{"id":53930,"date":"2025-08-25T12:18:30","date_gmt":"2025-08-25T15:18:30","guid":{"rendered":"https:\/\/museomoderno.org\/?p=53930"},"modified":"2025-09-18T17:14:56","modified_gmt":"2025-09-18T20:14:56","slug":"nacha-guevara-aqui-estoy-el-di-tella-english","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/nacha-guevara-aqui-estoy-el-di-tella-english\/","title":{"rendered":"Nacha Guevara: Aqu\u00ed estoy El Di Tella English"},"content":{"rendered":"\t\t
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THE DI TELLA<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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M\u00e1talo a tu padre,
<\/span>no seas muy cruel.
<\/span>Y mata a tu madre\u2026
<\/span>no pierdas m\u00e1s tiempo.
<\/span>M\u00e1talos prontito,
<\/span>de una vez por todas
<\/span>supera tu Edipo.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Kill your father,
<\/span>don\u2019t be too cruel.
<\/span>And kill your mother\u2026
<\/span>don\u2019t waste any more time.
<\/span>Kill them quickly,
<\/span>once and for all
<\/span>get over your Oedipus complex.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u2018Canci\u00f3n de cuna generacional\u2019 [\u2018Generational Lullaby\u2019], a Spanish version of the song by J. Brahms, created by Carlos del Peral and Fernando Leynaud, from the album <\/span>Nacha Guevara canta<\/span><\/i> [<\/span>Nacha Guevara Sings<\/span><\/i>] (1968)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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In the 1960s, Buenos Aires was experiencing its own revolution. Amidst art, youth and politics, a generation emerged that was determined to question everything in a provocative and ironic manner, be it family, morals, language, sex, fashion or art. At the epicentre of the movement, for at least a portion of this generation, lay the Instituto Di Tella. Founded in 1958, the Di Tella became an unexpected space of freedom and creativity, a laboratory of aesthetic disobedience, and a refuge. There, an art form was being practised that challenged hierarchies, mocked solemnity and mixed the cultured and the kitsch, the sublime and the absurd.<\/span><\/p>

The Di Tella maintained a lively dynamic despite the prevailing political oppression: in June 1966, General Ongan\u00eda overthrew President Illia and ushered in a conservative dictatorship. After the \u2018Noche de los Bastones Largos\u2019 [\u2018The Night of the Long Batons\u2019] \u2014 a night of violent repression at the University of Buenos Aires on 29 July 1966 \u2014 hundreds of scientists and researchers were forced into exile. This brain drain delivered a severe blow to Argentine culture, which would survive, though it was under constant suspicion. The coming years were filled with major social, political and cultural changes, both in the country and internationally, with the occurrence of events as diverse as the protests of May 1968 in France and the 1969 moon landing.<\/span><\/p>

It was against this backdrop that Nacha Guevara emerged as a representative of the Nueva canci\u00f3n [New Song] movement with her concerts at the Teatro Payr\u00f3. In 1968, she arrived at the Di Tella with a handful of songs translated from the French as well as other compositions full of absurd humour and social criticism. She made potatoes and tomatoes talk, questioned the rules with a banana in her hand, and turned irreverence into her own language.<\/span><\/p>

Nacha confronted the Ongan\u00eda regime on her album <\/span>Anastasia querida<\/span><\/i> [<\/span>Dear Anastasia<\/span><\/i>] (1969), titled in homage to the writer Boris Vian and his French contemporaries, who used the name to refer to censorship, as if it were a person. In \u2018El tiempo no tiene nada que ver\u2019, her version of Georges Brassens\u2019 song \u2018Le temps ne fait rien \u00e0 l’affaire\u2019 [\u2018Time Has Nothing to Do with It\u2019], she repeats the word <\/span>boludo<\/span><\/i> (idiot), considered vulgar at the time, sparking controversy among Buenos Aires society and shattering the limits of what was permitted in the music of the day.\u00a0<\/span><\/p>

Nacha had dreamed of becoming a dramatic actress, but instead she became a sharp-tongued, rebellious pop star.<\/span><\/p>

After suffering much censorship and in the context of a political and economic crisis, the Di Tella closed its doors in 1970.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u2018There was so much cultural energy, new things were being created and
systems were being disrupted. I was lucky enough to participate in the three
movements that emerged in the late 1960s: the Di Tella, caf\u00e9 concerts and
the Nueva Canci\u00f3n movement. I don\u2019t know how I did it, perhaps it was my
ability to split myself in two\u2019.\u00a0<\/span><\/p>

Nacha Guevara.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

THE DI TELLA M\u00e1talo a tu padre,no seas muy cruel.Y mata a tu madre\u2026no pierdas m\u00e1s tiempo.M\u00e1talos prontito,de una vez por todassupera tu Edipo. Kill your father,don\u2019t be too cruel.And kill your mother\u2026don\u2019t waste any more time.Kill them quickly,once and for allget over your Oedipus complex. \u2018Canci\u00f3n de cuna generacional\u2019 [\u2018Generational Lullaby\u2019], a Spanish version […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-53930","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/53930","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/comments?post=53930"}],"version-history":[{"count":7,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/53930\/revisions"}],"predecessor-version":[{"id":54584,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/53930\/revisions\/54584"}],"wp:attachment":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media?parent=53930"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/categories?post=53930"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/tags?post=53930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}