Editing Nueva canción (section)

===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>