A parresía no cancioneiro de Violeta Parra cantado por Mercedes Sosa em Homenaje a Violeta Parra

Abstract

Mercedes Sosa, Argentine singer, political and cultural activist, pays tribute to the Chilean artist and also activist Violeta Parra, in her record Homenaje a Violeta Parra, 1971. Both belong, respectively, to the cultural movements named Nuevo Cancionero and Nueva Canción Chilena. Movements that were seen by the vigorous perspective of multiculturalism, that questioned social inequality, mass production of culture, dictatorships, among other causes and themes. Mainly these are movements moved by the desire of a dialogic action among Latin Americans. We’ll follow the songs Defensa de Violeta Parra (Nicanor Parra), Gracias a la vida, Me gustan los estudiantes, Los hambrientos piden pan [o La carta], and Los pueblos americanos. Such songs, written by Violeta Parra and played by Mercedes Sosa, show us how this intricate psychosocial mobilities can simplify the context of parrhesia (the political game in which a person tries to convince the others of the necessity of certain truth) for the construction of a pragmatically critic and egalitarian socius. A social aesthetics picture that values the collective dimension of the cultural productivity more than the dimension of the artists’ individualities.