Editing Nueva canción (section)

===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.