Nueva canción

"" is a type of music which is committed to social good. Its musical and lyrical vernacular is rooted in the popular classes and often uses a popularly understood style of satire to advocate for sociopolitical change. The movement reacted against the dominance of American and European music in Latin America at the time by assuming an anti-imperial stance that was markedly less focused on the visual spectacle of commercial music and more focused on social and political messages. It characteristically talks about poverty, empowerment, imperialism, democracy, human rights, religion, and the Latin American identity. draws heavily upon Andean music, música negra, Spanish music, Cuban music and other Latin American folklore. Most songs feature the guitar, and often the quena, zampoña, charango or cajón. The lyrics are typically in Spanish, with some indigenous or local words mixed in, and frequently utilize the poetic forms of copla and décima. was explicitly related to leftist politics, advancing leftist ideals and flourishing within the structure of the Communist Party in Latin America. Cuban cultural organization Casa de las Américas hosted many notable gatherings of musicians, including the 1967 Encuentro de la Canción Protesta. Songs of conflict in Spanish have a very long history, with elements to be found in the "fronterizos", songs concerning the Reconquest of Spain from the Moors in the 15th century. More immediately, some of the roots of may be seen in the Mexican "corrido", which took on a strongly political flavour during the War of Independence , and then the Revolution after 1910. The modern developed in the historical context of the "folklore boom" that occurred in Latin America in the 1950s. Chilean Violeta Parra and Argentine Atahualpa Yupanqui were two transitional figures as their mastery of folk music and personal involvement in leftist political organizations aided the eventual union of the two in . The movement was also aided by legislation like Juan Perón's Decreto 3371/1949 de Protección de la Música Nacional and Law No. 14,226, which required that half of the music played on the radio or performed live be of national origin. The music quickly spread to Argentina and throughout Latin America during the 1960s and 1970s. Various national movements used their own terminology; however, the term "" was adopted at the 1967 Encuentro de la Canción Protesta and has thereafter been used as an all-encompassing term. Though is often considered a Pan-Latino phenomenon, national manifestations were varied and reacted to local political and cultural contexts. ==Regional manifestations==

Chile: Nueva Canción Chilena (New Chilean Song) , one of the most recognized figures of the Since 1952, Violeta Parra, together with her children, gathered a total of 3,000 songs of peasant origin, and also released a book known as "Cantos Folklóricos Chilenos" (Chilean Folk Songs). In addition, Violeta's children Isabel and Ángel founded the cultural center Peña de los Parra, an organization that functioned as an organizing center for leftist political activism, and welcomed almost all of the major figures associated with early , including Chileans: Patricio Manns, Víctor Jara, Rolando Alarcón, Payo Grondona, Patricio Castillo, Sergio Ortega, Homero Caro, Tito Fernández, and Kiko Álvarez, as well as non-Chilean musicians, such as Atahualpa Yupanqui from Argentina and Paco Ibañéz of Spain. moved out of small gathering places like Peña de los Parra in 1968 when the Communist Youth Party of Chile pressed 1000 copies of the album Por Vietnam by Quilapayún to raise funds for the band's travel to the International Youth Festival in Bulgaria. The copies sold out unexpectedly, a strong demonstration of the popular demand for this new music. In response, La Jota (Juventudes Comunistas) created Discoteca de Canto Popular (DICAP), a socially-conscious record label that grew in its five years of operation from a 4,000 record operation in 1968 to pressing over 240,000 records in 1973. DICAP united the various groups of young people wishing to spread Nueva Cancion at a time when U.S. music dominated chiefly commercial radio fare. "DICAP was a key counterhegemonic institution that broke through the censorship and silence imposed by the conservative cultural entities of the elite." In 1969 the Universidad Cátolica in Santiago hosted the Primer Festival de la . Salvador Allende's 1970 presidential campaign was a major turning point in the history of . Many artists became involved in the campaign; songs like "Venceremos" by Víctor Jara were widely used in Allende rallies. After Allende's election, artists were utilized as a pro-Allende public relations machine inside and outside of Chile. By 1971, groups like Inti-Illimani and Quilapayún were receiving financial support from the Allende government. In 1973, the United States/CIA-backed right-wing military coup overthrew Allende's democratic government, bombing the presidential palace. Pinochet's forces then rounded up 5,000 civilians into a soccer stadium for interrogation, torture, and execution. Victor Jara was beaten, tortured, and his wrists were broken, after several days he was executed and shot 44 times. His wife Joan Jara writes, "where his belly ought to have been was a gory, gaping void". Because of his popularity and fame in the music world, Jara is the most well-known victim of a regime that killed or "disappeared" at least 3,065 people and tortured more than 38,000, bringing the number of victims to 40,018. Other musicians, such as Patricio Manns and groups Inti-Illimani and Quilapayún, found safety outside the country. Under Augusto Pinochet recordings were seized, burned, and banned from the airwaves and record stores. The military government exiled and imprisoned artists and went as far as to ban many traditional Andean instruments in order to suppress the movement. This period in Chilean history is known as the "Apagón Cultural" (Cultural Blackout). and soon major artists began adapting and writing politically motivated music backing the protests and critical of the Piñera government. Argentina: Nuevo Cancionero (New Songbook) from Argentina was among the very early musicians performing in 1967 In Argentina, the movement was founded under the name Nuevo Cancionero and formally codified on 11 February 1963 when fourteen artists met in Mendoza, Argentina to sign the Manifiesto Fundacional de Nuevo Cancionero. Present were both musical artists and poet writers. The Argentine movement especially was a musico-literal. Writers like Armando Tejada Gomez were highly influential and made substantial contributions to the movement in the form of original poetry. The Manifesto's introduction places the roots of Nuevo Cancionero in the rediscovery of folk music and indigenous traditions to the work of folklorists Atahualpa Yupanqui and Buenaventura Luna and the internal urban migration that brought rural Argentines to the capital of Buenos Aires. The body of the document outlines the goal of the movement: the development of a national song that overcome the dominance of tango-folklore in Argentine national music and the rejection of pure commercialism. Instead Nuevo Cancionero sought to embrace of institutions that encouraged critical thinking and the open exchange of ideas. Nuevo Cancionero's most famous proponent was Mercedes Sosa. Her success at the 1965 Cosquin Folklore Festival introduced Nuevo Cancionero to new levels of public exposure after Argentine folk powerhouse Jorge Cafrune singled her out on stage as a budding talent. In 1967, Sosa completed her first international tour in the United States and Europe. Other notable Nuevo Cancionero artists of this time included Tito Francia, Víctor Heredia, and César Isella, who left the folk music group Los Fronterizos to pursue a solo career. In 1969 he set the poetry of Armando Tejada Gomez to produce "Canción para todos", an anthem later designated by UNESCO the hymn of Latin America. Nuevo cancionero artists were among the approximately 30,000 victims of forced disappearances under Argentina's 1976–1983 military dictatorship. Additional censorship, intimidation, and persecution forced many artists into exile where they had more freedom to publicize and criticize the events unfolding in Latin America. Sosa, for example, participated in the first Amnesty International concert in London in 1979, and also performed in Israel, Canada, Colombia, and Brazil while continuing to record. After the fall of the dictatorship in 1983, Argentine artists returned and performed massive comeback concerts that regularly filled sports areas and public parks with tens of thousands of people. Influences from time spent in exile abroad were clear through sample of instruments like the harmonica, drum set, bass guitar, electric keyboard, brass ensembles, backup singers, string instruments (especially double bass and violin), and stylistic and harmonic influences from the soundscapes of classical, jazz, pop, rock, and punk. Collaborations became increasingly common, especially between proponents of Nuevo Cancionero and the ideologically similar Rock Nacional. Nuevo Cancionero artists became symbols of a triumphant national identity. When Mercedes Sosa died, millions flooded the streets as her body lay in official state in the National Cathedral, an honor reserved for only the most prominent of national icons. While the community of musicians actively composing in the Nuevo Cancionero tradition is small, recordings and covers of Nuevo Cancionero classics remain popular in Argentina. Cuba: Nueva Trova (New Trova) Of the regional manifestations of , '''''' is distinct because of its function within and support from the Castro government. While in other countries primarily functioned in opposition to existing regimes, emerged after the Cuban Revolution and enjoyed various degrees of state support throughout the late twentieth century. has its roots in the traditional , but differs from it because its content is, in the widest sense, political. It combines traditional folk music idioms with 'progressive' and often politicized lyrics that concentrate on socialism, injustice, sexism, colonialism, racism and similar 'serious' issues. Occasional examples of non-political styles in the movement can also be found, for example, Liuba María Hevia, whose lyrics are focused on more traditional subjects such as love and solitude albeit in a highly poetical style. Later musicians were also influenced by rock and pop of that time. Silvio Rodríguez and Pablo Milanés became the most important exponents of the style. Carlos Puebla and Joseíto Fernández were long-time singers who added their weight to the new regime, but of the two only Puebla wrote special pro-revolution songs. The Castro administration gave plenty of support to musicians willing to write and sing anti-U.S. imperialism or pro-revolution songs, an asset in an era when many traditional musicians were finding it difficult or impossible to earn a living. In 1967 the Casa de las Américas in Havana held a Festival de la canción de protesta (protest songs). Much of the effort was spent applauding anti-U.S. expressions. Tania Castellanos, a filín singer and author, wrote "¡Por Ángela!" in support of US political activist Angela Davis. César Portillo de la Luz wrote "Oh, valeroso Viet Nam". Institutions like the Grupo de Experimentación Sonora del ICAIC (GES) while not directly working in , provided valuable musical training to amateur Cuban artists. Spain and Catalonia: Nova Cançó The Nova Cançó was an artistic movement of the late 1950s that promoted Catalan music in Francoist Spain. The movement sought to normalize use of the Catalan language after public use of the language was forbidden when Catalonia fell in the Spanish Civil War. Artists used the Catalan language to assert Catalan identity in popular music and denounce the injustices of the Franco regime. Musically, it had roots in the French Chanson. In 1957, the writer Josep Maria Espinàs gave lectures on the French singer-songwriter Georges Brassens, whom he called "the troubadour of our times." Espinàs had begun to translate some of Brassens' songs into Catalan. In 1958, two EPs of songs in Catalan were released: Hermanas Serrano cantan en catalán los éxitos internacionales ("The Serrano Sisters Sing International Hits in Catalan") and José Guardiola: canta en catalán los éxitos internationales. They are now considered the first recordings of modern music in the Catalan language. These singers, as well as others such as Font Sellabona and Rudy Ventura, form a prelude to the Nova Cançó. At the suggestion of Josep Benet i de Joan and Maurici Serrahima, a group composed of Jaume Armengol, Lluís Serrahima and Miquel Porter started composing Catalan songs. Other important participants in the movement included Guillem d'Efak and Núria Feliu, who received the Spanish Critics' Award in 1966, or other new members of Els Setze Jutges. Some of them were even well known abroad. Apart from Raimon, other former members of Els Setze Jutges continued their careers successfully, including Guillermina Motta, Francesc Pi de la Serra, Maria del Mar Bonet, Lluís Llach and Joan Manuel Serrat. Other significant figures appeared somewhat later, like the Valencian Ovidi Montllor. Nicaragua Nicaragua (Nueva canción nicaragüense) musicians are attributed with transmitting social and political messages, and aiding in the ideological mobilisation of the populace during the Sandinista revolution. Carlos Mejía Godoy y Los de Palacagüina were probably the best known proponents of this style. ==See also==