seremos como el che

Posts tagged nueva cancion chilena

El Grito Ardiente | Jorge Venegas | El Flaco | Chile | 1990

“Vamos a alzar, a levantar el grito ardiente, y defender nuestra vida con valor.”

Chilean trovador Jorge Venegas, former member of the folk group Semilla, sings about the underground, armed resistance to the Pinochet dictatorship in his song El Grito Ardiente. Now an anarchist, Venegas was a supporter of the Manuel Rodríguez Patriotic Front (FPMR) in the 1980s, the armed wing of the Communist Party of Chile that formed in the early 1980s, which later became its own separate organization.

miaauuh: Victor Jara junto al conjunto folclórico Cuncumén

miaauuh:

Victor Jara junto al conjunto folclórico Cuncumén

pepemendigo: Inti Illimani - Amar de Nuevo

pepemendigo:

Inti Illimani - Amar de Nuevo

Tierna canción chilena compuesta por Jorge Venegas en homenaje a Tatiana Fariña, estudiante de sociología, participa de la refundación de la Fech, como militante de la “JOTA” decide pasar a un nivel superior de lucha, esta consecuencia y valentía le significa morir el 14 de mayo de 1985 a los 19 años de edad.

“Cuando amanece el día digo: que suerte tengo de ser testigo como se acaba con la noche oscura que dió a mi tierra dolor y amargura. Y ahí veo al hombre, que se levanta, crece, y se agiganta.”

Angel Parra, Cuando Amanece el Día

“When day is born I say: what luck I have to be a witness to how the dark night ends, which brought pain and bitterness to my land. And in this moment I see mankind, as it stands up, grows, and becomes a giant.”

Chilean musician Angel Parra sings No te Alejes (Don’t Distance Yourself) from his 1973 album Cuando Amanece el Dia. This song, which comes out of the nueva cancion tradition, features a heavy use of the quena flute and acoustic guitar, along with very characteristically emotive singing from Angel Parra. Lyrics below.

No te alejes más porque si te vas
seguro la noche te ocultará.
Sigo como soy, no te podré hallar
y sin tu presencia no puedo cantar.

Ya te hei dicho que te quiero,
que te espero y que me muero
¿dónde está tu corazón?

Y si al despertar pudiera encontrar
un sí de tu boca grande como el mar,
yo pongo la barca también el remar
tú verás lo tuyo sólo en altamar.

TRANSLATION:

Don’t distance yourself because if you go
the night will surely hide you from me.
I will remain as I am, unable to find you
and without your presence I cannot sing.

I have already told you that I love you,
that I wait for you and that I am dying
where is your heart?

And if upon awakening I could encounter 
a yes from your mouth, as great as the sea,
I will provide the boat, also the row
You will see what is yours only in high seas.

Lo Unico que Tengo, Victor Jara.

Lo Unico que Tengo, Victor Jara.

Arriba en la Cordillera - Patricio Manns

Arriba en la Cordillera

Patricio Manns

everygreatsongever:

Patricio Manns: “Arriba En La Cordillera” (Entre Mar Y Cordillera, 1966)

Entre Mar Y Cordillera. Between the sea and the mountains. That’s the title of the album that launched singer/poet/novelist/composer/activist Patricio Manns to national fame in his native Chile. It’s also the state of being for nearly everyone in Chile—between the sea and the mountains is where you make your life in this country.

“Arriba En La Cordillera” (Up In The Mountains) was the lead song on the album, and it is one of those spellbinding pieces of music that reaches right through language to pull you into its world. None of the three versions I have sound very good, but I’ve posted the best-sounding one here.

In the 60s, Manns was part of a movement to preserve and modernize Chilean folk music, and in the course of his work he made big contributions to the country’s folk canon himself, including this song. He was a founder of the Pena de Carmen 340, a sort of community activism network that gave life to Nueva Cancion Chilena, a progressive folk music movement that was one of many “nueva cancion” movements to spread through Latin America during the period.

Manns went into exile in 1973, after the September 11th coup that installed Augusto Pinochet as dictator in place of murdered president Salvador Allende. Manns became a major voice for the Chilean opposition during his exile, living first in Cuba, then France and Switzerland. His band Karaxu and his frequent collaborators Inti-Illimani were among the most important artists carrying on the nueva cancion flame in the 70s and 80s.

It wasn’t until 1990, two years after a referendum that set the stage for Pinochet’s exit from the presidency, that Manns was finally able to return to his homeland, performing a few concerts. He moved back for good in 2000 after 27 years abroad. Pinochet was never properly imprisoned for the abuses of his regime, but Manns has outlived him, and ultimately, Manns is the one who will leave the most indelible legacy.

One of the greatest pioneering songs of the Chilean nueva cancion.

  • 1,525 plays
Chile’s famous ensemble Quilapayún. They were a very influential group in the development of the nueva canción chilena during the late 60s and early 70s, continuing their work while in exile during the military dictatorship. They are most well known for songs like La Muralla, La Batea, El Pueblo Unido Jamás Será Vencido, La Paloma, and Malembe, as well as for their interpretations of the songs of Victor Jara and their support of Chile’s Communist Youth. Like fellow ensemble Inti Illimani, Quilapayún is currently split into two separate groups that both claim the name; the group pictured is colloquially known as Quila-Histórico and is based in Chile, giving it a more legitimate claim to the name as well as containing original members of the group.

Chile’s famous ensemble Quilapayún. They were a very influential group in the development of the nueva canción chilena during the late 60s and early 70s, continuing their work while in exile during the military dictatorship.

They are most well known for songs like La Muralla, La Batea, El Pueblo Unido Jamás Será Vencido, La Paloma, and Malembe, as well as for their interpretations of the songs of Victor Jara and their support of Chile’s Communist Youth.

Like fellow ensemble Inti Illimani, Quilapayún is currently split into two separate groups that both claim the name; the group pictured is colloquially known as Quila-Histórico and is based in Chile, giving it a more legitimate claim to the name as well as containing original members of the group.

“

Puedes matarme si quieres,
mi amor no lo matarás,
tengo la esperanza puesta
en volverte a conquistar,
que una vez te diste entera,
nunca lo podré olvidar,
amor.

Puedes quitarme el aire
que preciso pa’ vivir
pero no podrás quitarme
la fuerza que nació en mí
cuando mujer, cuerpo y alma
me diste en el mes de abril,
amor.

Quítame la cordillera,
quítame también el mar,
pero no podrás quitarme
que te quiera siempre más:
lo que entre dos se ha sembrado
entre dos se ha de cuidar,
amor.

”

Angel Parra, Canción de Amor (Canciones de Amor y Muerte, 1969)

You can kill me if you want,
you won’t kill my love,
I remain hopeful
that I will win you over again,
for once you gave your whole self,
which I can never forget,
love.

You can take away the air
that I need to live
but you won’t take away
the strength born within me
when woman, your body and soul
you gave to me in April,
love.

Take away the mountain range,
take away the sea as well,
but you won’t take away
my ever-growing love for you:
what has been sown between two
between two must be cared for,
love.

lejosenberlin: Los Jaivas tocando en el festival de Peñalolen, recreación del festival de Piedra Roja que se hizo para la filmación de la película Palomita Blanca, de Raúl Ruíz.

lejosenberlin:

Los Jaivas tocando en el festival de Peñalolen, recreación del festival de Piedra Roja que se hizo para la filmación de la película Palomita Blanca, de Raúl Ruíz.

seremos como el che

the blog of natalio perez

Latin American revolutionary music, chavismo, Nicaraguan history, and other communist musings.

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