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Charango

A Bolivian charango
String instrument
Classification	Necked bowl lutes String instruments
Hornbostel–Sachs classification	321.321-5 (Composite chordophone sounded by the bare fingers)
Developed	Early 18th century

The charango is a small Andean stringed instrument of the lute family, 66 cm long, traditionally made with the shell of the back of an armadillo. Primarily played in traditional Andean music, and is sometimes used by other Latin American musicians. Many contemporary charangos are now made with different types of wood. It typically has 10 strings in five courses of 2 strings each, but other variations exist.

A charango player is called a charanguista.

The instrument was invented in the early 18th century in the Royal Audiencia of Charcas in the Viceroyalty of Peru.

History[link]

When the Spanish conquistadores came to South America, they brought the vihuela (an ancestor of the classical guitar) with them. It is not clear from which Spanish stringed instrument the charango is a direct descendant. It may have evolved from the vihuela, bandurria (mandolin), or the lute. There are many stories of how the charango came to be made with its distinctive diminutive soundbox of armadillo. One story says that the native musicians liked the sound the vihuela made, but lacked the technology to shape the wood in that manner. Another story says that the Spaniards prohibited natives from practicing their ancestral music, and that the charango was a (successful) attempt to make a lute that could be easily hidden under a garment such as a poncho.^{[citation needed]}

The first historic information on the charango was gathered by Vega going back to 1814, when a cleric from Tupiza documented that "the Indians used with much enthusiasm the guitarrillos mui fuis... around here in the Andes of Bolivia they called them Charangos". Turino mentions that he found carved sirens representing playing charangos in some Colonial churches in the highlands of Bolivia.^{[citation needed]}

File #857 of The New Chronicle of Guaman Poma eloquently expresses under the suggestive title "Indian Criollos" a drawing and text representing the Indigenes of Peru and Bolivia playing a similar instrument. Assuming the chroniclist is not representing the actual "charango" it is very important to notice that the image he presented is dated in the early 17th century, registering the musical mestizaje of the chord instruments in Bolivia.

It is believed the charango came to be what it is today in the early part of the 18th century in the city of Potosi in the Royal Audiencia of Charcas part of the Viceroyalty of Peru (in what is present-day Bolivia), probably from Amerindian contact with Spanish settlers.

The 2005 documentary film "El Charango" (director, Jim Virga; editor, Tula Goenka; assoc producer and sound, Andrew Reissiger) gives some explanation to the relationship between the charango and Cerro Rico in Potosi, Bolivia, site of the world's largest silver deposit and therefore the most likely location of the charango's birthplace.

Construction[link]

Designation of the parts of the charango

Traditionally a charango was made with a dried armadillo shell for the back and wood for the soundbox top, neck etc. This is no longer the norm, rather they are typically made of wood, with the bowled back merely imitating the shape of the armadillo shell. Unlike most wooden lutes, the body and neck are typically made of a single block of wood, carved into shape. The charango's ten strings require quite a large headstock, often approaching or even exceeding the size of its diminutive sound box. Aside from these visual distinctions, it resembles a small ukulele.

The overall length of a typical charango is about 66 cm, with a string scale length of about 37 cm. However, the number of frets ranges from five to eighteen.

There are many variations in the shape of the top in "plan view" and species of wood, though cedar or spruce family woods are preferred for the soundboard (top), and there is generally a narrowed "waist" somewhat reminiscent of the guitar-family—not the pear-shape of the lute.

The typical construction is a one-piece body and neck, classical guitar style peghead and machine tuners (occasionally positioned perpendicular to the headstock), spruce top, and some degree of ornamentation. Variations include a separate glued-on neck, palisander or ebony vertical tuning pegs, guitar-style box construction, or even a hollowed-out neck. Another variety is a neck with two holes bored 3/4 of the way through, parallel to the fretboard and close to the headstock (an innovation said to color the instrument's tone). The size and shape of the soundholes is highly variable and may be dual crescents, round hole, oval hole, or even multiple holes of varying arrangement.

More recently solidbody electric and hollowbody acoustic-electric charangos are coming on the scene. The solidbodies are built very much as miniature electric guitars, whereas the acoustic-electrics are usually more like a standard acoustic charango.

The instrument has four to fifteen metal, gut, or nylon strings.

In his book The Motorcycle Diaries, Che Guevara describes an instrument that he identified as a charango while near Temuco, Chile in 1952. It was "made with three or four wires some two meters in length stretched tightly across tins fixed to a board. The musician uses a kind of metal knuckle duster with which he plucks the wires producing a sound like a toy guitar."^[1]

Tuning[link]

Charango tuning.

The charango has five pairs (or courses) of strings, typically tuned GCEAE. This tuning, disregarding octaves, is similar to the typical C-tuning of the ukulele or the Venezuelan cuatro, with the addition of a second E-course. Unlike most other stringed instruments, all ten strings are tuned inside one octave. The five courses are pitched as follows (from 5th to 1st course): gg cc eE (because the thicker one is tuned an octave lower) aa ee. Some charanguistas use "octave" strings on other pairs in addition to the middle course. Note that the lowest pitch is the 1st "E" string in the middle course, followed by the "g" course, then the "a" course, then the "c" and finally the "e" strings. This tuning pattern is known as a re-entrant pattern because the pitches of the strings do not rise steadily from one string or course to the next.

The ramifications of the charango tuning is that there is a very narrow tonal range in most chords, and so there is a tremendous wall of sound. Seventh and ninth chords shimmer more than on a guitar due to the close harmonies. More importantly though, in terms of melody playing, the instrumentalist can create a harp-like sound with close intervals ringing out (i.e., like a piano with the sustain pedal engaged). With intervals like minor 2nds and major 2nds fingered on different strings, the charango player can play sustained melodies at rapid speed with an alternating thumb/finger pattern.

Tunings for the charango vary, but the "standardized" ones most commonly used (for the five-stringed version) are:

Notes of charango.

Abm7 and Gm7 are achieved by tuning a semitone or a full step down, respectively. Em7 is achieved by stepping the appropriate amount down.

Variants[link]

A pair of charangos.

• The walaycho (also hualaycho, or maulincho) is a smaller relative, usually tuned a fourth higher (sometimes a fifth higher) than the charango
• The charangón is a larger relative:
  • Some are a 4th down, others a 5th, yet others are an octave down^{[citation needed]}
  • Bolivia: tuned in between a ronroco and a charango
  • Argentina: one octave below the walaycho (maulincho); presumably a fifth down
• The ronroco is a larger relative of the charango
  • Usually tuned one octave lower.^{[citation needed]}
  • Bolivia: tuned one octave lower than the charango
  • Argentina: tuned a fourth lower than the charango
• The chillador: tuned the same, but with a flat back; usually steel-strung
• The Hatun charango or Grand Charango is an extended-range charango developed in Peru.

The number of strings may vary, and includes:

• 4-string
• 5 courses of 3 strings

There are both steel string and nylon string charangos. Some steel-stringed versions have all ten strings at the same gauge. There are also solid-body electric charangos.

Names[link]

The charango is known through different names in the Andes. A few include:

• Mulita and Tatu (in Argentina) and
• Kirkinchu (sometimes "Quirquinchu") and Kirki (in Bolivia and Peru)

There are various dialects to this slang.

Notable players[link]

• Bonny Alberto Teran
• Gustavo Santaolalla
• Jaime Guardia
• Héctor Soto
• Jaime Torres
• Kech Sanchez (Pan Latino - from South Africa)
• William Ernesto Centellas
• Saúl Callejas
• Felipe Paniagua

In pop culture[link]

• The Gipsy Kings's CD Pasajero (2006) features a Charango in a few songs—most notably Café. Icelandic folk singer Ólöf Arnalds plays the charango extensively on her award winning debut album Við og Við. Ólöf also played the charango on two tracks on Skúli Sverrisson's Sería album, namely Sungio Eg Gaeti and Sería.

• Andrew Reissiger of the world music group Dromedary features the charango on many songs. Reissiger has introduced the instrument to both the Americana/Folk tradition via Jonathan Byrd's The Sea and The Sky and recently on a Puerto Rican CD with Roy Brown, Tito Auger, and Tao Rodriguez-Seeger called "Que Vaya Bien."

• The Jewish Latin musician Yehuda Glantz frequently performs with a charango. He informs his audience on the live album "Granite" that he plays a charango from his native Argentina.

• Danny Elfman played a charango on the previously unreleased song, "Water," in the Oingo Boingo Farewell concert.

• The electronica group, Morcheeba, has an album entitled Charango (album). The album also features a song called Charango (album), featuring rapper, Pace Won.

• Canadian guitarist Bruce Cockburn features the charango in "Bone in My Ear" off his 1994 "Dart to the Heart" CD.

• Canadian singer songwriter Tanya Nielsen features the Charango sound in her songs "Dreams" and "Escape" in her album "Firefly" 2009.

• Famous film music composer Gustavo Santaolalla, composer for several popular films (including Babel, 21 Grams & The Motorcycle Diaries) makes extensive use of the Charango in many of his compositions.

Further reading[link]

• Richards, Tobe A. (2006). The Charango Chord Bible: GCEAE Standard Tuning 1,728 Chords. United Kingdom: Cabot Books. ISBN 0-9553944-1-4.  — A comprehensive chord dictionary instructional guide.

References[link]

1. ^ The Motorcycle Diaries: Notes on a Latin American Journey. by Ernesto Che Guevara. Ocean Press. 2003. ISBN 1-876175-70-2

http://www.scielo.cl/scielo.php?pid=S0716-27902002019700011&script=sci_arttext

External links[link]

Wikimedia Commons has media related to: Charango

• Sociedad Boliviana del Charango SBC (spanish)-Primera asociacion formada desde 1973
• Charango para Todos, el portal de Héctor Soto (spanish)
• Familia de los charangos (spanish)

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Marc Anthony
Marc Anthony performs at the White House's "Fiesta Latina", South Lawn, October 13, 2009.
Background information
Birth name	Marco Antonio Muñiz
Born	(1968-09-16) September 16, 1968 (age 43) New York City, New York, U.S.
Genres	Latin, salsa, pop, Latin pop, dance-pop, freestyle (early)
Occupations	Singer-songwriter, actor
Instruments	Vocals
Years active	1989–present
Labels	RMM Records & Video, Columbia, Sony Music Latin
Website	www.marcanthonyonline.com

Marco Antonio Muñiz (born September 16, 1968), known professionally by his stage name Marc Anthony, is an American singer-songwriter, actor and producer. Anthony is the top selling tropical salsa artist of all time. The two-time Grammy and three-time Latin Grammy–winner has sold more than 12 million albums worldwide. He is best known for his Latin salsa numbers and ballads.

Anthony has won numerous awards and his achievements have been honored through various recognitions. He was the recipient of the 2009 Congressional Hispanic Caucus Institute (CHCI) Chair's Award. He also received the "2009 CHCI Chair's Lifetime Achievement Award" on September 16, 2009.^[1] Anthony holds the record having the most number-one singles on the Billboard Tropical Songs.^[2]

Anthony is a minority owner/limited partner of the Miami Dolphins NFL team.^[3]

Early life[link]

Marco Antonio Muñiz, known professionally by his stage name Marc Anthony, born in New York City to Guillerminna, a housewife, and Felipe Muñiz, a musician and hospital lunchroom worker.^[4] Anthony is of Puerto Rican descent, and his parents named him after Mexican singer Marco Antonio Muñiz. Anthony grew up in East Harlem as the youngest of 7 children.^[5][6] He was raised Roman Catholic.^[7]

Singing career[link]

Muñiz began his career as a session vocalist for freestyle and Underground New York house music acts. After changing his name to avoid confusion with his namesake, Anthony worked as a songwriter and backing vocalist for pop acts including Menudo and the Latin Rascals. His first album was a freestyle music record, "Rebel", in 1988 on Bluedog Records. That same year he wrote and produced "Boy I've Been Told" for fellow freestyle artist Sa-Fire. Then in 1989, he sang backup vocals for Ann-Marie on the freestyle club hit, "With or Without You" produced by Little Louie Vega and Todd Terry. A year later, 1990, with Little Louie Vega and Todd Terry, Marc wrote and whispered a duet with Chrissy I-eece, called "You Should Know By Now". In 1991, he sang backing vocals on another freestyle track by Edmond^{[disambiguation needed ]} titled "Come Back To Me". In 1992, still working with Todd Terry, he provided vocals for "Love Change" which is on the flip-side of a 12" vinyl released by Elan and The Powermachine titled "Here's Your Hat", production of Todd Terry. At the same time, he collaborated with music producer Little Louie Vega, who featured the singer on many another freestyle-flavored club hits "Ride On The Rhythm" and the "When The Night Is Over" album, which featured the Freestyle classic "Time". In 1992, Vega and Anthony opened for Latin bandleader Tito Puente at New York's Madison Square Garden. After 1992, he changed his style from freestyle to salsa and other Latin styles.

RMM Records[link]

Otra Nota (1993) Anthony was initially reluctant to become a salsa musician and declined an offer to make a salsa album when Ralph Mercado, president of RMM Records, asked him. Anthony was in a taxi when he heard Juan Gabriel's hit song, "Hasta Que Te Conocí" which influenced him to change his mind and ask Mercado if he could record it as a salsa tune.^[8] Inspired by the music of Tito Puente, Rubén Blades and Juan Gabriel, Anthony released his Spanish-language debut, Otra nota, in 1993. Anthony performed at the Radio y Musica Convention hosted by Alfredo Alonso.^[9] "Si Tu No Te Fueras", "El Ultimo Beso", "Palabras Del Alma", The album also included a cover of Bread's song, "Make It with You". Subsequent tours throughout the Americas, including an opening slot for Blades, established Anthony as one of the new stars in salsa. In 1994, he was featured in La India's album Dicen Que Soy, on the song "Vivir Lo Nuestro".

His 1995 follow-up, Todo a su tiempo, won Anthony a Billboard award for Hot Tropical Artist of the Year. The album was also nominated for a Grammy with songs like "Te Conozco Bien", "Hasta Ayer", "Nadie Como Ella", "Se Me Sigue Olvidando", "Te Amare", and "Llegaste A Mi". The album has sold more than 800,000 copies and has become established gold in the US and in Puerto Rico.

Anthony's next Spanish language album, Contra la Corriente, was followed by the television special Marc Anthony: The Concert from Madison Square Garden, broadcast on HBO on Valentine's Day 2000. The special was nominated for Music Special of the Year from TV Guide. The album's song "Y Hubo Alguien" became his first number-one single on the Billboard Hot Latin Tracks Chart and the first by a salsa musician.^{[citation needed]} The album became the first salsa album to enter the English language Billboard 200 chart.^{[citation needed]} After an ongoing battle with RMM, he severed ties with Ralph Mercado and left the label in 1999.^{[citation needed]}

Move to Sony[link]

Anthony subsequently recorded the duet "No Me Ames" with Jennifer Lopez on her album On the 6, giving her an assist in her Spanish language crossover attempt.

In 1999, riding the crossover wave of Enrique Iglesias and Ricky Martin in the Anglophone market, Anthony, working with producers Walter Afanasieff, Cory Rooney, Dan Shea, and Rodney Jerkins, released an English-language, self-titled album with the US Top 5 single "I Need to Know", and the Spanish version, "Dímelo". His song "You Sang To Me" was featured in Runaway Bride. A dance version was remixed by Dutch producer Rene Van Verseveld. The album debuted at number eight on the Billboard album chart, and six weeks later went platinum; it eventually was certified triple platinum.The song "I Need To Know" earned a Grammy nomination for Best Male Pop Vocal Performance.

	"¿Ahora Quién?" (2004) noicon Sample of the first single from his 2004 album "Amar Sin Mentiras".
Problems listening to this file? See media help.

In 2001, he debuted another salsa album, Libre, which was certified gold with songs like "Celos", "Este Loco Que Te Mira", and "Viviendo". The album spent 14 weeks at the number-one spot on the Billboard Top Latin Albums chart. The year after that, he made another English-language album, Mended.

In June 2004, Anthony released a Latin pop album, Amar Sin Mentiras. The following month, he reintroduced its songs with a danceable salsa rhythm in another album, Valio La Pena. The song "Escapémonos" was a duet with Jennifer Lopez. In the 2005 Latin Grammy Awards, his Amar Sin Mentiras won best Latin Pop Album of The Year, and his Valió La Pena won Best Tropical Album of the Year. Lopez and Anthony performed "Escapémonos" at the 2005 Grammy Awards.

Marc Anthony in 2006

On July 11, 2006, Anthony released Sigo Siendo Yo, a Spanish greatest-hits album. On May 2010 realized "Iconos" – as tribute of old Latin songs by artists such as José Luis Perales, Juan Gabriel and José José.^[10]

Acting career[link]

Anthony played supporting roles in projects including 1995's Hackers, and 1996's Big Night and The Substitute. He appeared with Rubén Blades and Puerto Rican pop singer Ednita Nazario in Paul Simon's 1998 stage musical, The Capeman, which ran for 68 performances. He had a role in Martin Scorsese's 1999 drama Bringing Out the Dead, and in 2001, opposite Salma Hayek, was in the film In the Time of the Butterflies. In Man On Fire (2004), Anthony, opposite Denzel Washington, played a wealthy businessman who hires a former U.S. Marine to protect his daughter from kidnappers in Mexico City. In 2007, Anthony starred in El Cantante, a biographical drama about the life of salsa music legend Héctor Lavoe, who died in 1993 from AIDS complications. Anthony's then-wife, Jennifer Lopez, narrated the story and portrayed Lavoe's wife. The film, released in August 2007, received strong reviews. In 2010, Anthony guest-starred in two episodes of the TNT medical drama "HawthoRNe" as a detective and the title character's (Jada Pinkett Smith) love interest. He was later named the executive music producer of the show.^{[citation needed]} Anthony worked with ex-wife Lopez and director-choeographer Jamie King in late 2011 on a Latin talent series created by Simon Fuller, called Q'Viva! The Chosen. It follows Lopez and Anthony as they travel across 21 countries to find new talent.^[11]

Appearances[link]

This section, except for one claim, needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2010)

He appeared at the Movies Rock concert along with his wife Jennifer Lopez in 2007 where he performed Simon & Garfunkel's "Mrs. Robinson".

Anthony sang "The Star-Spangled Banner" when Oscar De La Hoya fought Floyd Mayweather Jr. for the WBC Super Welterweight title.

On September 21, 2001 he also sang the national anthem at Shea Stadium in the first game after the attack on the World Trade Center. On September 28, 2008, he sang the national anthem again at Shea Stadium for the New York Mets final regular season game. Also in 2001 he appeared in the 30th anniversary concert celebration 30 years of Michael Jackson's music. On September 11, 2011, he once again sang the national anthem at Citi Field in remembrance of the 10 year anniversary of the attacks.

On October 12, 2009, Anthony sang the national anthem as the Miami Dolphins played their fifth regular season game against the New York Jets.

In 2010, Anthony appeared alongside Pitbull on the Cypress Hill single "Armada Latina" for their latest album, Rise Up.

On June 25, 2010, Anthony performed as part of a tribute concert to Michael Jackson on CBS News' The Early Show.^[12]

In August, 2010, Anthony guest-starred in two episodes of the television series HawthoRNe as Detective Nick Renata.

On November 11, 2010 Anthony performed his cover of "Y Como Es El" along with the original singer José Luis Perales at the Latin Grammys.

On June 12, 2011 Anthony performed "The Star Spangled Banner" before Game 6 of the 2011 NBA Finals.

On July 22, 2011 Anthony appeared on the Pitbull single "Rain Over Me" for Pitbull's latest album, PlanetPit

Personal life[link]

In 1994, Anthony's ex-girlfriend Debbie, a NYC police officer, gave birth to their daughter Ariana.

Marc married former Miss Universe Dayanara Torres on May 9, 2000 in Las Vegas. They have two sons, Cristian Marcus Muñiz (February 5, 2001) and Ryan Adrian Muñiz (August 16, 2003). There were many problems in the marriage, and the couple separated in early 2002. They later reconciled and renewed their vows in a formal ceremony on December 7, 2002 at San Juan's Cathedral in Puerto Rico. The rocky marriage came to an end in October 2003 with Dayanara filing for divorce in January 2004. To help in her recovery from the divorce, Dayanara traded her engagement ring for a diamond-encrusted Cartier watch and wrote the book Married to Me: How Committing to Myself Led to Triumph After Divorce.

When his divorce proceedings began, Anthony was spotted with long-time friend Jennifer Lopez. Prior to his first marriage and her second, they had briefly dated. Lopez and Anthony recorded a duet in 2004, for Lopez's film Shall We Dance?. Lopez and Anthony married on June 5, 2004, less than a week after his divorce was finalized. Guests had been invited to an "afternoon party", unaware they were attending a wedding.^[13] In February 2005, Lopez said about the marriage, "Everyone knows. It's not a secret."^[14] Months later, Anthony's daughter appeared in Lopez's video^[15] "Get Right".

Lopez gave birth to their children, twins Emme Maribel Muñiz and Maximillian David Muñiz on February 22, 2008. People (magazine) paid $6 million for the first photos of the twins.^[16][17] As of at least January 2008, Anthony and his family reside in Brookville, New York, on Long Island.^[18]

In 2009, Anthony and Lopez purchased a stake in the Miami Dolphins. They joined several personalities in buying small stakes in the club, including Gloria and Emilio Estefan, Venus and Serena Williams, and Fergie.^[19]

Anthony and Lopez separated in July 2011, and Anthony filed for divorce on April 9, 2012.^[20] Even though they are separating, their upcoming international talent show, "Q'Viva! The Chosen" and Kohl's fashion and home lines will go as planned.^[21]

Discography[link]

External audio
	You may listen to Marc Anthony's interpretation of Hernandez' "Preciosa" here
	and "Lamento Borincano" here

Studio albums[link]

• 1991: When the Night is Over
• 1993: Otra Nota
• 1995: Todo a Su Tiempo
• 1997: Hasta Que Te Conoci
• 1997: Contra la Corriente
• 1999: Marc Anthony
• 2001: Libre
• 2002: Mended
• 2004: Amar Sin Mentiras
• 2004: Valió la Pena
• 2006: Sigo siendo yo
• 2007: El Cantante
• 2010: Iconos

Filmography[link]

Awards and nominations[link]

See also[link]

	Puerto Rico portal
	Biography portal
	Music portal
	Latin America music portal
	Film portal

• List of famous Puerto Ricans
• List of Number 1 Dance Hits (United States)
• List of artists who reached number one on the US Dance chart

References[link]

External links[link]

Wikimedia Commons has media related to: Marc Anthony

• Official Website
• Marc Anthony at Billboard.com
• Marc Anthony at the Internet Movie Database

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It may require cleanup to meet Wikipedia's quality standards. Tagged since January 2010. Very few or no other articles link to it. Please help introduce links to this page from other articles related to it. Tagged since January 2010.

Rafael Manríquez (born March 27, 1947) is a Chilean journalist, singer, guitarist, composer and producer born in Santiago.

Early life[link]

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 Los Chalchaleros 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 Viña del Mar, 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^{[citation needed]}, which in the following decades became one of the most renowned Chilean nueva canción groups.

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 southern regions of the country.

Nueva Cancion and the Neofolklore Movement[link]

Manríquez worked as a music journalist during one of the most momentous times in Chilean music history^{[citation needed]}. As a reporter for the music magazine El Musiquero (1970–1973)^{[citation needed]}, he interviewed, reviewed, and wrote about key figures such as Víctor Jara, Inti-Illimani, Quilapayún, and Violeta Parra^{[citation needed]}. It was the time of socialist president Salvador Allende, and performances by foreign artists from like-minded movements such as Cuba’s Silvio Rodríguez and Pablo Milanés 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^{[citation needed]}, characterizing aspects of the movement as “neofolklore.” He 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 Víctor Jara, with Patricio Manns, with Isabel Parra, and, naturally, with Violeta Parra, the bearer and the mother of the nueva canción.”

Then came the fateful day of 11 September 1973, when the commander-in-chief of the Chilean army, Augusto Pinochet, led a coup d’état, 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^{[citation needed]}. “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 [in 1975] to go to Ecuador to work in restaurants and things like that as a singer.”^{[citation needed]} He soon realized that playing pop songs and the nightlife were not for him, and he moved from Guayaquil to Quito (Ecuador), where he found more creative, cultural development work touring the country and performing traditional music^{[citation needed]}.

Grupo Raíz[link]

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^{[citation needed]}. By 1980, he and several others had formed Grupo Raíz, following the model of Chilean nueva canción groups. Grupo Raíz toured Europe^{[citation needed]} and North^{[citation needed]}, Central^{[citation needed]}, and South America^{[citation needed]}, releasing three long-play recordings during their most active period, from 1980 to 1985^{[citation needed]}. Two of these, Amaneceres ‘Dawnings’ (1981) and América del Centro ‘The Center of America’ (1984), were published on Monitor Records^{[citation needed]}, which later became part of the Smithsonian Folkways collections^{[citation needed]}. Subsequently, with the exception of periodic reunion concerts, the members of Grupo Raíz went their own artistic ways.

Current work[link]

Rafael recorded several self-produced solo albums^{[citation needed]} and became a fixture at La Peña Cultural Center in Berkeley, teaching and performing^{[citation needed]} throughout the Bay Area. Since 1990, Rafael has returned regularly to Chile, where he became part of its national folksong movement^{[citation needed]}. Since 1984, Rafael has focused on his career as a solo artist, creating several independently produced CDs^{[citation needed]} and performing throughout California. He is also a founding member of the Andean music group Arauco, which performs throughout Northern California.

Discography[link]

External links[link]

• Official website
• La Peña Cultural Center, where Manriquez is listed as a music instructor
• Smithsonian Folkways Recordings article on his album ¡Que viva el Canto!