Editing Nueva canción (section)

==Regional manifestations==

===Chile: ''Nueva Canción Chilena'' (New Chilean Song)===
{{main|Nueva Canción Chilena}}
[[File:Parra01f.PNG|thumb|200px|right|[[Violeta Parra]], one of the most recognized figures of the {{Lang|es|[[Nueva Canción Chilena]]|italic=no}}]]
Since 1952, [[Violeta Parra]], together with her children, gathered a total of 3,000 songs of peasant origin,<ref>{{cite journal |last1=López |first1=Alberto |author1-link=El País |title=Violeta Parra, gracias a la vida por sus canciones |newspaper=El País : El Periódico Global en Español |date=4 October 2017 |url=https://elpais.com/cultura/2017/10/04/actualidad/1507130847_797931.html |access-date=4 September 2021 |language=es |issn=1134-6582}}</ref> and also released a book known as "Cantos Folklóricos Chilenos" (Chilean Folk Songs).<ref>{{cite web |title=Violeta Parra |url=http://www.icarito.cl/2009/12/252-3812-9-parra-violeta.shtml/ |website=Icarito |access-date=4 September 2021 |archive-url=https://web.archive.org/web/20210425173813/http://www.icarito.cl/2009/12/252-3812-9-parra-violeta.shtml/ |archive-date=25 April 2021 |location=[[Chile]] |language=es |date=1 December 2009 |url-status=live}}</ref> In addition, Violeta's children [[Isabel Parra|Isabel]] and [[Ángel Parra (singer-songwriter)|Ángel]] founded the cultural center [[Peña de los Parra]],<ref>{{cite web |author1=Radio Universidad de Chile |title=El olvido en que cayó la histórica casa que acogió la Peña de los Parra « Diario y Radio U Chile |url=https://radio.uchile.cl/2016/02/02/el-olvido-en-que-cayo-la-historica-casa-que-acogio-la-pena-de-los-parra/ |access-date=4 September 2021 |archive-url=https://web.archive.org/web/20201022214042/https://radio.uchile.cl/2016/02/02/el-olvido-en-que-cayo-la-historica-casa-que-acogio-la-pena-de-los-parra/ |archive-date=22 October 2020 |language=es-ES |url-status=live}}</ref> an organization that functioned as an organizing center for leftist political activism, and welcomed almost all of the major figures associated with early {{Lang|es|Nueva Canción|italic=no}}, including Chileans: [[Patricio Manns]], [[Víctor Jara]], [[Rolando Alarcón]], Payo Grondona, [[Patricio Castillo (folk musician)|Patricio Castillo]], [[Sergio Ortega (composer)|Sergio Ortega]], Homero Caro, Tito Fernández, and Kiko Álvarez, as well as non-Chilean musicians, such as [[Atahualpa Yupanqui]] from Argentina and [[Paco Ibáñez|Paco Ibañéz]] of Spain.<ref name="Osvaldo">{{cite book|last=Rodríguez|first=Osvaldo Gitano|title=Cantores que reflexionan: notas para una historia personal de la nueva canción chilena|year=1984|publisher=LAR|location=Madrid}}</ref>

{{Lang|es|[[Nueva Canción Chilena]]|italic=no}} moved out of small gathering places like Peña de los Parra in 1968 when the Communist Youth Party of Chile pressed 1000 copies of the album ''[[X Vietnam (album)|Por Vietnam]]'' by [[Quilapayún]] to raise funds for the band's travel to the International Youth Festival in Bulgaria. The copies sold out unexpectedly, a strong demonstration of the popular demand for this new music. In response, La Jota (Juventudes Comunistas) created [[Discoteca de Canto Popular]] (DICAP), a socially-conscious record label<ref name="McSherry">{{cite book |last1=McSherry |first1=J. Patrice |title=Chilean New Song: The Political Power of Music |date=2015 |publisher=Temple University Press |location=Philadelphia |isbn=978-1-4399-1151-8 |pages=71–75}}</ref> that grew in its five years of operation from a 4,000 record operation in 1968 to pressing over 240,000 records in 1973.<ref>{{cite journal|last=González|first=Juan Pablo|author2=Jan Fairley |title=Part II The Industry: 16. Recording: Record Labels/Companies: DICAP (Chile)|journal=Continuum Encyclopedia of Popular Music of the World|volume=1|page=709}}</ref> DICAP united the various groups of young people wishing to spread Nueva Cancion at a time when U.S. music dominated chiefly commercial radio fare. "DICAP was a key counterhegemonic institution that broke through the censorship and silence imposed by the conservative cultural entities of the elite."<ref name="McSherry2">{{cite book |last1=McSherry |first1=J Patrice |title=Chilean New Song: The Political Power of Music |date=2015 |publisher=Temple University Press |location=Philadelphia |pages=73, 75}}</ref>

In 1969 the Universidad Cátolica in Santiago hosted the Primer Festival de la {{Lang|es|Nueva Canción Chilena|italic=no}}.<ref name=Morris>{{cite journal|last=Morris|first=Nancy|title= Canto Porque es Necesario Cantar: The New Song Movement in Chile, 1973-1983|journal= Latin American Research Review|year=1986|volume=21|issue=2|pages=117–36 |doi=10.1017/S0023879100015995 |jstor=2503359|s2cid=191099441 |doi-access=free}}</ref> [[Salvador Allende]]'s 1970 presidential campaign was a major turning point in the history of {{Lang|es|[[Nueva Canción Chilena]]|italic=no}}. Many artists became involved in the campaign; songs like "[[Venceremos (song)|Venceremos]]" by [[Víctor Jara]] were widely used in Allende rallies. After Allende's election, {{Lang|es|nueva canción|italic=no}} artists were utilized as a pro-Allende public relations machine inside and outside of Chile.<ref>Mularski, Jedrek. ''Music, Politics, and Nationalism in Latin America: Chile During the Cold War Era''. Amherst: Cambria Press. {{ISBN|9781604978889}}.</ref> By 1971, groups like [[Inti-Illimani]] and [[Quilapayún]] were receiving financial support from the Allende government.<ref>{{cite book|last=Mattern|first=Mark|title=Acting in Concert|year=1998|publisher=Rutgers University Press|location=New Brunswick|page=49}}</ref>

In 1973, the United States/CIA-backed<ref>{{cite book|editor-last1=Acuña|editor-first1=Rodolfo F.|title="Classified U.S. State Department Documents on the Overthrow of Chilean President Salvador Allende, 1973." In Voices of the U.S. Latino Experience|date=2008|publisher=Gale|location=Gale Virtual Reference Library|isbn=978-0-313-34020-8|pages=760–763|url=https://go.gale.com/ps/i.do?id=GALE%7CCX2457400352&v=2.1&u=puya65247&it=r&p=GVRL&sw=w&asid=df7ff3c1c44676b8d8d1a264a5ef263f}}</ref> right-wing [[Military dictatorship of Chile (1973–90)|military coup]] overthrew Allende's democratic government, bombing the presidential palace. Pinochet's forces then rounded up 5,000 civilians into a soccer stadium for interrogation, torture, and execution.<ref name="Gale">{{cite book|last1=Manning|first1=Deanna|title="The Extradition of Chilean General Augusto Pinochet: Justice Delayed?" In History Behind the Headlines: The Origins of Conflicts Worldwide.|date=2001|publisher=Gale|location=Gale Virtual Reference Library|isbn=978-0-7876-4951-7|pages=204–213|url=https://go.gale.com/ps/i.do?id=GALE%7CCX3410600029&v=2.1&u=puya65247&it=r&p=GVRL&sw=w&asid=c16bb0b5e93c6bbe2d275098514dcac2}}</ref> Victor Jara was beaten, tortured, and his wrists were broken,<ref>{{cite web|title=Jara v. Barrientos No. 6:13-cv-01426-RBD-GJK|url=http://cja.org/article.php?id=1361|website=Center for Justice and Accountability|access-date=29 April 2015}}</ref> after several days he was executed and shot 44 times. His wife Joan Jara writes, "where his belly ought to have been was a gory, gaping void".<ref>{{cite news|last1=Watts|first1=Jonathan|title=Agony of Chile's dark days continues as murdered poet's wife fights for justice|url=https://www.theguardian.com/world/2013/sep/11/chile-coup-anniversary-victor-jara-murder|access-date=28 April 2015|agency=The Guardian|newspaper=The Guardian|date=10 September 2013}}</ref> Because of his popularity and fame in the music world, Jara is the most well-known victim of a regime that killed or "disappeared" at least 3,065 people and tortured more than 38,000, bringing the number of victims to 40,018.<ref>{{cite news|last1=Long|first1=Gideon|title=Chile recognizes 9,800 more victims of Pinochet's rule|url=https://www.bbc.com/news/world-latin-america-14584095|access-date=29 April 2015|agency=BBC News}}</ref> Other musicians, such as Patricio Manns and groups Inti-Illimani and Quilapayún, found safety outside the country. Under [[Augusto Pinochet]] {{Lang|es|nueva canción|italic=no}} recordings were seized, burned, and banned from the airwaves and record stores. The military government exiled and imprisoned artists and went as far as to ban many traditional Andean instruments in order to suppress the {{Lang|es|nueva canción|italic=no}} movement.<ref>{{cite book|last1=McSherry|first1=J. Patrice|title=Chilean New Song: the Political Power of Music, 1960s-1973|date=2015|publisher=Temple UP|location=Philadelphia|pages=172–3}}</ref> This period in Chilean history is known as the "Apagón Cultural" (Cultural Blackout).<ref name="Morris" />

By late 1975, artists had begun to circumvent these restrictions through so-called "Andean Baroque" ensembles that performed standards of the Western classical repertoire on indigenous South American instruments. These performances took place in the politically neutral environments of churches, community centers, and the few remaining peñas. For this reason, and because of the novelty of the concept, these performances were allowed to continue without government interference. Performers gradually grew bolder, incorporating some of old {{Lang|es|nueva canción|italic=no}} repertoire, though carefully avoiding overtly political topics. Artists began calling this music "Canto Nuevo", a term selected to both reference and distance the new movement from the former {{Lang|es|nueva canción|italic=no}}. Because of the precarious political circumstances in which it existed, canto nuevo is notable for its use of highly metaphorical language, allowing songs to evade censors by disguising political messages beneath layers of symbolism. Live performances often included spoken introductions or interludes that provided insight into the song's real meaning.<ref name="Morris" />

As the 1980s arrived, advances in recording technology allowed supporters to informally exchange cassettes outside of the governmental control. [[Crisis of 1982|An economic crisis]] forced Chilean television stations to hire cheaper Chilean performers rather than international stars for broadcast bookings, while a relaxation in government restrictions allowed canto nuevo performers to participate in several major popular music festivals. Increasing public recognition of the movement facilitated the gathering of its participants at events such as the Congreso de Artistas y Trabajadores (Conference of Artists and Workers) in 1983. The canto nuevo repertoire began to diversify, incorporating cosmopolitan influences such as electronic instruments, classical harmonies, and jazz influences.<ref name="Morris" />

Though the genre is not especially active today, the legacy of figures like [[Violeta Parra]] is enormous. Parra's music continues to be recorded by contemporary artists and her song "[[Gracias a la Vida]]" was recorded by supergroup [[Gracias a la Vida (charity song)|Artists for Chile]] in an effort to raise relief funds in the wake of the [[2010 Chile earthquake|2010 Chilean earthquake]]. The [[2019–2021 Chilean protests|protests that began in October 2019]] showed a strong resurgence of {{Lang|es|Nueva Canción|italic=no}} as curfewed residents began performing the music of Violeta Parra and Victor Jara 
<ref>{{cite news|last1=Hatzaw|first1=Siam|title="El derecho de vivir en paz": Standing in solidarity with Chile|url=https://www.glasgowuniversitymagazine.co.uk/el-derecho-de-vivir-en-paz-standing-in-solidarity-with-chile/|access-date=5 February 2020|agency=Glasgow University Magazine}}</ref>  and soon major artists began adapting and writing politically motivated music backing the protests and critical of the Piñera government.<ref>{{cite news|last1=Carvacho|first1=Bárbara|title=Chile despertó, también su música: canciones inspiradas en la revolución|url=https://www.potq.net/destacamos/chile-desperto-canciones-revolucion/|access-date=5 February 2020|agency=POTQ Magazine}}</ref>

===Argentina: ''Nuevo Cancionero'' (New Songbook)===
[[File:Mercedes Sosa, by Annemarie Heinrich.jpg|thumb|[[Mercedes Sosa]] from Argentina was among the very early {{Lang|es|nueva canción|italic=no}} musicians]]
[[File:Mercedes Sosa, 1967.jpg|thumb|[[Mercedes Sosa]] performing in 1967]]
In Argentina, the movement was founded under the name Nuevo Cancionero and formally codified on 11 February 1963 when fourteen artists met in Mendoza, Argentina to sign the Manifiesto Fundacional de Nuevo Cancionero. Present were both musical artists and poet writers. The Argentine movement especially was a musico-literal. Writers like Armando Tejada Gomez were highly influential and made substantial contributions to the movement in the form of original poetry. The Manifesto's introduction places the roots of Nuevo Cancionero in the rediscovery of folk music and indigenous traditions to the work of folklorists [[Atahualpa Yupanqui]] and Buenaventura Luna and the internal urban migration that brought rural Argentines to the capital of [[Buenos Aires]]. The body of the document outlines the goal of the movement: the development of a national song that overcome the dominance of tango-folklore in Argentine national music and the rejection of pure commercialism. Instead Nuevo Cancionero sought to embrace of institutions that encouraged critical thinking and the open exchange of ideas.<ref name=Manifiesto>{{cite web|last=Francia|first=Tito|title=Manifiesto Fundacional de Nueva Canción|url=http://www.mercedessosa.com.ar/marcosmaster.htm|access-date=18 March 2013|url-status=dead|archive-url=https://web.archive.org/web/20130127115701/http://www.mercedessosa.com.ar/marcosmaster.htm|archive-date=27 January 2013}}</ref>

Nuevo Cancionero's most famous proponent was [[Mercedes Sosa]]. Her success at the 1965 [[Cosquín Festival|Cosquin Folklore Festival]] introduced Nuevo Cancionero to new levels of public exposure after Argentine folk powerhouse [[Jorge Cafrune]] singled her out on stage as a budding talent.<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211211/QzwL8C2hE6c Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20140702212615/http://www.youtube.com/watch?v=QzwL8C2hE6c Wayback Machine]{{cbignore}}: {{cite web|last=Marbiz|first=Julio|title=Recording of Cosquin Folklore Festival 1965|website=[[YouTube]] |url=https://www.youtube.com/watch?v=QzwL8C2hE6c|access-date=2 November 2012}}{{cbignore}}</ref> In 1967, Sosa completed her first international tour in the United States and Europe.<ref>{{cite web|last=Shock.com|title=Mercedes Sosa, un símbolo para su generación|url=http://www.shock.com.co/actualidad/musica/articuloshock-mercedes-sosa-un-simbolo-su-generacion|access-date=18 March 2013}}</ref> Other notable Nuevo Cancionero artists of this time included Tito Francia, [[Víctor Heredia]], and [[César Isella]], who left the folk music group [[Los Fronterizos]] to pursue a solo career. In 1969 he set the poetry of Armando Tejada Gomez to produce "Canción para todos", an anthem later designated by UNESCO the hymn of Latin America.<ref>{{cite news|last=Ortiz Bandes|first=Gastón|title=Cróncias del poeta descalzo|url=http://www.losandes.com.ar/notas/2009/4/19/estilo-419455.asp|access-date=5 November 2012|newspaper=Los Andes|date=19 April 2009}}</ref>

Nuevo cancionero artists were among the approximately 30,000 victims of [[forced disappearance]]s under Argentina's 1976–1983 [[National Reorganization Process|military dictatorship]].<ref>{{cite book|last=Hedges|first=Jill|title=A Modern History|year=2011|publisher=I.B. Tauris and Co., Ltd.|location=London}}</ref> Additional censorship, intimidation, and persecution forced many artists into exile where they had more freedom to publicize and criticize the events unfolding in Latin America. Sosa, for example, participated in the first Amnesty International concert in London in 1979, and also performed in Israel, Canada, Colombia, and Brazil while continuing to record.<ref name=Bach>{{cite journal|last=Bach|first=Caleb|title=Mercedes Sosa|journal=Americas|date=May–June 1996|volume=48|issue=3|pages=40–48}}</ref>

After the fall of the dictatorship in 1983, Argentine artists returned and performed massive comeback concerts that regularly filled sports areas and public parks with tens of thousands of people.<ref>{{cite web|last=Gieco|first=Leon|title=Biografía|url=http://www.leongieco.com/leon/biografia|access-date=18 March 2013}}</ref> Influences from time spent in exile abroad were clear through sample of instruments like the harmonica, drum set, bass guitar, electric keyboard, brass ensembles, backup singers, string instruments (especially double bass and violin), and stylistic and harmonic influences from the soundscapes of classical, jazz, pop, rock, and punk. Collaborations became increasingly common, especially between proponents of Nuevo Cancionero and the ideologically similar [[Rock Nacional]].

Nuevo Cancionero artists became symbols of a triumphant national identity. When [[Mercedes Sosa]] died, millions flooded the streets as her body lay in official state in the National Cathedral, an honor reserved for only the most prominent of national icons.<ref name=Rohter>{{cite news|last=Rohter|first=Larry|title=Mercedes Sosa, Who Sang of Argentina's Turmoil, Dies at 74|url=https://www.nytimes.com/2009/10/05/arts/music/05sosa.html|access-date=2 May 2013|newspaper=New York Times|date=5 October 2009}}</ref> While the community of musicians actively composing in the Nuevo Cancionero tradition is small, recordings and covers of Nuevo Cancionero classics remain popular in Argentina.

===Cuba: ''Nueva Trova'' (New Trova)===
{{main|Nueva trova}}

Of the regional manifestations of {{Lang|es|nueva canción|italic=no}}, '''{{Lang|es|nueva trova|italic=no}}''' is distinct because of its function within and support from the [[Fidel Castro|Castro government]]. While {{Lang|es|nueva canción|italic=no}} in other countries primarily functioned in opposition to existing regimes, {{Lang|es|nueva trova|italic=no}} emerged after the [[Cuban Revolution]] and enjoyed various degrees of state support throughout the late twentieth century. {{Lang|es|Nueva trova|italic=no}} has its roots in the traditional {{Lang|es|[[trova]]|italic=no}}, but differs from it because its content is, in the widest sense, political. It combines traditional [[folk music]] idioms with 'progressive' and often politicized lyrics that concentrate on socialism, injustice, sexism, colonialism, racism and similar 'serious' issues.<ref>Orovio, Helio 2004. Cuban music from A to Z. p151</ref> Occasional examples of non-political styles in the {{Lang|es|nueva trova|italic=no}} movement can also be found, for example, [[Liuba María Hevia]], whose lyrics are focused on more traditional subjects such as love and solitude albeit in a highly poetical style. Later {{Lang|es|nueva trova|italic=no}} musicians were also influenced by [[Rock music|rock]] and [[pop music|pop]] of that time.

[[Silvio Rodríguez]] and [[Pablo Milanés]] became the most important exponents of the style. [[Carlos Puebla]] and [[Joseíto Fernández]] were long-time {{Lang|es|trova|italic=no}} singers who added their weight to the new regime, but of the two only Puebla wrote special pro-revolution songs.<ref>"La Reforma Agraria" (Agricultural reform), "Duro con él" (I survive with him), "Ya ganamos la pelea" (At last we won the fight) and "Son de la alfabetización" were some of Puebla's compositions at this time.</ref>

The Castro administration gave plenty of support to musicians willing to write and sing anti-U.S. imperialism or pro-revolution songs, an asset in an era when many traditional musicians were finding it difficult or impossible to earn a living. In 1967 the Casa de las Américas in Havana held a Festival de la canción de protesta (protest songs). Much of the effort was spent applauding anti-U.S. expressions. [[Tania Castellanos]], a filín singer and author, wrote "¡Por Ángela!" in support of US political activist [[Angela Davis]]. [[César Portillo de la Luz]] wrote "Oh, valeroso Viet Nam".<ref>Linares, María Teresa 1981. ''La música y el pueblo''. La Habana, Cuba. p182</ref> Institutions like the Grupo de Experimentación Sonora del ICAIC (GES) while not directly working in {{Lang|es|nueva trova|italic=no}}, provided valuable musical training to amateur Cuban artists.

===Spain and Catalonia: ''Nova Cançó''===
{{main|Nova Cançó}}

The Nova Cançó was an artistic movement of the late 1950s that promoted Catalan music in [[Francoist Spain]]. The movement sought to normalize use of the [[Catalan language]] after public use of the language was forbidden when [[Catalonia]] fell in the Spanish Civil War. Artists used the Catalan language to assert Catalan identity in popular music and denounce the injustices of the Franco regime. Musically, it had roots in the French [[Chanson]].<ref name="pujado">{{cite book |last1=Pujadó |first1=Miquel |title=Diccionari de la Cançó. D'Els Setze Jutges al Rock Català |date=2000 |publisher=Enciclopèdia catalana |location=Barcelona |isbn=8441204675 |pages=52–55 |language=ca}}</ref>

In 1957, the writer [[Josep Maria Espinàs]] gave lectures on the French singer-songwriter [[Georges Brassens]], whom he called "the troubadour of our times." Espinàs had begun to translate some of Brassens' songs into Catalan. In 1958, two EPs of songs in Catalan were released: ''Hermanas Serrano cantan en catalán los éxitos internacionales'' ("The Serrano Sisters Sing International Hits in Catalan")<ref>{{cite book |last1=Pujadó |first1=Miquel |title=Diccionari de la Cançó: D'Els Setze Jutges al Rock Català |date=2000 |publisher=Enciclopèdia catalana |location=Barcelona |isbn=84-412-0467-5 |page=260|language=ca}}</ref> and ''José Guardiola: canta en catalán los éxitos internationales''. They are now considered the first recordings of modern music in the Catalan language.<ref>{{cite news |last1=Jurado |first1=Miquel |title=José Guardiola, la voz que desafió la oscuridad franquista |url=https://elpais.com/cultura/2012/04/09/actualidad/1333995682_867585.html |access-date=4 November 2018 |newspaper=El País |date=12 April 2012|language=es}}</ref> These singers, as well as others such as Font Sellabona and Rudy Ventura, form a prelude to the Nova Cançó.<ref name="decastro">{{cite book |editor-last1=De Castro |editor-first1=Javier  |title=́Ens calen cançons d ́ara ́. Retrospectiva sobre la Nova Cançó a 50 anys vista |date=2010 |publisher=Universitat de Lleida |isbn=9788484094418 |url=https://books.google.com/books?id=D5_oRoInzI4C&q=Font+Sellabona+and+Rudy+Ventura&pg=PA30}}</ref>

At the suggestion of Josep Benet i de Joan and Maurici Serrahima, a group composed of Jaume Armengol, Lluís Serrahima and Miquel Porter started composing Catalan songs.<ref name="decastro"/> In 1959, after an article by Lluís Serrahima, titled "Ens calen cançons d’ara" ("We need songs for today"), was published in ''Germinàbit'', more authors and singers were attracted to the movement.<ref name="decastro"/> Miquel Porter, Josep Maria Espinàs and Remei Margarit founded the group ''Els Setze Jutges'' (The Sixteen Judges, in Catalan). Their first concert, although still not with this name, was on 19 December 1961, in Barcelona. Their first performance with the name of Els Setze Jutges was in Premià de Mar in 1962.<ref name="pujado"/> New singers joined the group in the following years, until the number of sixteen (''Setze''), like [[Delfí Abella]] and [[Francesc Pi de la Serra]].<ref name="pujado"/> The first Nova Cançó records appeared in 1962, and many musical bands, vocal groups, singer-songwriters, and interpreters picked up the trend.<ref name="pujado"/>

In 1963, a professional Catalan artist, [[Salomé (singer)|Salomé]], and a Valencian, [[Raimon]], were awarded the first prize of the Fifth [[Mediterranean Song Festival]] with the song "Se’n va anar" ("[She] left").<ref>{{cite book |last1=Pujadó |first1=Miquel |title=Diccionari de la Cançó. D'Els Setze Jutges al Rock Català |date=2000 |publisher=Enciclopèdia catalana |location=Barcelona |isbn=8441204675 |page=255 |language=ca}}</ref> Other important participants in the movement included [[Guillem d'Efak]] and [[Núria Feliu]], who received the Spanish Critics' Award in 1966, or other new members of Els Setze Jutges.<ref name="pujado"/> Some of them were even well known abroad. Apart from Raimon, other former members of Els Setze Jutges continued their careers successfully, including [[Guillermina Motta]], Francesc Pi de la Serra, [[Maria del Mar Bonet]], [[Lluís Llach]] and [[Joan Manuel Serrat]]. Other significant figures appeared somewhat later, like the Valencian [[Ovidi Montllor]].

===Nicaragua===
Nicaragua {{Lang|es|nueva canción|italic=no}} (''Nueva canción nicaragüense'') musicians are attributed with transmitting social and political messages, and aiding in the ideological mobilisation of the populace during the [[Sandinista]] revolution. [[Carlos Mejía Godoy|Carlos Mejía Godoy y Los de Palacagüina]] were probably the best known proponents of this style.<ref name="Scruggs"/>