New forces of domination and solidarity were seeking their space. Among the new actors in multiple popular urban, the craft industry presents a specific identity, expressed in a characteristic sociability, which is built on a social memory that spanned several decades of Republican history.The deployment of the craft movement in the 1970s, presents a set of features to consider, and, in addition, the problem of his particular way of belonging to the popular strata. It seems to us that whereas their cultural historical continuities, working sociability desperately from them in a futile attempt to explain the change of two times of the external manifestations of the crisis of the colonial economy and its transition to capitalism, were breaking the colonial monetary system and the excesses committed by the Bank emisionistas7 group. It can be concluded that the economic structure of Chile urgently demanded the final toward the capitalist mode of production leap; jump which, ultimately, was helped by the economic crisis: towards 1870 and 80, the capitalist mode of production is no longer just a theoretical possibility or an external model to admire or participate depending on him, but, essentially, is an objective necessity, an imperative emerged from the same historical process. That this need has given rise to a real process that was channeled by winding structures and complex contradictions, does nothing to the trend that sprouts from the same colonial crisis. This, by its nature, demanded the radical negation of primitive accumulation and the categorical affirmation of its polar opposite. The specific conditions prevented the result is exacted 100% to what is required by that crisis. But this is, precisely, the specific nature of the Chilean transition to the capitalismo8.For some more classic authors, such as Hernan Ramirez Necochea, this process is characterized by a series of changes at the level of the economic structure, in a sense other than raised by Salazar.