The pencil, the brush and the guitar: some aspects of Chilean culture during the Popular Unity (1970-1973) Article Sidebar PDF (Español (España)) Published Jul 31, 2020 DOI https://doi.org/10.25074/actos.v2i3.1647 Author Biographies Jimena Alonso, Facultad de Humanidades y Ciencias de la Educación de la Universidad de la República, Uruguay Graduated in Historical Sciences from the University of the Republic (Uruguay). Master in History and Memory; and PhD candidate in History from the UNLP. She is a fellow for postgraduate studies abroad from the National Agency for Research and Innovation of Uruguay. Effective professor of the Department of American History (Faculty of Humanities and Educational Sciences). Scientific manager of the project “Uruguayans and the roads. The influence of the Cuban revolution and the Chilean path to socialism: alliances, projects and strategies (1958-1973)”, financed by the Sectoral Commission for Scientific Research of the University of the Republic for the period 2016-2018. She has been a member of the Team of Historians of the Human Rights Secretariat for the Recent Past, between the years 2005-2015. It investigates the reception that both the Cuban revolution (1959) and the Popular Unity process in Chile (1970) had in the sectors of the Uruguayan left and therefore, deepen the debates that took place, what were the strategies, alliances and political projects of the different sects Elías Sánchez González, Universidad Nacional de La Plata, Argentina Graduate in History mention Cultural Studies (UAHC-Chile). Master in History and Memory (FaHCE-UNLP-Argentina). Doctoral student in History Faculty of Humanities and Education Sciences National University of La Plata, Argentina. He works on themes of memory, places of memory and urban imaginaries, based on the re-configurations generated by the latest military dictatorships. He currently works at the Documentation and Archive Center of the Chilean Human Rights Commission and at the Universidad Academia de Humanismo Cristiano. He is part of the Interinstitutional Program of Studies on Memories, Migrations, Exiles and Refuges of the Faculty of Humanities and Education Sciences of the National University of La Plata, Argentina. Main Article Content Jimena Alonso Facultad de Humanidades y Ciencias de la Educación de la Universidad de la República, Uruguay https://orcid.org/0000-0002-7414-0730 Elías Sánchez González Universidad Nacional de La Plata, Argentina https://orcid.org/0000-0002-6061-6507 Article Details Issue Vol 2 No 3 (2020): Revista Actos Section Artículos How to Cite Alonso, J., & Sánchez González, E. (2020). The pencil, the brush and the guitar: some aspects of Chilean culture during the Popular Unity (1970-1973), 2(3), 52 - 73. https://doi.org/10.25074/actos.v2i3.1647 More Citation Formats ACM ACS APA ABNT Chicago Harvard IEEE MLA Turabian Vancouver estadisticas Downloads Download data is not yet available. Abstract The government of the Chilean Popular Unity (UP) (1970-1973) was an unprecedented experience for Latin American politics in the mid-20th century: it was a Marxist candidate, who assumed the government through a left-wing coalition, respecting the legality of the time and through the electoral route. The Chilean path to socialism is also a unique process in terms of its cultural dimensions. In this context, this article seeks to analyze the role that culture had in the experience known as the Allende days. For this, music and literature will be analyzed as historical sources. Among which are selected iconic songs from the UP and the work carried out by the Editorial Nacional Quimantú. We find that literature and music acquire a relevant role in the UP project, by assuming a social and political commitment, both cultural dimensions become fundamental supports of Salvador Allende's electoral campaign in 1970. Keywords Memory Popular Realism Popular Unity; New Chilean Song Quimantú
