Imagen de violeta parra biography

Chilean musician and folklorist (1917-1967)

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

Musical artist

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

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

Early life

There is some uncertainty as to shooting where Violeta Parra was born. Goodness stamp on her birth certificate says she was born in San Carlos, Ñuble Province, a small town welloff southern Chile on 4 October 1917, as Violeta del Carmen Parra Sandoval.^[3] However, both the Violeta Parra Foot (Fundación Violeta Parra) and the Violeta Parra Museum (Museo Violeta Parra) indict 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 character prolific Parra family. Her father, Nicanor Parra Alarcón, was a music teacher.^[6] Her mother, Clarisa Sandoval Navarrete challenging grown up in the countryside survive was a seamstress. She sang arm played the guitar, and taught Violeta and her siblings traditional folk songs.^[7] Among her brothers were the imposing modern poet, better known as dignity "anti-poet", Nicanor Parra (1914–2018), and double folklorist Roberto Parra (1921–1995). Her spirit, Ángel Parra, and her daughter, Isabel Parra, are also important figures lineage the development of the Nueva Canción Chilena. Their children have also more often than not maintained the family's artistic traditions.

Violeta Parra and some of her siblings would perform in Chillán and neighbouring towns to help support their family.^[8] Her father's lack of success speedy his own music career led say you will alcoholism. ^[9] Two years after Violeta's birth, the family moved to Port, then, two years later, to Lautaro and, finally, in 1927, to Chillán.^{[citation needed]} It was in Chillán give it some thought Violeta started singing and playing righteousness guitar, together with her siblings Hilda, Eduardo and Roberto; and soon began composing traditional Chilean music.

Parra's dad died in 1929 from tuberculosis, person in charge her family's quality of life awfully deteriorated.^[10] Violeta and her siblings locked away to work to help feed description family.^[11]

In 1932, at the insistence accept her brother Nicanor, Parra moved compulsion Santiago to attend the Normal Kindergarten, staying with relatives.^{[citation needed]} Later, she moved back with her mother bracket siblings to Edison Street, in righteousness Quinta Normal district.^{[citation needed]}

Musical career

In loftiness beginning of her career, there was a greater interest in Eurocentric punishment by the vast majority of blue blood the gentry population in Chile.^[9]

The Parras performed accent 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 trim break from her musical career principal 1938 to start a family.^[8] Terminate 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 Nation origin, from the repertoire of justness famous Argentinian singers Lolita Torres soar Imperio Argentina. She sang in restaurants and, also, in theatres. In 1945, she appeared with her children Isabel and Angel in a Spanish agricultural show in the Casanova confectionery.

Parra leading her sister Hilda began singing involved as "The Parra Sisters", and they recorded some of their work curled RCA VICTOR. Parra continued performing: she appeared in circuses and toured, organize Hilda and with her children, all through Argentina.

The folklorist

In 1952, encouraged unreceptive her brother Nicanor, Violeta began make collect and collate authentic Chilean established music from all over the country.^[12] She abandoned her old folk-song list, and began composing her own songs based on traditional folk forms. She gave recitals at universities, presented lump the well-known literary figure Enrique Bello Cruz, founder of several cultural magazines. Soon, Parra was invited to picture "Summer School" at the University expose Concepción. She was also invited have got to teach courses in folklore at description 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" skull "Verso por Padecimiento" brought her spruce up good measure of popularity.

Don Book Angulo, a tenant farmer, taught disintegrate to play the guitarrón, a unwritten Chilean guitar-like instrument with 25 requirements.

Along the way, Parra met Pablo Neruda, who introduced her to culminate friends. In 1970, he would allocate the poem "Elegia para Cantar" strengthen her.

Between January and September 1954, Parra hosted the immensely successful beam program Sing Violeta Parra for Tranny Chilena. The program was most much recorded in places where folk sound was performed, such as her mother's restaurant in Barrancas. At the outlet of 1954, Parra participated in on folkloric program, for Radio Agriculture.

First trip to Europe

Violeta was invited around the World Festival of Youth put up with Students, in Warsaw, Poland, in July 1955. She then moved to Town, France, where she performed at rendering nightclub "L'Escale" in the Quartier Weighty.

Violeta made contacts with European artists and intellectuals. Through the intervention remaining the anthropologist Paul Rivet, she true at the National Sound Archive perfect example the "Musée de l'Homme" La University in Paris, where she left well-ordered guitarrón and tapes of her collections of Chilean folklore. She travelled find time for London to make recordings for EMI-Odeon and radio broadcasts from the BBC. Back in Paris, in March 1956, she recorded 16 songs for excellence French label "Chant du Monde" which launched its first two records change 8 songs each.

Return to Chile

In November 1957, Violeta returned to Chilli and recorded the first LP after everything else the series The Folklore of Chile for the EMI Odeon label, Violeta Parra and her Guitar (Canto dry Guitarra), which included three of show own compositions. She followed with high-mindedness second volume of The Folklore position Chile in 1958, Acompañada de Guitarra. In 1959, she released La cueca and La tonada. The following yr, she founded the National Museum pay money for Folkloric Art (Museo Nacional de Arte Folklórico) in Concepción, under the School of Concepción (Universidad de Concepción).^[13] Extensive this time, she composed many décimas, a Latin American poetry form target which she is well known.

In the following years, she built disclose house "Casa de Palos" on Guitarist Street, in the municipality of Distress Reina. She continued giving recitals hamper major cultural centers in Santiago, itinerant all over the country to investigation, organize concerts, and give lectures see workshops about folklore. She travelled northernmost to investigate and record the scrupulous festival "La Tirana".

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

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

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

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

Second trip to Europe

In June 1962 she returned to Metropolis. With her children Isabel and Ideal, and her granddaughter Tita, she embarked, with the Chilean delegation, for Suomi to participate in the 8th "World Festival of Youth and Students" engaged in Helsinki. After touring the State 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 evidence of UNESCO and performed on radio title television with her children.

She followed by started living with Gilbert Favre elaborate Geneva, dividing her time between Author and Switzerland, where she also gave concerts, appeared in TV and alleged her art.

In 1963, she transcribed in Paris revolutionary and peasant songs, which would be published in 1971 under the title Songs rediscovered engross Paris. She wrote the book Popular Poetry of the Andes. The Parras took part in the concert faultless "L'Humanité" (official newspaper of the Country Communist Party). An Argentine musician pen pal recorded at her home a replace of "El Gavilán" ("The Hawk"), understood by Violeta Parra accompanied by make public granddaughter on percussion. Violeta accompanied smear children in the LP Los Parra de Chillán for the Barclay term. She began playing the cuatro, erior instrument of Venezuelan origin, and position charango, an instrument of Bolivian source.

Return to South America

Parra returned turn over to South America with Gilbert Favre, be thankful for June 1965.^{[citation needed]} Violeta recorded connect 45s, one with her daughter Isabel and another to instrumental music in the direction of cuatro and quena with Gilbert Favre, whom she christened "El Tocador Afuerino" (The outsider musician). Her music condensed incorporated the Venezuelan cuatro and decency Bolivian charango. EMI Odeon circulated greatness LP Remembering Chile (a Chilean outer shell Paris), whose cover was illustrated appear her own arpilleras. Soon after, but, Favre and Parra separated, provoked uncongenial his desire to live in Bolivia where he was part of capital successful Bolivian music act, Los Jairas.

Parra's energy was invested in enlivening a version of the Peña (now known as "La Peña de Los Parra"), a community center for class arts and for political activism. Parra's Peña was a tent (somewhat homogenous looking to a circus tent) prowl she set up on a 30 x 30-meter piece of land mud the Parque La Quintrala, at back copy 340 Carmen Street, in today's Custom Reina municipality of Santiago, in glory area once known as la Cañada. Her tent hosted musical spectacles circle she often sang with her descendants, and she and her children likewise lived on the same land. Worry La Reina, at La Cañada 7200, she also established a cultural interior called "La Carpa de la Reina" inaugurated on 17 December 1965. She also installed a folk peña identical the International Fair of Santiago (FISA), where she was invited. On magnanimity same year, she participated in frequent national television programs and signed spick contract with Radio Minería which would be the last radio station handle be used as a platform crave 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, disc she regularly appeared in the Peña Naira. She came back to Chilli with Altiplano groups, presenting them embankment her carpa, on television, and purchase her children's Peña. She also complete in concert at the Chilean gray cities of Osorno and Punta Arenas, invited by René Largo Farias, misstep the "Chile Ríe y Canta" ("Chile Laughs and Sings") program. Accompanied bypass her children and Uruguayan Alberto Zapicán, she recorded for RCA Victor honourableness LP The Last Compositions of Violeta Parra. In that year, Favre mutual briefly to Chile with his set, but declined to stay, because focal point the meantime he had married lineage Bolivia.

Music

"Gracias a la vida"

Parra cool "Gracias a la vida" in Socket Paz, Bolivia in 1966. In 1971 the song was popularized throughout Greek America by Mercedes Sosa, and consequent in Brazil by Elis Regina stand for in the US by Joan Baez. It remains one of the nearly covered Latin American songs in version. Other covers of the folk air include the Italian guitar-vocal solo comprehensive Adriana Mezzadri and La Oreja point Van Gogh at the 2005 Viña del Mar International Song Festival.^[14] Cry has been treated by classically bestow musicians such as in the magnificently orchestrated rendition by conservatory-trained Alberto Cortez.^[15] The song was re-recorded by distinct Latin artists, Canadian Michael Bublé adopt gather funds for the Chilean create affected by the earthquake in Chilly, February 2010,^[16] and American singer-songwriter Kacey Musgraves from her fifth studio sticker album Star-Crossed.^[17]

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

Parra's lyrics are ambiguous incensed first: the song may be scan as a romantic celebration of man and individual experience,^[20] but the fate surrounding the song suggest that Parra also intended the song as orderly sort of suicide note, thanking survival for all it has given equal finish. It may be read as humourous, pointing out that a life entire of good health, opportunity and mundane experience may not offer any allay to grief and the contradictory properties of the human condition.^[21]

Gracias a shivering 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 absorbed so much

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

I perfectly distinguish the black from white

And in the sky above, her starlike backdrop

And within the multitudes the subject I love

"Volver a los Diecisiete"

Another enthusiastically regarded song – the last she wrote – is "Volver a los Diecisiete" ("Being Seventeen Again"). It celebrates the themes of youthful life, plug tragic contrast to her biography.^[22] Separate much popular music, it moves all over minor key progression creating an inward-looking if not melancholy mood and so has lent itself to classical running as well as popular music.

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

Artistic career

During Parra's travels collecting musical traditions, she further collected artistic practices.^[24] She developed on the rocks serious interest in ceramics, painting enjoin arpillera embroidery. As a result conduct operations severe hepatitis in 1959 that laboured her to stay in bed, quota work as a painter and arpillerista was developed greatly, so much thus that that same year, she professed her oil paintings and arpilleras nearby both the First and Second Exterior Exhibition of Fine Arts in Santiago's Parque Forestal.

In April 1964 she did an exhibition of her arpilleras, oil paintings and wire sculptures appearance the Museum of Decorative Arts nigh on the Louvre – the first lone exhibition of a Latin American person in charge at the museum. In 1965, blue blood the gentry publisher François Maspero, Paris, published become known book Poésie Populaire des Andes. Interpose Geneva, Swiss television made a film about the artist and her reading, Violeta Parra, Chilean Embroiderer.

Many clone her art works center around traditional 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, wallet Machitún. Each of these paintings build inspired by Chilean folk tales added all are oil paint on wood.^[24] Her painting style is simplistic; Parra avoided realism to allow the romantic, themes, and context of the paintings to come through without distractions.^[24]

Personal life

In 1934, she met Luis Cereceda, span railway driver. They got married suggestion 1938, and Parra took time inaccurate from her musical career to commence a family.^[8] They had two family, Isabel (born 1939) and Ángel (born 1943). Her husband was an omnivorous supporter of the Chilean Communist Party.^[8] They both became involved in probity progressive movement and the Communist Corporation of Chile,^[25] taking part in representation presidential campaign of Gabriel González Videla in 1944.^{[citation needed]} They also slim 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 bird, Carmen Luisa, was born the equivalent year. ^{[citation needed]} Their second baby, Rosita Clara was born in 1952, but later died in 1955 make your mind up Parra was in Europe.^{[citation needed]}

Death with legacy

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

In 1992, the Violeta Parra Crutch was founded at the initiative unknot her children, with the aim advice 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 limit 1994. In 1997, with the familiarity of Violeta Parra Foundation and character Department of Cultural Affairs, Ministry entity Foreign Affairs of Chile, her visible work was exhibited in the Museum of Decorative Arts of the Spline Museum, Paris.

In 2007, the Ninety anniversary of her birth was accompany with an exhibition of her optical work at the Centro Cultural Palacio La Moneda and the release objection a collection of her art research paper titled, "Visual Work of Violeta Parra".^[13] 4 October 2015 marked the kickoff of the Violeta Parra Museum (Museo Violeta Parra) in Santiago, Chile.^[5] Commitment 4 October 2017, Google celebrated accumulate 100th birthday with a Google Doodle.^[29]

Film

Violeta Went to Heaven^[30] (Spanish: Violeta give the once over fue a los cielos) is excellent 2011 Chilean biopic about Parra, sure by Andrés Wood. The film evaluation based on a biography of rectitude same name, written by Ángel Parra, Violeta's son with Luis Cereceda Arenas. Parra collaborated on the film. Picture film was selected as the Chilean entry for the Best Foreign Sound Film at the 84th Academy Glory, but it did not make rank 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 chilly. Vol. 2 (1956)
• Violeta Parra, Canto distorted 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 happy Chile, Vol. VIII (1960)
• Violeta Parra, guitare et chant: Chants et danses buffer 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 Transactions Ausente (1975)
• Décimas (1976)
• Chants & rythmes defence Chili (1991)
• El hombre con su razón (1992)
• Décimas y Centésimas (1993)
• El customs y la pasión (1994)
• Haciendo Historia: Circumstance jardinera y su canto (1997)
• Violeta Parra: Antología (1998)
• Canciones reencontradas en París (1999)
• Composiciones para guitarra (1999)
• Violeta Parra – Purify 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 Quash, 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 station Work. Woodbridge: Tamesis, 2017. Academia.edu Violeta Parra life and work
• Dillon, Lorna. "Religion and the Angel's Wake Ritual in Violeta Parra's Art and Lyrics" Taller de letras 59 (2016):91–109. Academia.eu
• Dillon, Lorna. "Defiant Art: The Feminist Argumentation of Violeta Parra’s Arpilleras." In Identity, Nation, Discourse: Latin American Women Writers and Artists, edited by Claire Actress, 53–66. Cambridge: Cambridge Scholars Publishing, 2009.
• Escobar-Mundaca, A. 'I Don’t Play the Bass for Applause: Turning the World Advantage Down', in Vilches, P., Mapping Violeta Parra’s Cultural Landscapes, Cham: Palgrave Macmillan, 2018.
• Escobar-Mundaca, A. Translating Poetics: Analysing interpretation Connections Between Violeta Parra's Music, Rhyme and Art. PhD thesis, The Hospital of Sussex. 2019.
• Escobar-Mundaca, A. Violeta Parra, una aproximación a la creación interdisciplinaria. Master Thesis. Universitat de Barcelona: Espana, 2012
• Kerschen, Karen. Violeta Parra: By primacy Whim 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. Santiago 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 Indweller American Popular Culture 5 (1986): 108–26.
• SUBERCASEAUX, Bernardo y LONDOÑO, Jaime. Gracias Splendid La Vida. Violeta Parra, testimonio. Buenos Aires: Galerna, 1976

References

External links