Frasi di Víctor Jara
Víctor Jara
Data di nascita: 28. Settembre 1932
Data di morte: 16. Settembre 1973
Víctor Lidio Jara Martínez è stato un cantautore, musicista, regista teatrale e poeta cileno.
Proveniente da famiglia contadina, politicamente impegnato, è divenuto negli anni un riferimento internazionale nel mondo della canzone di protesta e della canzone d'autore.
Sostenitore del presidente Salvador Allende, Jara fu assassinato cinque giorni dopo il golpe dell'11 settembre 1973, vittima della repressione messa in atto dal generale Augusto Pinochet.
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„Herminda de la Victoria morì senz'aver lottato e dritta andò alla gloria col petto trapassato. Gli spari dei mandanti uccisero quell'innocente piangevano fratelli e madri in mezzo a tutta la gente.“
— Víctor Jara
da V. Jara, A. Sieveking, Herminda de la Victoria, 1972
„Love of my home, my wife and my children./ Love for the earth that helps me live./ Love for education and of work./ Love of others who work for the common good./ Love of justice as the instrument that provides equilibrium for human dignity./ Love of peace in order to enjoy one's life./ Love of freedom, but not the freedom acquired at the expense of others’ freedom, but rather the freedom of all./ Love of freedom to live and exist, for the existence of my children, in my home, in my town, my city, among neighbouring people./ Love for freedom in the environment in which we are required to forge our destiny./ Love of freedom without yokes: nor ours nor foreign.“
— Víctor Jara
When asked, four days before the military coup of September 11, 1973, what the word ‘Love’ meant to him.
Section: Biography/Victor y el amor of http://www.fundacionvictorjara.cl/ 10/04/2007
„The cultural invasion is like a leafy tree which prevents us from seeing our own sun, sky and stars. Therefore in order to be able to see the sky above our heads, our task is to cut this tree off at the roots. US imperialism understands very well the magic of communication through music and persists in filling our young people with all sorts of commercial tripe. With professional expertise they have taken certain measures: first, the commercialization of the so-called ‘protest music’; second, the creation of ‘idols’ of protest music who obey the same rules and suffer from the same constraints as the other idols of the consumer music industry – they last a little while and then disappear. Meanwhile they are useful in neutralizing the innate spirit of rebellion of young people. The term ‘protest song’ is no longer valid because it is ambiguous and has been misused. I prefer the term ‘revolutionary song’.“
— Víctor Jara
In 1969 Jara commented about the distinction between the commercialised ‘protest song phenomenon’ imported into Chile and the nature of the New Chilean Song Movement (NCC).
Jara, Joan (1983). Victor: An Unfinished Song. Jonathan Cape. . p. 121
