Anti Fascism Blog

Federico García Lorca was born in Fuente Vaqueros, Granada on the 5th of June, 1898 and died the 19th of August, 1936. His life spanned the years between the Year of Disaster and the Spanish Civil War which ultimately victimized him. He travelled throughout Spain and America, principally Argentina, living and writing some of the most beautiful poetry ever written. His poetry has been translated into a dozen languages and his name is known worldwide. His personal life is the subject of much debate now, relating to his tendencies and friends.

Lorca’s poetry and plays combine elements of Andalusion folklore with sophisticated and often surrealistic poetic techniques, cut across all social and educational barriers. Works include: Thus Five Years Pass, The Public, Dona Rosita. He is toted to have succeeded in the creation of a viable poetic idiom for the stage, superior to the works of his contemporaries, Yeats, Eliot and Claudel.

August 9, 1936, Falangist soldiers dragged the Spanish poet and playwright Federico Garcia Lorca into a field, shot him and tossed his body into an unmarked grave… Franco’s government tried to obliterate Lorca’s memory. His books were prohibited, his name forbidden.

One of the first and most famous casualties of the Spanish Civil War, Lorca quickly became an almost mythical figure, a symbol of all the victims of political oppression and fascist tyranny. People began speaking publicly about Lorca again in the late 1940’s, and The House of Barnardo Alba was the first of his plays to be produced in Spain (1950), since his death and since the end of the war. Though foreign influence helped to loosen the Franco regimes control over Lorca’s work, bans were still placed as late as 1971. Due to public outcry however, Lorca’s work was produced.

Lorca’s reconquest of the Spanish public, and his growing prestige among scholars is a relatively recent phenomenon. When his works began to recirculate freely, many people who knew only the Gypsy Ballads and two or three of the more popular plays considered Lorca a poet of limited interest and local color. When his later poetry -Poet in New York- and experimental plays such as The Public came to be better known and understood, attitudes changed.

Kien hemm waħda tgħix il-Bidnija
kella wiċċa ta’ waħda faqmija.
Kella ilsiena bla-brake
kienet veru tan-nejk
u kullħadd kien jgħidila poxtija.

Wieħed Għaxqi jismu Sansun
Il-Madonna iħobb bħall miġnun
Biex juri li sod
U kemm hu devot
Lil- Ġużeppi huwa juri il-qrun.

Waqt li kien qed jisraq għand Ġanni
Ġuże ħabat rasu mal-kanni
Il-Qorti ordnat
Permezz ta mandatt
Li Ġuże għandu jieħu tad-danni.

Jekk xi darba immur passiġġata
Sal-Birgu ix-xatt xi ġurnata
Għal li jista ikun
Taħsbu faċli li tkun
Illi insib nixtri tazza ruġġata?

Hasta Siempre

Bella Ciao 

Contessa

Per i morti di Reggio Emilia

Se non li conoscete… i fascisti.

Fischia il vento

1913 Massacre

For well over 30 years, Inti-Illimani (the name translates as “Sun God”) has held a beacon for Chilean music, both the traditional folk styles and the more contemporary nueva cancion. Back in 1967 a group of students at Santiago’s Technical University formed a band to perform folk music. Taking their name from the Aymaran Indian language of the Andes, they began playing traditional music — something few did back then — and quickly earned a reputation around the capital, becoming more and more adept on their instruments. By the ’70s they’d grown into a political beast, taking on the nueva cancion (literally “new song”) of many young groups, and being quite outspoken lyrically — enough to be forced into exile in 1973, where they’d stay for 15 years. However, they refused to be cowed by the Chilean dictatorship. Basing themselves in Rome, Italy, they continued to record, and toured more heavily then ever before, earning a powerful reputation around the globe, and becoming very unofficial ambassadors of Chilean music, as well as opponents to the ruling regime. In addition to performing with a number of famous, political figures, they were included on the famous 1988 Amnesty International Tour. It was, perhaps, their highest profile moment, at least in worldwide terms, and set the stage for their return to their homeland, where they’ve continued to be outspoken. While they’ve remained a force in world music, their career in the U.S. was hampered by the lack of any consistent record deal until 1994, when they signed with Green Linnet offshoot Xenophile. Prior to that, only a few of their 30-plus discs made it into domestic U.S. record bins. The eight-piece lineup remained stable until 1996, when Max Berru decided to retire from music after almost three decades, shortly after the group had been celebrated with a Best Of disc in Italy (not to be confused with the 2000 Best Of on Xenophile, which collected tracks from their last four releases only). Instead of replacing him, they’ve continued since as a septet. 1997 saw the band honored with a U.C. Berkeley Human Rights Award for their labors in the past. Since then, although they’ve continued to release albums and tour, they’ve cut back on their earlier hectic schedule, but also widened their musical horizons, as 1999’s Amar De Nuevo looked at the complete spectrum of Latin roots music and its Creole heritage.

Oscar Romero was born in Ciudad Barrios, a town in the mountainous east of El Salvador, on 15 August 1917. He was the second of seven children. When he was thirteen he declared a vocation to the priesthood. In February 1977, Oscar Romero became archbishop of San Salvador.

As Archbishop of San Salvador, Father Romero was a source of strength and hope for the poor and for the oppressed of his country, working with and for them, taking their struggles as his own. Romero wrote and spoke passionately and publicly of the need for Christians to work for justice, frequently faced with threat and danger from those who opposed his ideas. On March 24, 1980, while celebrating the Eucharist, Archbishop Romero was shot and killed at the altar by a death squad assassin, paying the highest price for the commitment about which he spoke so often and so eloquently. Because of his courageous stand for justice, he became a martyr not only for poor Salvadorians but for all struggling to overcome oppression and poverty. Today, his sermons are read as powerful reminders of Christians’ obligation to fight for a just society. Shortly before he was murdered, Romero said: “It is my hope that my blood will be the seed of freedom and the sign that hope will soon be reality” The example of Romero’s courageous life and ultimately death continue to inspire those who struggle for human dignity and justice.