TheGrowthOfChicha

1 

CHICHA p o s t e r s 

Marco Gutierrez, 2016

2

The Growth 

Chicha Posters are undoubtedly the most 

representative expressions of Chicha culture 

and music. Chicha, a new music genre that 

emerged during the early nineteen-eighties 

in Lima as a result of a clash between two 

cultures, and it has evolved from being a 

marginal underground genre to being one of 

the most infl uential cultural movements of 

Peru during the last thirty years. This paper 

will analyze posters made to promote Chicha 

music bands, and it will explain how the use 

of specifi c colors, typefaces, composition, 

and messages have given a new identity to 

the capital city of Peru.

4

Fig. 1. The Basilica Cathedral in the Plaza Mayor of downtown Lima, Peru. 

5 

Chicha Posters 

Before 1960’s, Lima fashion, architecture, fine arts, music, and graphic arts 

were influenced by Europe and the United States.

6 

“We didn’t come to the capital to find a job and work in a factory, 

rather we came here to make our own way.” 

Fortunato Urcuhuarangua

7 

Fig. 2. A view of San Juan de Lurigancho, 

one of Lima’s largest shantytowns in the 

city’s suburbs. 

The origin of Chicha music is rooted in 

the migration wave of people from the 

Andean and Amazonian lands to Lima, the 

Peruvian capital, during the early 1980’s. 

These migrants were mostly young people 

looking to secure a more prosperous 

future for themselves and their families. 

At that particular time in Lima, fashion, 

architecture, fine arts, music, and graphic 

arts were mostly, if not entirely, influenced 

by Europe and the United States. This 

style was unknown and foreign to the newly 

arrived migrants, and such unfamiliarity 

created a clash between the two cultures. 

Lima residents were mainly third or 

fourth generation descendants of Spanish 

immigrants. In contrast, this migration 

wave brought into the city of Lima people 

from rural areas that mainly spoke 

Quechua, Aymara, and other dialects. In 

other words, these newly arrived migrants 

represented a culture that still valued the 

native customs of their land. This context 

led to a number of conflicts between 

these two groups of people in Lima. These 

problems ranged from those such as discrimination, 

and prejudices to intolerance 

and rejection. 

Chicha Posters

8 

Music broadcasted in Lima during this period was 

mainly Rock, Pop in English, and Salsa from Puerto Rico, 

Colombia, and New York. For the migrants, these genres 

were foreign and meaningless as the traditional music 

they listened to was Huayno, Peruvian native music 

played with Spanish instruments such as the guitar and 

the violin. As such, a cultural shock occurred, as neither 

group was able to adapt to the new rhythms to which 

they were exposed. As these migrants settled in the city, 

a fusion between both cultures was emerging as their 

kids submerged into the lifestyle of the city. Cholos, 

a term used in the city to refer to second-generation 

descendants of rural migrants, were able to combine 

international music with their traditional genres, giving 

birth to a new type of music, Chicha. Consequently, 

Chicha music is a product of two different cultures, 

and it identifi es the Cholos as a new and unique cultural 

group, distinct from their parent’s. 

Musically, Chicha is the result of a fusion between 

Huayno and the foreign rhythms trending in Lima. In a 

few years, the popularity of this music soared, and the 

need to promote Chicha bands quickly forced its promoters 

to innovate in the way they conveyed their message 

to their target audience, Chicha music followers. Limited 

by budget constraints, Chicha music promoters adapted 

the use of stencil silkscreen printing as an alternative 

low-cost marketing resource. Printmakers substituted 

the expensive printing meshes and regular printing ink 

with cheap fabric (organza) and fl uorescent pigments, 

respectively. Key characteristics of Chicha posters that 

are a refl ection of their relatively inexpensive cost to 

produce are: the imperfection in technique, bright colors, 

black backgrounds, big letters, and blocky compositions. 

The importance of Chicha posters in Peruvian culture, 

thus, is its transformative effect on Lima, a city of about 

10 million people, from a gray, dull, and plain city to a 

more colorful, youthful and bright (fl uorescent) one. Chicha 

posters are ubiquitous in many neighborhoods of 

the capital city, serving both as public announcements 

and references for designers ■

9 


Fig. 3. (top left) Ruben Blades is an iconic 

Panamean salsa song-writer. Fig. 4. (center) 

Grupo Shapis is a pioner of Chicha 

music. Fig. 5. (bottom) Ayben Trelles, a 

famous “Huaynos” singer. Fig. 6. Micheal 

Jackson, one of the most emblematic pop 

fi gures in the 80s and 90s.

10


Chicha 

Seeds 

Chicha culture has its antecedents 

in the late 1970s in Lima, the 

capital of Peru. Massive groups 

of migrants from rural areas of 

the country were forced to move 

to the capital due to economic 

crisis, political unsteadiness, and 

extreme poverty caused by an 

uneven concentration of economic 

and political power in the hands of 

Lima´s elite.

12 

Fig. 7. (top left) Wilson Avenue in downtown 

Lima, 1950s. Fig. 8. Plaza San Martin, one 

of the most representative landmarks of the 

capital. Fig. 9. (bottom left) Military coup in 

1968. Fig. 10. Villa El Salvador, one of the 

oldest slums in Lima’s.

In 1968, a military coup led by Juan Velasco 

Alvarado implemented socialist ideas and united 

farmers, workers, and miners in their quest to 

obtain more inclusion into the national life and 

political decisions (Matos, 39). Velasco instituted 

a socialist government that implemented many 

reforms such as the redistribution of land, 

elimination of Latifundios, a typical landholding 

structure that existed in Latin America that is 

characterized by large –usually over 500 hectares– 

commercial estates owned by the elite, 

and land entitlements to those who worked it. 

Such policies, nonetheless, backfired on 

Velasco and soon forced the government to 

change its strategy. As economic power shifted 

from the elite to the peasant, political pressure 

was felt at almost every level of government 

institutions, thus creating a climate that soon 

Velasco came to fear would result in political chaos. 

As such, the government shifted its political 

direction into a totalitarian regime as a means 

of containing the growing popularity of political 

power at the hands of the peasant, marking thus 

an end to the once popular socialist government 

which promised to bring the masses out of 

poverty (Matos Mar, 38). This new military regime 

worsened the conditions of the rural country, and 

as a consequence more people continued to migrate 

to Lima, resulting in a 10% increase in the 

city´s population within ten years from 1961 to 

1972 (Matos Mar, 25). Matos Mar, a prominent 

Peruvian sociologist, states that in a 1983 study, 

32.5% of Lima’s population lived in shantytowns, 

slums, around Lima. This trend caused Lima’s 

slums to become a dominant characteristic of the 

city from 1969 to 1983. 

During the 1970s, Lima was still influenced by 

European styles in fashion, fine arts, music, and 

architecture (Fig. 7). For instance, the buildings 

Fig. 11, 12. By the late 1960’s and 70’s, 

waves of migrants came to Lima and settled 

in empty lands in the city’s suburbs. 

13 

Chicha Posters

14 

Fig. 13. (top) “Radio Victoria“ flyer. 

Fig. 14. “Musica para la Juventud,” a radio 

show flyer. Fig. 15. (bottom) Raquel Welch, 

Coca ad 1970 Fig. 16. Next page, an advertisement 

for “Inca Kola,” the most popular Peruvian 

soda. Note: the design style used in the late 

1960’s and 70’s resembled a pale color palette. 

from the first half of the 20th century 

resembled French style (Matos). The printing, 

design, and visual communications 

industry were other aspects of the culture 

influenced by foreign aesthetics such that 

flyers, lettering, and posters resembled 

those from Europe or North America. As 

such, Peruvian posters and flyers were 

pale in colors over white backgrounds 

(Fig. 13,14,16). 

As a result of the massive waves of 

migrants, the city of Lima faced a process 

of blending two different cultures. One culture 

was the Lima natives: third or fourth 

generations descendants of Spanish conquerors, 

European refugees from WWII, 

and groups of mixed race people (i.e mestizos, 

Afro-Peruvian). The second culture 

was the one brought by the immigrants, 

people native from the rural areas that 

spoke Spanish and other dialects such 

as Quechua or Aymara. The cultural clash 

of these two groups resulted in racist 

discrimination by Lima’s natives against 

the newcomers. This discrimination was 

based on how close or far one is from the 

“Andean” or “afro” roots (Quispe). 

During the 1980’s, most radio stations 

in Lima played Rock, Pop music from the 

UK, USA, and Australia, and Salsa from 

Puerto Rico and New York, yet only a 

small percentage of the commercial radio 

stations broadcasted native music (Matos, 

46). The newcomers introduced to Lima 

the Huayno, a traditional music genre 

originally from the rural Andean areas of 

Peru. A second generation of immigrants 

grew up in the city listening to the music 

of their parents (Huayno) and the music 

of the city (foreign music). For this reason,

15 

Chicha Posters

16

20p11.120p11.1eew 

they did not hesitate to blend the various 

rhythms in order to find something that represented 

them as a new cultural group, distinct 

from their parents. This musical fusion 

resulted in Chicha. Bronislaw Malinowski 

states, “Cross-culture is a process in which 

both parts are affected, and the result is a 

new reality that is more complex that its two 

components” (Quispe Lazaro). 

Before the origin of Chicha posters, informal and clandestine print shops printed 

posters to promote Huaynos concerts. These were made in small formats using 

standard inks (no fluorescents). Later, during the 1980´s and 90´s, Chicha posters 

became popular and ubiquitous; they were placed in most of Lima‘s main streets. 

Fortunato Urcuharanga, one of the pioneers of the Chicha posters industry, said that 

these posters initially responded to the need of promoting folk music performers, 

Huayno, and later became an effective marketing tool to promote Chicha music bands 

due to their popularity. 

It is difficult to ascertain with certainty who was the first Chicha posters printmaker 

because, given that it is a vernacular expression, there is little, if any, historic data. The 

most complete information is what printers 

and scholars have found. Monky (Pedro 

Tolomeo Rojas) is considered by printers as 

a pioneer of Chicha posters and the first to 

print with fluorescent inks for iconic Chicha 

singers such as Vico and Tongo. Azucena 

del Carmen, an advertising designer and 

founder of Carga Maxima, says that her research 

leads to the same printmaker: Monky 

17 


Fig. 17-18 . (left) “Los Destellos“ is 

considered the first Chicha group by 

many scholars. Fig. 19. (top right) 

Carga Maxima, an experimental group 

of scholars in popular lettering. Fig. 

20. (center) Azucena del Carmen, 

co-founder of “Carga Maxima. Fig. 21. 

(bottom) Fortunato Urcuhuaranga, 

pioneer of the Chicha posters industry.

18 

Fig. 22. (right) Elliot Tupac, one of the most 

well known names in the Chicha poster 

production industry and painter of urban 

murals in Lima. Fig. 23. “El Jaguar”poster 

designed for Letra Capital,Tupac’s solo 

show, 2013. 

(Carga Maxima). Azucena, and her partner Alinder, a 

painter, founded Carga Maxima in 2010 to focus on 

the study of vernacular design, Chicha poster making 

and popular lettering, in an attempt to promote 

Chicha art and design globally. Through frequent 

workshops, seminars, and international exhibitions, 

Carga Maxima is becoming an important presence 

in the scene of popular art and design in Lima. 

The Urcuharangas is a family from Huancayo 

(center of Peru) that have been in the Chicha 

poster making business for almost 

30 years. Fortunato, the father, 

worked as a host of a vernacular 

music program for a 

radio station in Lima, and this 

experience helped him learn 

basic principles of communication 

such as: who, when, 

and where. Later, he applied 

his experience to posters and 

banners productions. Now Fortunato 

runs Viusa, a print shop 

in Lima that offers a wide range 

of printing services, from stencil 

silkscreen to digitalized large 

images (Chaupen, Youtube). Elliot 

Tupac, Fortunato’s son, has innovated 

the Chicha poster´s printing 

style by introducing a more artistic 

and professional technique. His designs 

are loaded with messages that 

allude to the pride of being a migrant 

in Lima. Elliot’s works have been 

exhibited in different international and 

national art galleries in Lima ■

19 

Chicha Posters

20

Chicha 

Brights 

One of the most important characteristics 

of Chicha posters, besides typography, 

is color. Their color palette is limited and 

often includes black in order to generate 

high contrast. In addition, the most frequently 

used colors in these posters are 

red, yellow, green, and fuchsia. 

Ancient Peruvian textiles are known for 

the highly complex techniques used in 

their composition, its beautiful patterns, 

and its bright colors, and they are part 

of many important museum collections 

such as the Paracas Textiles at the British 

Museum in the UK (Fig. 25)

22 

(maa.cam.ac.uk). New vernacular textiles 

have incorporated more and brighter hues 

because new technologies provide them 

with chemical pigments (Fig. 26), which 

are not fluorescent, yet they appear extra 

bright because of the contrast provided by 

the black color backgrounds. These new 

fabrics have not changed much in style 

and are iconic representations of the vernacular 

textile of Andean and Amazonian 

cities of Peru (Peruthisweek.com). The 

use of bright colors in textiles is commonplace 

throughout all Peru, however, in the 

city of Iquitos, in the Amazonian part of Peru, the use of fluorescent inks is 

a more dominant characteristic (Fig. 27). As such, we note that the colors 

used in Chicha posters were originally inspired by the colors used in the 

city of Huancayo’s, in central region of Peru, embroidery (Fig. 28) (Poster 

Chicha Documentary). However, Chicha posters inks are extremely bright 

due to fluorescent pigments that contrast the black matte background. 

The Chicha poster color palette is mainly composed of five colors: yellow, 

green, red, fuchsia and black, and it is as such considered a warm palette 

even though green is considered a cool color. The reason this is so is 

because the green used in Chicha posters contains a greater concentration 

of yellow (Bruce MacEvoy). The other colors - red, yellow, and fuchsia- look 

almost analogous and are paired in order to create intermediate hues 

between them. For instance, in the center part of La Chicha y su Manga

23 

Fig. 24. (left) The “Fiesta de la 

Candelaria“ is a festival of the Candelaria 

Virgin in Puno, the highlands 

of Peru. The virgin masks are painted 

with bright colors that represent the 

colors of the native Peruvian people. 

Fig. 25. (top-left) Paracas textile. Fig. 

26. (top-right) Textiles from the Sacred 

Valley, Cusco. Fig. 27. (bottom-left) 

“Shipibo” textiles from Peruvian Amazonian. 

Fig. 28. (bottom-right) “Huanca” 

embroidery from Huancayo.

24

Fig. 29. “La Chicha y su Manga”, a Chilean 

Chicha band, performs in a wholesale 

market “Tirso de Molina” in Santiago de 

Chile. It shows the Peruvian Chicha culture 

in neighboring countries. Fig. 30. (right) 

poster designed by Ellior Tupac. 

25 

(Fig. 30), fuchsia and yellow are used to create orange 

color by means of split fountain technique. 

Dull colors are not used in Chicha posters because 

the printmakers only manipulate the hue dimension, and 

colors are not mixed with black or white or any other complementary 

color to lessen their intensity. Consequently, 

colors are bright and contrast with the poster’s black 

background. It is important to note that some of these 

pigments cannot be mixed because they are chemically 

incompatible. However, when the colors used are mixable, 

printers mix them in order to obtain adjacent colors only — 

yellow mixed with blue results in green (Hupki). Printmakers 

generate new colors by creating gradated effects of 

analogous hues (Fig. 4). This technique is very common, 

and it is used in type or backgrounds. 

Although the color palette looks fairly simple, it uses 

elaborate color harmonies in a non-orthodox fashion. For 

instance, on the poster La Chicha y su Manga, the artist 

uses a harmony of split-complementary by using the 

green color as a complement of orange-fuchsia-yellow in a 

palette of subtractive colors. Another example is the poster 

of Corazon Serrano (Fig. 35); the color harmony applied 

here is the Tetradic harmony in which it has two pairs of 

complementary colors (red—green /blue—orange). 

This harmony requires a dominant 

pair, which is the blueorange 

in this image. 

The value scale of these 

posters is very restricted 

as the four basic colors (red, 

green, yellow, and fuchsia) are 

very similar in value. If we place 

each color next to the other, and make black and white 

print, the result will be a medium gray print with very light 

varieties. This means that if we place these colors in a 

nine steps value scale from black to white, the colors 

would be placed between the scales 3 to 6. Thus, there 

is not much variety in value; consequently, these posters 

depend on black to generate contrast (Fig. 33 & 34). 

Chicha posters do not manipulate colors in order to 

obtain a sense of 3D. Instead, they are flat because they 

Chicha Posters

26 

Fig. 31. Chicha banner depicted in its color 

areas. Note how the black background is used 

in order to pop up the other hues.

27 


w 

have similar values. Without black, the 

text would be unreadable due to a lack 

of hard edges. Thus, colors are usually 

not used to create hierarchy in Chicha 

posters, but they are rather used in order 

to attract the attention of the target 

audience. 

In Lift and Separate, Jeffery Keedy 

writes: “The most familiar ‘use’ of 

vernacular is to produce nostalgia. The 

problem with this nostalgia is that it steals 

from the past to deny the future.” This 

idea can help the viewer understand the 

connotation of these posters. The highland migrants during early the nineteen-eighties 

suffered discrimination by Lima’s long-time residents and encountered a different culture 

with European-style architecture and a dull, colorless city. Chicha posters reflect 

a sense of nostalgia; the colors are reminiscent of textiles, customs, food, family, and 

their land — the Pacha Mama — as it is known in Quechua language (Smithsonian Folklife. 

“Chicha Poster Art “ YouTube). Possibly, these colors are used as a way to deny the 

rough realities of the current social environment and to remind them of the pleasant 

memories of the past. 

According to Elliot Tupac, an emblematic Chicha poster printmaker, the Chicha 

poster color palette can be found throughout the Andean region and is thought to bring 

peace and serenity to the dwellers’ hearts (Creative Review). Chicha poster colors, 

nonetheless, are associated with lower class citizens by Lima’s natives (Chicha Poster 

art #15) and are interpreted as a sign of protest against the status quo (Escárzaga pg

28 

280). Beyond the theoretical use of color, Fortunato 

Urcuhuaranga, a pioneer in the Chicha poster industry 

who runs his own print ship in Lima since the early 

80’s, says: “the primary function of the poster is to 

promote Chicha music bands” (Chaupen, Youtube). 

Costs are an important factor in the decision to 

use silk-screen stencil printing for Chicha posters. 

More complex silk-screen processes, such as the 

photo-emulsion process, would increase costs (emulsion, 

silk-screen light box, etc.). Using plain paper, 

a table illuminated from bottom, water tape, cheap 

cutters, a cheap wooden frame, organza fabric, and 

some tacks instead of staples, are enough to print 

the posters (Hupki). The use of fl uorescent colors is 

also an effort to reduce cost. In an article published in 

Creative Review, the author writes, “in the early 80’s, 

fl uorescent inks were widely available and cheap, 

offering a lot of bang for your buck” (Creative Review). 

Therefore, it is a logical conclusion that these posters 

belong to an emergent social group that tries to catch 

the attention of a dominant social group. Once the 

posters are placed on the street, however, local Lima 

citizens may perceive them in one of two ways: as a 

nostalgic representation by the migrants or as a form 

of social rebellion. 

In Chicha posters, color plays an important role 

as a communication vehicle. The brightness of color 

draws the attention of the viewer while expressing the 

feelings of the author by provoking reactions and emotions. 

Color also creates new ideas derived from its 

own meaning (Farina). The bright colors and the long 

ascender or descender of some fonts on Chicha posters 

are a graphic representation of Chicha music that 

is based on the blending of vernacular melodies that 

provoke nostalgia and sadness. They feature rhythms 

that suggest emotions such as euphoria and loudness. 

These posters may embody feelings of mourning, 

struggle, hope, conquest and revelry that Chicha music 

expresses in its melodies. Fortunato Urcuhuaranga

Fig. 32. (left page) poster 

designed by Monky for “Grupo 

Nectar, Alegria, and Guinda”. 

Fig. 33-34 (this page, right) 

poster for, “Toño Centella.” 

and “Orq. Amaya Hnos” Note 

how the use of black is crucial 

in order to pop up the colors 

from the background. 

Fig. 35 Chicha newspapers. 

29 


says, “we [the migrants] did not come to 

the capital (Lima) to find a job and work 

for a company, rather we are here to build 

our own way” (Chaupen, Youtube). When 

considering the origins of Chicha culture, 

which has evolved into a national identity, 

one notes that Chicha posters reflect a 

new identity, a new culture, which is being 

created by Chicha music promoters. By 

creating Chicha posters, the dreams, 

problems and tastes of the migrant are 

printed by hand and placed on the walls 

of the most popular neighborhoods of the 

city, proliferating thus a new culture: the 

Chicha culture. In this context, Urcuhuaranga’s 

words become relevant in the 

cultural context as the migrant is building 

their own cultural way. 

The constant exposure of Chicha 

posters in Lima’s walls has educated 

the viewer by changing the perception in 

the eyes of the city’s population. Chicha 

poster’s bright colors are no longer 

viewed as an aesthetic intrusion, but 

are now perceived as a visual code that 

expresses the Cholos history and culture. 

Fine arts and media have been affected 

by this new perception of Chicha posters 

in Lima as these bright colors are now 

used more frequently in other contexts, 

such as the press and fashion. The new 

colorful tabloids, the Chicha newspaper, 

represent a competitive threat to the 

conservative Lima’s newspapers, such 

as El Comercio and La Prensa, for several 

reasons: a) the reader from popular 

neighborhoods find in them yet another 

representation of their culture, b) they are 

cheaper to acquire attracting thus a more 

price sensitive audience, the Cholos, and 

c) Chicha newspapers are convenient to 

acquire as they are sold in kioskos 

(Fig. 35) throughout the city. To visually 

differentiate from the traditional newspapers, 

the front page of these tabloids 

mimics the style of Chicha posters by using 

bright colors and large fonts to stand 

out among other newspapers ■

30 

Fig. 36 “Corazon Serrano” is one of the 

most contemporary bands from the North 

coast of Peru. This band has different posters 

made by different designers, however 

this is one of the more successful ones 

made by T&J posters.

31 

Chicha Posters

32

Underlying 

Roots 

Chicha posters are a form of vernacular 

art created by Amazonian and Andean 

immigrants in Lima, the capital of Peru. 

Vernacular artists are those without formal 

training in graphic design or fine arts. 

Their practice of making posters in an empirical 

fashion allows them to create their 

own techniques and methods. Chicha 

posters appear busy with all the space 

occupied by graphic elements. The visual 

elements (headline, body, footnotes) may 

look as though they are without an 

underlying structure.

34 

Nonetheless, if we analyze every element 

and the patterns that they create, it is 

easy to fi nd a well-developed and effective 

form of communication. 

Chicha posters possess a basic type of 

underlying structure. In most examples, 

it is determined by answering three questions: 

who, when and where. Chicha poster 

designers strongly believe in a fast and 

effective delivery of the message because 

their audiences are pedestrians or people 

on public transportation. Chicha poster 

printmaker Elliot Tupac says, “there is a 

need to be concise and succinct when we 

elaborate the message.” In the poster for 

Chacalón (Fig. 42), a basic structure helps 

the viewer understand the message. In 

western culture we normally read from left 

to right and from top to bottom. Following 

that norm, we fi rst fi nd the answer to the 

question: “where is the event is taking 

place? At Cerro Sn. Cosme (Saint Cosme 

Hill). Secondly, we learn the when of the 

event: Dom. 3 (Sunday, the 3rd). Lastly, 

the poster informs the audience about 

who is performing in the event: Chacalón 

y La Nueva Crema (Great Jackal And 

The New Cream). This same arrangement 

is also used in many others Chicha posters 

(Fig. 41,43). Because of this 

consistent distribution of the communicative 

elements, Chicha posters are 

extremely effective at communicating 

their intended message.

35 


Fig. 37. “Barrios Altos” is one of the most 

traditional neighborhoods in the capital of Peru. 

Against all odds, Chicha music has conquered 

the harth of its people and it is commonplace to 

see Chicha posters and banners.

36 

The organic lines, along with blocky, rigid, 

and geometrical structure and shapes 

of most of these posters create a high 

level of contrast and tension. Contrasting 

meandering and rigid lines and geometric 

against curvilinear letterforms is a 

common technique used in almost every 

Chicha poster. In figures 41- 43, all prints 

show rectangular containers at the top of 

the posters to place the date and location 

of the concert. Underneath this block of 

information is the name of the performer; 

this name is usually treated with swash 

characters, and flourishes. In image 42, 

the letter “C” is exaggerated in a Coca 

Cola style. In image 43, the artist’s name 

is treated slightly different by underlining 

the word Shapis with a straight line that is 

an extension of the letter “S”. Sometimes 

it goes from one side of the poster to the 

other side (see letter “C” in Chacalon’s 

poster and the small “s” in the Shapis 

poster). In image 43, the decoration helps 

to connect the letter “p” and the capital 

letter “S”. Azucena Del Carmen, founder 

of “Carga Maxima,” says that Monky has 

always bridged the letters in that way, and 

in many cases the Chicha bands, the Shapis 

for example, have adopted that style 

on the poster as their logo (Del Carmen).

Fig. 38. (left page)“Los Shapis” have 

made their poster with different Chicha 

printmakers. This one was made by Monky 

for their concert in “Mallapampa”. Fig. 39 

(this page, bottom-left) Openwork letters 

for silk screen printing. Fig. 40 (this page, 

bottom-right). Poster made by unknown 

printmaker, note the differences in uses of 

color and the space. 

37

38

In all of these figures, the artist’s names are placed in the lower 

part of the poster and take almost all of its width. The purpose of 

this is to create a visual hierarchy that is based on size relationship. 

In order to get the viewer’s attention, the names are 

rendered in the largest type. Since the typefaces are bold through 

out the poster, the band name needs to be a very monumental 

element in order to be the most important part of the design and 

outshine the other elements. In many posters, some decorative 

elements are added such as stars (Fig. 42) or a crown (Fig. 41). 

These elements are subordinated to the others because their 

sizes are small relative to the main parts. 

The relationship between the content and the elements is 

arbitrary. In an interview, Carga Maxima’s founder, Azucena Del 

Carmen, stated that since formal training does not exist in Chicha 

style, the printmakers decide on their own what elements are 

incorporated into the posters and which ones are left out. Images 

39 

41-43, designed by Elliot Tupac, are 

treated in a specific style that is recurrent 

in his prints, such as the use of split color 

fountain in the typefaces. In contrast, the 

printmaker for the poster Sabrothers preferred 

to cover the printing area with the 

performer’s name in solid orange color 

and used a cast shadow to emphasize the 

artist’s name. The split fountain effect is 

used for the background. Although these 

aesthetic elements are applied irregularly, 

Chicha posters always posses specific 

characteristics such as: big typography, 

high color contrast based on the use of 

black, split fountain colors, bright colors, 

and a limited color palette. Another 

element that is common in all Chicha 

posters is that it never shows the year of 

the concert. In Fortunato Documental, 

Fortunato Urcuhuaranga said that the Chicha 

bands have always had high rotation 

of concerts — these bands had presentations 

every week — and so these posters 

were designed to be reusable. 

Fig. 41-43. (from tip to bottom). These three 

posters were made by Elliot Tupac for his 

solo exhibition “Letre Capital” in downtown 

Lima at the gallery “Pancho Fierro.”

40 

Rhythm in Chicha posters does not vary much 

because of its rigid composition; the elements 

are placed in a quasi-symmetrical arrangement. 

However, its rhythm often consists of a triangular 

movement that starts at the center of the poster, 

continues to the upper left, and then moves 

to the upper right to create a looping effect. 

This rhythm emphasizes the biggest shape, the 

artist’s name, rather than the where and when 

of the concert because the name usually comes 

along with ornaments, decorations, and color 

effects that makes it more stylish in relation to 

the other parts. 

Structurally, the Chicha posters are simple 

and solid. They are based on four quadrants 

of different sizes in which its three dominant 

elements (date, location, and artist’s name) are 

placed. Even though in some posters the 

element arrangement has changed, the underlying 

structure remains untouched, keeping thus 

the cohesiveness of the posters. It is possible 

that the structure was established accidentally 

or intuitively because, as a vernacular art expression, 

artisans without design training created 

the Chicha posters. Consequently, Chicha 

posters are not based on compositional grids 

that require higher knowledge of design. Nonetheless, 

this lack of grids does not affect their 

ability to communicate information to a specifi c 

audience. The fact that Chicha posters have not 

changed their structure in over thirty years is an 

indication of its effectiveness in delivering its 

intended message ■

41 


Fig. 44. (left page). Illustration “Y Chacalon 

bajo de los cerros,” an homenage to 

Lorenzo Palacios, considered one of the 

greatest Chicha music singer of all times. 

Above from left-right and top-bottom, fig. 

45-49. Chacalon, Grupo Nectar, Juaneco, 

Los Destellos, and Los Shapis, all of them 

illustrated by Monky.

42


N e w 

Horizons 

An analysis of the messages of Chicha 

posters represents a challenging task 

because they respond to the need to promote 

Chicha music bands. These bands 

emerged in the 1980’s as a response to 

social discrimination experienced by the 

migrants from the natives of Lima, Peru 

(Quispe Lazaro). The posters fulfi ll a need 

to promote these bands with a limited 

budget and creativity, says Fortunato 

Urcuhuaranga (Chaupen. Youtube).

44

Monky, pseudonym of Pedro Tolomeo, is 

a well known name in the realm of Chicha 

poster printmakers in Peru, and his fame 

led to an invitation to participate in the 

2015 FolkLife Festival in Washington DC 

(festival.si.edu). Monky works in Lima 

as a Chicha poster maker, and in many 

cases he also places these posters on the 

streets of Lima (Fig. 74). 

The poster made by Monky for the 2015 Smithsonian FolkLife Festival (Fig. 57) 

features a combination of English and Spanish. The word “Folklife,” almost the width 

of the poster, stands as a primary element, its color is fuchsia with a contrasting black 

outline. Almost challenging the first position in the hierarchy of this poster is the word 

“festival” that shares the letter “F” with “Folklife”. Other secondary elements are the 

date and place of the event. The place of the event is the second element in hierarchy 

due to its high contrast with the black 

shaped background framed by a degraded 

color combination. 

The colors of this Chicha poster connote 

wildness and euphoria because of 

the aggressiveness of the high contrast 

and bright colors on black. Since the 

origin of these posters is from a place 

that differs greatly from Washington DC, 

the reception of the message might be 

misunderstood because the communication 

process needs to have a shared 

understanding of its elements including 

the words and symbols that are used 

(Bowers: 17). 

45 


Fig. 51 & 52. (left page) Peruvian 

handcrafts (lthis page, top). Fig 53. 

(this page, top) The 2015 Folklife 

Festival in DC brought a large number of 

Peruvian representations. Fig. 54, (this 

page, center) Vernacular dancers. 

Fig. 55. (this page, bottom) Mural 

“Libertad” painted by Elliot Tupac.

46

47 


Fig. 56,57. Posters for the 2015 Folklife Festival in DC designed by Monky.

48 

The color and the letterforms refl ect the three characteristics of Chicha’s 

culture: gaudy aesthetic, incessant fusion, and unstable social values 

(Quispe Lazaro). The aesthetic in Chicha posters includes hand-drawn 

type, and Day-Glo colors. This energetic visual language not only refl ects 

the music but also the immigrant’s vibrant culture. The incessant fusion 

of more immigrants coming to Peru’s capital, and other large cities, is refl 

ected by the increasing number of Chicha bands from different cities of 

Peru that add new sounds and rhythms. Consequently, it is refl ected in 

the posters with new imagery, color arrangement, and new letterforms. 

Migrants coming to Lima brought their own values, which sometimes 

clashed with the values of the established population. Lima is vulnerable 

to this, yet the city allows different values to coexist within the same 

social group. Chicha posters refl ect this confl ict and the instability of 

social structures by adding new typography and new imagery into 

an already busy space. 

58. “Chinoclon” a poster made by Monky 

for an artist who performs homages 

to Chacalon music. Fig. 59. Monky is 

considered for many printmakers as the 

pioneer of Chicha posters, and as the 

fi rst one to use fl uorescent colors —Azucena 

del Camen.

The Folklife poster has words in English and Spanish, and its message is clear 

and straightforward as it is common in Chicha posters. Traditionally, Chicha 

music posters rely on representing three main pieces of information: where, 

when, and who (Haciendo Peru). They display the location where it will take 

place, the date when it will happen, and the artist or performance that will be 

there. These three points aim to avoid confusion in the message of the poster 

(Fig. 57,60). Therefore, decoding the message by the receiver or target public 

in a short time is easy. Elliot Tupac says that the message on the streets 

should be succinct and precise because people have no time to stop to 

read long messages (Uno por Uno). 

Some Chicha posters include simple illustrations that 

go along with the text. These images are fl at, and they 

lack three-dimensionality. One reason why this is 

so is because stencil silk-screen technique 

(punched paper) demands simple 

49 

Chicha Posters

50 

Fig. 60. Above, “El Lobo” has become one 

of the most famous Chicha singers and his 

posters are made by different printmakers 

that treat them differently. On one hand, 

Monky renders the poster with his traditional 

style and colors, and on the other hand, the 

“Hupky Brothers” have a more complex work 

due to the use of sophisticated technology in 

their look (Fig. 61, right page).

forms. Another reason to make simple 

illustrations is because making complex 

shapes is time consuming, thus requiring 

more resources to make, which defeats 

the purpose of creating marketing 

material cheaply (Chaupen. Youtube). In 

addition, most Chicha posters artisans 

have not had training in printmaking techniques, 

and are self-taught artists (Uno 

por Uno). Consequently, they may lack 

higher level printing techniques. 

In the poster of Jose Luis Arroyo El 

Lobo (Fig. 60), the artist placed a cartoonish 

wolf head, cabeza de lobo, in the 

counter of the fi rst letter “O”. It makes the 

word “LOBO” into a logo mark. However, 

the illustration reinforces the nickname 

of the artist, making the graphic more 

memorable than a plain word. 

Figure sixty-four is a poster made by 

Monky about the 15th edition of Trimarchi—an 

International Design Conference, 

open to visual artists, graphic designers, 

graphics artists, publicists, and illustrators. 

The 2015 Trimarchi was held in 

Mar del Plata, Argentina, and the poster 

promotes the event. The poster communicates 

the celebration of Trimarchi’s fi f- 

teenth anniversary by showing a birthday 

cake with a number 15, and the Spanish 

word años (years). Underneath is a city 

with buildings and a bridge. These are 

not Mar del Plata’s landmarks (the Sea 

Lion, Columbus Square, Tanque Tower are 

the most important landmarks in Mar del 

Plata). However, Monky uses them in order 

to give the idea of a big city where the 

international conference is taking place. 

Furthermore, the artist added 

colorful balloons in order to 

reinforce the celebratory 

message. The continuing 

addition of elements 

may also be an effort 

to fi ll all the space 

51 

Chicha Posters

52

around the type. The serpentine line that comes from the globe 

above the cake suggests the idea of location. Geographically, it 

points out a place between Chile and Argentina. In this case, the 

artist fails a bit because Trimarchi took place in Mar del Plata, 

Argentina, on the other side of the country. It is important to note 

in this poster how the artist has added different illustrations that 

are dictated by his communication needs and his knowledge of 

visual communication. In both posters, El Lobo and Trimarchi, 

Monky shows simplification in his illustrations. El Lobo is a very 

flat poster because it was printed on paper while Trimarchi shows 

more complexity and more details as it was painted over canvas. 

Chicha posters makers, Chicha music bands, and Chicha 

culture lovers belong to the same social class. This fact makes 

communications among them easier. The message in their poster 

is clear because they speak the same language and share similar 

taste in music and other art forms. Chicha posters are the result 

of an emergent cultural group created by a developing graphic 

industry (Loquita Karin). Its relevance lies on the impact it has 

had from the early 1980’s to today ■ 

53 


Fig. 62. (left page) Poster for 

Trimarchi 15th anniversary. 

Trimarchi is an international 

design conference that was held 

in Mar del Plata, Argentina. Monky 

painted this poster over canvas. 

Fig. 63-65 (right page) show 

activities during the conference.

54

Shanty-towns 

Posters 

The color palette used in, and the structure of, Chicha 

posters are key elements in delivering the intended 

message to the targeted audience. Chicha poster Feliz 

día del Trabajador (Fig. 71) was created to promote a 

concert by four famous Chicha bands: Grupo Alegria, 

Vico y su Grupo Karicia, Genesis and Noche Azúl, 

which took place in Chosica, a suburb of Lima, Peru. 

Based on the location of the concert, this poster 

might be placed in the surrounding areas of the performance, 

in bus stops, and on walls around the city. 

They may also have been placed in neighborhoods 

outside Lima where other people who love this music 

lived (Fig. 2). Most of these posters have the printers’ 

name displayed on them. For example, between the 

words “Karicia” and “Genesis”, one can read CEA 

Publicidad, the printer.

56 

This poster follows the western norm of 

reading from left to right and from top 

to bottom. It states from the top left the 

date of the concert, Tuesday, April 30th. 

On the top right side we note yellow 

capital letters that appear to be the 

acronym of the venue, and it lists the city, 

Tarazona, Chosica. Below this fi rst row 

of information, the author places a line 

of small white letters on a black line to 

announce a celebration for The Day of the 

Laborer, “Feliz Dia del Trabajador.” Under this information the viewer fi nds 

the names of the four bands. From top to bottom the list goes: Grupo Alegria 

de A. Bernardillo (Happiness Group of A. Bernardillo), Vico y su Grupo 

Karicia (Vico and his Caress Group), Genesis, and Noche Azul (Blue Night). 

Lastly, there is the word “Gratis”, free in English. 

As with other Chicha posters, the color is inspired by the colors of the 

Huanca’s embroidery (Chicha Poster Documentary). These colors may intentionally 

evoke nostalgia in the migrants for their native lands. In an interview 

with Creative Review magazine for its January 2010 issue, Elliot Tupac said 

that the bright and vivid colors symbolize the nature of Andean people. 

The colors used in Chicha posters are brighter than the colors used in 

Huanca’s embroidery; they are almost 

garish due to the use of fl uorescent pigments. 

Also, the use of black backgrounds 

and outlines around the fonts intensify 

the bright colors. Unlike the typical Chicha 

poster that uses four fl uorescent colors 

along with black, this poster shows two 

extra colors, light orange and blue.

57 


Fig. 70. Josue Jurado Jr. is the second 

generation of musician of “Genesis”. This 

new artist shows a greater evolution 

in music and marketing. Fig. 66-69 (left 

page, top-bottom) “Grupo Alegria. “Vico y 

su Grupo Karicia.” Grupo “Genesis,” and 

“Grupo Noche Azul.”

58 

Fig. 71. Poster “Feliz dia de el Trabajador”, 

is a poster designed by CEA, and it was 

part of the exhibition “Chicha Art” at 

Maddox Gallery in London, Nov 2013. 

This may suggest an evolution in Chicha 

posters printmaking, allowing the use of 

more colors. Another characteristic of 

Chicha posters is that the colors used 

often do not match perfectly with the 

black outlines, and in many cases they 

overlap one another (Fig. 71). This poster 

specifically does not have this characteristic; 

all of its edges are perfectly aligned, 

and it may be due to an improvement 

in printing technique, an evolution from 

using stencil silkscreen to using screen 

photo-emulsion3 screens that allows 

greater precision when printing a large 

number of posters. 

Finally, the colors of this poster are flat 

and do not generate any sense of depth 

or perspective. They are very intense and 

are not combined in order to neutralize 

the effects of any of them. The background 

has a sort of colorful rainbow that 

starts with yellow at the top, continues to 

green at the center, and ends with blue at

59 


the bottom. This effect suggests that the artist knows about 

color harmony. The color harmony used for this poster is close 

to square color scheme (Handprint) with none of the colors 

being dominant. 

Even though this poster has a limited number of elements, 

these do not differ much in size, color intensity, or contrast, 

making the poster look more complex than it really is. Alegria 

and Vico y su Grupo Karicia are the dominant elements 

because of the size of the fonts, their colors (orange and fuchsia), 

and their position in the composition (almost centered 

on the page). The second element in visual importance is the 

date of the event. It has a solid black rectangle containing 

words and numbers in green and orange. Consequently, the 

high contrast demands attention. Furthermore, this information 

is placed at the top left corner, a point where westerners 

usually start reading a document. 

The chaotic look of the poster is not due to a random 

arrangement of the elements. The information is aligned on 

a central vertical axis and its dynamic appearance may be 

due to a lack of empty space. The impulse and need to cover 

all the space possible is a common characteristic in Chicha 

posters’ aesthetic, says Elliot Tupac (Lokitakarin). There are 

not many Chicha posters using colorful backgrounds as most

60 

traditional designs print on black backgrounds 

limiting thus the visual activity. 

The order of the band’s name may relate 

to their name. For instance the name of the 

band Noche Azul printed in fuchsia has the 

color blue as background, and the name of 

the band Alegria is at the top in an arched 

shape resembling the sunrise. This might 

also infer the idea that since it is a four-band 

concert, it will last an entire day, from sunrise 

(yellow) to dusk (dark blue). This order 

of the elements correlates to the concept 

that public messages are governed by 

certain rules such as size, placement, and 

illumination along with strategies to target 

an specific audience (Bowers, 24). 

Fig. 72. (opposite page, top) A classic Chicha 

poster palette is composed of four basic 

colors: fuchsia, yellow, red, green. Fig. 73-74. 

(opposite page, center and bottom) Some 

printmakers like Monky not only print the 

poster but place them on the streets as well.

This poster announces an important event 

because the orientation of the large vertical 

format and the arrangement of its elements 

make it looks imposing. The colors used 

connote happiness and energy. This is a 

typography poster, and the letter forms have 

swashes and flourishes that make the poster 

look active, dynamic, and somehow, artistic. It 

is a creative solution in order to avoid dependency 

on illustrations; however, an excessive 

use of these is common because of the 

impulse to cover any negative space (Hellers 

& Vienne, 40). In the poster, these effects are 

employed in the letter “A” of word “ALEGRIA” 

that opens and closes the name. Also, the 

crossbar of “A” is also the leg of the letter “K” 

in the word “Karicia”. The extended spine of 

the second “s” in “Genesis” is an example 

of how the decorations are used in order to 

create rhythm and dynamism in conjunction 

with the other elements that are arranged 

asymmetrically. 

The purpose of this poster is to communicate 

that four Chicha bands will perform on 

March 30th —the year is never presented on 

these posters — in Chosica. The message is 

delivered with excitement because of the vivid 

colors, huge fonts, and serpentine lines that 

contrast with rigid forms in the background. 

The success of this poster relies on the fact 

that the messenger, the message and the receiver 

share same backgrounds, beliefs and 

education (Bowers, 17). The Chicha posters 

have no more ambition than to serve as a 

communication tool between an emergent 

culture (second and third generation of immigrants 

in Lima) and their artists ■ 

61 

Chicha Posters

62

A New Crop 

By 1960, Lima’s residents started seeing 

the first signs of a new migration to 

Lima. The migrants were people, mostly 

young, from rural areas looking to secure 

a better life for themselves and their 

families. After 1950, Peru suffered many 

years of political instability. Political 

power alternated between short periods 

of democracy and military rule. From 

1968 until 1980 Peru was ruled by a 

military regime, and from 1980 to 1990 

the number of migrants that moved to 

Lima rose to levels never seen before 

due to fear of the Shining Path guerrillas.

64 

Fig. 75. Top, Downtown Lima in 1950, note 

that the archichecture resemble European 

cities. Fig. 76. Bottom, General Juan Vlazco 

Alvarado and Fidel Castro. 

During the 1980’s, as a consequence 

of the migration to Lima, Chicha music 

emerged as a cultural expression, and it 

was a radical change in Lima’s identity. 

Chicha music led to an original graphic 

design style due to the need to promote 

their concerts. People started calling the 

promotional pieces “Chicha posters,” and 

they continue to be known by this name. 

Bright colors, decorated letters, and bold 

fonts are key characteristics that stand 

out from Chicha posters. It is now commonplace 

to see them almost everywhere 

in Lima. Its aesthetic influence can be 

found in business signage, newspapers 

layouts, clothing design, TV sets, murals, 

and anywhere where its colors and 

typography may represent “Peruanidad” 

— Peruvian pride. 

As stated previously, the colors of 

Huancas embroideries were the inspiration 

at the moment to choose colors 

for the posters. The fact that Monky 

and Fortunato Urcuhuaranga, pioneers 

of Chicha posters, are from the city of 

Huancayo helps explain the use of these 

bright colors. The basic palette of these 

printmakers is composed of fluorescent 

yellow, red, fuchsia, and green, and the 

black color is used in order to give the 

other colors a higher degree of contrast. 

Some most recent printmakers have 

added more colors to the original palette 

due to the evolution of the technique and 

the influence of their native cities. 

Color is the most important characteristic 

in Chicha posters. The color combinations 

and the way they are manipulated 

make these posters unique. A complementary 

structure, however, is required in 

order to enhance the communicative

65 


Fig. 77. Top-left, “Villa Maria del Triunfo” 30 

year after their residents moved from their 

farmladns to Lima. Fig. 79. Bottom-left, it is 

common to see Chicha banners on top 

of bulidings. 

Fig. 78. Top-right, Chicha posters are placed 

on top of other posters. It is very important 

to find strategic walls where the poster has 

more impact on the viewer. Fig. 80. Bottomright, 

street hawkers have taken Lima’s 

streets for their businesses.

66 

effect. Depending on the orientation of 

the poster it may tend to be more symmetric, 

especially when it is vertical. The addition 

of extra elements depends completely 

on the printmaker preferences, and they 

particularly use decorative figures such as 

stars and circles. Moreover, the artist may 

represent in a straightforward way some 

additional information on the poster, such 

as the wolf head in the poster of a singer 

called “The wolf” (Fig. 61). Likewise, the artist aims to find associations between color 

and words, such as when yellow is associated with happiness and blue with night. The 

composition of Chicha posters is simple, yet it is consistent and effective as it accomplishes 

its communicative purpose successfully. The main concern of the printmakers 

at the moment of designing a poster is the integration of three specific aspects: who, 

when, and where. Fortunato and Elliot Tupac argue that the information contained in 

the posters must be succinct and precise. In fact, it is often said to refer to this posters 

that “they are made for people that have not much time to read a long message.” The 

message in Chicha posters is straightforward, 

and it is presented on short notice. 

By using colors that in some way resemble 

the target audience’s origins, the 

printmakers appeal to their senses. This 

communicative hook may provoke two 

opposite effects in the targeted public. As 

Jeffery Keedy wrote in I like vernacular... 

not the message may tie the messenger, 

the message, and the receiver in a sort 

of nostalgic feeling. However, Fortunato 

Urcuhuaranga, one of the first Chicha 

printmaker feels different about it and

67 


Fig. 81. “Republika Popular de el Nuevo 

Peru” a T-shirt designed by Carga Maxima. 

Fig 82. Bottom-left, “Chicha Art poster 

exhibiion, at Maddox Gallery U.K. Fig. 83. 

Center, front page of Creative Review, 

June 2013. Fig. 84. Bottom-right “Letra 

Capita,” a solo show by Elliot Tupac in 

Lima, 2012. Fig. 85. Right page, Chicha 

posters are now coming from Lima to the 

mountains and jungle of Peru. It is like an 

inverse effect; first from far lands to the 

capital and now from the capaital to the 

rural country.

68

69 

argues that he and the others migrants have come to 

Lima to create their own way, not to beg, or wait to be 

hired for Lima’s companies. This statement by Mr. Urcuhuaranga 

denotes his pride in being a migrant and a 

sense of rebellion against the status quo, as evidenced 

by the emergence of Chicha as a cultural movement. 

Political instability in the country, nonetheless, forced 

the poor to leave their land and move to Lima to look 

for a better life. 

Although the migrants experienced hardships, the 

result and consequences after thirty years is a richer 

culture in Lima, where the relationship among people 

of different backgrounds, but from the same country, 

has fi nally found a way to identify the Peruvian. The 

role of the Chicha poster’s in the process of fusion is 

relevant because it is more persuasive than Chicha 

music. Posters were placed in streets, bus stops, 

etc. They were displayed everywhere people stood or 

passed. Frequent exposure to the posters on the street 

lessened the animus against the posters or what they 

represented. Little by little the Chicha poster aesthetic 

was incorporated into the mass media by using their 

colors in TV show sets, and logos. This made it even 

more popular among different social classes. Lima 

natives and migrants can now identify others as a complementary 

part of their own identity and not as rivals 

or enemies to dominate. After thirty years of cultural 

fusion, Lima is proud of its identity and sees in the 

Chicha aesthetic an authentic and valid way to express 

its artistic and cultural heritage ■ 


Fig. 86. Boulevard “Gamarra” has become 

a large economic center for migrants. They 

sell: cloths, jewelry, toys, food, etc.

70 

Citations: 

Bowers, John. Introduction to Two-Dimensional Design: Understanding 

form and function. Wiley. 2008. New Jersey. 

“Chicha Poster Art.” YouTube. YouTube, n.d. Web. 

20 Oct. 2015. 

“Creative Review Goesw Chicha.” YouTube. YouTube, n.d. Web. 

20 Oct. 2015. 

Del Camen, Azucena. “Carga Maxima.” Online interview. 30 Oct. 

2015. Skype 

Escárzaga, ,Fabiola; Abanto, Llaque, Julio; Chamorro, G., Anderson. 

“Migración, guerra interna e identidad andina en Perú”. 

Política y Cultura 18 (2002): 280. 

Farina, Modesto. Psicodinâmica das Cores em Comunicação. 

Sao Paulo: Edgar Blucher. 1990 

Fokllife festival 2015 ww.festival.si.ed 

Fortunato Documental. Urcuhuaranga Fortunato, Published 

08/06/2012, Producer: Mario Chumpen . YouTube 

Glauber, Barbara. Lift and Separate: Graphic Design and the 

Quote Vernacular Unquote. New York: Herb Lubalin Study Center 

of Design and Typography, 1993. Print. 

Haciendo Peru. Elliot Tupac: Representate de el Arte Chicha. 

Publishe 10/13/11. YouTube 

“Handprint : Color Theory.” Bruce MacEvoy N.p., n.d. 

Web. 20 Oct. 2015.

71 

Heller, Steven, and Véronique Vienne. 100 Ideas That 

Changed Graphic Design. N.p.: Laurence King, 2012. Print. 

HUPKY. “Afiches Hupky”. Online interview.09 

Jan. 2016. Facebook 

“Keeping the Peruvian Textiles Tradition Alive in Peru.” - 

Peru This Week. N.p., n.d. Web. 20 Oct. 2015. 

Poster Chicha Documentary 

LokitaKarin. Documental Carteles Chicha. Published 

07/05/2011. YouTube 

Matos, Mar J. Desborde Popular Y Crisis Del Estado: Veinte 

Años Despues. Lima: Fondo Editorial de Congreso del Perú, 

2004. Print. 

Quispe Lazaro, Arturo. De el “Peru Hirviente” a la “Cultura 

Chicha”: Transculturaciony relaciones conflictivas en el 

medio urbano Limeno.Sept2014. 

www.interculturalidad.org 

Tupac, Elliot. “Eloy Jáuregui Entrevista a Elliot Túpac.” 

Interview by Eloy Jáuregui. YouTube. 

Uno Por Uno, 24 Apr. 2014. Web. 19 Sept. 2015. 

. 

Uno por Uno. Entrevista: Elliot Tupac by Eloy Jauregui. 

Published 04/24/2015. YouTube

72 

Figures List 

“Invasion en Lima“. andina.com. 2016. Flickr 

Poster detail. Rodrigo. MUACA. aficheschicha. 

April, 2011 

“El Cholo Macho“. C. Monter. Oct, 2010. Flicrk 

“Antes Soñaba“. Elliot Tupac. Nov. 2012. Flickr. 

“Cerro San Cristobal“. Pablo Pola Damonte. 

Oct, 2010. Flickr 

“Rimac desde el cerro San Cristobal”. 

Pablo Pola Damonte. Oct, 2010. Flickr 

1 “Palacio Arzobispal Downtown Lima”. 

misviajesesvu. Nov, 2015. pilargbcn.blogspot.com 

11 Invasion Urbana. El Comercio. Foros Peru. 

Dec, 2014 

12 Shanty towns in Lima by 1050. Revista 

Velaverde. Dec, 2013 

13 “Radio Victoria flayer“. ARKIPERU. 2011 

14 “Musica para la Juventud 1969”. Arkicperu. 

June, 2011 

15 Raquel Welch for Coke 1970. Man Men Art. 

Steve SJ Scott. Pinterest 

16 La Kola Dorada. Robert Laime. “Museo 

Neo-Inka IX: Re-decorando la Huaca”. 

lamula.pe.Feb, 2013 

2 “San Juan de el Lurigancho. Chicha Posters”. 

KMK diseño Peruano. Pinterest 

17 “Los Destellos”. Constelacion LP. 

listerecoverywordpress.com 

3 Ruben Blades. Emocion Arte. 

artcreationforever.com 

4 ”Grupo Shapis” Janette Torres. Nov, 2015. 

latinlife.com 

5 Ayben Trelles. Olger Silvester Apaza. 

itunesmp3mobi. 2011 

6 Micheal Jackson. Luke Frazza. Oct, 1988. 

jackontheweb.cbslocal.com 

7 Ave. Wilson, Downtown, Lima”. Marco G. P. 

Sept, 2008. Flickr 

8 “Una Lima que se fue ,Plaza San Martin ,1950”. 

Dec, 2010. unalimaquesefue.blogspot.com 

9 Military Coup 1969. Blog Report Peru. March, 2012 

18 “Los Destellos“. Miski Taky TV Peru 

19 “Carga Maxima” Logo. Facebook 

20 Azucena del Carmen. “Carga Maxima”. 

Facebook. 2014 

21 Fortunato Urcuhuaranga. Resalta Peru blog. 

Oct, 201522- Elliot Tupac. Vamos Festival 2015. 

Anna Miller. June, 2015. Flickr 

22 Como sera no ser Peruano? Elliot Tupac. 

listenrecovery.com.March, 2011 

23 “El Jaguar” designed for Ciudad Capital, 2013 

www.elliottupac.com 

24 “Virgen de la Candelaria“. Ronald 

Espinoza.2012. Flickr 

10 “Pueblo Joven, Villa el Salvador”. Mariano 

Mantel. March, 2015. Flickr 

25 Paracas Mantle. Mylene d’Auriol Stoessel. 

National Museum of archeology

73 

26 Textile crafts of the Sacred Valley. 

J.Mazzotti. Visitaperu.com 

41 “Vico y su Grupo Karicia“. Elliot Tupac. 

Dec. 2010. elliottupac.com 

27 Shipibo textile from peruvian amazonian. 

Headoverheels.Org.Uk. 2015 

42 “El Faraón Chacalón”. Elliot Tupac. 

Dec. 2010. Flickr 

28 Huanca’s broidery. Rolly Valdivia Chavez. Flickr 

29 “La Chicha y su Manga en el mercado de abastos 

Tirso de Molina”. 2015. Facebook 

30 “La Chicha y su Manga”. Elliot Tupac. 

Jan. 2011.Flickr 

31 “Carlos Garses y Liz Campos” Moron, Jessica 

Thesis. PUCP. 2012 

32 El Grupo Nectar. Monky. La Rica Chicha. 

laboratoriodeemociones.com 

33 ”Orquesta Amaya Hermanos”. Monky. Afiches 

de Carretes, Mambos, y Tocadas. 

www.afichesdecarretes.wordpress.com 

43 “Los indiscutibles shapis”. Elliot tupac. 

Dec. 2010. Elliottupac.com 

44 “Y chacalon bajo de los cielos”. 

June, 2014 chichaweb.tumblr.com 

45 “Chacalón y la Nueva Crema”. Monky. 

June, 2011. Monky’s Facebook 

46 “Grupo nectar”. Monky. June, 2011. 

Monky’s Facebook 

47 “Juaneco y su Combo”. Monky. June, 2011. 

Monky’s facebook 

48 “Los destellos”. Monky. June, 2011. 

Monky’s facebook 

34 “Toño Centella“. Monky. Afiches de Carretes, 

Mambos, y Tocadas. www.afichesdecarretes. 

49 “Leyendas de la chicha”. Monky . August, 

2011. Blog de ernestoide 4 

35 "Kiosko de Periodicos". Michael Jean. 

Trujillo, Peru. 2011. Flickr 

36 “Corazon Serrano”. Afiches T&J. 2011. 

Josefina Solis Bendezú 

37 “Marisol’s banner”. Banners en las Calles. 

Foros Peru.Net 

38 “Shapis, Mallapampa”. Monky. Laboratorio 

de emociones. Blogspot 

39 “Letras Caladas” Elliot Tupac. elliottupac.com 

50 “Sabrothers”. Josefina Solis Bendezú. Pinterest 

51 “Retablo Ayacuchano“. Elver Barnes. 

June, 2015. Peru Folklife Festival DC 

52 “Musicos de ceramica”. Frederick. July, 2015. 

Peru Folklife Festival DC 

53 “Peru Pachamama”. Jen Sisitka. Folklife Festival 

June 2015. Flickr 

54 “Diablo”. Frederick. Peru Folklife Festival DC. 

June 2015 

40 “Sonia Morales y los Caribeños” 

laboratoriodeemociones.com 

55 “Libertad”. Elliot Tupac. Folklife Festival. 

July 2015.Flicrk

74 

56 “El Capitolio“. Folklife Festival. Monky Smithsonian 

Washington Dc. July, 2015. Facebook 

57 Folklife Festival Poster. Monky. Smithsonian 

Washington Dc. July 2015. Facebook 

58 “Chinoclon“(Detail).Monky. June, 2014. Facebook 

73 Monky Printing. Monky’s Facebook 

74 Monky working. Joshua Cogan, Ralph Rinzler 

Folklife Archives. www.festival.si.edu. 2015 

75 Downtown Lima 1950s. Virginia Oviedo. 

Feb, 2011. Youtube 

59 “Chinoclon“. Monky. June, 2014. Facebook 

60 “El Lobo”. Monky. July, 2014. Facebook 

61 “El Lobo y La Sociedad Privada“. Hupky. 

www.olebu.com 

62 Trimarchi 15 Th Anniversary. Santiago Vellini. 

Trimarchi.net. 2015 

63 Trimarchi 15 Th Anniversary. Santiago Vellini. 


64 Trimarchi 15 Th Anniversary. Blue Vertigo. 


76 Velasco Alvarado and Fidel Castro, 1971. 

Peru.com. Dec, 2015 

77 “Villa Maria del Triunfo Streets“. El Trome. 

Nov, 2010. trome.pe 

78 “Carteles Chicha”. Mirtha Lopez. 

Youtube. May, 2012 

79 Tony Rosado banner. “Banderolas en las 

Calles”. Foros Peru 

80 “Ambulantes son retirado parcialmente“. 

Alessandro Currarino. El Comercio. March, 2016. 

elcomercio.pe 

65 Trimarchi 15 Th Anniversary. Monky. 

Sept, 2015. Monky’s Facebook 

81 “Republica Popular de el Nuevo Peru”. 

cargamaxima.indiegogo.com 

66- “Grupo Alegria“. Blog de Ernestoide 4 

68- “Genesis“. Fulritmo.com. Sept, 2015 

69 “Grupo Noche Azul“. Jorge Enrique. Jan, 2015. 

Youtube 

70 Josue Jurado Jr. “Genesis, habla el Primogenito” 

full-ritmo.com 

71 “Feliz Dia del Trabajador“. CEA. Maddox 

Gallery London. Nov, 2013 

82 Chicha Art exhibition. Maddox Gallery. 

whatsoninLondon.co.uk. 2013 

83 Front Page. January 2010. Elliot Tupac. 

Creative Review. 

84 “Letra Capital”. Pancho Fierro Gallery”. 

Lima, Peru. elliottupac.com. 2012 

85 “Hurakan Chachapoyas“. C. Montar. Oct, 2010 

86 “Boulevar “Gamarra”. Hector Vinces. 

Andina Peru. Feb,2016 

72 Ep-Lima -Chicha 2. El Equipo Plastico. 

www.equipoplastico.com

75 


Many thanks to everyone who has 

contributed to this publication, 

and specially to: 

Cesar Argueta (text edition) 

Maria Saprykina (proofreading) 

Sydney Hook (proofreading) 

Azucena del Carmen (interview) 

Elliot Tupac (interview) 

Antonio Alcala (Thesis advisor)

76

TheGrowthOfChicha

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?