Patricio Manns
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| Patricio Manns | |
|---|---|
| Birth name | Patricio Manns |
| Born | August 3, 1937 |
| Origin | Nacimiento,  Chile |
| Genre(s) | Folk, Andean music, Latin music, Chilean music, Poetry, Novelist, Essayist, Journalism |
| Occupation(s) | Singer, Composer, Poet, Novelist, Author, Journalist, Social activist |
| Instrument(s) | Vocals, Spanish Guitar |
| Years active | 1959 - Present |
| Label(s) | CBS, Phillips, Alerce |
| Associated acts | Violeta Parra, Quilapayún, Inti-illimani, Víctor Jara, Ángel Parra, Horacio Salinas, Isabel Parra, Sergio Ortega, Pablo Neruda, Francisco Coloane |
| Website | Manns.cl |
Patricio Manns (b. Nacimiento, Chile, August 3, 1937) is a Chilean composer, author, writer, and journalist.
Contents |
[edit] Biography
[edit] Infancy and youth
Patricio Manns was born in the rural town of Nacimiento, in the south of Chile on the 3rd of August in 1937. He is the son of a primary school teacher and an agricultural engineer of German descent. Both of his parents were also involved in music: his father was a jazz aficionado and his mother studied classical piano.[1] His mother was also central in cultivating his interest in literature. In his youth he took up a broad range of occupations: from coal miner in Lota to reporter for the daily newspaper La patria in Concepción. At the beginning of the 1960s he moved to Santiago where he continued his journalistic work.
[edit] Early music career
He was initiated in the field of music when he composed Bandido in 1959, which was recorded in Argentina in 1962 by the folk group Los Travadores del Norte and in Chile by Los Cuatro Cuarto. But it was with the composition Arriba en la cordillera (Up in the Cordillera) in 1965 that he achieved national fame - especially when it was released in the album, Entre Mar y Cordillera (Between Sea and Cordillera) in 1966 which was a massive success.
Manns was a founding member, with Rolando Alarcón and the Parras (the children of Violeta Parra: Isabel and Ángel Parra) of the Peña of Carmen 340 (later known as the Peña of the Parras), which was joined a few months afterwards by Víctor Jara. These peñas laid the groundwork and served as a crucible where progressive neo-folklore transformed itself into the “Nueva Canción Chilena (NCC)” (New Chilean Song) movement – a folkloric renaissance which led to a revolution in the popular music of the country. At the time of the military coup of September 11, 1973 - which toppled the democratically elected socialist government of Salvador Allende - the NCC had acquired a nation-wide mass following with NCC artists touring the world as cultural ambassadors.
Manns would go on to actively participate in the extensive production of a series of travelling shows called Chile Rie y Canta (Chile Laughs and Sings) which were organised throughout Chile by René Largo Farías. In this early period of his career Manns also composed a Cantata: El Sueño Americano (The American Dream) (1965) which he recorded with the folk group Voces Andina – this was one of the first cantatas to be heard in Latin America that traced - via the amalgamation of distinctive rhythmic elements from different regions of the sub-continent – the historical birth of Latin America. Song XII of the cantata América Novia Mia (America My Bride) has been recorded by himself and Inti-illimani several times. During this period he also recorded ¡El Folclore No Ha Muerto, Mierda! (Folklore Hasn't Died, Damnit!) (1968) with Silvia Urbina which revived folkloric forms which were disappearing under the influence of foreign musical trends that were being popularized in Chile.
From his multi-faceted role as singer, composer, writer and journalist he actively collaborated in the presidential campaigns of Dr. Salvador Allende in 1964 and in 1970, the latter being the campaign that led Salvador Allende to the presidency as the leader of the Popular Unity government. During this time he recorded the album Patricio Manns (1971) which included one of his best known compositions Valdivia en la niebla (Valdivia in the fog) and the prophetic No Cierres los Ojos (Don’t close your eyes). This recording, which was accompanied by Inti-illimani, Los Blops, the Symphony Orchestra of Chile and the Philharmonic Orchestra of Santiago, was arranged by Luis Advis.
[edit] Life in exile
The military coup of September 11, 1973 found him in Chile and it was only due to international diplomatic mediation that he was able to safely leave his country. Late in 1973, Manns settled in Cuba where he began a life in exile that was to last decades. During his period in the Caribbean island he composed and recorded together with the Symphony Orchestra of Cuba Cuando Me Acuerdo de Mi País (When I Remember My Country) and other songs that were featured in his LP Canción sin Limites (Limitless Songs). He collaborated with Humberto Solás with the script for the movie La Cantata de Chile (Cantata of Chile) (1976) and also wrote the text for the musical work of Leo Brouwer which the movie was named after.
From Cuba he travelled to France where he settled and formed the ensemble Karaxú in 1974 with which he continued to musically collaborate with Cuban artists. From exile Manns launched his “struggle against the Pinochet dictatorship” becoming a spokesman of the Chilean resistance with music productions such as Canción sin Limites (Limitless Songs) (1977) and perhaps with more vigour in Chansons de la Résistence Chilienne (Songs of the Chilean Resistance) (1974). In this stage of exile he met Alejandra Lastra (1979) to whom he composed the famous Balada de los Amantes del Camino de Tavernay (Balad of the Lovers of Tavernay Road) (1985) - Manns had moved and settled with his partner in Chemin de Tavernay in Geneva in the course of 1979.
As the musicologist Juan Pablo González has stated: "…in his 27 years of exile, Manns established with Horacio Salinas one of the most fruitful creative collaborations in the history of Chilean music”.
This collaboration began to take form in the works of Inti-illimani, in compositions such as Retrato (Portrait) or Vuelvo (I Return) – both from 1979. From this period of work with Salinas and Inti-illimani we find the grains of songs which with time would grow to become true emblems of the Latin America folk/popular music repertoire: such as El Equipaje del Destierro (The luggage of exile), Palimpsesto (Palimpsest) (1981), Cantiga de la Memoria Rota (Verses for a Shattered Memory) and Samba Landó (1985). Subsequently, other songs of this collaborative period included Medianoche (Midnight), Arriesgare mi piel (I'll risk my skin) (1996) and La Fiesta Eres Tú (You are the party) (1998).
In 1984 he moved to Trez Vella in Echenevex, close to the French-Swiss border. In this stage of exile Manns reached a high point in his creativity with the Concert of Trez Vella, a piece that was arranged by Alejandro Guarello and he recorded it with Inti-illimani in Rome 1985. This work with Inti-illimani appeared in his second album with Inti-Illimani: Con la Razón y la Fuerza (With Reason and Force) (1982) and La Muerte no Va Conmigo (Death Doesn’t Walk With Me) in 1986.
[edit] The reencounter
After 17 years of exile Manns began his return to Chile in 1990, touring and performing throughout the country. The tour started the 23rd of August in the Teatro Teletón and on the 24th in the Estadio Chile (Now renamed Estadio Víctor Jara). On TVN, he performed for the first time in Chile his emotionally charged Cuando Me Acuerdo de Mi País (When I Remember My Country) before an anxious public in the studio and before a nation-wide audience. From this tour of Chile, which included Santiago, Concepción, Valparaíso and Viña del Mar, Manns would comment: “… for now I have accomplished the basic priority of setting foot in my country again”. The second step, the definitive return was only to be in 2000, when he decided to return and settle in Chile in the area of Concón.
[edit] Present and future
The creative and artistic collaboration between Manns and Horacio Salinas]continues with works interpreted by Inti-illimani such as "La Rosa de los Vientos" (Rose of the Winds) (1999) and "Cantares del Mito Americano" (Songs on the American Myth) an unrecorded work that was performed in the Teatro Municipal of Viña del Mar in 2001. Horacio Salinas collaborated with Manns in the production of his first record as a soloist "Remos en el Agua" (Oars on the Water) released in November 2003. Manns also participated in Inti-Illimani’s DVD "Lugares Comunes" (Common Places) recorded live in the Estadio Nacional de Chile. Manuel Meriño put music to Manns now famous poem “Vino del Mar” (She came form the sea) dedicated to Marta Ugarte one of the victims of the Chilean military dictatorship, song which was recorded by Inti-Illimani’s. Lugares Comunes (Common Places) in 2003.
During the four century celebration of of the city of Nacimiento in December 2003, Manns was named an “illustrious son” of this city.
In September 2003 he launched his work, “Allende: la Dignidad Se Convierte en Costumbre” (Allende: When Dignity Becomes a Custom) in the Estadio Nacional in homage to President Salvador Allende.
In 2005 he recorded with theUlli Simon Ensemble in Germany; in 2006 he collaborated in composing songs for Inti-Illimani’s CDs Pequeño Mundo (Small World) and Esencial (Essential). He also recorded a CD with Mexican rancheras and corridos for a musical production of the Banco del Estado (Chile’s State Bank). He also recorded a CD of ballads and boleros titled “Porque Te Amé” (Because I loved you) which was highly received in countries like Mexico and Peru.
Currently Manns lives in Central Chile where he has focused on the development of his literary career.
[edit] Music
The following is a selective discography of Patricio Manns: [2]
- 1965 - Entre Mar y Cordillera (Between Sea and Cordillera)
- 1966 - El Sueño Americano (with Voces Andinas) (The American Dream)
- 1967 - ¡El Folclore No Ha Muerto, Mierda! (with Silvia Urbina) (Folklore Ain't Dead, Dammit!)
- 1968 - La Hora Final (The Final Hour)
- 1971 - Patricio Manns
- 1974 - Chants de la Résistance Populaire Chilienne (with Karaxú) (Songs of the Popular Chilean Resistance)
- 1975 - Karaxú Live (Live with Karaxú)
- 1977 - Canción Sin Límites (with the EGREM Orchestra of Cuba) (Limitless Songs)
- 1983 - Con la Razón y la Fuerza (with Inti Illimani) (With Reason and Force)
- 1983 - Itinerario de un Retorno (Live in México) (Itinerary of a Return)
- 1986 - Cuando Me Acuerdo de Mi País (compilation) (When I Remember My Country)
- 1986 - La Muerte No Va Conmigo (with Inti Illimani) (Death Doesn’t Accompany Me)
- 1990 - Patricio Manns en Chile (Live in Chile)
- 1998 - Porque Te Amé (Why I Loved You)
- 1999 - Arriba en la Cordillera (compilation) (Above on the Cordilleras)
- 2000 - América, Novia Mía (Live) (America My Beloved)
- 2003 - Allende: La Dignidad Se Convierte en Costumbre (Allende: When Dignity Becomes a Custom)
[edit] Literature
Manns is one of the most prolific writers in Chile. His literary creations embrace various genres, from novels with historical themes to essays and plays and he has published more than 30 works. The unique structures of his textual constructs and the seamless conductive literary technique he uniquely employs have made him the subject of scholarly study in various European and Latin American Schools of Literature and Universities.
[edit] Bibliography
[edit] Fiction
- De noche sobre el rostro (1967)
- Buenas noches los pastores (Goodnight shepherds) [1973]
- Actas de Marusia (1974)
- Actas del alto Bío Bío (1985)
- Actas de muerteputa (1988)
- De repente los lugares desaparecen (Suddenly places disappear) [1991]
- El corazón a contraluz (Cavelier séul) France [1996]
- Memorial de la noche (Night Memorial) (1998)
- El desorden en un cuerno de niebla [1999]
- La vida privada de Emile Dubois (The private life of Emile Dubois) [2004][3]
[edit] Play
- La lámpara en la tierra (The lamp on Earth) (2000)
[edit] Poetry
[edit] Film
The 1975 movie Actas de Marusia directed by Miguel Littin was based on a novel by the same name that Manns published in 1974. The movie – which featured Gian Maria Volontè in the principal role - caused great controversy and unease among conservative circles in Chile at the time of its release. This movie won several awards and was also nominated for an Oscar at the Academy Awards in the U.S.A. in 1976 in the Best Foreign Language Film category. [5]
[edit] Awards and recognition
Manns is broadly recognized for his multi-faceted prolific career as a musician and literary figure. He is a founder of the movement of neo-folkloric popular music that emerged in Chile in the 1960s and constituted a fundamental nexus between the Nueva Canción Chilena (New Chilean Song) movement and more current musical developments. As a literary figure he has developed in the field of poetry, as a non-fiction writer, in novels and in theatre. Manns has been awarded numerous prizes - both national and international – for recognition in his fields, among them are:
- Premio Alerce (Alerce Prize) from the SECH (Society of Chilean Writers) organization and the University of Chile (1967)
- Premio Municipal de Literatura (Municipal Literary Prize) (1973) (this prize was officially awarded 25 years later in 1998)
- Guggenheim Fellowship (1988) [3]
- Prix Rhône-Alpes: The French edition of his novel El Corazón a Contraluz, ‘Cavalier Seúl’ was selected as one of the best novels published in France in 1996.
- Premio del Consejo Nacional del Libro y la Lectura (2001) (for the anthology of short stories in his Corre Hasta los Arboles (Run to the trees) which was reedited by the Editorial Sudamericana as La Tumba del Zambullidor.
- Premio Municipal de Literatura de Valparaíso (2003)
- The Chilean Society of Writers (SCD) officially recognizes him as a Fundamental Figure of Chilean music (2006). [6]
[edit] References
- ^ According to Interview, Radio Universidad de Chile
- ^ Discography 1966 – 2005 – Trovadores.net
- ^ Manns novels - List of Publications
- ^ Manns Poetry - List of publications
- ^ According to culturalia.com[1], [2]
- ^ PDF Detailing the awards and the corresponding work. Literary Curriculum.pdf
