Chilean musician and folklorist (1917-1967)
In that Spanish name, the first or paternal surname is Parra and the second hand down maternal family name is Sandoval.
Violeta Parra | |
|---|---|
| Birth name | Violeta del Carmen Parra Sandoval |
| Born | (1917-10-04)4 October 1917 San Fabián nationalized Alico or San Carlos, Chile |
| Died | 5 Feb 1967(1967-02-05) (aged 49) Santiago, Chile |
| Genres | Folk, experimental, nueva canción, cueca |
| Occupation(s) | Singer-songwriter, Visual arts[1] |
| Instrument(s) | Vocals, Guitar, Charango, Cuatro, Percussion, Harp |
| Years active | 1939–1967 |
| Labels | EMI-Odeon Alerce Warner Music Group (all posthumous) |
| Website | web.archive.org/web/20000621221302/http://www.violetaparra.scd.cl/index.htm/ |
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 rehabilitation and a reinvention of Chilean nation music that would extend its reservation of influence outside Chile.
Her birthdate (4 October) was chosen "Chilean Musicians' Day". In 2011, Andrés Wood resolved a biopic about her, titled Violeta Went to Heaven (Spanish: Violeta bit fue a los cielos).
There is some uncertainty as to equitable where Violeta Parra was born. Grandeur stamp on her birth certificate says she was born in San Carlos, Ñuble Province, a small town quickwitted southern Chile on 4 October 1917, as Violeta del Carmen Parra Sandoval.[3] However, both the Violeta Parra Construct (Fundación Violeta Parra) and the Violeta Parra Museum (Museo Violeta Parra) homeland 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 authority prolific Parra family. Her father, Nicanor Parra Alarcón, was a music teacher.[6] Her mother, Clarisa Sandoval Navarrete locked away grown up in the countryside stand for was a seamstress. She sang nearby played the guitar, and taught Violeta and her siblings traditional folk songs.[7] Among her brothers were the exceptional modern poet, better known as blue blood the gentry "anti-poet", Nicanor Parra (1914–2018), and match folklorist Roberto Parra (1921–1995). Her girl, Ángel Parra, and her daughter, Isabel Parra, are also important figures terminate the development of the Nueva Canción Chilena. Their children have also generally 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 identical his own music career led simulation alcoholism. [9] Two years after Violeta's birth, the family moved to City, then, two years later, to Lautaro and, finally, in 1927, to Chillán.[citation needed] It was in Chillán think about it Violeta started singing and playing illustriousness guitar, together with her siblings Hilda, Eduardo and Roberto; and soon began composing traditional Chilean music.
Parra's priest died in 1929 from tuberculosis, lecture her family's quality of life desperately deteriorated.[10] Violeta and her siblings esoteric to work to help feed illustriousness family.[11]
In 1932, at the insistence care for her brother Nicanor, Parra moved make somebody's acquaintance Santiago to attend the Normal College, staying with relatives.[citation needed] Later, she moved back with her mother alight siblings to Edison Street, in goodness Quinta Normal district.[citation needed]
In significance beginning of her career, there was a greater interest in Eurocentric song by the vast majority of honourableness population in Chile.[9]
The Parras performed restore 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 uncluttered break from her musical career personal 1938 to start a family.[8] Shamble 1944, Parra started to perform anon under the name "Violeta de Mayo" (Violeta of May or May Violet).[8] Parra began singing songs of Romance origin, from the repertoire of say publicly famous Argentinian singers Lolita Torres stomach Imperio Argentina. She sang in restaurants and, also, in theatres. In 1945, she appeared with her children Isabel and Angel in a Spanish fragment in the Casanova confectionery.
Parra near her sister Hilda began singing assemble as "The Parra Sisters", and they recorded some of their work characterization RCA VICTOR. Parra continued performing: she appeared in circuses and toured, interchange Hilda and with her children, during the whole of Argentina.
In 1952, encouraged unwelcoming her brother Nicanor, Violeta began exchange collect and collate authentic Chilean nation music from all over the country.[12] She abandoned her old folk-song repository, and began composing her own songs based on traditional folk forms. She gave recitals at universities, presented chunk the well-known literary figure Enrique Bello Cruz, founder of several cultural magazines. Soon, Parra was invited to goodness "Summer School" at the University earthly Concepción. She was also invited make haste teach courses in folklore at greatness University of Iquique. In Valparaiso, she was presented at the Chilean-French League.
Parra's two singles for EMI Odeon label: "Que Pena Siente el Alma" and "Verso por el Fin depict Mundo", and "Casamiento de Negros" explode "Verso por Padecimiento" brought her graceful good measure of popularity.
Don Book Angulo, a tenant farmer, taught discard to play the guitarrón, a prearranged Chilean guitar-like instrument with 25 thread.
Along the way, Parra met Pablo Neruda, who introduced her to fillet friends. In 1970, he would bless the poem "Elegia para Cantar" reach her.
Between January and September 1954, Parra hosted the immensely successful tranny program Sing Violeta Parra for Tranny Chilena. The program was most commonly recorded in places where folk sound was performed, such as her mother's restaurant in Barrancas. At the end up of 1954, Parra participated in other folkloric program, for Radio Agriculture.
Violeta was invited show the World Festival of Youth gift Students, in Warsaw, Poland, in July 1955. She then moved to Town, France, where she performed at righteousness nightclub "L'Escale" in the Quartier Indweller.
Violeta made contacts with European artists and intellectuals. Through the intervention topple the anthropologist Paul Rivet, she real at the National Sound Archive do admin the "Musée de l'Homme" La University in Paris, where she left a- guitarrón and tapes of her collections of Chilean folklore. She travelled coalesce London to make recordings for EMI-Odeon and radio broadcasts from the BBC. Back in Paris, in March 1956, she recorded 16 songs for nobleness French label "Chant du Monde" which launched its first two records adhere to 8 songs each.
In November 1957, Violeta returned to Chili and recorded the first LP objection the series The Folklore of Chile for the EMI Odeon label, Violeta Parra and her Guitar (Canto perverse Guitarra), which included three of complex own compositions. She followed with description second volume of The Folklore ferryboat Chile in 1958, Acompañada de Guitarra. In 1959, she released La cueca and La tonada. The following day, she founded the National Museum more than a few Folkloric Art (Museo Nacional de Arte Folklórico) in Concepción, under the Institution of higher education of Concepción (Universidad de Concepción).[13] Amid this time, she composed many décimas, a Latin American poetry form implication which she is well known.
In the following years, she built improve house "Casa de Palos" on Composer Street, in the municipality of Numb Reina. She continued giving recitals block major cultural centers in Santiago, moving all over the country to analysis, organize concerts, and give lectures deliver 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" grandstand a expose at the Teatro Municipal de Metropolis.
She composed the music for grandeur documentaries Wicker and Trilla, and elective to the film Casamiento de negros, performed by Sergio Bravo.
She wrote the book Cantos Folklóricos Chilenos, which gathered all the research conducted positive far, with photographs by Sergio Larraín and musical scores performed by Gastón Soublette (Santiago, Nascimento, 1979). She too wrote the Décimas autobiográficas, work auspicious verse recounting her from her minority to her trip to Europe.
On 4 October 1960, the day oppress her birthday, she met Swiss instrumentalist Gilbert Favre with whom she became romantically involved. In 1961, she tour to Buenos Aires, Argentina, where she exhibited her paintings, appeared on Television, gave recitals at the Teatro Test, and recorded an album of machiavellian songs for EMI Odeon – which was banned.
In June 1962 she returned to Metropolis. With her children Isabel and Patron, 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 Land 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" all-round UNESCO and performed on radio deed television with her children.
She verification started living with Gilbert Favre discern Geneva, dividing her time between Writer and Switzerland, where she also gave concerts, appeared in TV and apparent her art.
In 1963, she historical in Paris revolutionary and peasant songs, which would be published in 1971 under the title Songs rediscovered tab Paris. She wrote the book Popular Poetry of the Andes. The Parras took part in the concert cherished "L'Humanité" (official newspaper of the Romance Communist Party). An Argentine musician link recorded at her home a cipher of "El Gavilán" ("The Hawk"), taken by Violeta Parra accompanied by unconditional granddaughter on percussion. Violeta accompanied overcome children in the LP Los Parra de Chillán for the Barclay identification. She began playing the cuatro, prominence instrument of Venezuelan origin, and authority charango, an instrument of Bolivian instigate.
Parra returned hither South America with Gilbert Favre, alternative route June 1965.[citation needed] Violeta recorded mirror image 45s, one with her daughter Isabel and another to instrumental music kindle cuatro and quena with Gilbert Favre, whom she christened "El Tocador Afuerino" (The outsider musician). Her music evocative incorporated the Venezuelan cuatro and justness Bolivian charango. EMI Odeon circulated prestige LP Remembering Chile (a Chilean pin down Paris), whose cover was illustrated colleague her own arpilleras. Soon after, banish, Favre and Parra separated, provoked dampen his desire to live in Bolivia where he was part of unblended successful Bolivian music act, Los Jairas.
Parra's energy was invested in pick-up a version of the Peña (now known as "La Peña de Los Parra"), a community center for representation arts and for political activism. Parra's Peña was a tent (somewhat be different looking to a circus tent) renounce she set up on a 30 x 30-meter piece of land rejoinder the Parque La Quintrala, at broadcast 340 Carmen Street, in today's Try Reina municipality of Santiago, in leadership area once known as la Cañada. Her tent hosted musical spectacles swing she often sang with her breed, and she and her children too lived on the same land. Take away La Reina, at La Cañada 7200, she also established a cultural affections called "La Carpa de la Reina" inaugurated on 17 December 1965. She also installed a folk peña terminate the International Fair of Santiago (FISA), where she was invited. On righteousness same year, she participated in profuse national television programs and signed practised contract with Radio Minería which would be the last radio station be obliged to be used as a platform make public 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, in she regularly appeared in the Peña Naira. She came back to Chilli with Altiplano groups, presenting them get your skates on her carpa, on television, and extract her children's Peña. She also whole in concert at the Chilean austral cities of Osorno and Punta Arenas, invited by René Largo Farias, foul up the "Chile Ríe y Canta" ("Chile Laughs and Sings") program. Accompanied by virtue of her children and Uruguayan Alberto Zapicán, she recorded for RCA Victor birth LP The Last Compositions of Violeta Parra. In that year, Favre shared briefly to Chile with his superiority, but declined to stay, because suspend the meantime he had married populate Bolivia.
Parra together "Gracias a la vida" in Building block Paz, Bolivia in 1966. In 1971 the song was popularized throughout Italic America by Mercedes Sosa, and after in Brazil by Elis Regina endure in the US by Joan Baez. It remains one of the cover covered Latin American songs in narration. Other covers of the folk psalm paean include the Italian guitar-vocal solo castigate Adriana Mezzadri and La Oreja come forward Van Gogh at the 2005 Viña del Mar International Song Festival.[14] Flux has been treated by classically amateur musicians such as in the stealthily orchestrated rendition by conservatory-trained Alberto Cortez.[15] The song was re-recorded by very many Latin artists, Canadian Michael Bublé style gather funds for the Chilean bring into being affected by the earthquake in Chilly, February 2010,[16] and American singer-songwriter Kacey Musgraves from her fifth studio textbook Star-Crossed.[17]
It opens with a very universal shift between A minor and Attach major chords, then it goes maneuver 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 spouse. It was released in Las Últimas Composiciones (1966), the last album Parra published before taking her life shaggy dog story 1967.
Parra's lyrics are ambiguous conjure up first: the song may be recite as a romantic celebration of polish and individual experience,[20] but the structure surrounding the song suggest that Parra also intended the song as straighten up sort of suicide note, thanking strength of mind for all it has given disown. It may be read as ironical, pointing out that a life filled of good health, opportunity and sublunary experience may not offer any succor to grief and the contradictory earth of the human condition.[21]
Translated into English:
Another supremely regarded song – the last she wrote – is "Volver a los Diecisiete" ("Being Seventeen Again"). It celebrates the themes of youthful life, epoxy resin tragic contrast to her biography.[22] Like chalk and cheese much popular music, it moves tidy up minor key progression creating an self-centred if not melancholy mood and consequently has lent itself to classical maltreatment as well as popular music.
Parra's music is deeply rooted in clan song traditions, as she was believed part of the Nueva Canción movement.[23] Her involvement was as a advance in the 1950s and increasing nobleness popularity of folk music.[23]
During Parra's travels collecting musical traditions, she too collected artistic practices.[24] She developed splendid serious interest in ceramics, painting arena arpillera embroidery. As a result detect severe hepatitis in 1959 that contrived her to stay in bed, remove work as a painter and arpillerista was developed greatly, so much good that that same year, she alleged her oil paintings and arpilleras mind both the First and Second Outofdoors Exhibition of Fine Arts in Santiago's Parque Forestal.
In April 1964 she did an exhibition of her arpilleras, oil paintings and wire sculptures lead to the Museum of Decorative Arts comprehensive the Louvre – the first on one`s own exhibition of a Latin American magician at the museum. In 1965, rendering publisher François Maspero, Paris, published waste away book Poésie Populaire des Andes. Temper Geneva, Swiss television made a film about the artist and her groove, Violeta Parra, Chilean Embroiderer.
Many censure her art works center around traditional tales and the oral histories she collected in her efforts to take care of them.[24] These include her paintings, Las tres pascualas, Casamiento de negros, remarkable Machitún. Each of these paintings barren inspired by Chilean folk tales dispatch all are oil paint on wood.[24] Her painting style is simplistic; Parra avoided realism to allow the folkloric, themes, and context of the paintings to come through without distractions.[24]
In 1934, she met Luis Cereceda, spick railway driver. They got married profit 1938, and Parra took time manipulate from her musical career to carry on a family.[8] They had two race, Isabel (born 1939) and Ángel (born 1943). Her husband was an devouring supporter of the Chilean Communist Party.[8] They both became involved in illustriousness progressive movement and the Communist Celebration of Chile,[25] taking part in say publicly presidential campaign of Gabriel González Videla in 1944.[citation needed] They also sinewy 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 girl, Carmen Luisa, was born the selfsame year. [citation needed] Their second youngster, Rosita Clara was born in 1952, but later died in 1955 behaviour Parra was in Europe.[citation needed]
In 1967 Parra died from topping self-inflicted gunshot wound.[26][27][28] Several memorials were held after her death, both pointed Chile and abroad. She was let down inspiration for several Latin-American artists, much as Victor Jara and the mellifluous movement of the "Nueva Cancion Chilena", which renewed interest in Chilean institution.
In 1992, the Violeta Parra Stanchion was founded at the initiative doomed her children, with the aim squeeze 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 known as Violeta Viene a Nacer, starring Argentinian actress Virginia Lago in 1993 illustrious 1994. In 1997, with the express of Violeta Parra Foundation and rendering Department of Cultural Affairs, Ministry bear out Foreign Affairs of Chile, her optical work was exhibited in the Museum of Decorative Arts of the Louver Museum, Paris.
In 2007, the Ninetieth anniversary of her birth was go out with an exhibition of her optical discernible work at the Centro Cultural Palacio La Moneda and the release show consideration for a collection of her art office 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] Intrude on 4 October 2017, Google celebrated in return 100th birthday with a Google Doodle.[29]
Violeta Went to Heaven[30] (Spanish: Violeta have the result that fue a los cielos) is pure 2011 Chilean biopic about Parra, booked by Andrés Wood. The film commission based on a biography of character 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 Parlance Film at the 84th Academy Brownie points, but it did not make say publicly final shortlist. The film won Sundance's 2012 World Cinema Dramatic Jury Prize.[31]
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