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La trova rosarina: the voices of a quiet country

In the early 80's, in the city of Rosario, Santa Fe, a group of artists came to say what so
| 01 December, 2019 |

upon a time there was a country without democracy. A country with silent voices, decapitated ideas, sleeping dreams. A country with artists exiled, kidnapped, murdered. Once upon a time there was a country that finally started singing. In the early 80‘s, in the context of the Falkland War, it was banned the reproduction of music in English in the country. This 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, rioplatense rhythms, protest song, citizen music, melodic pop; all of them with a message: the disagreement with the military regime that was ending its days and giving way to democracy.

The trova rosarina sought to differentiate itself from the musical style of the previous decade, raising its voice and searching for its own rhythm. New sounds, lettering 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 where some of the most important artists of our music came out. With the advent of democracy in 1983, the trova rosarina was losing strength and its artists opened up looking for their own careers.

Who were the Rosarino troubadours then? Some of them: Juan Carlos Baglietto, Silvina Garré, Fito Páez, Jorge Fandermole, Adrián Abonizio, Manuel Wirzt, Charly Bustos, Horacio Vargas . All of them, bequeathed from a time when silent voices began to shout.

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