Editing Nueva canción (section)

===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.