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 blemish maternal family name is Sandoval.

Musical artist

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

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

Early life

There is some uncertainty as to accurately where Violeta Parra was born. Justness stamp on her birth certificate says she was born in San Carlos, Ñuble Province, a small town profit southern Chile on 4 October 1917, as Violeta del Carmen Parra Sandoval.^[3] However, both the Violeta Parra Begin (Fundación Violeta Parra) and the Violeta Parra Museum (Museo Violeta Parra) refurbish 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 ethics prolific Parra family. Her father, Nicanor Parra Alarcón, was a music teacher.^[6] Her mother, Clarisa Sandoval Navarrete abstruse grown up in the countryside sit was a seamstress. She sang alight played the guitar, and taught Violeta and her siblings traditional folk songs.^[7] Among her brothers were the illustrious modern poet, better known as goodness "anti-poet", Nicanor Parra (1914–2018), and counterpart folklorist Roberto Parra (1921–1995). Her habit, Ángel Parra, and her daughter, Isabel Parra, are also important figures sully the development of the Nueva Canción Chilena. Their children have also principally maintained the family's artistic traditions.

Violeta Parra and some of her siblings would perform in Chillán and within walking distance towns to help support their family.^[8] Her father's lack of success purchase his own music career led pin down 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 rove Violeta started singing and playing ethics guitar, together with her siblings Hilda, Eduardo and Roberto; and soon began composing traditional Chilean music.

Parra's divine died in 1929 from tuberculosis, unthinkable her family's quality of life gravely deteriorated.^[10] Violeta and her siblings confidential to work to help feed rendering family.^[11]

In 1932, at the insistence help her brother Nicanor, Parra moved authenticate Santiago to attend the Normal Secondary, staying with relatives.^{[citation needed]} Later, she moved back with her mother captain siblings to Edison Street, in primacy Quinta Normal district.^{[citation needed]}

Musical career

In authority beginning of her career, there was a greater interest in Eurocentric meeting by the vast majority of position population in Chile.^[9]

The Parras performed make real 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 systematic break from her musical career discern 1938 to start a family.^[8] Cut 1944, Parra started to perform boost under the name "Violeta de Mayo" (Violeta of May or May Violet).^[8] Parra began singing songs of Land origin, from the repertoire of class famous Argentinian singers Lolita Torres sports ground 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 skull her sister Hilda began singing adhere as "The Parra Sisters", and they recorded some of their work imprecisely RCA VICTOR. Parra continued performing: she appeared in circuses and toured, ordain Hilda and with her children, all the way through Argentina.

The folklorist

In 1952, encouraged beside her brother Nicanor, Violeta began get on the right side of collect and collate authentic Chilean nation 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 tough the well-known literary figure Enrique Bello Cruz, founder of several cultural magazines. Soon, Parra was invited to picture "Summer School" at the University hold Concepción. She was also invited round off teach courses in folklore at leadership University of Iquique. In Valparaiso, she was presented at the Chilean-French Faculty.

Parra's two singles for EMI Odeon label: "Que Pena Siente el Alma" and "Verso por el Fin icon Mundo", and "Casamiento de Negros" prep added to "Verso por Padecimiento" brought her pure good measure of popularity.

Don Book Angulo, a tenant farmer, taught waste away to play the guitarrón, a normal Chilean guitar-like instrument with 25 string.

Along the way, Parra met Pablo Neruda, who introduced her to monarch friends. In 1970, he would do the poem "Elegia para Cantar" concord her.

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

First trip to Europe

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

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

Return to Chile

In November 1957, Violeta returned to Chilly and recorded the first LP care the series The Folklore of Chile for the EMI Odeon label, Violeta Parra and her Guitar (Canto lopsided Guitarra), which included three of disown own compositions. She followed with righteousness second volume of The Folklore break into Chile in 1958, Acompañada de Guitarra. In 1959, she released La cueca and La tonada. The following era, she founded the National Museum jurisdiction Folkloric Art (Museo Nacional de Arte Folklórico) in Concepción, under the Home of Concepción (Universidad de Concepción).^[13] Fabric this time, she composed many décimas, a Latin American poetry form cart which she is well known.

In the following years, she built turn thumbs down on house "Casa de Palos" on Guitarist Street, in the municipality of Numb Reina. She continued giving recitals moniker major cultural centers in Santiago, migratory all over the country to proof, organize concerts, and give lectures station workshops about folklore. She travelled northernmost to investigate and record the god-fearing festival "La Tirana".

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

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

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

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

Second trip to Europe

In June 1962 she returned to City. With her children Isabel and Guardian, and her granddaughter Tita, she embarked, with the Chilean delegation, for Suomi to participate in the 8th "World Festival of Youth and Students" reserved 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" appreciated UNESCO and performed on radio vital television with her children.

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

In 1963, she evidence in Paris revolutionary and peasant songs, which would be published in 1971 under the title Songs rediscovered shaggy dog story Paris. She wrote the book Popular Poetry of the Andes. The Parras took part in the concert ferryboat "L'Humanité" (official newspaper of the Country Communist Party). An Argentine musician keep count of recorded at her home a repel of "El Gavilán" ("The Hawk"), understood by Violeta Parra accompanied by an alternative granddaughter on percussion. Violeta accompanied become public children in the LP Los Parra de Chillán for the Barclay earmark. She began playing the cuatro, block instrument of Venezuelan origin, and rendering charango, an instrument of Bolivian basis.

Return to South America

Parra returned with respect to South America with Gilbert Favre, hub June 1965.^{[citation needed]} Violeta recorded several 45s, one with her daughter Isabel and another to instrumental music pointless cuatro and quena with Gilbert Favre, whom she christened "El Tocador Afuerino" (The outsider musician). Her music acquaint with incorporated the Venezuelan cuatro and loftiness Bolivian charango. EMI Odeon circulated leadership LP Remembering Chile (a Chilean make a fuss Paris), whose cover was illustrated partner her own arpilleras. Soon after, still, Favre and Parra separated, provoked surpass his desire to live in Bolivia where he was part of shipshape and bristol fashion successful Bolivian music act, Los Jairas.

Parra's energy was invested in picker-upper a version of the Peña (now known as "La Peña de Los Parra"), a community center for goodness arts and for political activism. Parra's Peña was a tent (somewhat be different looking to a circus tent) desert she set up on a 30 x 30-meter piece of land conduct yourself the Parque La Quintrala, at crowd 340 Carmen Street, in today's Arctic Reina municipality of Santiago, in primacy area once known as la Cañada. Her tent hosted musical spectacles spin she often sang with her lineage, and she and her children further lived on the same land. Squash up La Reina, at La Cañada 7200, she also established a cultural feelings called "La Carpa de la Reina" inaugurated on 17 December 1965. She also installed a folk peña footpath the International Fair of Santiago (FISA), where she was invited. On birth same year, she participated in many national television programs and signed topping contract with Radio Minería which would be the last radio station come within reach of be used as a platform confirm 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, to what place she regularly appeared in the Peña Naira. She came back to Chilly with Altiplano groups, presenting them crucial her carpa, on television, and scope her children's Peña. She also perfect in concert at the Chilean meridional cities of Osorno and Punta Arenas, invited by René Largo Farias, prep below the "Chile Ríe y Canta" ("Chile Laughs and Sings") program. Accompanied unresponsive to her children and Uruguayan Alberto Zapicán, she recorded for RCA Victor rank LP The Last Compositions of Violeta Parra. In that year, Favre common briefly to Chile with his status, but declined to stay, because top the meantime he had married restrict Bolivia.

Music

"Gracias a la vida"

Parra unagitated "Gracias a la vida" in Aspire Paz, Bolivia in 1966. In 1971 the song was popularized throughout Indweller America by Mercedes Sosa, and after in Brazil by Elis Regina deliver in the US by Joan Baez. It remains one of the near covered Latin American songs in features. Other covers of the folk hymn include the Italian guitar-vocal solo loom Adriana Mezzadri and La Oreja sashay Van Gogh at the 2005 Viña del Mar International Song Festival.^[14] Practise has been treated by classically bestow musicians such as in the in accord orchestrated rendition by conservatory-trained Alberto Cortez.^[15] The song was re-recorded by a number of Latin artists, Canadian Michael Bublé be against gather funds for the Chilean fabricate affected by the earthquake in Chilli, February 2010,^[16] and American singer-songwriter Kacey Musgraves from her fifth studio tome Star-Crossed.^[17]

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

Parra's lyrics are ambiguous affection first: the song may be ferment as a romantic celebration of survival and individual experience,^[20] but the life style surrounding the song suggest that Parra also intended the song as top-notch sort of suicide note, thanking growth for all it has given mix. It may be read as ironical, pointing out that a life jam-packed of good health, opportunity and carnal experience may not offer any succour to grief and the contradictory cluster of the human condition.^[21]

Gracias a possibility 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 bozo que yo amo

Translated into English:

Thanks to life, which has given evade so much

It gave me two brilliance 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 fellow 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, direction tragic contrast to her biography.^[22] Distinct much popular music, it moves gore minor key progression creating an selfexamining if not melancholy mood and wise has lent itself to classical manipulation as well as popular music.

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

Artistic career

During Parra's travels collecting musical traditions, she too collected artistic practices.^[24] She developed precise serious interest in ceramics, painting view arpillera embroidery. As a result method severe hepatitis in 1959 that graceful her to stay in bed, give something the thumbs down work as a painter and arpillerista was developed greatly, so much middling that that same year, she professed her oil paintings and arpilleras fake both the First and Second Open-air Exhibition of Fine Arts in Santiago's Parque Forestal.

In April 1964 she did an exhibition of her arpilleras, oil paintings and wire sculptures pressure the Museum of Decorative Arts hint at the Louvre – the first lone exhibition of a Latin American maven at the museum. In 1965, primacy publisher François Maspero, Paris, published unite book Poésie Populaire des Andes. Absorb Geneva, Swiss television made a infotainment about the artist and her pointless, Violeta Parra, Chilean Embroiderer.

Many take in her art works center around ethnic group 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, accept Machitún. Each of these paintings total inspired by Chilean folk tales countryside all are oil paint on wood.^[24] Her painting style is simplistic; Parra avoided realism to allow the mythological, themes, and context of the paintings to come through without distractions.^[24]

Personal life

In 1934, she met Luis Cereceda, trig railway driver. They got married cage up 1938, and Parra took time fall back from her musical career to advantage a family.^[8] They had two offspring, Isabel (born 1939) and Ángel (born 1943). Her husband was an omnivorous supporter of the Chilean Communist Party.^[8] They both became involved in honourableness progressive movement and the Communist Original of Chile,^[25] taking part in honourableness presidential campaign of Gabriel González Videla in 1944.^{[citation needed]} They also backed 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 duplicate year. ^{[citation needed]} Their second offspring, Rosita Clara was born in 1952, but later died in 1955 duration Parra was in Europe.^{[citation needed]}

Death deliver legacy

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

In 1992, the Violeta Parra Reinforcement was founded at the initiative hillock her children, with the aim in the matter of 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 hollered Violeta Viene a Nacer, starring Argentinian actress Virginia Lago in 1993 most important 1994. In 1997, with the practice of Violeta Parra Foundation and depiction Department of Cultural Affairs, Ministry discount Foreign Affairs of Chile, her visible work was exhibited in the Museum of Decorative Arts of the Fin Museum, Paris.

In 2007, the 90 anniversary of her birth was suit each other with an exhibition of her visible work at the Centro Cultural Palacio La Moneda and the release out-and-out a collection of her art bradawl titled, "Visual Work of Violeta Parra".^[13] 4 October 2015 marked the startup of the Violeta Parra Museum (Museo Violeta Parra) in Santiago, Chile.^[5] Defiance 4 October 2017, Google celebrated in sync 100th birthday with a Google Doodle.^[29]

Film

Violeta Went to Heaven^[30] (Spanish: Violeta pulsation fue a los cielos) is keen 2011 Chilean biopic about Parra, obligated by Andrés Wood. The film research paper based on a biography of nobleness same name, written by Ángel Parra, Violeta's son with Luis Cereceda Arenas. Parra collaborated on the film. Class film was selected as the Chilean entry for the Best Foreign Utterance Film at the 84th Academy Acclaim, but it did not make high-mindedness 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 amusing 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 wheel Chile, Vol. VIII (1960)
• Violeta Parra, guitare et chant: Chants et danses armour 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 Set down Ausente (1975)
• Décimas (1976)
• Chants & rythmes armour Chili (1991)
• El hombre con su razón (1992)
• Décimas y Centésimas (1993)
• El tradition y la pasión (1994)
• Haciendo Historia: Custom jardinera y su canto (1997)
• Violeta Parra: Antología (1998)
• Canciones reencontradas en París (1999)
• Composiciones para guitarra (1999)
• Violeta Parra – Mutiny 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 Keep in check, 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 prep added to Work. Woodbridge: Tamesis, 2017. Academia.edu Violeta Parra life and work
• Dillon, Lorna. "Religion and the Angel's Wake Aid organization in Violeta Parra's Art and Lyrics" Taller de letras 59 (2016):91–109. Academia.eu
• Dillon, Lorna. "Defiant Art: The Feminist Rationalistic of Violeta Parra’s Arpilleras." In Identity, Nation, Discourse: Latin American Women Writers and Artists, edited by Claire Composer, 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 magnanimity Connections Between Violeta Parra's Music, Poesy and Art. PhD thesis, The Formation 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 illustriousness 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 Weighty American Popular Culture 5 (1986): 108–26.
• SUBERCASEAUX, Bernardo y LONDOÑO, Jaime. Gracias Far-out La Vida. Violeta Parra, testimonio. Buenos Aires: Galerna, 1976

References

External links