Pinturas de violeta parra biography

OVERVIEW OF CONTRIBUTORS AND CONTENTS

Part 1 of this volume, "Viola admirable: Compilation, Creation, and the Chilean Nation", discusses and reflects upon Violeta's cultural production in Chile. It considers the intersections of what she compiled with what she produced as a singer-songwriter, visual artist, and poet. Nicanor Parra called her "Viola admirable", a woman who created a wealth of cultural expression that was essentially revolutionary. Additionally, Pablo Neruda exclaimed: "¡Ay, qué manera de caer hacia arriba. . . esta mujer!" [What a way to fall upwards. . . this woman!]. In the introduction to one of the first anthologies of Violeta's poetry, Juan Andrés Piña underscored the difficulty of fully analyzing the artist's accomplishments since she expressed herself in so many different forms. Produced during the Pinochet dictatorship, the anthology had to pass under the censor's accusing eye. Nonetheless, Piña managed to portray the allure that Violeta, the performer and the private person, has held for generations: investigadora de todas las manifestaciones del saber popular, también es mito, mitología y animita. Su vida llena de dificultades, sus desventurados amores, su carácter fuerte, irascible y tierno a la vez, su empeño por llevar adelante su trabajo, su suicidio, han hecho de ella un personaje nacional (1976,14).

[researcher of all forms of popular knowledge; she is also myth, mythology, and object of a shrine. Her life full of difficulties; her tragic loves; her strong, irascible-and at the same time tender-character; her determination to carry out her work; her suicide, have turned her into a national icon.]

This section integrates four chapters that analyze Violeta's approach to the visual arts and her music on a national as well as a global stage. Contributors analyze her music and her development as an artist. Likewise, they treat them

Violeta Parra: The Complete Praxis Edited by Lorna Dillon will be published by tamesis in november 2017 Violeta Parra was an extraordinary figure. The multivalence of her creative praxis extended across art, music, poetry and performance. Scholarship on Parra tends to focus on the individual strands of her creativity. This volume unites research on the full range of Parra's praxis. Seminal works by Patricio Manns and Leónidas Morales have been translated into English, and these texts are brought together with emerging research by Paula Miranda, Ericka Verba, Catherine Boyle, Serda Yalkin, Lorna Dillon and Romina A Green-Rioja. The volume includes a foreword by Marjorie Agosin and a conclusion by Gina Canepa and Lorna Dillon. Details of the chapters can be found in the contents list below: Foreword Marjorie Agosin Introduction Lorna Dillon Chapter 1 The Genesis of Parra's Art Leónidas Morales Translated by Leónidas Morales, Lucy Fyfe and Lorna Dillon Chapter 2 Extracts from La guitarra indócil (The Unruly Guitar): 'The Red Sonnet' and 'The Heritage of Oral Poetry'. Patricio Manns Translated by Lorna Dillon Chapter 3 Conversation with Nicanor Parra about Violeta Leónidas Morales Translated by Catherine Boyle Chapter 4 Back in the Day when She sang Mexican Songs on the Radio... Before Violeta Parra was Violeta Parra Ericka Verba Chapter 5 Violeta Parra, Creative Researcher Paula Miranda Translated by Lucy Fyfe and Lorna Dillon Chapter 6 Unearthing Violeta Parra: Counter-Memory, Rupture, and Authenticity Outside of the Modern Romina A. Green-Rioja Chapter 7 Violeta Parra at the Louvre: The ‘Naïve’ as a Strategy of the Authentic Serda Yalkin Chapter 8 Violeta Parra's Contribution to the Nineteen Sixties Art Scene Lorna Dillon Chapter 9 Violeta Parra and the Empty Space of La Carpa de la Reina Catherine Boyle Conclusion Gina Canepa and Lorna Dillon

Dillon, Lorna. "8. Extracts from La guitarra indócil (The Unruly Guitar)". Violeta Parra: Life and Work, edited by Lorna Dillon, Boydell and Brewer: Boydell and Brewer, 2017, pp. 157-172. https://doi.org/10.1515/9781787440715-012

Dillon, L. (2017). 8. Extracts from La guitarra indócil (The Unruly Guitar). In L. Dillon (Ed.), Violeta Parra: Life and Work (pp. 157-172). Boydell and Brewer: Boydell and Brewer. https://doi.org/10.1515/9781787440715-012

Dillon, L. 2017. 8. Extracts from La guitarra indócil (The Unruly Guitar). In: Dillon, L. ed. Violeta Parra: Life and Work. Boydell and Brewer: Boydell and Brewer, pp. 157-172. https://doi.org/10.1515/9781787440715-012

Dillon, Lorna. "8. Extracts from La guitarra indócil (The Unruly Guitar)" In Violeta Parra: Life and Work edited by Lorna Dillon, 157-172. Boydell and Brewer: Boydell and Brewer, 2017. https://doi.org/10.1515/9781787440715-012

Dillon L. 8. Extracts from La guitarra indócil (The Unruly Guitar). In: Dillon L (ed.) Violeta Parra: Life and Work. Boydell and Brewer: Boydell and Brewer; 2017. p.157-172. https://doi.org/10.1515/9781787440715-012

Copied to clipboard

In the early 1960s, when she already had a flourishing international career as a singer-songwriter, Violeta Parra began making canciones que se pintan (songs that paint themselves): a series of paintings, sculptures, and embroideries that were a natural outgrowth of her music. Her arpilleras – huge embroideries – are the most complex of these works: ancestral images inspired by pre-Columbian art, telling stories full of timeless emotion. They show women, men, or animals gathered in festive, historic, or spiritual scenes. Thick wool stitches, bits of macramé, and knitted braid are used to lend three-dimensionality to the figures. Combate naval I (1964) depicts Chile’s struggles during the War of the Pacific (1879–1884), with national hero Captain Arturo Prat proudly brandishing a Chilean flag as his ship, the Esmeralda, sinks. In El circo (1961), a group of colourful characters are singing and dancing, perhaps inebriated by the fumes emanating from a large pitcher at the centre, or perhaps fallen victim to the evils pouring from this strange Pandora’s box. Parra’s arpilleras were a tool for relaying deeply felt needs that were private and shared, local and international, and tied to both high and low culture.

Stefano Mudu