By Edgardo Civallero | Sara Plaza
What makes the cueca tarijeña or chapaca (with origins in the department of Tarija, south of Bolivia) so special, and what distinguishes it from the rest of Bolivian cuecas (e.g. of La Paz, Potosí, Chuquisaca, Oruro or Cochabamba departments) is not only its lively, fast-pace music but also that it is played on the violin, instead of on the charango and various aerophones (notched flutes, panpipes, etc.) like the other (Andean) versions.
The dance is one of courtship performed by a solitary male-female couple, where they flirt as they dance without touching each other. In a 6/8 time, the cueca is divided in two "halves", each one comprising five parts known as "introducción", "cuerpo", "quimba", "jaleo" and "descanso".
Within the history of the cueca chapaca highlights the figure of Pío "Senca" Martínez, regarded as "the father of the cueca tarijeña", together with local characters such as Nilo Soruco (the author of famous "El Moto Méndez"), Pastor Achá Martínez, Eduardo Farfán Mealla, Circar Gálvez, Hugo Monzón Cardozo and Elías Dipp. Many of them gained popularity and recognition thanks to the work of a local radio station, Radio Guadalquivir.
Article. "La cueca tarijeña, una fusión cultural con identidad propia", in Tarija Bolivia [en].
Article. "Origen de la alegre cueca tarijeña", in Arte, Pintura, Cultura, Teatro [es].
Article. "Cueca", in Ballet Folklórico Flor de Lapacho [es].
Video 01. "Tierra querida", by Enriqueta Ulloa.
Video 02. "Como extraño a mi tierra", by Ernesto Mealla.
Video 03. "Potpurri de cuecas", by Gastón Cordero.
Video 04. "Blanca azucena", by Oscar Videa.
Video 05. "El Moto Méndez", by Tupay.
Video 06. "Mi palomita", by Elías Dipp.
Video 07. "Comadres tarijeñas", by Cinthya Choque.