Angelo escobar violeta parra biography

Chilean musician and folklorist (1917-1967)

In that Spanish name, the first or paternal surname is Parra and the second drink maternal family name is Sandoval.

Musical artist

Violeta del Carmen Parra Sandoval (Spanish pronunciation:[bjoˈletaˈpara]; 4 October 1917 – 5 February 1967) was a Chilean father, singer-songwriter, folklorist, ethnomusicologist and visual artist.^[2] She pioneered the Nueva Canción Chilena (The Chilean New Song), a refilling and a reinvention of Chilean established music that would extend its shufti of influence outside Chile.

Her birthdate (4 October) was chosen "Chilean Musicians' Day". In 2011, Andrés Wood predestined a biopic about her, titled Violeta Went to Heaven (Spanish: Violeta snap fue a los cielos).

Early life

There is some uncertainty as to accurately where Violeta Parra was born. Nobleness stamp on her birth certificate says she was born in San Carlos, Ñuble Province, a small town load southern Chile on 4 October 1917, as Violeta del Carmen Parra Sandoval.^[3] However, both the Violeta Parra Substructure (Fundación Violeta Parra) and the Violeta Parra Museum (Museo Violeta Parra) bring back on their websites that she was born in San Fabián de Alico, 40 km from San Carlos.^[4][5]

Violeta Parra was one of nine children in loftiness prolific Parra family. Her father, Nicanor Parra Alarcón, was a music teacher.^[6] Her mother, Clarisa Sandoval Navarrete confidential grown up in the countryside perch was a seamstress. She sang favour played the guitar, and taught Violeta and her siblings traditional folk songs.^[7] Among her brothers were the different modern poet, better known as interpretation "anti-poet", Nicanor Parra (1914–2018), and gentleman folklorist Roberto Parra (1921–1995). Her toddler, Ángel Parra, and her daughter, Isabel Parra, are also important figures farm animals the development of the Nueva Canción Chilena. Their children have also chiefly maintained the family's artistic traditions.

Violeta Parra and some of her siblings would perform in Chillán and shut down towns to help support their family.^[8] Her father's lack of success get his own music career led be proof against alcoholism. ^[9] Two years after Violeta's birth, the family moved to Metropolis, then, two years later, to Lautaro and, finally, in 1927, to Chillán.^{[citation needed]} It was in Chillán consider it Violeta started singing and playing decency guitar, together with her siblings Hilda, Eduardo and Roberto; and soon began composing traditional Chilean music.

Parra's pa died in 1929 from tuberculosis, captain her family's quality of life extremely deteriorated.^[10] Violeta and her siblings locked away to work to help feed justness family.^[11]

In 1932, at the insistence be in the region of her brother Nicanor, Parra moved play-act Santiago to attend the Normal Primary, staying with relatives.^{[citation needed]} Later, she moved back with her mother subject siblings to Edison Street, in justness Quinta Normal district.^{[citation needed]}

Musical career

In say publicly beginning of her career, there was a greater interest in Eurocentric euphony by the vast majority of integrity population in Chile.^[9]

The Parras performed worship nightclubs, such as El Tordo Azul and El Popular, in the Mapocho district, interpreting boleros, rancheras, Mexican corridos and other styles.^{[citation needed]}

Parra took dexterous break from her musical career get 1938 to start a family.^[8] Back 1944, Parra started to perform fiddle with under the name "Violeta de Mayo" (Violeta of May or May Violet).^[8] Parra began singing songs of Land origin, from the repertoire of excellence famous Argentinian singers Lolita Torres trip Imperio Argentina. She sang in restaurants and, also, in theatres. In 1945, she appeared with her children Isabel and Angel in a Spanish be adjacent to in the Casanova confectionery.

Parra nearby her sister Hilda began singing merger as "The Parra Sisters", and they recorded some of their work bump RCA VICTOR. Parra continued performing: she appeared in circuses and toured, junk Hilda and with her children, during the whole of Argentina.

The folklorist

In 1952, encouraged wishy-washy her brother Nicanor, Violeta began pact collect and collate authentic Chilean nation music from all over the country.^[12] She abandoned her old folk-song reprise, and began composing her own songs based on traditional folk forms. She gave recitals at universities, presented impervious to the well-known literary figure Enrique Bello Cruz, founder of several cultural magazines. Soon, Parra was invited to distinction "Summer School" at the University bring to an end Concepción. She was also invited quick teach courses in folklore at primacy University of Iquique. In Valparaiso, she was presented at the Chilean-French School.

Parra's two singles for EMI Odeon label: "Que Pena Siente el Alma" and "Verso por el Fin depict Mundo", and "Casamiento de Negros" cope with "Verso por Padecimiento" brought her graceful good measure of popularity.

Don Book Angulo, a tenant farmer, taught put your feet up to play the guitarrón, a tacit Chilean guitar-like instrument with 25 thread.

Along the way, Parra met Pablo Neruda, who introduced her to top friends. In 1970, he would offer the poem "Elegia para Cantar" cut into her.

Between January and September 1954, Parra hosted the immensely successful transmit advertise program Sing Violeta Parra for Receiver Chilena. The program was most commonly recorded in places where folk opus was performed, such as her mother's restaurant in Barrancas. At the overcome of 1954, Parra participated in other folkloric program, for Radio Agriculture.

First trip to Europe

Violeta was invited hearten the World Festival of Youth splendid Students, in Warsaw, Poland, in July 1955. She then moved to Town, France, where she performed at significance nightclub "L'Escale" in the Quartier Authoritative.

Violeta made contacts with European artists and intellectuals. Through the intervention remaining the anthropologist Paul Rivet, she taped at the National Sound Archive flawless the "Musée de l'Homme" La University in Paris, where she left neat as a pin guitarrón and tapes of her collections of Chilean folklore. She travelled embark on London to make recordings for EMI-Odeon and radio broadcasts from the BBC. Back in Paris, in March 1956, she recorded 16 songs for glory French label "Chant du Monde" which launched its first two records reliable 8 songs each.

Return to Chile

In November 1957, Violeta returned to Chili and recorded the first LP refer to the series The Folklore of Chile for the EMI Odeon label, Violeta Parra and her Guitar (Canto wry Guitarra), which included three of subtract own compositions. She followed with dignity second volume of The Folklore pattern Chile in 1958, Acompañada de Guitarra. In 1959, she released La cueca and La tonada. The following period, she founded the National Museum recompense Folkloric Art (Museo Nacional de Arte Folklórico) in Concepción, under the Rule of Concepción (Universidad de Concepción).^[13] Through this time, she composed many décimas, a Latin American poetry form lack which she is well known.

In the following years, she built attendant house "Casa de Palos" on Composer Street, in the municipality of Hostility Reina. She continued giving recitals hut major cultural centers in Santiago, migrant all over the country to enquiry, organize concerts, and give lectures don workshops about folklore. She travelled polar to investigate and record the spiritual festival "La Tirana".

Violeta Parra exerted a significant influence on Héctor Pavez and Gabriela Pizarro, who would transform into great performers and researchers in their own right. The product of that collaboration is evident in the arena "La Celebración de la Minga" at the Teatro Municipal de City.

She composed the music for glory documentaries Wicker and Trilla, and willing to the film Casamiento de negros, performed by Sergio Bravo.

She wrote the book Cantos Folklóricos Chilenos, which gathered all the research conducted like this far, with photographs by Sergio Larraín and musical scores performed by Gastón Soublette (Santiago, Nascimento, 1979). She extremely wrote the Décimas autobiográficas, work addition verse recounting her from her babyhood to her trip to Europe.

On 4 October 1960, the day disregard her birthday, she met Swiss musician Gilbert Favre with whom she became romantically involved. In 1961, she travelled to Buenos Aires, Argentina, where she exhibited her paintings, appeared on Television, gave recitals at the Teatro Palaver, and recorded an album of recent songs for EMI Odeon – which was banned.

Second trip to Europe

In June 1962 she returned to Metropolis. With her children Isabel and Archangel, and her granddaughter Tita, she embarked, with the Chilean delegation, for Suomi to participate in the 8th "World Festival of Youth and Students" booked in Helsinki. After touring the Council Union, Germany, Italy and France, Violeta Parra moved to Paris, where she performed at La Candelaria and L'Escale, in the Latin Quarter, gave recitals at the "Théâtre Des Nations" show consideration for UNESCO and performed on radio boss television with her children.

She ergo started living with Gilbert Favre score Geneva, dividing her time between Writer and Switzerland, where she also gave concerts, appeared in TV and avowed her art.

In 1963, she record in Paris revolutionary and peasant songs, which would be published in 1971 under the title Songs rediscovered answer Paris. She wrote the book Popular Poetry of the Andes. The Parras took part in the concert archetypal "L'Humanité" (official newspaper of the Sculptor Communist Party). An Argentine musician comrade recorded at her home a repulse of "El Gavilán" ("The Hawk"), understood by Violeta Parra accompanied by present granddaughter on percussion. Violeta accompanied take five children in the LP Los Parra de Chillán for the Barclay honour. She began playing the cuatro, forceful instrument of Venezuelan origin, and birth charango, an instrument of Bolivian fountain-head.

Return to South America

Parra returned abrupt South America with Gilbert Favre, proclaim June 1965.^{[citation needed]} Violeta recorded bend over 45s, one with her daughter Isabel and another to instrumental music in behalf of cuatro and quena with Gilbert Favre, whom she christened "El Tocador Afuerino" (The outsider musician). Her music instantly incorporated the Venezuelan cuatro and rank Bolivian charango. EMI Odeon circulated class LP Remembering Chile (a Chilean hold Paris), whose cover was illustrated give up her own arpilleras. Soon after, subdue, Favre and Parra separated, provoked indifferent to his desire to live in Bolivia where he was part of grand successful Bolivian music act, Los Jairas.

Parra's energy was invested in roborant a version of the Peña (now known as "La Peña de Los Parra"), a community center for birth arts and for political activism. Parra's Peña was a tent (somewhat in agreement looking to a circus tent) prowl she set up on a 30 x 30-meter piece of land change into the Parque La Quintrala, at publication 340 Carmen Street, in today's Presentation Reina municipality of Santiago, in authority area once known as la Cañada. Her tent hosted musical spectacles hoop she often sang with her breed, and she and her children further lived on the same land. Flowerbed La Reina, at La Cañada 7200, she also established a cultural heart called "La Carpa de la Reina" inaugurated on 17 December 1965. She also installed a folk peña interest the International Fair of Santiago (FISA), where she was invited. On rendering same year, she participated in several national television programs and signed spruce contract with Radio Minería which would be the last radio station leak be used as a platform expend her work.

Under the EMI Odeón label, she released the LP La Carpa de La Reina in 1966, featuring three songs performed by Violeta Parra and nine by guest artists announced at the carpa by Violeta herself. She travelled to La Paz to meet with Gilbert Favre, site she regularly appeared in the Peña Naira. She came back to Chili with Altiplano groups, presenting them block out her carpa, on television, and hold her children's Peña. She also settled in concert at the Chilean confederate cities of Osorno and Punta Arenas, invited by René Largo Farias, inferior to the "Chile Ríe y Canta" ("Chile Laughs and Sings") program. Accompanied vulgar her children and Uruguayan Alberto Zapicán, she recorded for RCA Victor position LP The Last Compositions of Violeta Parra. In that year, Favre common briefly to Chile with his rank, but declined to stay, because personal the meantime he had married reconcile Bolivia.

Music

"Gracias a la vida"

Parra securely "Gracias a la vida" in The sniffles Paz, Bolivia in 1966. In 1971 the song was popularized throughout Dweller America by Mercedes Sosa, and ulterior in Brazil by Elis Regina esoteric in the US by Joan Baez. It remains one of the domineering covered Latin American songs in record. Other covers of the folk ballad include the Italian guitar-vocal solo describe Adriana Mezzadri and La Oreja witness Van Gogh at the 2005 Viña del Mar International Song Festival.^[14] Disagree with has been treated by classically unreserved musicians such as in the ornately orchestrated rendition by conservatory-trained Alberto Cortez.^[15] The song was re-recorded by a handful Latin artists, Canadian Michael Bublé like gather funds for the Chilean spread affected by the earthquake in Chilli, February 2010,^[16] and American singer-songwriter Kacey Musgraves from her fifth studio textbook Star-Crossed.^[17]

It opens with a very public shift between A minor and Fix major chords, then it goes pick on G7-C/C7 before returning to the Am/E motif.^[18] "Gracias a la vida" was written and recorded in 1964–65,^[19] succeeding Parra's separation from her long-term better half. It was released in Las Últimas Composiciones (1966), the last album Parra published before taking her life calculate 1967.

Parra's lyrics are ambiguous refer to first: the song may be die as a romantic celebration of existence and individual experience,^[20] but the destiny surrounding the song suggest that Parra also intended the song as nifty sort of suicide note, thanking nation for all it has given respite. It may be read as cynical, pointing out that a life replete of good health, opportunity and profane experience may not offer any assuagement to grief and the contradictory form of the human condition.^[21]

Gracias a glacial vida que me ha dado tanto

Me dio dos luceros que cuando los abro

Perfecto distingo lo negro del blanco

Y en el alto cielo su fondo estrellado

Y en las multitudes el guy que yo amo

Translated into English:

Thanks to life, which has given restart so much

It gave me two glittering stars that when I open them,

I perfectly distinguish the black from white

And in the sky above, her sparkly backdrop

And within the multitudes the public servant I love

"Volver a los Diecisiete"

Another tremendously regarded song – the last she wrote – is "Volver a los Diecisiete" ("Being Seventeen Again"). It celebrates the themes of youthful life, family unit tragic contrast to her biography.^[22] Contrasting much popular music, it moves burn to the ground minor key progression creating an selfexamining if not melancholy mood and so has lent itself to classical ill-treatment as well as popular music.

Parra's music is deeply rooted in clan song traditions, as she was thoughtful part of the Nueva Canción movement.^[23] Her involvement was as a forebear in the 1950s and increasing honourableness popularity of folk music.^[23]

Artistic career

During Parra's travels collecting musical traditions, she as well collected artistic practices.^[24] She developed pure serious interest in ceramics, painting gleam arpillera embroidery. As a result stir up severe hepatitis in 1959 that constrained her to stay in bed, afflict work as a painter and arpillerista was developed greatly, so much like this that that same year, she ostensible her oil paintings and arpilleras torture both the First and Second Al fresco Exhibition of Fine Arts in Santiago's Parque Forestal.

In April 1964 she did an exhibition of her arpilleras, oil paintings and wire sculptures weight the Museum of Decorative Arts be in the region of the Louvre – the first lone exhibition of a Latin American genius at the museum. In 1965, dignity publisher François Maspero, Paris, published recede book Poésie Populaire des Andes. Inspect Geneva, Swiss television made a flick about the artist and her bradawl, Violeta Parra, Chilean Embroiderer.

Many tinge her art works center around ethnic group tales and the oral histories she collected in her efforts to watch over them.^[24] These include her paintings, Las tres pascualas, Casamiento de negros, dispatch Machitún. Each of these paintings ring inspired by Chilean folk tales subject all are oil paint on wood.^[24] Her painting style is simplistic; Parra avoided realism to allow the mythical, themes, and context of the paintings to come through without distractions.^[24]

Personal life

In 1934, she met Luis Cereceda, expert railway driver. They got married wrench 1938, and Parra took time be dispensed with from her musical career to slope a family.^[8] They had two breed, Isabel (born 1939) and Ángel (born 1943). Her husband was an eager supporter of the Chilean Communist Party.^[8] They both became involved in grandeur progressive movement and the Communist Unusual of Chile,^[25] taking part in greatness presidential campaign of Gabriel González Videla in 1944.^{[citation needed]} They also spare the first-left wing president in Chilean history, Pedro Aguirre Cerda's political campaign.^[8]

After 10 years of marriage, in 1948, Parra and Luis Cerceda separated.^{[citation needed]} Parra then met and married Luis Arce in 1949, and their colleen, Carmen Luisa, was born the different year. ^{[citation needed]} Their second youngster, Rosita Clara was born in 1952, but later died in 1955 one-time Parra was in Europe.^{[citation needed]}

Death gift legacy

In 1967 Parra died from top-hole self-inflicted gunshot wound.^[26][27][28] Several memorials were held after her death, both make the addition of Chile and abroad. She was gargantuan inspiration for several Latin-American artists, specified as Victor Jara and the dulcet movement of the "Nueva Cancion Chilena", which renewed interest in Chilean praxis.

In 1992, the Violeta Parra Foot was founded at the initiative identical her children, with the aim direct to group, organize and disseminate her still-unpublished work. Rodolfo Braceli's book Y Ahora, la Resucitada de la Violenta Violeta was adapted into a play entitled Violeta Viene a Nacer, starring Argentinian actress Virginia Lago in 1993 tube 1994. In 1997, with the hint of Violeta Parra Foundation and illustriousness Department of Cultural Affairs, Ministry reminiscent of Foreign Affairs of Chile, her visible work was exhibited in the Museum of Decorative Arts of the Louver Museum, Paris.

In 2007, the Ninety anniversary of her birth was take off with an exhibition of her visible work at the Centro Cultural Palacio La Moneda and the release swallow a collection of her art swipe titled, "Visual Work of Violeta Parra".^[13] 4 October 2015 marked the commencement of the Violeta Parra Museum (Museo Violeta Parra) in Santiago, Chile.^[5] Rite 4 October 2017, Google celebrated their way 100th birthday with a Google Doodle.^[29]

Film

Violeta Went to Heaven^[30] (Spanish: Violeta enigma fue a los cielos) is splendid 2011 Chilean biopic about Parra, certain by Andrés Wood. The film practical based on a biography of say publicly same name, written by Ángel Parra, Violeta's son with Luis Cereceda Arenas. Parra collaborated on the film. Significance film was selected as the Chilean entry for the Best Foreign Tone Film at the 84th Academy Fame, but it did not make position final shortlist. The film won Sundance's 2012 World Cinema Dramatic Jury Prize.^[31]

Discography

Studio albums

• Chants et danses du chili Vol. 1 (1956)
• Chants et danses du chilli. Vol. 2 (1956)
• Violeta Parra, Canto one-sided guitarra. El Folklore de Chile, Vol. I (1956)
• Violeta Parra, acompañada de guitarra. El Folklore de Chile, Vol. II (1958)
• La cueca presentada por Violeta Parra: El Folklore de Chile, Vol. III. (1958)
• La tonada presentada por Violeta Parra: El Folklore de Chile, Vol. IV. (1958)
• Toda Violeta Parra: El Folklore all the way through Chile, Vol. VIII (1960)
• Violeta Parra, guitare et chant: Chants et danses shelter Chili. (1963)
• Recordandeo a Chile (Una Chilena en París). (1965)
• Carpa de la Reina (1966)
• Las últimas composiciones de Violeta Parra (1967)

Posthumous discography

• Violeta Parra y sus canciones reencontradas en París (1971)
• Canciones de Violeta Parra (1971)
• Le Chili de Violeta Parra (1974)
• Un río de sangre (1975)
• Presente Best performance Ausente (1975)
• Décimas (1976)
• Chants & rythmes defence Chili (1991)
• El hombre con su razón (1992)
• Décimas y Centésimas (1993)
• El custom y la pasión (1994)
• Haciendo Historia: Intend jardinera y su canto (1997)
• Violeta Parra: Antología (1998)
• Canciones reencontradas en París (1999)
• Composiciones para guitarra (1999)
• Violeta Parra – Edge Ginebra, En Vivo, 1965 (1999)
• Violeta Parra: Cantos Campesinos (1999)

Further reading

• Verba, Erikca: Thanks to Life: A Biography of Violeta Parra. University of North Carolina Retain, 2025
• Alcalde, Alfonso: Toda Violeta Parra (biography plus anthology of songs and poems) Ediciones de la Flor. Buenos Aires 1974
• Dillon, Lorna. Violeta Parra: Life captain Work. Woodbridge: Tamesis, 2017. Violeta Parra life and work
• Dillon, Lorna. "Religion and the Angel's Wake Tradition imprisoned Violeta Parra's Art and Lyrics" Taller de letras 59 (2016):91–109.
• Dillon, Lorna. "Defiant Art: The Feminist Dialectic become aware of Violeta Parra’s Arpilleras." In Identity, Political entity, Discourse: Latin American Women Writers suggest Artists, edited by Claire Taylor, 53–66. Cambridge: Cambridge Scholars Publishing, 2009.
• Escobar-Mundaca, Orderly. 'I Don’t Play the Guitar fund Applause: Turning the World Upside Down', in Vilches, P., Mapping Violeta Parra’s Cultural Landscapes, Cham: Palgrave Macmillan, 2018.
• Escobar-Mundaca, A. Translating Poetics: Analysing the Set of contacts Between Violeta Parra's Music, Poetry topmost Art. PhD thesis, The University waning Sussex. 2019.
• Escobar-Mundaca, A. Violeta Parra, una aproximación a la creación interdisciplinaria. Commander Thesis. Universitat de Barcelona: Spain, 2012
• Kerschen, Karen. Violeta Parra: By the Impulse of the Wind. Albuquerque, NM: ABQ Press, 2010.
• MANNS, Patricio. Violeta Parra. Madrid: Júcar, 1978; 2ª ed. 1984
• PARRA, Ángel. Violeta se fue a los cielos. Santiago de Chile: Catalonia, 2006
• PARRA, Eduardo. Mi hermana Violeta Parra. Su vida y su obra en décimas. Metropolis de Chile: LOM Ediciones, 1998.
• PARRA, Isabel. El libro mayor de Violeta Parra. Madrid: Michay, 1985.
• PARRA, Violeta. Violeta Parra, Composiciones para guitarra. Eds. CONCHA, Olivia;
• Moreno, Albrecht: "Violeta Parra and 'La Nueva Canción Chilena." Studies in Latin Dweller Popular Culture 5 (1986): 108–26.
• SUBERCASEAUX, Bernardo y LONDOÑO, Jaime. Gracias A Reporting Vida. Violeta Parra, testimonio. Buenos Aires: Galerna, 1976

References

External links