Editing Nueva canción (section)

==Characteristics==
"{{Lang|es|Nueva canción|italic=no}}" 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.<ref name="Scruggs">Socially Conscious Music Forming the Social Conscience:  Nicaraguan ''música testimonial'' and the Creation of a Revolutionary Moment. In From Tejano to the Tango: Popular Musics of Latin America, Walter A. Clark, editor, pp. 41-69. New York: Routledge. 2002.</ref> 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.<ref name="Fairley">{{cite journal|last=Fairley|first=Jan|title=La Nueva Canción Latinoamericana|journal=Society for Latin American Studies|year=1984|volume=3|issue=2|pages=107–115 [112]|doi=10.2307/3338257|jstor=3338257}}</ref> It characteristically talks about [[poverty]], empowerment, [[imperialism]], democracy, [[human rights]], religion, and the [[Latin Americans|Latin American identity]].

{{Lang|es|Nueva canción|italic=no}} draws heavily upon [[Andean music]], [[música negra]], [[Music of Spain|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 (meter)|copla]] and [[décima]].

{{Lang|es|Nueva canción|italic=no}} 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 {{Lang|es|nueva canción|italic=no}} musicians, including the 1967 Encuentro de la Canción Protesta.<ref>{{cite web|last=Casa de las Américas|title=Equipo de trabajo de la Casa de las Américas|url=http://www.casa.cult.cu/casadentro.htm|access-date=21 September 2012}}</ref>

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 {{Lang|es|nueva canción|italic=no}} may be seen in the Mexican "[[corrido]]", which took on a strongly political flavour during the War of Independence {{Circa|1810}}, and then the Revolution after 1910. The modern {{Lang|es|nueva canción|italic=no}} 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 {{Lang|es|Nueva canción|italic=no}}. 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.<ref name="Fairley" />

National manifestations of {{Lang|es|nueva canción|italic=no}} began occurring in the late 1950s. The earliest were in Chile and Spain, where the movement promoted Catalan language and culture.<ref>{{cite journal|last=Novel|first=Pepa|title=Cantautores Catalanas: De la Nova Canco a la Nova Canco D'ara. El paso y el peso del pasado.|journal=Journal of Spanish Cultural Studies|year=2009|volume=10|issue=2|pages=135–147|doi=10.1080/14636200902990679|s2cid=143966644}}</ref> 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 "{{Lang|es|nueva canción|italic=no}}" was adopted at the 1967 Encuentro de la Canción Protesta and has thereafter been used as an all-encompassing term.<ref name="Fairley" /> Though {{Lang|es|Nueva canción|italic=no}} is often considered a Pan-Latino phenomenon, national manifestations were varied and reacted to local political and cultural contexts.