== Characteristics ==
== Characteristics ==
Chicha posters, created by hand using a technique of [[screen printing]]<ref name=”:52″ /> using mesh, particularly [[Phosphorescence|phosphorescent]] colors, and contrasting tones with black backgrounds, characteristics that make them grab attention and stand out in the urban environment of neighborhoods, [[shanty town]]s, and poorly lit areas of the cities.<ref name=”:2″ />
Chicha posters created by hand using [[screen printing]]<ref name=”:52″ /> [[Phosphorescence|phosphorescent]] colors and contrasting tones black backgrounds, stand out in the urban environment of neighborhoods, [[shanty town]]s, and poorly lit areas.<ref name=”:2″ />
The range of colors used corresponds with those in Andean culture, such as the [[Huanca|Huanca Nation]], which is evident in the decoration of garments for typical dances.<ref name=”:1″ />
The Andean culture, the [[Huanca|Huanca Nation]], in garments for dances.<ref name=”:1″ />
The sinuous typography of the lettering was associated with [[psychedelic rock]] from the 1960s.<ref name=”:02″ />
== Gallery ==
== Gallery ==
1980s Peruvian kitsch aesthetic
Chicha art refers to a Peruvian kitsch aesthetic that was born in the 1980s.[1] It has been described as a contemporary baroque art.[2]
The movement emerged alongside Chicha music and the mass migration from Peru’s Andean highlands and central forest to coastal cities.[3][4][5] Created as promotional posters for cumbia concerts using hand-drawn screen printing techniques, the style is characterized by phosphorescent and fluorescent colors, contrasting tones against black backgrounds.
Chicha art gained recognition in the late 2010s as a new generation of artists embraced their cultural heritage, including the children of immigrants.
The origins of chicha art begin in the 1960s and 1970s, with migration across Peru’s regions: from the Andean highlands and central forest to the coastal capitals, particularly Lima[3][4][5][6][7][8]
While in its beginnings it was cataloged as a minor artistic manifestation, and seen from a racist point of view as part of a huachafa and inferior culture, in the late 2010s the new generations of children of immigrants who make up a new middle class have given new value to Cholo and Chicha culture, both in the music world and in the artistic world, with the emergence of music groups like Dengue Dengue Dengue! or Bareto, as represented in the success, in some cases with international reach, of graphic artists like Monky, Elliot Túpac or Yefferson Huamán, and collectives like Familia Gutiérrez, Amapolay, Unidos por un Sueño, Nación Chicha, or Carga Máxima,[2][3][5][9] and in the growing demand and, therefore, the increased number of workshops in Lima and other Peruvian cities.[3]
Chicha art is also used as a form of social protest in murals or as part of the design of posters for demonstrations such as the defense of the Peruvian jungle, against femicides, or in support of the LGBT collective.[7]
Chicha art posters have also been present in areas with Peruvian immigration, such as Chile.[3]
Chicha posters are created by hand using screen printing with mesh.[3] The style uses phosphorescent colors and contrasting tones against black backgrounds, which help posters stand out in the urban environment of neighborhoods, shanty towns, and poorly lit areas.[4]
The color palette draws from Andean culture, particularly the Huanca Nation, as seen in garments for traditional dances.[5] The sinuous typography has been associated with psychedelic rock from the 1960s.[6]
Other characteristics include horror vacui[10] and advertising phrases that blend poetic, idiomatic, and Peruvian Spanish elements.
- ^ Andrei, Tatyane (19 September 2016). “Una pizca de arte y color” [A Pinch of Art and Color]. Punto Seguido – UPC (in Spanish). Retrieved 28 October 2020.
- ^ a b Yang, Ina (7 July 2015). “Peruvians Love Their Chicha Street Art. City Officials … Not So Much”. NPR.org. Retrieved 29 October 2020.
- ^ a b c d e f Sánchez, Nicolás (11 January 2018). “El Cartel Chicha: una forma de expresión popular del Perú que ya es parte del paisaje santiaguino” [The Chicha Poster: A Form of Popular Expression From Peru That Is Now Part of the Santiago Landscape]. La Casa de Juana (in Spanish). Retrieved 29 October 2020.
- ^ a b c Contreras, Carlos; Cueto, Marcos (2016). Tomo 9: La Revolución Peruana. La reforma agraria y el populismo (1968–1990). Historia del Perú republicano (in Spanish). Lima: Editorial Septiembre. p. 23.
- ^ a b c d Subirana Abanto, Katherine (26 April 2020). “Cultura Chicha | Los caminos de la chicha a 25 años de la muerte del mítico Chacalón” [Chicha Culture | The Paths of Chicha 25 Years After the Death of the Mythical Chacalón]. El Comercio (in Spanish). Retrieved 29 October 2020.
- ^ a b Dodobara Sadamori, Rosa (2015). “Lenguaje del arte “Chicha” en los carteles publicitarios de la carretera central” [Language of “Chicha” Art in Advertising Posters on the Central Highway] (PDF). Comunifé: Revista de Comunicación Social. 15: 83–84. ISSN 1810-6994. Retrieved 28 October 2020.
- ^ a b Cook, Greg (15 October 2019). “The Incandescent Chicha Posters That Revolutionarized Peruvian Design – WONDERLAND”. gregcookland.com. Retrieved 29 October 2020.
- ^ Mroczek, Andrew. “Revolución Chicha: Street Art & Graphics of Perú”. Lesley University. Archived from the original on 11 August 2020. Retrieved 20 October 2025.
- ^ Perú 21 (29 June 2018). “El colectivo peruano de arte Amapolay participa en exposición en EE.UU” [The Peruvian Art Collective Amapolay Participates in an Exhibition in the U.S.]. peru21.pe (in Spanish). Retrieved 29 October 2020.
{{cite web}}: CS1 maint: numeric names: authors list (link) - ^ Yalán Dongo, Eduardo (1 March 2019). Semiótica del consumo. Una aproximación a la publicidad desde sus signos (in Spanish). Universidad Peruana de Ciencias Aplicadas. p. 114. ISBN 978-958-762-991-0. Retrieved 29 October 2020.
