Between 1976 and 1983, Argentina was plunged into a period of darkness and conflict. During this time, the Argentine armed forces, led by Jorge Rafael Videla, unlawfully seized control of the country and established a violent dictatorship, which resulted in widespread repression and grave human rights violations. This regime, known as the ‘Dirty War’, was characterised by forced disappearances, where thousands of civilians were abducted and tortured, which led to a total of 30,000 people who completely disappeared. While the military junta targeted a wide range of individuals they considered to be terrorists, they notably displayed an anti-youth attitude, with 69% of the disappeared falling between the ages of 16 and 30. In addition to physical disappearance, the regime erased the presence of young voices in the media, effectively silencing them and creating a cultural ‘blackout’.[i]
This repressive environment instilled profound fear in young Argentines, who were unable to live freely and participate in any of their usual activities. Yet, these restrictions on freedom of speech and assembly also gave birth to a musical movement that would significantly influence Argentina’s history and leave a lasting mark on the global music scene: rock nacional (national rock). Rock nacional became a symbol of resistance, transforming musicians into leaders and songs into anthems that challenged the oppressive regime and inspired young people to pursue the seemingly impossible: freedom and peace. Among many of the influential musicians in this genre stood León Gieco and Charly Garcia[ii]. They skilfully avoided censorship with their lyrics, crafting an alternative form of protest nationwide.
Encouraging Resistance and Hope Through Music
In Argentina, rock songs became powerful forms of expression, a poignant language, depicting vivid imagery that captured people’s feelings of resistance, disillusionment, and hope. Charly García, for example, used witty euphemisms and metaphors to challenge censorship and express disdain for the regime. One of the many songs that covertly criticises the dictatorship is ‘Canción de Alicia en el País’ (Alice’s Song in the Country). García uses Alices’ adventures in Wonderland as an allegory for life under a dictatorship
“Estamos en la tierra de nadie “We are in no man’s land
Pero es mía but it is mine.Los inocentes son los culpables The innocent are guilty,
Dice su Señoría, el Rey de Espadas” Says his highness, the King of Spades”
Ultimately, the lyrics of ‘Canción de Alicia en el País’ convey the sentiments of young Argentines during the political turmoil of the 1970s. The phrase ‘we are in no man’s land’ effectively captures the feeling of limbo and instability that pervaded society at the time. However, the juxtaposing line ‘but it is mine’ right after also communicates a sense of ownership and agency in the midst of this uncertainty. Together, these lyrics encourage individuals to assert their identity beyond oppression. Furthermore, the lyric ‘The innocent are the guilty, says his highness the king of spades’ is a reference to dictator Videla’s abuse of authority and manipulation of justice. Overall, this song sheds light on the harsh realities faced by Argentinians, while also urging those listening to have a spirit of resistance and resilience.
Another song of Charly García which aims to inspire hope among people, rather than directly criticising the regime is ‘No Te Dejes Desanimar’ (Don’t Let Them Discourage You).
“No te dejes desanimar “Don’t let them discourage you
No te dejes matar Don’t let them kill you
Quedan tantas mañanas por andar” There are so many tomorrows left to live”
García’s lyrics encourage perseverance in the face of fear, reminding people not to give up. Similarly, León Gieco’s song ‘Sólo le Pido a Dios’ (I Only Ask of God) condemns war and is a moving plea for peace and faith that has inspired people all over the world. It has been translated into multiple languages and has been performed by artists like Bruce Springsteen.
“Solo le pido a Dios “I only ask of God
Que la guerra no me sea indiferente That I never grow numb to war,Es un monstruo grande y pisa fuerte It’s a monster that crushes beneath it
Toda la pobre inocencia de la gente” the innocence of the people”
Gieco’s prayer that no one should be indifferent to human suffering is a moving call for peace and justice. Both songs, through their melancholic yet hopeful lyrics, communicate a yearning for a better future. Therefore, these artists and their songs became powerful advocates for peace. Analysing these three distinct musical interventions exemplifies the multifaceted role that rock nacional played in Argentina, serving as both a way to call for peace and critique contemporary society and politics. The purpose of rock nacional went beyond mere entertainment, truly establishing itself as a tool for social change and empowerment.
It is important to note, however, that while rock nacional had the potential to inspire peace and unity, it wasn’t always used for good. Historian Sergio Pujol, for example, claimed that music of the time was also used as a torture mechanism; songs echoed repeatedly and at excessive volume in the torture chambers of clandestine detention centres to wear down and mask the screams of the disappeared. This dark reality highlights the dual nature of music, which, while capable of promoting peace, can also be used to cause suffering and silence dissent.
Music as a Pocket of Peace
While individual songs highlight the power of music to fight oppression, the broader cultural impact of rock nacional extends far beyond its tracks. The shared experience of listening to music was one of the factors that made this movement so powerful. Many people reported that clandestine concerts and gathering with friends to listen to records provided them with solace and an escape from the oppressive atmosphere of the outside world.[ii] The simple act of listening and singing to music together became critical to forming a community among people who felt voiceless and stripped of their identity. Rock Nacional emerged as a peaceful means for people to rebel. It served as a way to challenge and escape oppression, as well as a sanctuary for peace, allowing for reflection on the burdens imposed by the dictatorship and what freedom might mean.
‘The concerts were freedom … a meeting in freedom: a liberated zone. You wanted to get in at any price because you knew that inside something different was happening . .. it was a place where people lived freedom in the music.’ (Carlos, 19, student).
(Vila and Cammack, 1987, p.133)
Long Term Impacts
During the post-dictatorship period, rock nacional music evolved into a medium for publicly conveying the trauma of life under the regime. Rock music was instrumental for supporting mourning and healing processes, guiding listeners to face and overcome their trauma. While various forms of social and historical mourning were expressed in Argentine culture through films, literature, and art, rock nacional once again emerged as one of the first and most powerful voices in confronting Argentina’s dark history, strongly condemning abuses of power and insisting on justice for the disappeared.[iii] As one of the enduring voices in this ongoing dialogue, rock nacional continues to play an important role in keeping the memory of these events alive, serving as a poignant reminder of the country’s commitment to preventing such atrocities from occurring again. Songs remain popular across generations; music that is deeply ingrained in the collective consciousness of Argentine society.
In conclusion, the peace movement in Argentina was inextricably linked with the rock movement. During times of conflict, listening to music was a beacon of hope in the midst of darkness, effectively encouraging resilience and resistance. From meaningful lyrics to communal gatherings, rock nacional established itself as an essential component of Argentina’s struggle for freedom and peace, as well as a transformative force that has and continues to bring people together. Music embodies memory, unity, and truth, but its potential negative impacts are undeniable. Indeed, music has the power to inspire positive change and foster unity, yet it also carries the risk of spreading dangerous ideologies and inciting violence. Despite this duality, we must acknowledge the power of music and creative expression as catalysts for global peace.
What do you think?
- How can music and other forms of artistic expression be used to amplify marginalised voices and promote positive social change?
- What role do artists and musicians play in advocating for peace and justice, and how can their influence be maximised?
- Given the long-term impact of rock nacional in Argentina, how can art and cultural movements help to promote healing and reconciliation in post-conflict societies?
- How does music contribute to shaping cultural memory and promoting peace in your own community or country?
- Can you think of ways that sharing music with others has influenced your sense of belonging, identity or your inner peace?
If you enjoyed this item in our museum…
You might also enjoy The ‘Wolfe Tones’: Rebel Songs and the Rhetoric of Peace in Ireland, And what if things were different? Rapping for empathy, The Eurovision Song Contest and its peace projects – from European reconciliation to queer utopia? and entries under the tag ‘artivism‘. You might also be interested to read about a collaborative between the Visualising Peace project and some professional and student musicians, to explore music’s power to represent and promote peace in the world.
Zoe Gudino, April 2024
If you want to read more:
- What life was like during the dictatorship: https://www.theguardian.com/lifeandstyle/2008/sep/06/family.pinochet, https://yalebooks.yale.edu/2015/06/01/life-during-argentinas-dirty-war/
- How might music act as a catalyst for peace: Playing for Peace: Music, Peacebuilding, and the Disruption of Violent Narratives, Sandoval, E. (2016). Music in peacebuilding: a critical literature review. Journal of Peace Education, 13(3), pp.200–217. doi:https://doi.org/10.1080/17400201.2016.1234634.
- Listen to some more iconic songs of the time: Poetry, Guts, and Keyboards: Charly Garcia’s Iconic Songs
References
[i] Wilson, T. and Favoretto, M. (2016). Rock Nacional in Argentina during the Dictatorship. Oxford Research Encyclopedia of Latin American History. doi:https://doi.org/10.1093/acrefore/9780199366439.013.368.
[ii] Vila, P. and Cammack, P. (1987). Rock Nacional and Dictatorship in Argentina. Cambridge University Press, [online] 6(2), pp.129–148. Available at: https://www.jstor.org/stable/853417.
[iii] Wilson, T. and Favoretto, M. (2015). Making the ‘Disappeared’ Visible in Argentine Rock. Song and Popular Culture, [online] 60/61, pp.351–364. doi:https://doi.org/10.2307/26538873.