Estado son tanto rituales como políticos y constituyen un instrumento importante en el manejo de las relaciones políticas y del consumo de alimentos y bebida. Se discuten también algunas implicancias arqueológicas y etnográficas de los banquetes políticos.

El objetivo de este estudio fue analizar las emociones que despierta la música tropical andina –conocida popularmente como “chicha”– presente en la publicidad de una conocida marca de bebidas en estudiantes universitarios. Ya es comúnmente conocido el poder que ejerce la música en la publicidad y cómo ésta es capaz de intensificar el efecto del mensaje y desencadenar una reacción emocional en el consumidor. Este género musical peruano suele relacionarse estrechamente con la identidad peruana y atributos de su población como la creatividad, la superación, y el mestizaje. En los últimos años, este recurso sonoro se ha afianzado en la comunicación comercial de las marcas peruanas que se dirigen al moderno neo limeño; muchos de ellos descendientes de migrantes, orgullosos de su origen y su cultura. Este estudio es de tipo cualitativo con enfoque fenomenológico. A través de 16 entrevistas, se ha demostrado cómo la presencia de este género musical es capaz de despertar emociones positivas de manera moderada en la muestra. Además, se apreció que la elección de la música tiene que mantener coherencia con la estructura narrativa del mensaje publicitario para que las emociones sean óptimas. / This study aims to analyze the emotions aroused by tropical Andean music – popularly known as chicha – present in the advertising of a well-known beverage brand in university students. The power music exerts in advertising is already commonly known as well as how it can intensify the effect of the message and trigger an emotional reaction in the consumer. This Peruvian musical genre is usually closely related to Peruvian identity and attributes of its population such as racial and cultural intermixing, creativity and self-improvement. In recent years, this sound resource has been established in the commercial communication of Peruvian brands aimed at the modern neo-Limenian; many of them descend-ants of migrants, proud of their origin and culture. This study is qualitative with a phenomenological approach. Through 16 interviews, the study shows how the presence of this musical genre can arouse positive emotions in the sample. In addition, the choice of music has to be coherent with the narrative structure of the advertising message to ensure optimal emotions. / Tesis

Esta investigación tiene como objetivo analizar la influencia que tienen distintos géneros musicales con influencias andinas (Huayno, Chicha y Rock/Fusión) en los componentes de la identidad nacional peruana. Para tal fin, se desarrolló un diseño experimental pre-post, que contó con la participación de 92 personas de clase media alta entre los 18 y 25 años de edad (M=19.91, DE=1.95). Los participantes fueron aleatoriamente asignados a uno de los tres grupos experimentales expuestos a cada género de música referido: Huayno (n=30), Chicha (n=31) y Rock/Fusión (n=31). Los resultados muestran que la música Chicha es el género musical menos valorado, el cual podría generar una imagen no tan favorable del Perú, a diferencia del Huayno y el Rock/Fusión, que generarían auto-estereotipos más positivos hacia los peruanos, así como mayores emociones positivas que las producidas por el género Chicha. En este sentido, este género musical parece asociarse con una identificación intensa pero no positiva con el endogrupo nacional y de manera análoga con algunas representaciones fragilizadas de la identidad nacional, donde este género musical urbano-andino puede aparecer como un producto cultural estigmatizado. / The present study aims to analyze the influence of different musical genres with Andean influences (Huayno, Chicha and Rock/Fusion) on the components of the Peruvian national identity. To this end, a pre-post experimental design was developed, which was attended by 92 people from upper middle class between 18 and 25 years (M=19.91, SD=1.95). Participants were randomly assigned to one of three experimental groups exposed to the aforementioned music genre: Huayno (n=30), Chicha (n=31) and Rock/Fusion (n=31). The results show that the Chicha music is the least valued genre, which could lead to a less favorable image of Peru, unlike Huayno and Rock/Fusion, which would generate more positive self-stereotypes to Peruvians and more positive emotions than those produced by Chicha music. In this sense, this musical genre seems to be associated with an intense but not positive identification with the national ingroup and similarly with some weakened representations of national identity, where the urban- Andean musical genre can appear as a stigmatized cultural product. / Tesis

La presente tesis forma parte de las investigaciones realizadas durante mi participación en el Proyecto Arqueológico Huaca San Marcos, bajo la asesoría de la Dra. Ruth Shady Solís. Esta investigación pretende contribuir al conocimiento de lo que se conoce como ¨Cultura Lima¨, a partir del análisis de la plataforma 4 del sitio Huaca San Marcos, lugar en el que se propone se habrían realizado, de manera planificada y organizada, actividades de producción de chicha de maíz desde finales del Intermedio Temprano (450 d. C.) hasta la época 2B del Horizonte Medio (550 d. C. - 750 d. C.). El sustento de esta propuesta son las evidencias recogidas de los análisis arquitectónicos, cerámicos y microrrestos de los pisos y bases de vasijas de cerámica. / Tesis

Memoria para optar al título de Diseñadora Gráfica / El proyecto editorial Zaranderos del Valle presenta la creación de un libro ilustrado impreso que promueva la tradición popular de la fabricación y consumo de la Chicha, bebida tradicional de Chile y América Latina realizada en base a la uva. A través de la comunicación experimental del imaginario visual e identidad territorial de la Agrupación de Chicheros, se propone poner en valor dicho espacio, oficio y producto, con el objetivo de salvaguardar el patrimonio y promover el turismo local. Por lo tanto, se revisan elementos de la tradición popular, visual y oral expresadas en las Fiestas de la Chicha desarrolladas en los años 2015, 2016 y 2017. Esta información permite dar vida a un relato que aproxima a la comunidad a una tradición que tiene el riesgo de extinguirse con el paso del tiempo. Este libro fue diseñado en base a una investigación realizada el 2016 en el cual se estudiaron desde el diseño gráfico los elementos visuales principales del contexto.