Mercedes Sosa – More Than A Song

STARTING IN Chile under the influence of Violeta Parra and Víctor Jara, the New Song Movement (Nueva Canción Movimiento) spreads in the sixties and seventies all over Latin America. It is associated with revolutionary music because its musicians aim to unite with their listeners in a demand for democracy and social justice, hoping to achieve social and political change through music. The lyrics put issues such as poverty, imperialism, democracy, human rights, and religious freedom into the spotlight and relate to marginalized people by putting words to their struggles and their hopes. The song “Plegaria a un Labrador” (A Prayer to the Farmer), by Víctor Jara, for instance, deals with the need for agricultural reforms, giving farmers the right to own the land they cultivate.

Free us from the one who rules us in poverty.
Bring us your kingdom of justice and equality.
Blow, like wind, the flower of the ravine.
Clean, like fire, the cannon of my rifle.
Your will be done, finally, here on earth.
Give us your strength and your courage to fight.

Such ballads, loaded with political messages wrapped in evocative, poetic metaphors, are perceived as threats to oppressive governments. One of Mercedes’ favorite songs, which in many ways becomes equivalent to her own struggle and resilience, is “Como la Cigarra” (Like the Cicada), by the Argentine poet and children’s book writer María Elena Walsh.

I was killed so many times.
I died so many times
however, here I am
reviving.
I thank misfortune
and I thank the hand with the dagger
because it killed me so badly
that I went on singing
Singing in the sun
like the Cicada
after a year
under the earth
just like a survivor,
that’s returning from war.

Mercedes Sosa and Oscar Matus are the key figures of the New Song Movement in Argentina. With a desire to exchange ideas with artists and movements throughout Latin America, they meet with eleven other artists and poets in Mendoza on February 11, 1963, to sign the New Song Movement (Manifiesto Fundacional de Nueva Canciónero). The movement emphasizes the continent’s indigenous history and native cultural roots, making use of folk instruments like the Andean flute, the quena, pan pipes, and the ten-stringed charango.

In Argentina, Mercedes and Oscar work closely with Armando Tejada Gómez, an Argentine poet living in Mendoza. Gomez writes the songs, Matus composes the music, and Mercedes Sosa provides the voice connecting the two. Mercedes never writes her own songs—her strength lies in interpreting the songs of others and making them her own. “I fall in love with a song like one falls in love with a man. I love what I sing,”

she says.She gets many of her songs from Víctor Jara and Violeta Parra of Chile. “Gracias a la vida” (Thanks to Life), by the latter of the two becomes one of the movement’s best-known songs worldwide, thanks to Mercedes’ interpretation, which is remarkably persuasive and personal, so much so that the song becomes her trademark for good. In the Unites States it is sung by Joan Baez, who also uses her popularity as a vehicle for social protest, expressing anti-imperialist views resulting from the Vietnam War.

OSCAR MATUS is a fervent communist and supports militant methods. Mercedes joins him in the party, but she can’t accept its militant approach so she resigns shortly after. Despite the brevity of her membership in the Communist Party, she is pigeonholed the rest of her life as one of its members, stigmatized by right-wing politicians as communist and a threat. Meanwhile, the communists take advantage of her name appearing in their member lists, at the same time blaming her for not being a “real” communist because she doesn’t break with the Catholic Church. However, Mercedes doesn’t allow anyone to place her in a box. She is what she sings of in the song “Como un pájaro libre” (Like a Free Bird), a free bird who follows her heart and her conviction in everything she does.

Her involvement in the New Song Movement is an ideal platform where she can combine her art and her concern about human issues. She is a woman with a leftist ideology, but she doesn’t see herself as a political leader and doesn’t like being labelled as a protester either.

“Were they protesting songs? I've never liked that label. They were honest songs about the way things really are. I am a woman who sings, who tries to sing as well as possible with the best songs available. I was bestowed this role as a big protester, but it is not like that at all. I am just a thinking artist. Politics has always been an idealistic thing for me. I am a woman of the left, though I belong to no party and think artists should remain independent of all political parties. I believe in human rights. Injustice pains me, and I want to see real peace,”

she says.

By insisting on being an artist, she gets some enemies on the left, while her leftist ideology makes her an enemy of the right. It is a dilemma, but it doesn’t stop her from taking a stand in her music. “Sometimes a song needs to have a social content. But the primordial issue is one of honesty. In Latin America, the mere act of an artist being honest is itself political,”

she says, and advocates that artists have the same rights to have an ideology as everybody else.

IT IS not only political dilemmas Mercedes has to overcome. She is also facing a moral dilemma; she has become pregnant for the second time. Mercedes loves children and wants more but feels it is irresponsible of her.

Her career is consuming almost all of her time and energy, and she is living a turbulent, often changing life that lacks the safe environment necessary to raise a child. She is already struggling to be the mother she wants to be to Fabián, and it is a huge challenge for her to reconcile her high expectations of herself as a mother with her ambitions as an artist. She is overwhelmed by the thought of having a second child, so when she becomes ill during her pregnancy, she decides to get an abortion, a decision that is hard on her and makes her feel that she is not able to live up to her ideals.

This experience gives her a new understanding of young girls who have become pregnant against their will. She is not against the Catholic Church, but she sees it as a problem that the church is against teaching young adults about sexuality and fails to deal with the issue of children being molested by priests. Too many teenage girls die because they go to incompetent doctors who don’t know how to do the procedure safely and correctly. She believes that the average fifteen-year-old girl is not able to take care of a child, and that such girls need someone to speak up for them.

As a result, she embarks on a lifelong journey, becoming a spokeswoman for women’s rights, and, in 1995, she is honored for her work by receiving the UNIFEM Award from the United Nations.

Mercedes never regrets her decision about getting an abortion, but she nonetheless feels guilt over it frequently.

THE FINANCIAL pressure, their unpredictable lifestyle, raising a child, their disagreements over politics, and Oscar’s jealousy—which is causing him to mistreat her—is forcing her to question if she can keep her vows and stay in the marriage.

She is desperate to get out but is caught in a bind. She has always been a “good girl.” She hadn’t had sex with anyone before she got married, and she has never been unfaithful to her husband. According to the norms of the time and the traditional values of the area, she has grown up believing that good girls don’t get divorced. Even so, she is considering another hard decision that goes against her values and her loyal personality. But while she’s deliberating, she learns that Oscar has been unfaithful and wants to leave her for another woman. He makes the decision for her, easing her conscience. But she still feels humiliated and finds it hard to accept that he has abandoned her. Hatred is not a feeling she normally possesses, but Mercedes feels hatred toward the other woman for the rest of her life. “I did not leave the marriage. He abandoned me. A Tucumána girl marries for life. That destroyed me.”

Mercedes and Oscar have been married for eight years when Mercedes, thirty years of age, finally accepts that the marriage is leading to a dead end and consents to the breakup.

After the divorce, she feels heartbroken and lonely. She doesn’t even have a permanent place to stay and moves from one small pension to another with Fabián, who is now seven. Eventually, she decides to send Fabián to live with her parents in Tucumán. Her income comes from singing at nightclubs in Buenos Aires, but she doesn’t earn enough and has to get loans from some of her friends in order to survive. When the time comes to pay her friends back and she asks how much she owes, they all answer with variations of the rejoinder, “What money?” She is deeply moved by the sense of solidarity shown by her friends, who are artists struggling to make ends meet as well.

In 1965, Mercedes makes a significant step forward in her career. Thanks to the support of a very popular Argentine singer, Jorge Cafrune, who invites her to sing at the national folk festival in Cosquin (https://www.youtube.com/watch?v=QzwL8C2hE6c&index=39&list=PL5PuhOi-6caR5wHIxHNztgxvP8OlgdkSm), she gets a national breakthrough. At first, the festival committee doesn’t want her to sing as they consider her a communist, but Jorge Cafrune insists. Standing on the stage with her arm around Fabián, who she brings along whenever she can, she gives her thanks to Jorge Cafrune and the committee for the opportunity to sing. The song that provides her biggest breakthrough is almost prophetic, its lyrics ominously pointing toward what she is about to face.

Night is coming to me in the middle of the afternoon,
But I don’t want to turn into shadows,
I want to be light and stay.

IN 1967, a new life is taking shape. Professionally, Mercedes is being introduced on the big international stages. She gives concerts in Miami, Rome, Warsaw, Lisbon, Leningrad, and many other cities. She becomes engaged to Francisco Pocho Mazzitelli, her manager, whom she had developed a friendship with while still being married to Oscar. In the beginning, he was just a very good, supportive friend, but the friendship has grown into love. He becomes crucial for the way Mercedes develops as a musician, as he likes many different genres and introduces her to both classical music and jazz. Their relationship helps keep Mercedes from becoming further depressed and lonely after her divorce. Francisco, or Pocho as she calls him, pulls her out of the darkness and Mercedes realizes that she has to hold onto him to stay in the light.

They decide to get married in 1968. Pocho is a couple of years older than Mercedes, and he gives her the stability and peace she never experienced in her marriage with Oscar. He ends up being the love of her life, her true partner, and a substitute father for Fabián. He is also there supporting her through her grief when her father dies suddenly of a heart attack in June 1972, at the age of sixty-two.

AS THE popularity of the New Song Movement grows among the working class, it becomes a real threat to the ruling dictatorships across the continent. Soon many of its artists face political oppression—censorship, persecution, intimidation—and some are forced into exile. One of the leaders of the movement in Chile, Mercedes’ good friend Víctor Jara, comes out in support of Salvador Allende for president. In 1970, Allende is inaugurated as the first socialist head of state in a Latin American country elected by democratic means. When he steps out in front of the masses to be paid tribute for the first time, there is a banner hanging behind him that says, “It is not possible to have a revolution without singing.”