His first musical creations were made at the age of 14 while he was living his childhood in warm Ica, because his father had been appointed superior member of the court of that city. A space that allowed him to know Peru in its depth, and that through closeness and familiarity with the popular, and witness very closely the terrible arbitrariness that would mark it: “I did not live oblivious to the injustices that domestic employees suffered , many of them from Huancavelica, and who were branded as clumsy for speaking Spanish badly ”.

That first contact awakened in her a sensitivity that would be heard through music, and which culminates in the most emblematic of her compositions: Indio (1963). Released in years prior to the revolutionary process of President Juan Velasco Alvarado, it is a song of rebellion that expresses all that need for urgent change for the peasantry and that would materialize in 1969 - at least partially - with the agrarian reform law. For this composition she would be branded as the rebel of the waltz, although that Alicia already marked a style to follow and that would continue to this day, especially when the dispossessed and forgotten are still present.

Another of her creations is La apañadora, tondero that refers us to the work of peasant women with cotton… and thus we could continue naming other compositions that portray popular prints, but that manifest much more. Their songs are so heartfelt and intense that in the harmony of their melody they tell us about a Peru that, far from an idyllic gaze of the romantics, is painted in the depth and incarnation of its characters. And interestingly, they are not only popular characters of the tradition, but also real people who contributed to the imaginary of the Creole such as Bartola Sancho-Dávila, Augusto Ascuez and Valentina Barrionuevo, among others.