Read chapter Nighn 9 and answer the questions Essay

Read chapter Nighn 9 and answer the questions - Essay Example These musicians were responsible for promoting Nueva Cancion in support of an intensive leftist protest that expressed distaste for a totalitarian and capitalist regime as well as imperialism which occurred to corrupt the nation’s cultural identity at that period. As a turning point in the history of the movement, the presidential campaign of Salvador Allende in 1970 became sensationalized especially as it managed to convey the leader’s strong Marxist convictions through an open election in which the Nueva cancioneros contributed rhythms that thematically coincided with Allende’s communist principles. At the time, the government may be perceived as a government of revolution which responded in utter agreement to the combined political ideals and musical creativity of the radical artists. The short-lived administration and the forerunning characters of the Nueva Cancion were of a single heart and passion in being pro-people so that their joint forces, as a whole, were accounted for as highly significant in Latin American history, having influenced the world with songs that communicate advocacies for human rights, anti-oppression, ethnicity, liberation, anti-poverty, and non-dictatorial martial rule. As an unfortunate consequence, however, the brutish takeover of the powerful military coup some three years later fated Allende and supporters, Victor Jara, and some fellow artists with a tragic end of death. The coup reacted to this extent of employing harsh measures toward Nueva Cancion as the movement had been viewed widely with the ample capacity to move and educate communities and turn them against their unrighteous rulers as vividly evident for instance in the crafts of Jara via lyrical substance of the pieces â€Å"Venceremos† and â€Å"El aparecido†. (2) What is a wawa velorio? Why is it a celebration? What takes place at this ceremony? (What types of activities and what type of music.) (1/3-page) Basically, the term ‘ wawa velorio’ pertains to a child’s wake that is presented in a ritualistic manner and in particular, J.T. Titon describes it as an all-night affair for the wake of the deceased Quichua child. To illustrate the chief ground behind the rationale of its celebration, Titon states that â€Å"The death of young children in Ecuador and throughout Latin America is a daily tragedy, one that through its very frequency ironically serves to preserve dozens of unique regional traditions of genre, instrument, and dance.† Based on this, a thoughtful reflection may be inclined to figure that the sadness of such regular tragedy must have been too much to bear that families and the rest of the community prefer to celebrate with music and dynamic colourful activities rather than mourn over their grave loss of tender-aged loved ones. Apparently it makes sense, for when Latinos are gathered as such, they may be alleviated of a huge portion of burden as singing and dancing could fun ction as a tribute to the dead and a natural yet sacred acknowledgment of mortality and life’s severe misfortunes. During the ‘wawa velorio’ event, according to Titon, a harpist and a golpeador or wake singer are hired to play vacacion – a music sharply rendered with percussion instruments and sanjuan, respectively. While vacacion is purely instrumental and is solely played by the