Cueca

The most widespread version of its origins relates it with the zamacueca which arose in Peru as a variation of Spanish Fandango dancing with criollo.

Later, after the Pacific War, the term marinera, in honor of Peru's naval combatants and because of hostile attitude towards Chile, was used in place of "la chilena."

Another theory is that Cueca originated in the early nineteenth century bordellos of South America, as a pas de deux facilitating partner finding.

The male displays a quite enthusiastic and at times even aggressive attitude while attempting to court the female, who is elusive, defensive and demure.

[11] In Chile, the cueca developed and spread in bars and taverns,[12] which were popular centers of entertainment and parties in the nineteenth century.

During the second half of the nineteenth century, cueca spread to various Latin American countries, where the dance became known simply as the "chilena" (Chilean).

"[6] Chilean sailors and adventurers carried cueca to the Mexican coast,[15] specifically in Guerrero and Oaxaca, where the dance was also called "chilena.

"[2][3][20] During the twentieth century, cueca became associated with the common man in Chile, and through them, the dance spread to pre-industrialized urban areas such as La Vega, Estación, and Matadero, which were on the outskirts of Santiago at the time.

[23] According to Santana, the dictatorship's endorsement resulted in the wealthy landlord (huaso) becoming the icon associated with cueca, rather than the rural laborer.

During the television campaign advertising the "No" option in the 1988 Chilean national plebiscite, a group of women (played by real-life relatives of the disappeared) performed the cueca sola.

This powerful display of resistance was later re-enacted by surviving members of the group for the 2012 Academy Award-nominated film No, directed by Pablo Larraín.

In Argentina, cueca is danced in various ways across different provinces, predominantly in the northern and western regions such as Mendoza, Chaco, Salta, Jujuy, Catamarca, and La Rioja.

Since its origin, the cueca has been a source of happiness for dancers due to its lively music and the requirement for partners to engage enthusiastically with each other.

The dance reflects Bolivia's male-dominated gender roles; while men perform intricate movements and spin, women mostly sway their hips.