236:, overthrowing Allende and his government. Repression of leftist parties and ideologies followed, with thousands of people tortured and killed. “There was heavy censorship,” Rafael recalls. “My desire was to leave Chile, because I really found myself in a very restrictive situation in regard to free expression. . . . I could not write what I wanted any longer for the magazine. My musical career had stopped right there.. . . I was invited to go to Ecuador to work in restaurants and things like that as a singer.” He soon realized that playing pop songs and the nightlife were not for him, and he moved from
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explains how, beginning in the early 1960s, the “neofolklore movement arose with groups such as Los Cuatro
Cuartos, with important songwriters. . . . This is the neofolklore movement that takes it upon itself to save the different rhythms and styles from north to south in Chile. That was the great contribution of that movement, as well as the fact of the enthusiasm of the youth and all the people, their connection to the guitar.” This, in turn, led to “the rise of the nueva canción, with
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After completing two years of journalism studies, Rafael moved to the
Chilean capital, Santiago, where he joined Ñancahuazú, a talented trio in the nueva canción vein. Ñancahuazú recorded De Chile a Chile ‘From Chile to Chile’, an album of songs that spoke of the history of Chile, and they toured the
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Rafael recorded several self-produced solo albums and became a fixture at La Peña
Cultural Center in Berkeley, teaching and performing throughout the Bay Area. Since 1990, Rafael has returned regularly to Chile, where he became part of its national folksong movement. Since 1984, Rafael has focused
163:, a city on Chile's central coast important for contemporary song festivals and competitions, the group competed in the Festival Chile Múltiple, tying for first place with another young group, Quilapayún, which in the following decades became one of the most renowned Chilean nueva canción groups.
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were commonplace at musical events supported by the
Allende regime. “All this contact with the Chilean nueva canción and the Latin American thing . . . put me close to the nueva canción and the modern folklore movement,” says Rafael , characterizing aspects of the movement as “neofolklore.” He
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groups. Grupo Raíz toured Europe and North , Central , and South
America , releasing three long-play recordings during their most active period, from 1980 to 1985 . Two of these, Amaneceres ‘Dawnings’ (1981) and América del Centro ‘The Center of America’ (1984), were published on
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Manríquez relocated to
Berkeley, California, where he found many sympathetic musicians, some of whom had also suffered persecution and even torture at the hands of the Chilean military . By 1980, he and several others had formed Grupo Raíz, following the model of Chilean
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Growing up, Manríquez was surrounded by music. His house was always full with the sounds of his grandfather's guitar playing and singing. Manríquez took up the guitar at age fifteen to perform songs of neighboring
Argentina recorded by
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Manríquez worked as a music journalist during one of the most momentous times in
Chilean music history . As a reporter for the music magazine El Musiquero (1970–1973), he interviewed, reviewed, and wrote about key figures such as
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on his career as a solo artist, creating several independently produced CDs and performing throughout
California. He is also a founding member of the Andean music group Arauco, which performs throughout Northern California.
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and other current favorites. He soon joined his brother José Manuel and two other friends in the group Los Machis, named after the
Mapuche (Indian) shamans (usually women). While studying in
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collections . Subsequently, with the exception of periodic reunion concerts, the members of Grupo Raíz went their own artistic ways.
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142:(March 27, 1947 – June 26, 2013) was a Chilean journalist, singer, guitarist, composer and producer born in
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Then came the fateful day of 11 September 1973, when the commander-in-chief of the Chilean army,
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A section of folkloric songs from Latin America, two voices and many folk instruments.
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Songs of Rafael Manríquez and David Barrows, set to the poetry of Pablo Neruda
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470:"Que Viva el Canto! Songs and Singers of Chile - Rafael Manriquez - Review"
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25 songs from different times, areas and styles of the Chilean folk music.
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Music by Rafael Manríquez on 14 of Pablo Neruda's "100 Sonnets of Love
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from the article and its talk page, especially if potentially
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Amistades / Friendships. Music of the Chilean diaspora
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Canto y Soneto: Rafael Manríquez sings Pablo Neruda
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347:Lyrics by Rafael Manriquez and Music by Jerry Lee
344:Mi Sol de Ayer. A journey of Latin American songs
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171:Nueva Cancion and the Neofolklore Movement
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