The Song Manifesto
The “Nuevo Cancionero” was a musical, literary and cultural movement in general that took place in our country, but that had a high impact throughout Latin America . Mendoza was the host and main protagonist, since these ideals were conceived in our province, in 1963, with the participation of artists such as Mercedes Sosa, Tito Francia, Armando Tejada Gómez and Oscar Matus,among others. The basic and main premise of this new songbook was to unify criteria and cultural passions, with the clearest example of folklore and tango.
The movement followed the migratory changes that were recorded since 1930 and within the framework of the so-called “folklore boom”. Thus, on February 11, 1963 Tito met France, Juan Carlos Sedero, Manuel Oscar Matus, Armando Tejada Gómez, Pedro Horacio Tusoli, Mercedes Sosa and Víctor Nieto in the Journalists Circle. They were all artists from Mendoza or who lived here for a long time.
On the opposition between folklore and tango, the Manifesto describes:
The artificial and suffocating division was then perpetrated between the popular citizen songbook and the native folk songbook of folk roots. Dark interests have fueled, even hostility, this division…
And among his main proposals, he states:
… the integration of popular music into the diversity of regional expressions of the country…
The participation of typical folk and native folk music in the other folk arts…
Reject all closed regionalism…
It is proposed to purify from conventionalisms and traditionalist taboos, the musical heritage…
He will throw away… any gross and subaltern production that, for commercial purposes, seeks to increase both the intelligence and the morals of our people…
It will seek communication, dialogue and exchange with all artists and similar movements from the rest of America…
In the following years and until the 1976 coup d’état, many Argentine artists converged in the same sense, renewing the Argentine song, such as Víctor Heredia, León Gieco, Los Trovadores and Horacio Guarany.
Among other activities, recognitions and tributes, we highlight the following proposals that took place over the years.
In 2002, the New Cancionero Manifesto was re-launched, on the occasion of a tribute toArmando Tejada Gómez , at the Teatro Avenida in Buenos Aires. On that occasion, Víctor Heredia inscribed, in the original manifesto, the adhesion of artists and personalities from all over Latin America .
On September 26, 2007 , a Tribute to the New Cancionero Concert was held in the same theater IFT where he made his first performance in the City of Buenos Aires.
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