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In the early 80s, in the city of Rosario, Santa Fe, a group of artists came to say what so many were silent: the trova rosarina.
Once upon a time there was a country without democracy . A country with quiet voices, with decapitated ideas, with sleepy dreams. A country with artists exiled , kidnapped, killed. Once upon a time there was a country that finally began to sing. In the early 80s , in the context of the Falkland War , it was forbidden to play music in English in the country.That opened the door to national artists; among them, there was a very important group that emerged in a city of Santa Fe : the trova rosarina .
From Rosario , this group of young artists came to bring a new rhythm and a new message. It was a fusion of several musical genres: rock , folklore, tango , rhythms rioplatenses, protest song, citizen music, melodic pop; all with a message: disagreement with the military regime that was ending its days and giving way to the democracy .
The rosarina trova sought to differentiate itself from the musical style of the previous decade, raising its voice and looking for its own rhythm. New sounds, lyrics loaded with claims, and a new sense for rock in a country that was boiling. It was one of the movements that pushed Argentine rock to expand throughout Latin America and from which some of the most important artists of our music came. With the advent of democracy in 1983 , the trova Rosarina was losing strength and its artists opened up looking for their own careers.
Who, then, were the Rosary troubadours? Some of them: Juan Carlos Baglietto , Silvina Garré, Fito Páez, Jorge Fandermole, Adrián Abonizio, Manuel Wirzt, Charly Bustos, Horacio Vargas. All of them, legacies from a time when silent voices began to scream.
Publication Date: 01/12/2019
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