#Atahualpa Yupanqui

[suenosyfantasmas]

"Cuando inclino la cabeza para esconder una lágrima, estoy viviendo y muriendo lo que ordena la guitarra". 🎼

Atahualpa Yupanqui.

Fotografía: MAVi. " Mi guitarra".🎶

Sueños y fantasmas. El arte de soñar.

[anamon-book]

インディオの道 アタウアルパ・ユパンキ、浜田滋郎・訳 晶文社 ブックデザイン＝平野甲賀

[mywifeleftme]

207: Atahualpa Yupanqui // El hombre, el paisaje y su canción

El hombre, el paisaje y su canción Atahualpa Yupanqui 1969, Odeon

Atahualpa Yupanqui was a titanic figure in Argentine music. As an ethnomusicologist who formed a bridge between various forms of Indigenous folk music and the younger artists of the nueva canción (new song) movement; a first-rate composer; and a political revolutionary imprisoned numerous times for his beliefs, Yupanqui is a fine representative of that era of Latin American creators whose artistic quality was equaled by the courage of their convictions. Due to his Communist Party affiliation, Yupanqui didn’t record much until he was already in his 40s, which robs us of the voice of his youth, but also enforces his image as a fatherly figure, a living link with the past.

Once he started recording though, the torrent was overwhelming—between his remarkable productivity and the tendency of labels to constantly repackage his work, forging a semblance of a linear discography is beyond my skills. I’m not altogether sure of the provenance of El hombre, el paisaje y su canción (The Man, the Landscape and His Song), a 1969 record I picked up on a lark a few years back that became an instant favourite in the Wifeleft household. There was an album of the same name released the previous year that shares four tracks, suggesting my Hombre may be a compilation—on the other hand, he recorded many of his songs numerous times, so it’s possible these are from an entirely different session. The album certainly sounds as though it was recorded in one sitting.

No matter, this is my favourite of the handful of Yupanqui albums I’ve heard to date. He is presented solo, as usual, accompanied only by his own acoustic guitar, and over a scant 30 minutes or so draws the listener entirely into his world. I feel as though I am watching the master singing for a small audience gathered on his porch, his fingers translating the weariness of the day’s labours into something more somber and romantic, his voice that of a man who understands his role is to witness and recount. The lyrics often look directly at the travails of working people, as on “Trabajo, quiero trabajo” (“Work, I Want Work”) and “Campesino” (“Peasant”), but there is also that mystical element common in Spanish poetry, as on “Guitarra, dímelo tú” (“Guitar, Tell Me”):

Guitar, you tell me Men are dead gods Already long collapsed Not even his dreams were saved Only the shadow has remained

El hombre also includes a pair of instrumentals that show off the expressiveness of Yupanqui’s playing to great effect—“El llanto” (“Crying”) is as poignant as its title suggests, while “Malambo” (named for an Argentine folk dance) reminds me a bit of the American Primitive fingerstyle associated some distance north with John Fahey.

I doubt there is such a thing as a poor-quality Atahualpa Yupanqui album, and I think any collection would be enriched by his inclusion. He makes a great entry point to South American folk, some of the most timeless and impassioned music of the 20th century.

207/365

[trogo-auto-egocratico]

Si alguien me dice "señor,"

agradezco el homenaje;

mas, soy gaucho entre el gauchaje

y soy nada entre los sabios.

Y son pa’ mí los agravios

que le hagan al paisanaje...

Atahualpa Yupanqui.

[nextposition1]

[andrescasciani]

"Por caminos solitarios Yo me puse a caminar Por fuera nada buscaba Pero por dentro, quizás". *31 años sin Atahualpa Yupanqui

. Por Andrés Casciani Sanguina sobre papel – 24 x 32 cms (2023)

andrescasciani.com

[thatsbutterbaby]

Painting, [copy of] Mrs Sheridan as St Cecilia | Lady Diana Pery | Oil on Canvas | 18th century

[beautiful-basque-country]

Music time! Have you girls heard of Quechuan-Basque singer Atahualpa Yupanqui, and of the group Ez Dok Amairu?

Kaixo anon!

For those wondering, both Yupanqui and Ez Dok Amairu were at their fame peak in the late 60s, early 70s.

We've heard a song or two by Atahualpa Yupanqui - mostly because he was in some of the music our parents would listen to - and none by Ez Dok Amairu.

This Basque group wasn't exclusively a music band, but an association that wanted to gather all the fields of the dying Basque culture at the end of Franco's dictatorship - music, poetry, painting, sculpture, writing, etc - and make it bloom again. Many of the big names of Basque artists came from this initiative.

Btw, their name means literally "there's no 13", with the idea that there is a curse (on Basque culture) no more.

[nicocota]

[suenosyfantasmas]

"Lal guitarra antes de ser instrumento fue un árbol y en él cantaban los pájaros.

La madera sabía de música mucho antes de ser instrumento".

Atahualpa Yupanqui.

Importante cantautor, guitarrista, poeta y escritor. Argentina, (1908) - Francia, (1992).

Fuente:Google.com

Fotografía: Pinterest.com

Sueños y fantasmas. El arte de soñar.

[lesser-known-composers]

Atahualpa Yupanqui - Los ejes de mi carreta

[anaelenaespinosa]

[cloms]

15-04-24

No quiero quedarme. No siento que este lugar sea un refugio. Es más bien un polvoriento recuerdo de algo muy lejano. Ya no me identifico con ser un hijo, rechazo todo el pasado. Capaz seguiré viviendo sin querer nada. Las cosas pierden sentido al ser adquiridas. Si sólo hay una verdad, quisiera adaptarme a esa infinita meta universal. ¿Por qué quedé tan vacía?

[andrescasciani]

“FRAGMENTARIA" - citas ilustradas por Andrés Casciani (1/3/23)

“Acurrucado contra tu corazón Oigo el latido de la vida eterna Solo tú no pasas”. (Atahualpa Yupanqui)

- Ilustración digital, 2023

http://andrescasciani.com/

[lutheriafranciscosguera]

"Ecos de Tradición: Yupanqui, Falú y la Evolución Musical"

Descubre cómo Atahualpa Yupanqui y Eduardo Falú transformaron la música folclórica argentina, inyectando alma y técnica en cada interpretación. Con una mezcla única de tradición y originalidad, estos iconos junto a grupos como Los Chalchaleros y Los Fronterizos, dejaron una huella imborrable en la historia musical.