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Décimas: autobiografía en versos chilenos. Front Cover. Violeta Parra. Universidad Católica de Chile, – Chilean poetry – pages. Title, Décimas: autobiografías en verso. Author, Violeta Parra. Publisher, Sudamericana, Length, pages. Export Citation, BiBTeX EndNote RefMan. Get this from a library! Décimas; autobiografía en versos chilenos.. [Violeta Parra].

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These included fieldwork in the area of ethnomusicology, performance, poetry, singing, visual art and the establishment of artistic spaces where these different cultural forms could be presented together. I will therefore provide a brief synopsis of her life.

In Parra began working in circuses and travelled throughout Chile. Violeta Parra, la guitare indocile: Introduction Lorna Dillon Mis trabajos son una verdad simple y alegre dentro de la tristeza que hay en cada uno de ellos. Just beginning her career, she played in establishments of ill-repute, where she sang music that was in fashion at the time.

Within this tent, called La Carpa de la Reina, Parra created a cultural centre in which she sought to establish a locus of national identity through performances violea folk musicians. Avant-Garde, Internationalism, and Politics: Amazon Second Chance Autobiovrafia it on, trade it in, give it a second life.

Parra has gained a key place in Chilean collective memory, both as an icon and as a creator and arbiter ne national identity. Twenty-five years later it would provide the crucible for her protest music and in the last few years of her life, she would represent it in the visual arts.


Duke University Press, The country experienced waves of turmoil as a succession of presidents battled with strikes and inflation. AmazonGlobal Ship Orders Internationally. Ediciones Literatura Americana Reunida, I consider the dynamics of the art world in Latin America and in Europe at the time, arguing that the global rebellion of the s sprang from major cultural and vioelta shifts which framed the art world in both regions.

In many ways her life practice was her work, and at different stages of her trajectory she explored different spaces of investigation and creation.

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They buy nylon in place of the autlbiografia which they used to make at home. Favre went to see her on a visit to Chile, the two fell in love and Favre was to live with Parra for three years.

Yo soy un pajarito que puedo subirme en el hombro de cada ser humano, y cantarle y trinarle con las alitas abiertas, cerca muy cerca de su alma. Paradoxically, though perhaps unsurprisingly, the recognition that had eluded Parra during her lifetime was bestowed upon her after her death. Amazon Restaurants Food delivery from local restaurants. In Parra began to carry out fieldwork into indigenous, Hispanic and syncretised traditions from disparate areas of Chile, and this research was to inform her own creative output.

While many studies discuss her compositions individually or as sets, in Chapter 6 Romina Green views her repertoire as a body of work that encompassed her artistic vision.


In the process of collecting traditional songs, she began to construct an anti- modern poetic.

The popular art violta indigenous people and country folk is slowly becoming lost. Rising from the ground, little by little, like a tree, she was nourished by reflection on the ardent ills in autobiogrrafia winds of her time. Amazon Advertising Find, attract, and engage customers.

Parra worked in a number of visual media and exhibited her work in international galleries. All artists are united by their creativity, yet each artist works from a unique philosophical perspective. In Parra was living in rue Monsieur Le Prince and working on embroideries, paintings, songs and wire sculptures. La tradition est presque un cadavre.

Argentine Art in the Sixties. In she separated from Cereceda and released her first record. Kliman bioleta Rick J. What she makes clear is the impact that she hopes it will have on the individual.

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Both these strands of creativity are poiesis, and they are intertwined, with one strand producing original pqrra and the other continuing traditions. Considering her praxis within the context of neo-Dadaism, I place Parra at the forefront of the s avant-garde, thus presenting her art as radically modern. Fairleigh Dickinson University Press,