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| Canto Nuevo | |
|---|---|
| Name | Canto Nuevo |
| Stylistic origins | Nueva canción, Folklore de América Latina, Trova cubana, Folk rock, Andean music |
| Cultural origins | 1960s–1970s, Chile, Argentina, Uruguay |
| Instruments | Guitar, Charango, Zampona, Quena, Accordion |
| Derivatives | Nueva trova, Protest song |
| Other topics | Violeta Parra, Víctor Jara, Inti-Illimani |
Canto Nuevo Canto Nuevo was a Latin American singer-songwriter movement emerging in the 1960s–1970s rooted in Nueva canción, Folkloric revival, and urban Trova. It linked artists from Chile, Argentina, Uruguay, Peru, Bolivia and Cuba to networks of political activism around events such as the 1968 protests, the 1973 Chilean coup d'état, and the Uruguayan civic-military dictatorship. The movement intersected with venues, festivals, and recording industries including Festival de Viña del Mar, Casa de las Américas, EGREM, and independent labels.
Canto Nuevo grew from the crosscurrents of Nueva canción proponents like Violeta Parra, Víctor Jara, Atahualpa Yupanqui, Mercedes Sosa, drawing on earlier figures such as César Isella, Los Jaivas, Alfredo Zitarrosa, and international folk revivalists including Bob Dylan, Joan Baez, Pete Seeger. Influences included regional traditions embodied by ensembles like Inti-Illimani, Los Chalchaleros, Suma Paz, and movements such as Nueva trova led by Silvio Rodríguez and Pablo Milanés. Intellectual currents from Pablo Neruda, Octavio Paz, Ernesto Cardenal, and sociologists linked to Dependency theory and thinkers associated with CELS shaped lyrical themes alongside solidarity networks like Amnesty International and institutions such as Casa del Teatro.
Canto Nuevo intertwined with political events including the 1968 protests, the 1973 Chilean coup d'état, the Argentine Dirty War, the Uruguayan civic-military dictatorship, and the broader Cold War context involving Cuban Revolution and Allende administration. Artists faced censorship, exile, imprisonment, and assassination; notable episodes involve Operación Cóndor coordination and repression tied to regimes in Argentina, Chile, Uruguay, Paraguay, and Bolivia. Solidarity responses came from cultural festivals like Festival Mundial de la Juventud y los Estudiantes and human rights organizations such as Human Rights Watch and International Federation of Journalists. Diaspora communities in Paris, Madrid, Mexico City, and Los Angeles became nodes for continuing performance and recording with support from labels like Phonogram and institutions like UNESCO.
Central performers included Víctor Jara, Violeta Parra, Inti-Illimani, Mercedes Sosa, Atahualpa Yupanqui, Alfredo Zitarrosa, Cecilia (singer), Silvio Rodríguez, Pablo Milanés, Braulio García, Chico Buarque as a transnational interlocutor, Leon Gieco, Jorge Drexler, Alfonsina Storni's poetic settings, and groups like Los Kjarkas. Signature songs and compositions circulated alongside works such as "Te recuerdo Amanda" by Víctor Jara, "Gracias a la Vida" associated with Violeta Parra and Mercedes Sosa, "Canción con todos" performed by César Isella, and protest anthems popularized by Los Olimareños, Daniel Viglietti, and Inti-Illimani. Collaborations involved arrangers and producers linked to Phil Manzanera, Graham Nash, and label figures at EMI and Sony Music Latin.
The repertoire blended traditional forms like zamba, cueca, huayno, candombe, and tonada with urban songcraft from Trova and Folk rock. Instrumentation combined acoustic Guitar, Charango, Zampona, Quena, Bandoneón, Accordion, Percussion traditions including Bombo legüero and Caja, alongside occasional electric elements from Rock en Español. Arrangements often featured vocal harmonies derived from ensembles such as Los Chalchaleros and rhythmic patterns traceable to Afro-Uruguayan groups like Candombe Kings and Andean ensembles like Los Kjarkas. Lyricism employed poetic references to Pablo Neruda, Gabriela Mistral, and revolutionary narratives connected to events like La Revolución Sandinista.
Canto Nuevo had distinct scenes: Chilean circles around Santiago de Chile and venues linked to Universidad de Chile and Universidad Católica de Chile; Argentine hubs in Buenos Aires and festivals like Cosquín; Uruguayan centers in Montevideo with the influence of Daniel Viglietti and Los Olimareños; Andean adaptations in Quito, La Paz, Cusco, and Lima shaped by indigenous repertoires and ensembles such as Yawar Fiesta and Wayna Picchu. Exile communities in Mexico City, Madrid, Paris, Berlin, and New York City fostered recordings, collaborations, and broadcasts via Radio Francia Internationale, Radio Martí, and Latin American service programs.
The movement influenced later generations including Nueva trova revivalists, Rock en Español artists, singer-songwriters like Jorge Drexler, Ana Belén, Chabuca Granda interpreters, and contemporary folk collectives. Archives and memorial projects at institutions such as Museo de la Memoria (Santiago), Centre Pompidou exhibitions on Latin American song, and university programs at Universidad de Buenos Aires and Universidad de Chile have preserved manuscripts and recordings. Tribute albums and festivals feature artists from Café Tacvba, Manu Chao, Caetano Veloso, Gilberto Gil, PJ Harvey participating in commemorations, while streaming platforms and labels like Nonesuch Records and World Circuit facilitate rediscovery. Canto Nuevo's fusion of regional instruments and political lyricism continues in pedagogy at conservatories and in activist networks associated with Amnesty International and Human Rights Watch.
Category:Latin American music genres