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Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora

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Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora JOMEC Journal Journalism, Media and Cultural Studies Published by Cardiff University Press Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora Claudia Bucciferro Gonzaga University Email: [email protected] Keywords Music Latin America Activism Exile Diasporic communities Abstract This article addresses the long-standing connection between music and social activism in Latin America, centering on a discussion of ‘the music of exile’ as a cultural artifact of historical and conceptual significance for diasporic Latin American communities. The music produced by artists who were persecuted during the years of military rule was characterized by an engagement with social and political affairs, and often helped bring people together in the struggle for democratization. Despite censorship laws and other repressive measures enacted by the dictatorships, the music not only endured but traveled across nations and continents, carried by the millions of people who were displaced due to State-sponsored violence. Now distributed through new media platforms, such as YouTube, this music functions as a repository of memory and an emblem of solidarity that connects dispersed Latin American communities. Using Cultural Studies as a theoretical framework and employing an interpretive methodology, this study focuses on a selection of songs written between 1963 and 1992, presenting an analysis that centers on their lyrics and connects their meanings to larger social processes. Contributor Note Dr. Claudia Bucciferro is Assistant Professor of Communication Studies at Gonzaga University, in Spokane, Washington. Citation Bucciferro, Claudia (2017), ‘Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora’, JOMEC Journal 11, ‘Diaspora beyond Nationalism’, ed. Idil Osman. DOI: https://doi.org/10.18573/j.2017.10147 Accepted for publication 1 June 2017 www.cf.ac.uk/jomecjournal @JOMECjournal Introduction exiled artists who continued their careers abroad produced work that Throughout the 1970s and 1980s, brutal referenced their countries of origin, so military dictatorships ruled most they helped raise awareness about countries in Latin America, with political human rights abuses and increase the prosecution being accompanied by international community’s pressure on detentions, torture, relegation, the dictatorships. Artists from other banishment, and death. Thousands of nations joined in solidarity, echoing their people were killed and millions were plight and working with non-profit forced into exile, as repression tightened organizations, such as Amnesty and economic opportunities narrowed International, to support democratizing throughout the region. The exile of initiatives. political dissidents was commonly mandated by the State and announced This article delineates how politically- through mainstream media (i.e., radio), so engaged music became a tool for social the measure served both as punishment activism and a repository of historical and deterrent for other people’s political memory for Latin American people, involvement. Passage into exile, when having a tangible influence on the granted, was accompanied by the threat democratization efforts and acquiring of torture and death, and for every intense meaning for communities formally exiled person, hundreds of abroad. The discussion focuses mainly others were killed or forced into hiding on the work of musicians from Chile and (Dorfman 1991). Exile implied social Argentina – two countries that had uprooting, economic insecurity, and particularly harsh dictatorships – and existential anguish, and as the years pays attention to the way in which music wore on, its consequences rippled helps us understand the experience of through territories and generations social struggle, uprooting, and re- (Roniger 2009). connection with our cultural heritage, uniting people in solidarity for a common In the case of musicians and artists, cause. The starting point for this study is banishment included a prohibition to an interest in the process that underlies feature or distribute their work to the the development of a musical repertoire public. As local media were shaped by that is linked to the fate of contemporary the forces of censorship and self- Latin America and its people. As Martín- censorship, the ‘music of exile’ that Barbero argues, it is by paying attention flourished beyond national borders and to ‘the process’ and considering ‘the way was played surreptitiously within the in which people communicate’ (Barbero affected Latin American countries 2012: 78) in everyday life that we can became interwoven with testimonies of arrive at conclusions that have resistance (Balabarca 2013). Many grassroots validity and convey the musicians, such as the Chilean bands particularities of the communicative Inti-Illimani and Illapu, wrote songs that context of Latin America. delved into the experience of banishment, and these songs were Using Cultural Studies as a theoretical picked up by others, such as the framework and taking into account Argentine Mercedes Sosa, and sung in writings by ethnomusicologists and activist gatherings. Furthermore, the scholars investigating transnationalism, 65 www.cf.ac.uk/jomecjournal @JOMECjournal this study seeks to understand both the Chile during the time of Pinochet’s meanings conveyed by the songs and military dictatorship, and has been living the significance that they acquired over abroad for more than fifteen years. time. The methodology used is interpretive and the research process followed qualitative protocols. After Music, Politics, and Revolution gathering and reviewing 257 songs, 14 were selected for this analysis because The legend says that in the wake of the they have common features: they were Chilean coup d’état of September 11, written between 1963 and 1992, when 1973, Víctor Jara – the folklorist and repression prevailed in many places in member of the faculty at the Universidad Latin America; their writers and Técnica del Estado – sat on the steps performers were politically ‘marked’ outside his house and waited. A friend and/or persecuted because of their art; came to alert him to the brutal the songs were re-interpreted by other repression that was sure to engulf leftist musicians and embraced by the public political activists and urged him to go as symbolic expressions of historical into hiding or seek political asylum. His importance; the songs are still widely songs in support of the poor, the known and have a presence in digital marginalized, and the revolution were media platforms. During the analysis, well-known and would not be welcomed songs that speak about the experience by the military regime that had just taken of exile and political struggle were given over the government. ‘Don’t you know particular attention, though some that that they will be looking for you?’ they illustrate more broadly the connection say the friend asked, alarmed. ‘I know’, between music, activism, and voice are Jara responded, ‘and they will find me also included. All songs were written by here’. Latin American musicians and lyricists, except for two that were written by The next day, Jara, like thousands of European artists who have collaborated others, was detained at his workplace with Latin American musicians. All song and taken to the Estadio Nacional, which excerpts were obtained from original had been originally built to serve as a records (from either the initial releases venue for international soccer games. or later compilations), with the lyrics There, he became a political prisoner being cross-referenced with the archives and was subject to interrogation and posted on www.music.com and torture. He wrote his last song in a little www.letras.com. The review of the piece of paper that was smuggled out of original songs was accompanied by the place by someone else. Then, his multiple online searches that revealed torturers crushed and burned his hands, their notable presence on venues such before killing him with 44 bullets (Krajnc as YouTube and other music websites. 2008). This was meaningful, as the image The analysis was conducted in Spanish of Víctor Jara and his guitar was already in order to capture nuances of meaning, connected to a creative movement – the and the lyrics’ excerpts were then Nueva Canción – that sought to translated for inclusion in this article. challenge social, political, and economic Finally, the analysis benefited from the oppression (Schechter 1999; Balabarca fact that the author is bilingual 2013). Not long before the coup d’état, (Spanish/English), was born and raised in Jara had written Manifiesto, declaring in 66 www.cf.ac.uk/jomecjournal @JOMECjournal a prescient manner that the power of people in various places for decades music transcended the life of any (Krajnc 2008). individual: Jara’s approach to folklore was built on a Yo no canto por cantar Latin American tradition that sees music Ni por tener buena voz as connected to social and political Canto porque la guitarra stirrings (Bernand 2014). In the peasant Tiene sentido y razón tradition, ‘popular culture’ and ‘popular music’ are not media artifacts of massive Tiene corazón de tierra appeal. Instead, music carries la voz del Y alas de palomita pueblo (the voice of the people). Like Es como el agua bendita storytelling, it is an authentic expression Santigua glorias y penas of what moves people and is imprinted with shared hopes, dreams, traumas, and Aquí se encajó mi canto concerns (Storey 2010). Bernand Como dijera
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