BLOOMSBURY ENCYCLOPEDIA OF POPULAR MUSIC OF THE WORLD VOLUMES VIII – XIII: GENRES VOLUME IX GENRES: CARIBBEAN AND LATIN AMERICA EEncyclopediancyclopedia ..indbindb i 11/14/2014/14/2014 33:50:15:50:15 PPMM Principal Editors David Horn , Institute of Popular Music, University of Liverpool John Shepherd , FRSC, Carleton University, Ottawa Founding Editor Paul Oliver , Oxford Brookes University, Oxford International Advisors Christopher Ballantine, University of KwaZulu-Natal, Peter Manuel, City University of New York, USA South Africa Portia Maultsby, Indiana University, USA Nimrod Baranovitch, Haifa University and Richard Middleton, University of Newcastle, UK Hebrew University of Jerusalem, Israel Toru Mitsui, Kanazawa University, Japan Rafael Jos é de Menezes Bastos, Universidade Federal de Santa Catarina, Brazil Svanibor Pettan, University of Ljubljana, Slovenia Th eo Cateforis, Syracuse University, USA Paolo Prato, Pontifi cal Gregorian University, Rome Jan Fairley, University of Liverpool, UK† Motti Regev, Open University of Israel, Israel Juan Pablo Gonzalez, Universidad Alberto Hurtado Raquel Z. Rivera, affi liated scholar, Center for Puerto SJ, Santiago, Chile Rican Studies, Hunter College, City University of New York, USA Dai Griffi ths, Oxford Brookes University, UK T. M. Scruggs, University of Iowa, USA Jocelyne Guibault, University of California, Berkeley Chris Stapleton, London, UK Bruce Johnson, University of Turku, Finland; Macquarie University, Sydney; University Martin Stokes, University of Oxford, UK of Glasgow, UK Jim Strain, Northern Michigan University, USA Steve Jones, University of Illinois, USA Will Straw, McGill University, Canada Dave Laing, University of Liverpool, UK Paul Wells, Middle Tennessee State University, USA EEncyclopediancyclopedia ..indbindb iiii 11/14/2014/14/2014 33:50:16:50:16 PPMM BLOOMSBURY ENCYCLOPEDIA OF POPULAR MUSIC OF THE WORLD VOLUMES VIII – XIII: GENRES EDITED BY DAVID HORN AND JOHN SHEPHERD VOLUME IX GENRES: CARIBBEAN AND LATIN AMERICA EDITED BY DAVID HORN, HEIDI FELDMAN, MONA-LYNN COURTEAU, PAMELA NARBONA JEREZ AND HETTIE MALCOMSON LONDON • NEW DELHI • NEW YORK • SYDNEY Encyclopedia .indb iii 1/14/2014 3:50:16 PM Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com Bloomsbury is a registered trade mark of Bloomsbury Publishing Plc First published 2014 Reprinted 2014 © Bloomsbury Publishing Plc, 2014 David Horn, Heidi Feldman, Mona-Lynn Corteau, Pamela Narbona Jerez and Hettie Malcolmson have asserted their rights under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. 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Typeset by Deanta Global Publishing Services, Chennai, India Printed and bound in Great Britain Nueva Canción Chilena Yupanqui, Atahualpa. ‘ Caminito del indio. ’ Odeon culture and the minimal presence of Amerindian 00001. 1936 : Argentina. infl uences in Chilean folk music, two elements highly Yupanqui, Atahualpa. ‘ Basta ya. ’ Basta ya. Chant du appreciated by NCC musicians. Monde LDX 74457. 1971 : France. Another way in which NCC diff ered from many other popular music genres in Latin America was that Discography instead of developing from a long, marginalized and Barroco Andino. Barroco Andino. Alba ALD 040. anonymous historical process, its existence was predi- 1974 : Chile. cated on the work of specifi c authors living in Santiago Jara, V í ctor. El derecho a vivir en paz. Dicap JJL-11. and had become recognized as such within a few years 1971 : Chile. of its inception, ca. 1966. As such, it had to generate Jara, V í ctor. La poblaci ó n . Dicap JJL 14. 1972 : Chile. its own production system. Because of this, NCC may Los Folkloristas, and Amparo Ochoa. El cancionero be seen not as a genre so much as a musical move- popular . Discos Pueblo 1006. 1975 : Mexico. ment, in which an innovative trend in song-making Los Jairas. Los Jairos. Evasion Disques LPE 110. 1970 : developed and was disseminated alongside social and France. political trends that were also innovative and progres- Parra, Violeta. Recordando a Chile . Ode ó n EMI 36533. sive. Th is was a folk-rooted musical practice based on 1965 : Chile. (Includes ‘ Qu é dir á el Santo Padre. ’ ) a political and social platform that had more to with Parra, Violeta. Las ultimas composiciones. RCA Vic- propagation or propaganda than with broadcasting tor. CML 2456. 1966 : Chile. (Includes ‘ Gracias a la songs and artists. It placed ideological intervention vida. ’ ) above market concerns. Reyes, Judith. Cronica mexicana . Chant du Monde. NCC received its name in 1969 aft er the fi rst of LDX74421. 1980 : France. three annual festivals of the nueva canci ó n organized S ilvio Rodr í guez en Chile with Chucho Vald é s, Irakere, by disc jockey Ricardo Garc í a in Santiago, but the Isabel Parra y su Grupo. Fonomusic. CD 1109-1110. Latin American musical blending that was one of its 1991 : Spain. basic features had already been developed by Violeta Yupanqui, Atahualpa. Atahualpa Yupanqui en sus Parra (1917 – 67), beginning in the early 1960s in her primeros a ñ os, 1936-1950 . Take-Off TKF 2915. work in Paris, Santiago and Concepci ó n. For example, 2003 : Japan. Parra ’ s famous song ‘ Gracias a la vida ’ (Th anks to Life) is based on the sirilla , a 6/8 genre of Hispanic origin Filmography from the south of Chile, but it was composed and per- Che , dir. Steven Soderbergh. 2008. USA. 134 mins. formed on the Bolivian charango (a small guitar-type Drama. instrument prevalent among indigenous and mestizo JAN FAIRLEY musicians in the Andes) which became Violeta Parra ’ s trademark instrument at the time. Nueva Canci ó n Chilena A second fundamental characteristic of NCC pres- Nueva canci ó n chilena (Chilean New Song) is a vocal ent from its early stages was its engagement with and instrumental genre that emerged in Chile in the social content, which was given a political impulse mid-1960s in the context of movements for social and by the election of the left -wing government of Sal- political change within the country and beyond. Part vador Allende in 1970. NCC ’ s political orientation of a widespread development which saw similar musi- developed in the early 1970s with the support of uni- cal trends develop in Argentina, Uruguay and Cuba versities, political parties and the government. With in the 1960s, nueva canci ó n chilena (hereaft er NCC) the military coup of September 1973 and the advent diff erentiated itself from those trends by integrating of a right-wing dictatorship under General Augusto infl uences from other Latin American countries to a Pinochet, NCC musicians went into exile, develop- greater and wider extent. NCC articulated infl uences ing careers in Europe supported by an international from the vast Andean territory, from Argentinian movement that sympathized with the Chilean cause. nuevo cancionero , Uruguayan c anto popular , Cuban With the return of democracy to Chile in the late nueva trova and the folk music of Colombia, Venezu- 1980s, the exiled musicians also returned, giving back ela and Mexico. In this way, NCC musicians not only to the country all the experience and recognition they manifested the ideal of Latin American integration achieved abroad, but also fi nding a country with dif- that was widely present in the 1960s, but also refl ected ferent social priorities and a new generation with dif- the need felt by Chilean musicians to compensate ferent musical interests, more oriented toward rock for the lack of African-derived elements in Chilean and pop. 559 EEncyclopediancyclopedia ..indbindb 555959 11/14/2014/14/2014 33:50:58:50:58 PPMM Genres: Caribbean and Latin America Historical Background and Early Development Latin American songs had arrived in Paris at a time When folk music of Hispanic origin was absorbed when the French capital was becoming the European by the incipient musical industry of the 1920s, a center for Latin American music. When Violeta Parra mainstream Chilean genre, later called m ú sica t í pica and her children Á ngel and Isabel were living in Paris (typical music), was born. Th e upper classes sup- from 1961 to 1965, they became familiar with this ported m ú sica t í pica because it represented the West- repertoire and took it back to Chile upon their return. ern, Catholic and white heritage that they wanted to Also, the recording, broadcasting and stardom indus- impose in the country. As urban immigration in Chile tries of the Southern Cone, which had already been increased by the mid-twentieth century, m ú sica t í pica interconnected for two decades, placed at the disposal came to evoke the ‘ lost paradise ’ of the countryside. of the new mass-mediated folklore a network of busi- Meanwhile a new trend in folk music was being devel- ness people, radio stations, labels and record distribu- oped in Chile and elsewhere, a revival of old genres tors. Th ese bolstered the circulation of repertoire and and repertoire from folklore, called in Chile proyec- local practices throughout the region, but with some ci ó n folkl ó rica (folk projection).