#chilean folk

[donslayote]

Poster for “Victor Jara Festivaali”

Helsinki, Finland

26 - 29 October 1978

[sea-of-machines]

illapu :)

[folkfashion]

Chilean Huasos, Chile, by Globetrotting

[mywifeleftme]

312: Victor Jara // Manifiesto

Manifiesto Victor Jara 1975, Discos Pueblo

Manifiesto is assembled from recordings intended for an album that was to be called Tiempos que cambian (literally Times That Change, or New Times) smuggled out of Chile by Jara’s widow Joan after the folksinger’s torture and murder by the Pinochet junta in 1973. It was simultaneously released by different labels under a variety of titles around the world. My copy hails from Mexico, released by leftist folk label Discos Pueblo, who make their intentions clear in a statement (machine-translated by me) on the back of the sleeve that reads in part:

“We find it necessary to point out that due to its quality and value, Victor Jara’s work should be disseminated, but always by those who identify with it, and not by the transnational companies that financed his return to Chile by organizing the bloody military coup of 1973. [Ed. Something in their use of word “retorno” is probably being lost in translation here; I think it implies something like Jara’s “return to whence he came,” e.g. his burial in Chilean soil.] Those transnational corporations that today benefit from Victor Jara’s singing, filtering out its combative aspects and presenting it as incomplete, seem to ignore the deep paths that people use to preserve the integrity of the voice of their singers. This album is our answer.”

The LP is clearly a work of love (and economy), the sleeve purposely left unglued so that it can be opened like a gatefold, revealing testimonies by his peers. There’s scarcely an inch that isn’t crammed with text—even the flaps that cradle the inner sleeve itself hide lyrics to two of the album’s key songs:

The sleeve unfolded.

“I don’t sing for the sake of singing, or for having a good voice, I sing because the guitar has sense and reason, it has a heart of earth and wings of a dove, it is like holy water that blesses my sorrows. This is where my song fits, as Violeta said, a hard-working guitar that smells of spring. It is not a rich man’s guitar or anything like that, my song is the scaffolding to reach the stars. The song has meaning when it beats in the veins of the one who will die singing truths, not fleeting flattery or foreign fame, but the song of a lark to the bottom of the earth. There, where everything arrives and where everything begins, a song that has been brave will always be a nueva cancion [New Song].”

Jara’s artistry (which, besides spearheading the nueva cancion movement, also included poetry and theatrical direction) was inseparable from his politics, and the music of Manifiesto is a stirring testament to his talents and the historical moment he occupied, when Chile like Cuba before it seemed on the verge of breaking free from centuries of resource extraction-driven imperialism and making its own way. These songs cannot help but feel elegiac given the circumstances of their release, and indeed they do frequently mourn the historical oppression of the common worker. Jara’s was a lark’s voice, not that of a conventional rabble rouser, and most of these songs seem best suited for night-time gatherings of comrades and lovers or, in the case of the dazzling instrumental “Caicai Vilu” (referencing a Mapuche creation myth), perhaps a rural cotillion. But these songs were recorded during the years of Salvador Allende’s triumph, a movement that Jara had personally helped galvanize, and there is the sense that these are songs about moving in a changed world that still feels almost surreal. Only at the very end, with the rock-inflected call to arms “Canto libre,” does Jara’s Revolutionary sentiment take on a more martial beat, finally unfurling a flag of victory.

That victory would be short-lived of course, as U.S. imperialists would soon back Pinochet’s reign of terror and grind the Chilean people under the heel of fascism for another generation. It’s hard to make an argument that Jara and Allende’s side “won” in any meaningful sense (without an appeal to some abstracted moral arbiter anyway). It may be blinkered to even try, knowing that Pinochet died obscenely wealth in his nineties and that there were never meaningful consequences for his even wealthier American backers, while a despairing Allende perished at his own hand and Jara with his fingers broken and his body riddled with bullets. Yet I do believe that a song can transcend the accounting of atrocities and persist on its own terms. Music like Jara’s will endure as long as there are human beings who seek a recognition of their own worthiest qualities in art. As one of the Mexican edition’s compilers says:

“…his voice will not have coffins or crematoriums, nor dark prisons nor barbed wire, comrades! His voice and his guitar continue the fight, they remain alive seeking victory. And they will also return as flags when the Homeland regains its joy.”

312/365

[kalopyrgos1]

Violeta Parra played an important role in the folk music movement in Chile., also in starting "la canciòn nueva" with political songs which tried to build up a just society.

[gynii]

I've genuinely so thoroughly fucked up my taste in music I got anxious when someone asked what kind of music I like because I couldn't figure how to answer it without being the actual worst

[cavedwellermusic]

Kiltro - Underbelly (2023)

Naz recommends listening to this album as a whole, preferably on a chilly summer evening. The musical complexity and different genres blending together, along with the gentle songwriting means that Underbelly is an album you shouldn’t be missing no matter what your go to genre is.

[apamates]

honestly sad that my preferences seems to lie in my country-people and that they also seem to be bigots lmao

[thefreaklovesmusic]

ERMITA - La Muerte tu Sombra

[donslayote]

Victor Jara - El Derecho de Vivir en Paz (1971)

[doyoulikethissong-poll]

Kiltro - All The Time In The World 2023

Chilean-American singer-songwriter Chris Bowers Castillo moved to the port city of Valparaíso and became a walking tour guide. Back in Denver, Chris had looked for a moniker that reflected the evocative and subtly rebellious musical concepts percolating in his head, and settled on kiltro - a word used in Chile for stray dogs or mutts. He then teamed up with bassist Will Parkhill and drummer Michael Devincenzi, later inviting Fez García to join the band as an additional percussionist on Kiltro’s live gigs.

Titled Underbelly, Kiltro’s sophomore album crystallizes those dreams and experiences into a post-rock manifesto of dazzling beauty. Its songs combine touches of shoegaze, ambient and neo-psychedelia with the soulful transcendence of South American folk – the purity of stringed instruments, supple syncopated percussion and elusive melodies that define the works of Latin American legends such as Violeta Parra, Víctor Jara and Atahualpa Yupanqui. From the propulsive, chant-like groove of “Guanaco” to the art-pop panache of “All the Time in the World,” Underbelly is the kind of record that invites you to quiet down and listen, savoring every single detail.

"All The Time In The World" received a total of 65,2% yes votes!

[literaryvein-reblogs]

Word List: Dance

for your next poem/story

Allemande - a 17th and 18th century court dance developed in France from a German folk dance; a dance step with arms interlaced

Beguine - a vigorous popular dance of the islands of Saint Lucia and Martinique that somewhat resembles the rumba

Bourrée - a 17th century French dance usually in quick duple time

Cabriole - a ballet leap in which one leg is extended in midair and the other struck against it

Chaconne - an old Spanish dance tune of Latin American origin

Czardas - a Hungarian dance to music in duple time in which the dancers start slowly and finish with a rapid whirl

Estampie - a usually textless, monophonic musical work of the late Middle Ages consisting of several repeated units that probably accompanied a dance

Farandole - a lively Provençal dance in which men and women hold hands, form a chain, and follow a leader through a serpentine course

Gavotte - a dance of French peasant origin marked by the raising rather than sliding of the feet

Hora - a circle dance

Juba - a dance that was accompanied by complex rhythmic hand clapping and slapping of the knees and thighs and that was performed on plantations in the southern U.S. by enslaved Black people

Kolo - a central European folk dance in which dancers form a circle and progress slowly to right or left while one or more dancers perform elaborate steps in the center

Lavolta - an early French couple dance characterized by pivoting and making high springs or bounds

Matachin - a dance performed by a matachin (i.e., a sword dancer in a fantastic costume)

Maxixe - a ballroom dance of Brazilian origin that resembles the two-step

Mazurka - a Polish folk dance in moderate triple measure

Passacaglia - an old dance performed to a passacaglia (i.e., an old Italian or Spanish dance tune consisting of variations usually on a ground bass in moderately slow triple time)

Pavane - a stately court dance by couples that was introduced from southern Europe into England in the 16th century

Quadrille - a square dance for four couples made up of five or six figures chiefly in ⁶/₈ and ²/₄ time

Rigadoon - a lively dance of the 17th and 18th centuries

Saltarello - an Italian dance with a lively hop step beginning each measure

Strathspey - a Scottish dance that is similar to but slower than the reel

Tarantella - a lively folk dance of southern Italy in ⁶/₈ time

Varsovienne - a graceful dance similar to a mazurka and popular in many European countries, Mexico, and the U.S.

Zamacueca - a South American especially Chilean courtship dance

More: Word Lists

[folkfashion]

Chilean woman, Chile, by Luis Gustavo Zamudio A.

[ed-recoverry]

Shoutout to all Latin American and Hispanic LGBTQ+ folks.

Shoutout to all Mestizo LGBTQ+ folks.

Shoutout to all Mexican LGBTQ+ folks.

Shoutout to all Puerto Rican LGBTQ+ folks.

Shoutout to all Cuban LGBTQ+ folks.

Shoutout to all Salvadoran LGBTQ+ folks.

Shoutout to all Dominican LGBTQ+ folks.

Shoutout to all Colombian LGBTQ+ folks.

Shoutout to all Guatemalan LGBTQ+ folks.

Shoutout to all Honduran LGBTQ+ folks.

Shoutout to all Ecuadorian LGBTQ+ folks.

Shoutout to all Peruvian LGBTQ+ folks.

Shoutout to all Venezuelan LGBTQ+ folks.

Shoutout to all Nicaraguan LGBTQ+ folks.

Shoutout to all Bolivian LGBTQ+ folks.

Shoutout to all Equatorial Guinean LGBTQ+ folks.

Shoutout to all Panamanian LGBTQ+ folks.

Shoutout to all Peruvian LGBTQ+ folks.

Shoutout to all Paraguayan LGBTQ+ folks.

Shoutout to Spanish LGBTQ+ folks.

Shoutout to all Costa Rican LGBTQ+ folks.

Shoutout to all Chilean LGBTQ+ folks.

Shoutout to all Uruguayan LGBTQ+ folks.

Shoutout to all Argentine LGBTQ+ folks.

Shoutout to all Brazilian LGBTQ+ folks.

Take pride in it all. Your culture, your identity, it’s all so beautiful. Celebrate where you are from and who you are. It makes you you, and that is something to be proud of.

post for Asians, post for Middle Easterners, post for Oceanic folks, post for Pacific Islanders, post for Africans, post for Native Americans, post for Caribbeans

[truelovepolinator]

The Chaos of the "Friends to Lovers" Quote & the Alleged Antonia Xmas Photos

I honestly have so many thoughts about Nicola and Luke that I usually don't even know where to start. As a result, I often end up saying nothing. Other folks are already talking about things so eloquently, and even when I don't entirely agree, I agree enough that I like it, move on, and wonder whether it's worth chiming in with my takes.

But today I do feel like tackling yesterday's craziness - the newly discovered article (and those hot photos) and the weirdness that erupted with the alleged family photo(s?) with Antonia.

This was a lot of chaos and excitement for one day and I found myself drowning a bit in the swell of it all.

Part of me was as thrilled as everyone to read those words that Luke said about friends to lovers, and also what Nic said about Luke making everything better. This story seemed to just confirm and crystallize everything I ever thought, that all of us true believers have thought. He said it. He said it right out loud.

But then there was the part of me that couldn't help but question it. Was it taken slightly out of a context that might have softened the meaning had it been included? Had the translation from English (Luke's original words) to Spanish back to English slightly tweaked the thought or expression of the thought in a way that implied slightly more than he originally intended?

Also, why would he/they just admit everything fully out in the open for this one random interview with a Chilean reporter, then retreat and go back to pretending to be just friends everywhere else (even if they never said "just" friends).

Then again, a point both for and against the accuracy of the implication of this quote is the fact that he came very close to saying this several other times. About how appropriate it felt that Polin was friends to lovers that they were friends... and he'd just sort of trail off or not quite continue the thought. So that seemed to make it both more probable that he might have inadvertently finished the thought one time, and also less probable that he would have said it so explicitly this one time when he never did any other time. Could the original translation have taken liberties in finishing the thought?

Bottom line, who knows? And I found myself wondering WHY I was wondering when, at the end of the day, I still totally believe they're together. So why question this quote so hard?

Perhaps there's just something inherently dangerous about allowing myself to believe they (even inadvertently) confirmed it. I already believe. I really do. So why does the thought of him having actually said it out loud feel so chaotic? Why was everyone whipped into a frenzy by this line when we could already see it? And why is this story just now making its way into our collective consciousness?

There's so much about this ship that doesn't make a lot of sense. I've had a few fictional ships I've loved, but I have never felt this much attachment to a celebrity couple before. Not even close. I'm sure I never will again. They are so special, and their connection is so unusual and obvious that it's hypnotic and magical. It feels like a privilege to witness such a magical and precious thing.

But perhaps it is precisely because their connection feels so magical and precious that it feels more elusive. For Luke to explicitly confirm what we all saw feels like very nearly stepping onto the solid ground of a previously misty, distant shore. But then, they took it back with every subsequent (and prior) interview, leaving us wobbly and unmoored.

And then the rumor of the Christmas photos with Antonia hit. I never saw these photos and only heard everything after the fact, so it's hard for me to draw conclusions. It sounds like the photos were inappropriately taken from a memorial page and not new, so not only were they disrespectful, but potentially also not remotely relevant to Luke's current relationship and life.

And even if she was with his family last year, there seem to be at least half a dozen explanations for that (just a friend or casual date with nowhere to go? Friend of his sister's? there at Christmas time, but for a different occasion and not actually "Christmas with the Newtons").

I also found myself confused by people insisting she was in the Maldives for work while others insisted she and her father were in a trailer somewhere? So which is it? Trailer Christmas with dad? Or dance gig in the Maldives? And perhaps most importantly, why does anyone know any of this because why is anyone following her, let alone her father, this closely?

I confess all of this chaos did drive me to check her stories and I saw the (apparently) Maldives videos. But I don't know what any of this proves.

I wrote extensively about my belief that Nic and Luke are together (see my blog: Nicola and Luke Are Absolutely Together and Have Been All Along and Here's How I Know), and that the relationship with Antonia has been a fake PR strategy to distract us all along. But I'd be lying if I said these little flare-ups don't make me wobble slightly in that boat as I continue trying to set foot on dry land. I don't feel like I know enough about how L & A met, how/if she's friends with his sister, what the deal is with that friend group, etc. And all those questions leave a tiny space for uncertainty.

Still, what's with the timing of that photo? The same day this story spreads like wildfire where Luke says OUT LOUD the very thing we've been wanting to hear and they've been trying to distract from? Seems to me a good PR agent who was paid to keep eyes off the real relationship might identify that as a moment to drop some confusing content and muddy the waters again. Don't want folks getting too close to the truth, after all.

The truth is, none of us can know the truth definitively because we don't know them. But again and again, when I look at the actual facts and the extensive evidence and crumbs, the only crumbs that fit together into a whole that makes sense are the Nic and Luke crumbs.

For the record, I have not a doubt in my mind that Nicola is *not* dating Jake. That one is crystal clear because after allowing some uncertainty to linger (part of the distraction strategy), they have all collectively shown us the truth.

Remember, Nicola has NEVER shared her love life publicly. All these photos with Jake are actually proof of a negative, that he is NOT her bf. Thinking that her photos with him are proof of their romantic relationship represents a fundamental lack of understanding of who Nicola is, let alone Jake and their shared friend group.

I do believe that she and Luke will go public eventually for two reasons. The least of these is for the fans. The fans want it so bad that one day they will relent and show us. But the more important reason is that when you find the one, and you love them with all your heart, you don't want to hide it forever. Live privately, yes, but not hide. When they feel settled and confident enough, and perhaps when the glare of the spotlight has died down enough, they will finally share. That's what I believe.

Could I be wrong? Of course. Could this hypothetical relationship with Antonia be real? I suppose. But if it is, it's the weirdest damn thing I ever saw. I will never get over the strangeness of the InStyle LA photos, and in particular, that one at the cafe with the white truck. There's something just inherently fake and fishy about the way their hypothetical relationship manifests. And since their pap photos, implied togetherness photos, and weird "likes" patterns all follow a classic PR fake relationship playbook, I have a hard time believing it.

Also, I feel much better about him with Nic than with Antonia, for a variety of reasons I won't go into because I don't want to spread hate.

If I am wrong, I will be heartbroken. I admit it. I believe in NicLuke. Lukola is my endgame. And I don't just think “someday.” I absolutely believe it's happening now. I made my case extensively in my prior blog. People seem to want to read the signs a million different ways, but all the signs I've seen point directly to Nicola and Luke being together now. So that's where I'm sticking.

Let the ship wobble. I'm not going anywhere.

[adobealmanac]

Hello, I wonder if you have seen difference between brujeria in certain regions and countries, like would Mexican brujeria be different then Salvadoran brujeria.

Que Dios de bendiga

The different paths of Brujeria

There are many distinct branches of Brujeria. In my opinion, I simply see the term as the Spanish word for "witchcraft". Therefore, there are many types of it. I've coined the term 'Brujeria de frontera' for my practice -- I am a border witch. I live in a place where the cultures of the southwestern USA and Mexico blend into a unique branch of Brujeria on its own. It is not entirely the same as Mexican Brujeria, but it is also not entirely "American". There are distinctions between what I practice than that of my Bruja friends from Mexico.

Sure, I do believe there is a general theme to all Brujeria, that being regaining our own power; regaining control over our spirituality. However, I do think each unique region of Central and South America provides a different backdrop for their spirituality. For example, there may be plants that grow better in Chile than in Mexico, so that plant is more likely to be used in Chilean Brujeria than in Mexican Brujeria. A good analogy would be that of the different branches of Voodoo. There are clear differences from Haitian Vodou compared to Louisiana Voodoo. These differences can come from a variety of sources, such as the different colonial powers, the different tools and ingredients available to practitioners, or the different origins of the enslaved peoples who's religion combined to form Voodoo. Thus, they are distinct branches of a religion.

Another example could be that of the different Christian denominations, such as the differences between Catholicism and Eastern Orthodoxy, however I will not delve into too much detail here as there are many sources out there for information on this.

So, for example, the Maya people practiced a religion that was hidden and intertwined into Folk Catholicism and Brujeria due to the Spanish colonization of Mexico, creating a unique religion that is different than say, that of the Andean peoples. Another thing to note is that branches of Brujeria often share more common threads, such as Spanish colonizers, the Spanish language, and Catholicism. These lead to them to develop similarities, such as the use of saints as a concealment for praying to the original pantheon. So, while different cultures blend differently with Catholicism, many of them used Catholicism as a way to keep their spirituality in a way that the colonizers approved of.

While my Abuelita may do a limpia different than my Puerto Rican friend's, they still share many common threads that unite us as practitioners of the folk religions, and of Brujeria. This is my stance on the idea of different branches of Brujeria and how distinct or connected they all really are.