Violeta Parra, Folklore's Gardener
2017 saw the 100th Anniversary of the birth of one of the most renown singer-songwriters, folklorists and artists in Chile and the Americas - Violeta Parra.
In merely fifteen years of artistic career, this prolific artist created some of the most beloved and well-known songs in the Latin American folk repertoire, as well as hundreds of pieces of visual art that earned her international acclaim from peers and the public alike.
However, in order to understand the impact of Violeta and her work it’s necessary to recall the historic moment of the turbulent decade 1958-1968.
Deeply discontent and disappointed of their leaders, the youth of the time took a violent turn towards radicalism and the free expression of their own ideals.
In this environment, popular songs, protest songs and the new trove rose as the most immediate forms of expression among progressive youth. New airs - half hopeful, half angry - blew: a new age approached, the age of change and popular revolution, where the old establishment would be debunked and replaced by popular will.
At the same time, everything folkloric and native regained importance in response to the mass culture imposed by the media. The return to the roots was seen then as a return to the innocence of the human being.
Without planning it, Violeta became part of this global movement of native culture revival, and it was precisely what allowed her music and her art to break the geographical barriers and reach international broadcast.
Violeta Parra was born on October 4th, 1917 in the heart of a family with deep peasant and artistic roots.
At age nine, Violeta begins taking guitar lessons and by age twelve she already starts composing her first songs.
Her artistic career begins in 1934 when, along her siblings, they form the group “Los Parra” and they start singing in cafes and small restaurants, performing Mexican songs and boleros, among other tunes.
From 1943 onwards, Violeta begins her solo career, specialising in Spanish songs accompanied by her guitar. By 1948 her sister Hilda joins her, and the duo is known as “The Parra Sisters”.
It isn’t until 1952 when, impelled by her brother Nicanor , Violeta begins to focus on Chilean folk music, compiling and rescuing the musical tradition of the country, a task that by then was unspecialised and largely neglected.
The change is crucial for Violeta. In 1953 she releases her first single with two of her compositions based on folk songs, and from then onwards she will not stop composing, and recording.
In 1954, Violeta travels for the first time to Europe, invited to the Fifth Festival of World Youth and Students in Varsovia, and then she travels to Paris.
This first contact with the city of lights will last two years, in which she completed countless presentations and leaves a register of her songs at the National Sound Archives of the Musée de l’Homme de La Sorbonne.
Back in Chile, Violeta performs field folk research work and founds the National Chilean Folk Art Museum. From 1959 onwards, Violeta begins to create ceramic works and arpilleras (multicolour looms embroidered by hand, depicting a story or event). She continues her compilation work and learning of folk styles, travelling north through south of the country, interspersing concerts, presentations and recordings.
It’s around this time when she becomes close friends with another famed folklorist, Margot Loyola. Joined by their love for popular music and the rescue of the musical traditions Violet and Margot become song and guitar buddies.
Around this time as well, Violeta travels to Argentina, where she conducts several folk workshops, which will end up by influencing another great singer of that country, and one of the best performers of Violeta’s work: Mercedes Sosa.
A good deal of the charm of Violeta’s compositions, and of many of the folk songs that she compiled and popularised, rests on their lyrics: mischievous, poetic, full of wisdom and word play, which brilliantly reflect the popular wit.
Lo que puede el sentimiento What feeling can (do)
no lo ha podido el saber Can’t (do) knowledge
ni el mas claro proceder nor the clearest proceeding
ni el mas ancho pensamiento or the widest thought,
todo lo cambia al momento it changes everything at once
cual mago condescendiente, like a condescending wizard,
nos aleja dulcemente it sweetly tears us
de rencores y violencias from grudges and aggressions,
solo el amor con su ciencia only love with its science
nos vuelve tan inocentes. turns us so innocent.
(De ‘Volver a los 17') (From ‘Going Back to 17')
Los amores de sacristán A sexton’s flirts
son dulces como la miel are sweet as honey,
amor que no se(a) dese(d)a love that’s not wanted /silky
no puedo, vida, vivir con él. I can’t, dear, live with it.
Porque me gusta el sacristán. Because I fancy the sexton.
Toca la campanilla tilín-tin-tín, Tinkle the bell, tilin-tin-tin,
tilín-tin-tán. Tilin-tin-tan.
(De ‘El Sacristán’) (From ‘The Sexton’)
Even in her own compositions, Violeta remained anchored to popular tradition, composing in specific folk rhythms, such as northern tonada, the Chilote waltz, the cueca, the Rapa Nui dance, etc.
In 1962, Violeta returns to Paris. This new visit resulted in several TV and radio concerts, live presentations, new recordings and the exhibition of her arpilleras, oil paintings and sculptures at the Louvre Museum.
Violeta Parra becomes thus the first Latin American artist (man or woman) to have a solo exhibition in this important museum.
Over time, Violeta’s songs became more melancholic, a reflection of a difficult life and deep unfulfilled wishes. From this period are two of her most recalled songs, ‘Gracias a la Vida’(Thanks to Life), often regarded as a farewell song, and ‘Volver a los 17' (Going Back to Seventeen), a nostalgic view towards gone-by youth.
Violeta returns to Chile in 1965, and continues her live presentations and recordings. That same year, spurred by her dream of creating a Folk University, Violeta settles in a makeshift tent on a barren land, calling it ‘La Carpa de La Reina’ (The Tent of La Reina), from where she offers concerts and invites some of the best folk singers and musicians of the country.
However, in spite of Violeta’s fame, talent, effort and enthusiasm, ‘The Tent of La Reina’ failed to achieve the expected success.
It’s ironic to verify the level of accolades that Violeta has received after her death, since during her life her work was often reviled, undervalued and even ignored by her countrymen, being more appreciated by the public abroad instead, a fact that influenced heavily in her decision to end her own life in 1967.
However, Violeta’s legacy remains more alive than ever, being more honoured and appreciated than it was during her lifetime, inspiring new generations of artists and creators.
In 1999, her granddaughter, Javiera Parra, recorded a cover of her song ‘El Albertío’, which was used as the theme song for “La Fiera”, a TV series of great international success. Although the sound has been modernized, the lyrics, rhythm and essence of the songs remains true to the original, and helped to approach young people to Violeta’s work.
In 2007, Violeta’s life story reached the children’s book with the storybook “La Niña Violeta” (The Child Violeta), by Francisco Jiménez with illustrations by Paloma Valdivia, published by Amanuta Ediciones.
In 2009, German choreographer Pina Bausch based herself on the verses of “Volver a los 17" in order to create her choreography ‘...Como el Musguito en la Piedra, ay, si,si,si...’, which became her last work and one of the most evoking among her repertoire.
In 2011, Chilean director Andrés Wood released a biographical film about Violeta Parra, ‘Violeta se fue a los cielos’(Violeta Went to Heaven). The film was Chile’s official selection for the 2012 American Moving Pictures Association (Oscar Awards) in the Best Foreign Film category.
Nowadays, Violeta Parra is considered one of the main pillars of Chilean folklore, undisputable icon of traditional and popular music in the country. Thanks to her work, hundreds of songs and traditions were restored and rescued from oblivion for future generations, and her own work as composer added new pieces to the folk repertoire and helped to revitalize the musical style.
Her work and legacy, preserved by her family and considered cultural heritage of the nation, are kept in the Violeta Parra Museum, as well as in different collections in Chile and abroad.
Inaugurated in 2015, the Violeta Parra Museum keeps and important collection of arpilleras, oil paintings and sculptures crafted by Violeta, as well as some of her personal items such as her guitar, her sewing machine, photographs, documents and more. Free entry.
https://museovioletaparra.cl
Website dedicated to celebrate Violeta Parra’s centennial, with free downloads, including a songbook.
www.violetaparra100.cl
Website of the Foundation bearing her name, the most authoritative site to learn more about the life and work of Violeta Parra.
www.fundacionvioletaparra.org
In merely fifteen years of artistic career, this prolific artist created some of the most beloved and well-known songs in the Latin American folk repertoire, as well as hundreds of pieces of visual art that earned her international acclaim from peers and the public alike.
However, in order to understand the impact of Violeta and her work it’s necessary to recall the historic moment of the turbulent decade 1958-1968.
Deeply discontent and disappointed of their leaders, the youth of the time took a violent turn towards radicalism and the free expression of their own ideals.
In this environment, popular songs, protest songs and the new trove rose as the most immediate forms of expression among progressive youth. New airs - half hopeful, half angry - blew: a new age approached, the age of change and popular revolution, where the old establishment would be debunked and replaced by popular will.
Picture: Marc Ribaud
At the same time, everything folkloric and native regained importance in response to the mass culture imposed by the media. The return to the roots was seen then as a return to the innocence of the human being.
Without planning it, Violeta became part of this global movement of native culture revival, and it was precisely what allowed her music and her art to break the geographical barriers and reach international broadcast.
Violeta and one of her brothers, c.1930
Violeta Parra was born on October 4th, 1917 in the heart of a family with deep peasant and artistic roots.
At age nine, Violeta begins taking guitar lessons and by age twelve she already starts composing her first songs.
Her artistic career begins in 1934 when, along her siblings, they form the group “Los Parra” and they start singing in cafes and small restaurants, performing Mexican songs and boleros, among other tunes.
From 1943 onwards, Violeta begins her solo career, specialising in Spanish songs accompanied by her guitar. By 1948 her sister Hilda joins her, and the duo is known as “The Parra Sisters”.
It isn’t until 1952 when, impelled by her brother Nicanor , Violeta begins to focus on Chilean folk music, compiling and rescuing the musical tradition of the country, a task that by then was unspecialised and largely neglected.
The change is crucial for Violeta. In 1953 she releases her first single with two of her compositions based on folk songs, and from then onwards she will not stop composing, and recording.
Video - La Jardinera (The Gardener)
In 1954, Violeta travels for the first time to Europe, invited to the Fifth Festival of World Youth and Students in Varsovia, and then she travels to Paris.
This first contact with the city of lights will last two years, in which she completed countless presentations and leaves a register of her songs at the National Sound Archives of the Musée de l’Homme de La Sorbonne.
Violeta at the recording studio, 1957
Back in Chile, Violeta performs field folk research work and founds the National Chilean Folk Art Museum. From 1959 onwards, Violeta begins to create ceramic works and arpilleras (multicolour looms embroidered by hand, depicting a story or event). She continues her compilation work and learning of folk styles, travelling north through south of the country, interspersing concerts, presentations and recordings.
Detail of an arpillera embroidered by Violeta
It’s around this time when she becomes close friends with another famed folklorist, Margot Loyola. Joined by their love for popular music and the rescue of the musical traditions Violet and Margot become song and guitar buddies.
Violeta Parra y Margot Loyola
Around this time as well, Violeta travels to Argentina, where she conducts several folk workshops, which will end up by influencing another great singer of that country, and one of the best performers of Violeta’s work: Mercedes Sosa.
A good deal of the charm of Violeta’s compositions, and of many of the folk songs that she compiled and popularised, rests on their lyrics: mischievous, poetic, full of wisdom and word play, which brilliantly reflect the popular wit.
Lo que puede el sentimiento What feeling can (do)
no lo ha podido el saber Can’t (do) knowledge
ni el mas claro proceder nor the clearest proceeding
ni el mas ancho pensamiento or the widest thought,
todo lo cambia al momento it changes everything at once
cual mago condescendiente, like a condescending wizard,
nos aleja dulcemente it sweetly tears us
de rencores y violencias from grudges and aggressions,
solo el amor con su ciencia only love with its science
nos vuelve tan inocentes. turns us so innocent.
(De ‘Volver a los 17') (From ‘Going Back to 17')
Los amores de sacristán A sexton’s flirts
son dulces como la miel are sweet as honey,
amor que no se(a) dese(d)a love that’s not wanted /silky
no puedo, vida, vivir con él. I can’t, dear, live with it.
Porque me gusta el sacristán. Because I fancy the sexton.
Toca la campanilla tilín-tin-tín, Tinkle the bell, tilin-tin-tin,
tilín-tin-tán. Tilin-tin-tan.
(De ‘El Sacristán’) (From ‘The Sexton’)
Even in her own compositions, Violeta remained anchored to popular tradition, composing in specific folk rhythms, such as northern tonada, the Chilote waltz, the cueca, the Rapa Nui dance, etc.
Video - El Sacristán
In 1962, Violeta returns to Paris. This new visit resulted in several TV and radio concerts, live presentations, new recordings and the exhibition of her arpilleras, oil paintings and sculptures at the Louvre Museum.
Violeta Parra becomes thus the first Latin American artist (man or woman) to have a solo exhibition in this important museum.
Over time, Violeta’s songs became more melancholic, a reflection of a difficult life and deep unfulfilled wishes. From this period are two of her most recalled songs, ‘Gracias a la Vida’(Thanks to Life), often regarded as a farewell song, and ‘Volver a los 17' (Going Back to Seventeen), a nostalgic view towards gone-by youth.
Violeta returns to Chile in 1965, and continues her live presentations and recordings. That same year, spurred by her dream of creating a Folk University, Violeta settles in a makeshift tent on a barren land, calling it ‘La Carpa de La Reina’ (The Tent of La Reina), from where she offers concerts and invites some of the best folk singers and musicians of the country.
However, in spite of Violeta’s fame, talent, effort and enthusiasm, ‘The Tent of La Reina’ failed to achieve the expected success.
It’s ironic to verify the level of accolades that Violeta has received after her death, since during her life her work was often reviled, undervalued and even ignored by her countrymen, being more appreciated by the public abroad instead, a fact that influenced heavily in her decision to end her own life in 1967.
However, Violeta’s legacy remains more alive than ever, being more honoured and appreciated than it was during her lifetime, inspiring new generations of artists and creators.
In 1999, her granddaughter, Javiera Parra, recorded a cover of her song ‘El Albertío’, which was used as the theme song for “La Fiera”, a TV series of great international success. Although the sound has been modernized, the lyrics, rhythm and essence of the songs remains true to the original, and helped to approach young people to Violeta’s work.
El Albertío - Javiera Parra (2:55")
In 2007, Violeta’s life story reached the children’s book with the storybook “La Niña Violeta” (The Child Violeta), by Francisco Jiménez with illustrations by Paloma Valdivia, published by Amanuta Ediciones.
In 2009, German choreographer Pina Bausch based herself on the verses of “Volver a los 17" in order to create her choreography ‘...Como el Musguito en la Piedra, ay, si,si,si...’, which became her last work and one of the most evoking among her repertoire.
In 2011, Chilean director Andrés Wood released a biographical film about Violeta Parra, ‘Violeta se fue a los cielos’(Violeta Went to Heaven). The film was Chile’s official selection for the 2012 American Moving Pictures Association (Oscar Awards) in the Best Foreign Film category.
Nowadays, Violeta Parra is considered one of the main pillars of Chilean folklore, undisputable icon of traditional and popular music in the country. Thanks to her work, hundreds of songs and traditions were restored and rescued from oblivion for future generations, and her own work as composer added new pieces to the folk repertoire and helped to revitalize the musical style.
Her work and legacy, preserved by her family and considered cultural heritage of the nation, are kept in the Violeta Parra Museum, as well as in different collections in Chile and abroad.
To Learn more...
Inaugurated in 2015, the Violeta Parra Museum keeps and important collection of arpilleras, oil paintings and sculptures crafted by Violeta, as well as some of her personal items such as her guitar, her sewing machine, photographs, documents and more. Free entry.
https://museovioletaparra.cl
Website dedicated to celebrate Violeta Parra’s centennial, with free downloads, including a songbook.
www.violetaparra100.cl
Website of the Foundation bearing her name, the most authoritative site to learn more about the life and work of Violeta Parra.
www.fundacionvioletaparra.org
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