CANTO PORQUE ES NECESARIO CANTAR: The New Song Movement in Chile, 1973-1983

Overview

  • Introduction to the New Song Movement

    • Core Message ("Para el camino"):

    • "I sing of anguish and joy. I sing because it's necessary to sing to leave my mark on time, to say forbidden things."

    • Distinction:

    • Latin American New Song differs from traditional Latin American popular music genres like salsa, ballads, rancheras, and cumbia.

    • Greater social significance beyond mere entertainment.

  • Historical Context

    • Roots in the resurgence of traditional folkloric music in Argentina and Chile (late 1950s - early 1960s).

    • Spread throughout Latin America since the 1960s, addressing social tensions directly.

    • Fusion of traditional music with socially relevant lyrics.

    • Commitment to authentic expression and opposition to disposable commercial music.

Historical Development
Nueva Canción Chileana

  • Emergence in the Mid-1960s

    • Flourished during Salvador Allende's presidency (1970-73).

    • Outlawed after military coup in 1973; notable musicians are exiled (i.e., Quilapayun, Inti-Illimani, Isabel and Angel Parra).

  • Canto Nuevo:

    • Reflects music post-coup (1973).

    • Focuses on creating music under repression, aimed at expressing marginalized realities.

    • Emerged from the need to communicate social realities restricted by the military government.

Pre-1973 Nueva Canción
Cultural Foundations

  • Violeta Parra's Contributions:

    • Promoted traditional music and initiated cultural expressions.

    • Collected folk songs from every region of Chile, contributing to national cultural identity.

    • Known for musical authenticity and quality at her cultural center, La Carpa de la Reina.

  • Impact of Cultural Center:

    • Organized the fusion of traditional music with contemporary political messages.

    • Influenced the wave of Nueva Canción musicians in the 1960s-70s.

  • Pioneering Figures:

    • Gaston Soublette (musicologist): "[Parra] took what had been private investigation and gave it back to the people."

    • Silvio Rodriguez (Cuban singer): "Violeta is fundamental. Nothing would have been as it is had it not been for Violeta."

Key Songs and Themes
Notable Compositions

  • "La carta" by Violeta Parra (1962)

    • Lyrics depict personal and sociopolitical grievances:

    • "They sent me a letter… in my country there is no justice; the hungry ask for bread, lead is given by the militia."

    • Expresses the anguish of distance during political oppression.

  • "Plegaria a un labrador" by Victor Jara

    • Uses biblical language to convey hope and social justice.

    • Promotes unity and collective action through poetic expressions.

  • "Venceremos":

    • Campaign song of Salvador Allende. Lyrics signal a call to triumph against oppression, emphasizing collective struggle and vision for a socialist future.

Post-Coup Cultural Output
Changes Under Military Regime (1973-75)

  • Consequences of the Coup:

    • Eradication of Marxism-led policies and propaganda against revolutionary movements.

    • Public space closed: sociological shift limiting cultural expression and communication.

    • Cultural activities came to a halt, termed as "apagon cultural" (cultural blackout).

  • Suppression Tactics:

    • Cultural censorship: banning of Nueva Canción music, imprisonment of musicians, destruction of instruments like the quena and charango branded as subversive.

    • Artists faced exile and repression; example includes Victor Jara's assassination.

Canto Nuevo: A New Chapter (Mid-1975 Onwards)
Revival and Reemergence

  • Canto Nuevo from 1975-77:

    • Must avoid overtly political content while reviving traditional Spanish music from Nueva Canción.

    • Music becomes a tool to reflect hidden societal realities and connects with audiences amidst heavy censorship.

  • Formation of New Organizations:

    • Establishment of Radio Chilena (1976) and other cultural institutions to support and promote Canto Nuevo.

  • Ability to Express Dissidence:

    • As Canto Nuevo musicians faced censorship, they innovated with poetic metaphors to circumvent explicit political messaging.

    • Example: "El joven titiritero" as a metaphor for societal oppression.

Cultural Significance from 1978-1981
Expanding Influence

  • Broader Reach and Acceptance:

    • Increased visibility through events like the Festival Internacional de la Canción at Viña del Mar.

    • Appeal intensified during economic recessions leading to local artists gaining airtime.

    • Canto Nuevo began including diverse themes; songs reflected everyday life, romances, alongside metaphors for social critiques.

  • Shifts in Political Landscape:

    • Incremental loosening of restrictions in late '70s allowed for more expressive lyrical content.

The 1983-1985 Period
Reawakening of Protest

  • Revival of the "Dia Nacional de Protesta":

    • Amplified the connection between Canto Nuevo musicians and political activism.

  • Continued Reflection of Political Struggles:

    • Songs like "Canci6n al Movimiento Democratico Popular" illustrate ongoing resistance to the dictatorship since Allende's government.

    • Concerts like "La Gran Noche del Folklore" revived collective gathering and fostered public expression against repression.

Conclusion

  • Legacy of Canto Nuevo:

    • Continued evolution and intersection with society reflected the dynamics of Chile's political and cultural landscapes.

    • Canto Nuevo remains a symbol of the enduring spirit of resistance and cultural identity among Chileans.

  • Musical Expression as Resistance:

    • "El canto del hombre": Each generation’s songs transcend political regimes reflecting life’s complexities.

Notes:

  1. Notable musical resources and historical accounts of the Nueva Canción movement can be found from various record companies and publications dedicated to Latin American music.