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"Butterflies Red, Black Butterfly": word, militancy and memory

At the end of the Book Fair, Silvia Loustau invited me to present his fine book "Butterflies Red, Black Butterfly. Memoirs of a militant Argentina in Chile, 1970-1973. " Transcribe them-words, fewer words, the text of my speech, using the publication to thank who dared to share with me the memory of a past with many similarities, as unforgivable disabilities to join at that time.

How difficult synthesize much love, so much struggle, so militant, so life is a noun and two adjectives. Much talent to write simply Red Butterflies, Mariposas Negras .

This achieves Silvia Loustau, who introduces herself in the novel as "Mariana" or "Laura"-his old name as a militant. Loustau, an outstanding poet and writer. First Prize for Poetry Illustrated in La Plata, with Letter to Pablo Neruda - when she was 18. First Prize for Fiction Center of Latin America Editor (CEDAL) with 19, to the surprise of David Viñas, who confessed, embarrassed to see that almost adolescent receive recognition "that the jury was convinced that the author of the work shared the generation of the evaluators.

introductions do not end with this "alter-ego", but continue with many "poets / partners" Mombrú Mary, his mother a poet, as described, Carmen Soler, the same Margaret Aguirre, among others, you readers will be delighted to discover between the pages. All he conveyed a message that Silvia made flesh: work, work, work on the words.

The book also appears Silvia, the militant. That girl on the front pages are chatting with the grandfather, discovering another way to Sawdust a nursery rhyme, Aserrán ... , otherwise the changed forever, as the mandate of that old anarchist. Thus we see the promise he made several years later, when he left his birthplace: "I will continue writing, I will be an excellent student; military to become the tortilla." Soon after, with 18 years traveling to "build socialism" with Allende, convened by the magic of Traful, the almost mythical great Viking inspiring a picture of the MIR. Silvia appears that touches all UNLP with his poem "Who cares," probably written in Lettera orange, when the slaughter of Trelew, 22 August 1972. Silvia And the eyes filled with tears of deans, professors and fellow students in the university assembly mass in solidarity with Chile after the coup of September 11, 1973.

We see growth as an activist, not only through personal feelings it conveys, but also through the story of what you read in the eyes of his colleagues, on both sides of the mountains.

And it's essential to share his story of how we were, as we dreamed, as we lived the militants of that time looking and different on both sides of the mountains. On one side, with a tradition of militancy names, difference between open houses or operational, false documents, eye trained to locate the lack of a peephole, or an emergency exit. And the other, all militant enthusiasm. Without innocence, with preparation, but with a tradition of years without dictatorships and measures to address them. Silvia

also reminds us, unpretentious professorial-just as living witnesses, some of the discussions about sectarianism, volunteerism, top-down, authoritarian. This is not an idyllic world, yes a deep love for the people in the midst of search and confusion. And a slogan that is repeated throughout the book: "Tightening without losing tenderness." Not all succeeded, not even all they sought. But crossed all of our organizations. Even in these issues Rispa, Butterflies ... showcases the best of the tension. Without hiding anything. Even the little miseries, anticipating ways and means less neutral, more painful and damaging. It is essential that we bring them back to our days, that displays as evidence of life, it is not easy to explain to those not experienced it: that love and fury that commitment and courage.

What else to say the book we present today, with humility, even though he deserved a room and would be among the best-selling if it had a wink, this brutally commoditized industry?

you read it. Should read it. Red and black are so many ways. Land plowed black, the red sky. Mobilizing February 1972 to support Allende as a joy of gratitude, like butterflies red, black butterflies. Torch red, black night, the mobilization in solidarity against the coup in Chile. Red and black graffiti. Neruda's face red, black his cap. The flag of the MIR. As always, the star of the FAR, in the heart of Silvia. And the kiss of Joseph which coincides with one of his butterflies while you sleep. There are many, many more, you will discover while reading. They are in joy and sorrow, in dreams and nightmares. All reinforce the image on our retinas and our hearts.

There is a phrase enlightening prologue, Alfonso Freire, who says exactly "the Chilean" which is "fictionalized memoir" or "memory novel" a story bound and polyphonic: " say that this memory is polyphonic because it preserves not only the life of Silvia, talking to his grandfather her in the backyard, but the life of each of the people who are playing in their travel, giving name and fleshiness to each of the faces that go with it since his trip to La Plata to the smallest companion which is in its tour of the 'Chilean experience. " I say it is polyphonic because each speaker is allowed to say in his own voice, rescues Silvia insignificant gesture that allows the tenderness is revolutionary ".

And a very interesting aspect is that they are Salvador Allende, and Carlos Altamirano, and Miguel Henriquez, Luis Corvalan-icons and the history of those days, those who speak, those who get "name and fleshiness." It is the people, the "collective hero" in the words of Oestherheld. Thus, with these voices, these presences to be becoming intimate, reviewed in the frame of a musical work-First and Second Movement Third Movement-Intemezzo and touches of context in Argentina before the first and second trip the author to Chile's dictatorship Lanusse, Trelew, the first steps of the FAR and then the unit Montoneros, the populist-Marxist debate, Ezeiza, Field #, and the progress of the Three lopezreguismo and A.

In Chile live the saga of the "volunteer" for Chilean Youth, Latin American, and many countries around the world, building or renovating schools and health centers, census, teaching, vaccinating or providing first aid, experience with 800 Argentine university I lived with the "Santiago Pampillón Brigades" of the FUA. With guidance from Silvia, walk down Santiago, Pomaire, Rancagua and El Teniente mine, Valparaíso ("A city amphitheater" or "hanging of the hill", describes, exquisite, Silvia), Copiapo, populations and mushrooms, the villas Chilean ... listen to the Mapuche in Temuco and see the literacy campaign with moments of great tenderness and disclosures: a poem by Jacques Prevert, or Homer's Odyssey, provoking the imagination. The painting, story and reference life shows that "children are poets' responses." "Happiness is freedom" is the conclusion of a girl in the Callampa after chat and discuss student Evil of Prevert.

we say, too, about Sylvia's novel, a great love story. A story that helps to understand the way that I could love in those years and desperately intense, "as if it were your last day of our lives" . History Silvia and "Flaco," his "non-marriage" in Isla Negra, with Margaret Aguirre as a witness, along with the bells that greeted Neruda passing ships. Magic and nightmare: that love that tore the dictatorship, leaving indelible scars on the soul and body. It is also another great love story, that of many who are, and no longer are, for our people and all peoples fighting.

But Butterflies ... rescue is also a historical memory.

In a recent paper in Mexico in the 35 th anniversary of the last coup in Argentina Argentine internationalist political scientist Norberto Emmerich tells us we need the historical memory to respond to this emergency. Not because they are all the answers, but in the past is broken promises and, therefore, the past tells us about things that concern the future.

The witness, the militant, know what others forget, and talk because the crime, once committed, exists only when stored in the memory of men. Someone recalls Emmerich, once said that "nobody is dead until they forget." Our dead, which certainly died, somehow they are not dead. Not only because we remember, but because we fought. We fight as

Silvia promised his grandfather. Because Sylvia continued to write, was an excellent student and military to "the tortilla again." Met grandfather, Traful, with the Bolivian Ana, to Guadalupe, with the twins (and Ernesto Lautaro), with the boy of Zeta mushroom, with Michel, the Frenchman, with Thomas, with Peter, and the Lumi. Also Alexander, now prostrate, whom his old friends seem to have forgotten. And of course with Jose, "El Flaco."

And now meet us at these butterflies take flight we caress the soul.

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God does not play dice

continue with our selection of T Sunday res thousand stories of phrases and words that say all the time , Hector Zimmerman, Editorial Aguilar.

Einstein always claimed that the Universe responds to law and that men of science it bears the exciting task of making them. Although not practiced any of the established religions, believed in the existence of a divine principle. The theory of relativity and other important discoveries in physics earned him the well, the Nobel Prize in 1921, the universal respect and admiration to the point of being considered on par with geniuses like Galileo and Newton. Against their convictions, the generation of physicists who followed him said that many phenomena-especially atomic, are largely subject to random chance. That uncertainty outraged Einstein, who lectures in numerous letters and insisted that nothing is accidental in nature. Hence the phrase, often quoted, "God does not play dice." never could admit that the phenomena of the world depended on the whim of something comparable to a cup.

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Oscar postal Blunt Taffetani

a day like today, but 1626-read Ephemeris in Aboriginal North-sold the island of Manhattan by 26 pounds. No mention is naive. Suggests that those "original" had no idea of \u200b\u200bthe value of what they sold. Lies the anniversary. Because for lor originating in America, men are sons of the earth and not vice versa. So the land owners can never have, or price.

The poet Walt Whitman, who was born there (his father's house, built in 1810, is the only historic site district) Mannahatta liked to call (because it was said in the original language) and proposed that the entire city was baptized with that name, New York since was reminiscent of the feudal and monarchical that the yacht Mayflower pilgrims had left behind.

Mannahatta was the original name and the best for the city. Whitman beautiful poems are dedicated to this hamlet and that he knew far from the reconstruction that was Hollywood in the film Gangs of New York . There were many farms. And farmers. And less blood in the streets.

The youth of the 60s wanted to recover some of the old style of New York, which is seen in the historical documentary filmed on the Woodstock Festival in 1969. The festival was held in one of the few farms remaining in Bethel, at that time: that of Max Yasgur. Manhattan

But financial and stock market, one that Whitman managed to identify and condemn (to say nothing of Federico García Lorca, as he passed around) prevailed over the dream of the youth of the '60s.

Soon the East Village and folklore were transformed into commodities, in souvenir for tourists. The financial city, the city center of the world prevailed. Huge

artists as Frank Sinatra and Woody Allen sang and painted in his own way. But they avoided (perhaps, for love, to childhood memories) referring to New York banking and finance, that New York was-and remains-the emblem of capitalism.

reach only a glimpse that humanity lost in New York in times of great crisis and upheaval, as were the black Thursday of Wall Street, in the year 29 (as well reflected in the photos he took Liborio Justo) or was terrible and disastrous 11-S, in 2001 (an act of terrorism where the majority of people who died, and services janitors, firefighters, lifeguards, had nothing to do with the financial power nor the banks) .

to the same Marshall Berman, author of a beautiful essay is solid melts into air , on mutations in the globalized city Bronx, changed his mind after the attacks. In an extensive report that they did in 2002, was no longer incisive critic of capitalism that real, and he looked overwhelmed by fear and uncertainty.

Now, the U.S. president Barack Obama is going to Ground Zero in Manhattan, the hole where once stood the World Trade Center and the Twin Towers, to stir once again these icons and the symbols that move both the public of their country.

But the story at this time interested in power begins September 11, 2001 and come to an end now, in 2011, with the body of multiterrorista Bin Laden in the marquees and television.

Who the hell does it matter, then, that a May 4, 1626 about "Indians" of North Island have been sold for 26 pounds Mannahatta.

Who today can import Uncle Walt, Federico verses, pictures of Liborio, psychedelic dreams of young people in Woodstock, the magical Manhattan of Woody Allen or that mutant Bronx Marshall Berman. All this will be better in the basement of the American dream, a dream of justice and democracy, irreverence toward power, which is not exactly the one that now shows the world.

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Silvio Rodríguez Ground Zero and the United States

Silvio Rodríguez announced yesterday on its website, a story that will take place on the eve of his last visit to the United States, Judy Cantor-Navas, a reporter for Billboard music magazine, published months ago but unknown to our lands, which says about the barriers to Cuban artists to enter and operate in that country, the embargo and Cuban music, the relationship between art and "change", or critical, among other topics.

Why do you think it is important to play in the United States, after all this time and after the barriers have been for you and other Cuban artists? What does it mean for you personally, professionally, and perhaps for Cuban music in general and, beyond, to the relations between Cuba and the United States?

For the United States has spent virtually the entire music world. I see myself as a musician, so many who have gone there. When I was young I drew cartoons and one of my role was to review MAD. I do not know whether we can find examples of early 60's, when the magazine had a fabulous team of illustrators like Jack Davis, Don Martin and Wallace Wood. Among them was prohibited, a Cuban cool. I never went to the West Coast and I am curious to know the area, which was part of Mexico. I have written two albums where angels appear and I would like to know the city well named. At the political level between the two countries, I see my visit as a step forward, because for 30 years did not give me visa. Hopefully relations move always in the direction of mutual respect.

Here in the United States, is the fact that the government U.S. has granted a visa to Silvio Rodríguez very symbolic - that is, although we have enjoyed the concerts of other Cuban musicians lately, his tour is the one that 'broke the ice' in a definitive manner. Apart from the desire to own this tour, you feel a responsibility to 'open road' for other Cuban musicians and artists in the U.S.?

I do not know to what extent this may be true, because lately I have traveled some orchestras, jazz and even singers. I think of Los Van Van, La Charanga Habanera, in Roberto Carcasses, in Carlos Varela. Today it emerged that he had been granted a visa to the group mix, Pablo Menendez, an American who lives in Cuba 40 years ago. I very much like that happen and I would very much like the American musicians were to Cuba more often.

Does it seem unfair that the Cuban artists are not paid for their gigs ordinary way under the law of the United States?

Of course it seems unfair. And yet it seems most unfair that Cubans can not use what they have earned by honest work, because if an American bank notes that reside in Cuba, confiscate your money in dollars, even if they have earned in the United States.

During the past decades the States embargo United has affected his career directly? (Economically or artistic)

20 years ago I drove the creation of three recording studios. To them I helped with what he had won in concerts outside of Cuba. At that time we could bring some equipment from England and elsewhere in Europe. Then, when we wanted to buy parts, it appeared that many were American and refused to sell it, for fear of economic sanctions. If a Cuban American software purchase sell it, but when you need to update you get a sign saying that U.S. laws do not. This year only two students may enter piano in each school of Cuban music and, in some only one. That is why economic adjustments imposed on us by the blockade. One type of wheelchairs for disabled children who can not buy directly, because U.S. patents. Others to pay us the purchase we will double or triple the cost. Anyone in my country has thousands of similar stories about the crash.

seems that this new openness to the Cuban musicians in the United States (unlike other times) may continue for the foreseeable future. How do you think this exchange may affect the long-term Cuban music (in terms of being more influenced by American music for example)?

Cuban music has proved indelible because it has had many influences and has always retained its essence. When the Trio Matamoros was recording in New Jersey, in the 30's, absorbed harmonic influences, but are continued are. When the Jazz Band came to Cuba, Perez Prado began to play the mambo and Benny started playing the montunos. The blues also influenced the Cuban bolero, but never mischaracterize. I think it's good that the music come together because of these contacts always get cool stuff. Gillespie Chano Pozo said he sailed to American jazz.

His songs each have their own message, but what is the message general would like to convey to American audiences during this tour?

really do not think about this visit in terms of a special message. I do not think being an artistic archetype, much less political. Of the many forms of music made in Cuba, I do trova, which is to say a poetic song. And in the ballad, I see myself as one of many that there were and there. If I have some voice of their own is because I worked hard and tried to beat me, like many other artists. I might like to think I'm a neighbor who comes to share his spirit, someone who comes with feelings of friendship and expects the same.

"After the years, and all the experiences of his career and his country, still believes that a better world is possible, and that music has the power to change things?

music and poetry does not have as much power as one might imagine after 20 years. But undoubtedly not be void or useless. Poetry and music can be very influential in human behavior, because they can be revealing, the same cognitive level than the sensory level. Art improvements to people that I have no doubt, and it is people that can change the world. We must give people a lot of art, so that people are as well inspired when making decisions. In this way a better world will closer to being possible. Does

memories of a specific moment in which I felt the power of a song?

A song I heard in a movie 10 years ago, I did quit. A song I got turned into a train museum was abandoned in a suburb of a city.

you have your own recording studio, I wish Studies. How does the study, type of activity often be there? Is it limited to their own projects, or is an open to other musicians? Hopefully

was built in two upper rooms of a small house. I brought the technology and tools and the state funded the refurbishment. I run it, but the studies are state property, like almost everything in Cuba. Only two days ago and Omara Portuondo Chucho Valdes were recording their second album together. The first recorded there also. A Chucho you like the piano, a Steinway & Son we brought in Hamburg. It recorded the complete piano by Harold Gramatges, while still living. Leo Brouwer recorded a part of "Homo Ludens" with us. Over 60% of the recordings we make are donations. We have been able to help students of music schools in need send demos to competitions; also troubadours without record labels, or performers who had never recorded an album. Our study is called May, also for being alternative.

What effect it seems to have been the creation of more studio and access to new recording technology in the last decade has had on the sound of Cuban music?

Although access to new technologies we have not been easy, the benefit I see is the fact that there are all these recordings that we have done. Among them there are some awards Granmys, and Cubadisco awards, recorded the same in Abdala studies than in studies Eusebio Delfin (city of Cienfuegos), or school wish. When in 100 years someone listen to recordings of these times, some will be that we did. These results are the best reward for me, because I lost a lot of songs about not having as shooting them.

just started Cubadisco fair .... Do you think that this new openness of the United States to Cuban artists can positively impact the Cuban music? On the other hand, would like to see more Americans playing and recording artists in Havana? Do you think this would be possible in the near future?

Among American musicians and Cubans has always been admired and even support. When in the late 70's Havana-Jam took place, they left a soundboard recording the Company of Cuba (EGREM) used for years. Much later, when we were making the first recordings in May and Abdala, we had an enthusiastic American collaborator, sound engineer John Fausty, who taught us the secrets of the technology we had just purchased. I hope that Americans can pass normally travel to Cuba, it would increase a lot of contacts and I think both parties would benefit.

you just launched its own blog - why write a blog?

I did it because he was visiting the blog of a Venezuelan troubadour and saw a sign that said do you want to do a blog? I went in and when I came to see had a blog itself. I was not sure what it was and I've come to realize little by little. The unfortunate thing is that sometimes, for work, spending days and no time to write anything. You try to say things that make sense, but without exaggeration, because I understand that the blog is a place to be in confidence, as between friends. It is a place where one can play God, because you can put on and remove what you decide. I have not been able to suppress a single adverse comment, that is. Dear God I've proven to be a fairly democratic.

In her latest album, there are reflections on the current Cuban reality. It has often been described to you as "The Voice of the Revolution" Cuban Do you feel comfortable with this description?

For nothing. The voice of the Cuban Revolution Fidel. And singing, it was Carlos Puebla. I share the principles that motivated the Revolution. So, I respect and I would say I feel as affectionate part, because I became a man to learn of the Revolution. I militiaman to 14 years, when the Bay of Pigs landing. At 30 I went to help the Angolans, when apartheid South Africa invaded them. These experiences dictated to me Songs of combat, but if you check my code does not find flattering praise or fanaticism. I've never tried to write political pamphlets, the taste for poetry that I have not let me. I am committed to the dignity of my people, who have spent a lot without yielding. And I have a very self-critical spirit.

I read that play in New York for the last time in 1978. Under what circumstances was organized that concert?

It was organized brigades "Antonio Maceo" (young Cubans who as children were brought to the United States) and "Venceremos" (American Friends of Cuba). It was on Broadway in a drama called Minskof, in July 1978 was finished revamping. The auditorium was completely full and the audience requested songs by their titles. I do not understand how this could be happening in the United States. Year and a half later, in February 1980, I sang in New York at Brooklyn Academy of Music. This time went with Pablo Milanés. It was a night when it snowed a lot and that delayed us two hours. We got a big surprise when we arrived, after 11, and found that the packed house waiting for us yet.

With which American artists would like to share the stage? Is there a possibility that will be a guest on the stage at Carnegie Hall?

know Barbara Dane, 40 years ago published the first album of my generation in the United States, on a label called "Imagine" Paredón Records. I know David Byrne, who 20 years ago was kind enough to publish an anthology of my songs. I also know Pete Seeger and Harry Belafonte, whom I keep unforgettable lessons. The truth is that I do not like bothering people. So it's likely to sing with my classmates, who are also very good musicians. This is the trio of Trovarroco plucked strings, the drummer and percussionist Oliver Valdes, and the flutist and clarinetist Niurka González. Do not miss them, they are very good.

Nurses(digital Playground)

continue with our selection of T Sunday res thousand stories phrases and words we say every time , Hector Zimmerman, Editorial Aguilar.

Until recently, they left a record of court proceedings in manuscript pages of court employees piled into mountains of records. A lack of biblioratos, or file folders, sewed the leaves by hand and then tied with string. A bundle of papers is, each string-was a cause pending. The practice gave rise to two expressions. The first, still in use, "for string separately," the judicial language that indicates that a letter is attached by means independent of the others. The other phrase, "under the table", has left the courts to move to common language. It refers to everything that is done in a covert way, hidden from the authorities or others that should not be made aware. "Low String" will give bribes, influences are manipulated, transmitted a confidential report. Like the first, the expression is at hand inspired legal records are public and have met with firmness. But unlike that denounces the use of surreptitiously circumvent the dictates of the law.

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Down Rope

continue with our selection of T Sunday res thousand stories of phrases and words that say all the time , Hector Zimmerman, Editorial Aguilar.

The idea of \u200b\u200babandoning a task that requires perseverance and effort is reflected in this sentence that denounces also a moment of weakness. The often figuratively now give back to the early Romans and some barbarians. It refers to a confrontation I had a lot of God's Judgement. When two men were fighting a good or a right, established an unwritten law that opponents must submit to a test that was to stand back to back, arms extended at shoulder height. Lost the lawsuit who first down. Something similar happened between Aboriginal land inhabited what is now Chile. In his epic poem La Araucana , English Alonso de Ercilla that the aspiring chief should sustain to shoulder a heavy trunk and arms as long as I could. The poet relates that Caupolicán was well set and many others to extend his feat over a day and a night. The phrase has also left traces in boxing. The victor of the battle the judge raises his arm. On the other hand, who is dropped on the canvas.

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arms was Moncho We, in the silence rogue

"There are blows in life ..." Vallejo would say, and who was a brother, and even my brother's brother Rodolfo, left me without even knowing, just by chance, and five months later. As we are informed by these scoundrels of the press "independent", they hid and "no" all life, just for being a communist, an immense talent, and returned to hide in death. I raise this tribute from the blog "The new German chemist." Farewell Moncho!.

And no case, if you're criolla, no return: They piss on the dogs ...

not reach out of the sorrow of the death of a president, when a mail from your friends, you announced without More, who died Moncho Mieres.

And to say? Dalmasso

Paquin (Honoret) to those who knew him as a critic, was a wonderful and crazy life, which bit and killed Yarará in southern Brazil. Criolla de Avellaneda Bs As, delighted readers of The Voice, for many years. He once crossed coffee or remnant of a night of women-who loved-conjugated the best wine within reach, sure I said this sentence: "No case, German, good die, the bad break and the dreamers away until the next meeting." Screwed on the border with Bolivia, once said: Everything is going to hell, because poets do not write what the people. Recent giles, were Don Ata and Castile. In Chile, Víctor Jara and

Parra ... What the hell can we do for poets write what people do, not what the newspapers say?

And I feel the same as the daily Paquin.

Moncho What about Mieres, if the newspapers are worried that the Legrand not the census?

then occurs to me that died with them to which they sang and came to play his guitar.

traveled such a long way, the biographers do not reached the measures and guidelines, to set a suitable site and brought to the tastes of readers.

Claaaaro! This one gil

Mieres, came to accompany Armando Tejada Gómez, singing to the needy and always accompany the driest, with winning less than if you give away the silver.

And friends, already sick and without a handle, had to make collections for your illness and your destination. And he died

amid the solitude of the large and close together those who loved him.

What fate, no?

And so now come the jerks who put their disc, lament and praise written some perishable and grandiloquent. Are the same jerks who talk about culture when the time is right, that is, to look good and say how much nonsense comes to mind, total more ignorant than wise. Or rather, more jerks to them, and speak well of power, say it's okay. Moncho

Mieres, is credited with the killing of popular song. The logic invisibility of popular singers and instrumentalists. The sacrifice of the establishmen type (although would breed) as quieria working with the shovel, so that later on his birthday or touch the guitar rock.
wanted to tie him to the calibrated so formal, but he escaped through the door of the revolutionaries. That is, the jerks do not see, but I swear there.

If he had fought for state medical coverage as appropriate, had not gone through what happened to her illness. Ah, but we must avoid participating in what is good, for enabling the escarapelita of salvapatria. Same Mieres sentenced to be desolate and ill, depending on the solidarity of the few and the indifference of many. And surely there are many more at same or worse. And they are guys that we were happy moments, pure, fraud, or squatting. Who gave their all, but ... they are still denying.

Do the exercise to find some of it in newspapers or internet and will know why the fight should be great in defense of the artists, great artists, which has this town.

I never knew him, knew him only at times that everyone should think like dodge death or the shipwreck. It was a hard and there was no longer with us. But that was enough for my respect and loyalty, guess who would be there and be part of the common dream.

No longer, will now be necessary to search among kids who raise their flag.

no longer exists, but his guitar and his noble voice, be in us: Because it's necessary.

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About Historical Memory

concluded yesterday at the National University of Mexico the International Conference "35 Anniversary of Coup in Argentina, where Norbert Emmerich, an Argentine doctor degree in Political Science and International Relations presented a paper related to a reading of "On the Concept of History" by Walter Benjamin and other texts. In my opinion, an indispensable material to support the struggle for memory, truth and justice, which offer a synthesis.

look to the past are not making a scientific question seeks to know the "truth" of what has happened, but a question fraught with anxiety. To articulate the past historically does not mean discover 'the way it was' (scientific truth) but to appropriate the memory when it flashes briefly in a moment of danger (real politics).

We asked the past with the intention of answering this emergency. "In the past there promises, therefore the past," talks about things that concern the future. "

need history "For life and action" ... "to act against and beyond our time in favor of a future time" (Nietzsche, 1999: 38-39).

1. Historical memory is a collective memory, an evocation geared towards this the symbolic value of collective action by people experienced in the past. It is an action that preserves the identity and continuity of a people is not to forget what they learned, often with blood, is the way to avoid repeating past mistakes.

is a dangerous exercise because remembering One day we were free to break the stranglehold of threat who now takes advantage of our chains. Only the ruling classes seem to have historical memory, because for them it is important to determine the historical facts, they just need everyone to remember the end result: those facing end defeated them (García Bilbao, 2010).

A people's historical memory of his own destiny. They consider necessary to prevent that from happening have the social, political and economic to do so. Just wipe the symbols, language, education and emptying the collective life of identity connects with reality and memory common (García Bilbao, 2010).

problems which we live have already been experienced before. Without historical memory we are doomed to live an eternal present, the constant repetition of the same suffering, and Prometheus Bound (García Bilbao, 2010). There is no need to live everything as if for the first time it happens, the historical memory also acts as a mechanism for economy of effort.

The past is the past remembered as it happened, but the past as is the act in the present. Before we can report what happened, this past has changed several times and we learned all too late. It is therefore important the role of the militants, who can predict this because I referred to in the middle of the fatalities that have already happened. As in the Old Testament prophets of the past and lived.

2. As difficult as it is, historical memory is always dedicated to the memory of "the nameless." Not devoted to them just because their names back from oblivion, their careers and their data, but this time because it "effectively" their actions. Means wanting to remember their actions and play them to know, know what they are, need its objectives, share his dreams.

When a young worker meets almost secretly to organize with peers, historical memory the league with a past that may not know, but is reborn through him, in a moment of urgency, driven by a sense danger. Historical memory needs to catch that flash of the past, because in truth he plays this, the oppressed classes who are victims of the "force of things" have forgotten the past and its subversive force.

This task of rebuilding a lost historical memory is difficult because the rulers of a particular moment are the heirs of all who have ever won in history. Anyone who has achieved in today's victory in one of the thousand battles that make the story has its share of the spoils at the feast of the rulers to ruled. That little meeting is an event working hard mentally because the inventory show that the victors to the vanquished is called culture [1] , and that culture is fed daily mastered. In the words of that culture, dominated perceive, understand and explain the reality in which they live. Historical memory only allows to lift the veil of the dominant culture and away from ignorance.

3. Last recreated in the present for a resurrection, and for reasons of this, look at the arguments passed to meet the urgent needs of the present. But you can only use this mechanism if the arguments redeeming the past are 'emerging', if going through the fleeting moment of becoming recognizable.

Last re-created is not capricious Search powered unrelated events, but the discovery of the social significance of emerging facts. There is a search ex nihilo, but a current diving general thinking of the time, and shared common hopes, a general spirit that flies our frustrations. So anything that ever took place must be given up as lost for history, even the most insignificant of our collective behavior is a historical fact.

4. The real image of the past is fleeting, becomes recognizable only briefly and threatens to disappear suddenly, never be seen again. But who brings us this image from the past forgotten and lost? The militants, carriers of historical memory, the central actors in social praxis. The militants are the ones who make history is not a catastrophic sequence of events unpredictable, but a conscious tool of re-construction of the past. L of repression provides the breakdown of social bonds that act as carriers of memory. If historical memory not only carries concepts or "memories" but experience, the passing of the "messengers" destroys the possibility of reproduction policy l xperiences collective. Unlearn social groups reactive behaviors, defense mechanisms, the pivotal question slogans, the importance of their organizations. They go from "being" part of a group (be a Peronist, a socialist) to "be" a party that lacks all alone and just himself (consumer, citizen, individual). New experiences are based and built a new historical memory, based on fear, demobilization and apathy. In terms of historical memory, see the "oblivion."

5. The danger does not threaten only to carriers or recipients of the tradition, it also threatens to memory content transmitted. And the threat is always the same: to become an instrument of the ruling classes. In each historical epoch memory is to be removed from the hands of conformity. From the old Greek philosophical dichotomy between "being and nonbeing is not," affirming the stability of reality, against the claim that "we come in and do not enter and n the same river, for we are and are not the same ", which affirmed the permanence of change, the memory content is transmitted in an eternal war between those who advocate the continuation and those who advocate change.

6. Recognize and reclaim the past means taking into account everything that has happened after the initial defeat, means not having empathy with the victor [2] means understanding that all past was present, that all future and past was that all this will last.

empathy with the victor, the "idolatry of the factual"-an analysis methodology that is widely used to study the current situation Mexican-(Nietzsche, 1999: 96), not encouraged to own the genuine historical image, which is the image of the oppressed. Therefore the main task of the historian is to take over the tradition of the oppressed. Our history is the story of Tupac Amaru, Jose Marti, Emiliano Zapata, Augusto Sandino, Che, our 30 thousand dead. It is a story of the downtrodden, defeated and dead.

7. How is historical memory if our past only accumulates dead? Giorgio Agamben [3] reminds us that in America there are two words to refer to a witness, one of them is testis, which ranks as the third in a dispute between two contenders, taking an impartial non-participant, the second is superstes , refers to who has personally experienced a process, usually to the end and can give a faithful account of what happened. In superstes derives the word survivor. Our survivors have been both of two things: they have realized what happened and have been witnesses in trials against genocide. The witness knows what the others forget and feel urged to speak because the crime once committed, there is only when stored in memory men. His paper makes the revolving door of every eye present to the past and any term of the past into the present. Argentine survivors remind us not only what happened, also militated for justice. Auschwitz, like the ESMA, "not only was a gigantic factory of death, but also a project of forgetting", in which everything was designed so that no trace [4] .

8. The continuum of history is the continuum of the oppressors, those who equate all at ground level, for whom continuity of history is the guarantee of the continuity of its historical interests. Because until now the history of conquests is the story of the conquerors, because if "history is written by the winners, that means there is another story, the true story" as a popular song says Argentina.

The consciousness of a historical discontinuity is characteristic of the revolutionary classes at the time of his action. However there prevails a close connection between the revolutionary action of a class and the concept that this class has in past history. The French revolution came from two thousand years until the Roman Republic to find a mirror that reflected. While the idea of \u200b\u200bcontinuum equates it all to the lowest level, the idea of \u200b\u200b discontinuum is the foundation of the authentic tradition.

9. What is the point of support we let the 30 thousand missing? is not just that the past sheds light on this, but the past is based with this. But this union is only possible in a time of danger. They are images that come involuntarily. The historian must have the ability to perceive the crisis that has entered currently the subject of history, the oppressed class is struggling in their increased risk. At that time, historical knowledge is just for her. And just a moment: are the workers on strike against the coup on March 24, 1976 in Cordoba, Argentine workers are screaming against the dictatorship in the afternoon of April 27, 1979, is the crowd gathered around the Congress at Easter 1987.

The big story does not record these facts, but facts are fainter than historical significance, are the spark of hatred at a time of danger, are a time to break with historical continuity. As a result, "never again" will be a coup in Argentina, 30 000 deaths have left the school for times of danger. The slogan "Never again" is cumulative in the concept of semantic memory, as a mere memory, but it is revolutionary in concept historical memory as a tool of struggle in times of danger.

10. The story is constructed in a time that is not homogeneous, empty but in a time when the present shows signs to be "in the thick of the past."

The revolution breaks continuum of history, not passively involved in the chronology of history, not a fact that adds to other facts, interrupts the moment. So uncomfortable "telling" the revolutionaries. As it were, all was well rhythmically, until Fidel came and interrupted history.

revolutions So the first thing that changes is the calendar, move routines, change the dates, break the historic protocol. Timing schedules of historical consciousness, are no clocks, are reminders of who we are because they remind us (with-memorable) time in which "left." The dates inserted revolutionary governments, highlighting characters, symbols and whether they can enter "create" and "re-create" the story, incorporating forgotten characters, events foregrounds lost, reward characters "cursed."

The role of clocks in capitalism is to mark the time of labor, unifying the human routines, making it unheard of in normal, isolated from the whole and dive into the parties.

The French Revolution introduced the Republican calendar, abolished by Napoleon briefly in 1806 but reinstated by the revolutionary Paris Commune, Russian Revolution left the Byzantine calendar, the Church abandoned the Egyptian civil calendar of Julius Caesar Roman (Julian) and adopted the Gregorian liturgical calendar, which was imposed to all mankind. Parisian workers destroyed the clocks in the revolution of 1830, the Brazilian Indians broke the clocks in the O Globo in celebrating the fifth anniversary of the discovery of Brazil in 2000 [5] . Revolutions are visible rupture historical continuum, so sometimes begin a recount the years, in order to accelerate the historical time and introduce a "new beginning."

11. If time ceases to be homogeneous, empty what today we would know that there obviously is not the totality, not the last word of history, there is more than the destructive force of modern capitalism. Failure to take away from the own defeat ends up creating the conditions for the betrayal of the cause itself. So the machine of repression always takes on an overwhelming, urgent, hysterical. The intention is not to allow "take away" the state of emergency, do not let understand what the policy is inserted into the chaos of repression, not think, just feel. The goal is not only defeat, also seeks to achieve empathy with the victor. If defeat him away from his, the empathy it closer to ours. Because empathy with what ever has been is in harmony with its updating. This will eliminate any echo of regret in it, removes the pain of past generations and hatred that should cause pain and requesting the approval of an uncertain future. Surrounding torture tortured "parts" and disposes of all above, but also proposes inclusion in a new totality, the acceptance of authority outstanding. So repressor Massera was more dangerous, as it sought to create new wholes, destroying and incorporating.

How is a new historical memory?

12. Today, the experience is not perceived or valued as a treasure, has no authority, not tied to the past (Fernandez, 1995: 109). Speaking about the First World War Benjamin said: "the people became silent battlefield. Not rich, but poor in terms of communicable experience " [6] . Their impoverishment is the devaluation of the goods of education, learning, tradition, memory, narration that broaden the horizon and enhance the possibilities of our existence (Fernández, 1995: 110).

Thinking shake itself requires the weight of tradition to not compromise. Progress requires a departure from the past and continue traveling, learning. Degree of forgetting is an essential resource for vital health. Only lightweight and selective memory have the freedom necessary to weave the story itself.

release occurs in the impoverishment of experience and a new kind of barbarism. Real barbarism but positive, which shows that the experience is not mere accumulation, neither is inherited without making their own, or imposed by law in the past. In fact their poverty of experience leads them "barbarians" to start from scratch. To invent and create, in a universe full of signs, customs, orders, it is necessary to overcome the temptation to stay in mere curators, forget, erase tracks and experience (Fernández, 1995: 112).

Experimentation is the active dimension, positive experience poverty. The downside is the loss of part of the heritage of humanity, the risk reduction and depletion of the experience it in bookended triumphant modernity (Fernández, 1995: 113-114).

13. The memory structure is crucial for the experience. But memory is not accurate and complete record of all events. It is selective, reject or marginalize certain facts, and make up other privileges, associates and separates. Has structural weaknesses and not just accidental, moves spurred by the danger.

But the relationship between consciousness and memory is not collaboration but of opposition. Consciousness does not care for the maintenance of the skills, but their task is to protect against stimuli that can lead to shock trauma. Plays a vital role, as protection against stimuli is to living organisms as important as receiving them, but contrary to their aspirations for complete knowledge. Consciousness acts against the historical memory, between the desirable and necessary, can always choose trying to preserve the normality of the social psyche.

your selection does not respond to interest knowledge but bearable anguish criteria. Try to avoid the strong impressions, obnoxious, disruptive, and if he fails, he toils in his tracks. When the defense device fails, there is trauma, fright (Fernández, 1995: 115). When the device is successful, appears to oblivion.

Under the function of monitoring and warning, temporarily ordered the conscious memory and holds events "at the expense of the integrity of its contents." This means that the voluntary recall is naturally forgetful and constantly alter our memories so that our past does not conflict with our present. Remember things otherwise forget or directly. This means that for a long time the Mothers of Plaza de Mayo were called the "crazy" in the Plaza. Transferred all trouble his conscience, the voluntary recall was not forgetful, they strove to recall things as they were, against all the convenience, against all logic, against all interest.

14. The very notion of time is far to enjoy internal order, to be consistent, on the contrary, is clearly paradoxical. It is assumed that over time is an arrow going from past to future and so the story is ordered and affirms the priority of the background, the value of the old and the authority of the sources, origins and its elements (Fernández, 1995: 117).

Under this we take time as the event's primary computer, operating also in the explanations. It is a basic principle that the cause precedes effect, resulting in a hierarchy of course, the cause is prior and superior to the effect. That way you slide the idea that causal processes are down, it gives primacy to the cause and is considered independent, while the effects are dependent and subject to its dominance, to the point of excluding any retroactivity. Ends up looking ridiculous to claim that parents are such by virtue of their children. The cause subject to the effects and finishes resulting in a conviction for them (Fernández, 1995: 116). The Historical Memory subverts the chronological order of time and under achieved political practice that children are root cause of the parents, as evidenced by the Madres de Plaza de Mayo, which turned the insanity standard.

15. But the chronological primacy of time in the study also says that the past is irrecoverable and irreversible. Can not seek or act backwards, the lifetime and the story is based on the death of the dead. But someone once said, "nobody is dead until we forget", and Mother's slogan was always "a live appearance." Our dead who died are not dead, not only because we remember them, but especially because we are still struggling. We are acting to back, we are changing the past history, we continue to destroy the temporal order claim that was our past experience.

16. The story stops when reduced to a set of actions that are repeated to infinity. Is the phenomenon of deja vu , where everything that happens seems to have already happened before. While attending a continuous change, everything is equal, everything is repeated (Virno, 2003: 41), is the thesis of the end of the story.

In his work entitled "On the usefulness and harm of the story to life," Nietzsche says that an overabundance of memory blocks the action (Virno, 2003: 50). If the memory is just remember practicing a bow submissive to the past, we justify our present projected backwards in time "everything is indifferent, everything is futile, everything has already been." Men abandon fatalism pervaded of resignation at the time that this perceived seems to copy this remembered (Virno, 2003: 52).

If everything has been, all other current event repeats prior event is destined to be repeated in the no-future is the future. It's terrible life in that everything new is old, that any future is past. In imperialist societies, where tomorrow will be repeated today, suicide rates are very high, because the repetitive order suffocation.

But the spell that considers the current action as a duplication of a previous action, declined when asked about the central action. In deja vu seems to repeat something, but we can not say what we are repeating. This is because the content of repetition is established only by actual experience, this corresponds to retroactively determine what has already happened (Virno, 2003: 53).

actuated whole life now is to act first, but within that experience sometimes feels strange and dark, as has been experienced at other times. But what kinds of returns from the past? That will happen for the first time in the next instant [7] (Virno, 2003: 54).

Conclusion: A little further back, to go a little further

In the 1930 comes to Argentina, a English citizen, Juan Avellaneda, a militant anarchist and trade union and political activity was stopped 36 months in the years following the coup Uriburu.

Some 40 years later, April 15, 1976 (35 years are commemorated in a few days) a task force unsuccessfully looking for her son Munro Floreal, a Communist and delegate Tense textile factory. Unable to capture him, violently entered the house of the family and kidnap teen of the same name, barely 15 years, Floreal Avellaneda. Floreal young body appeared on the Uruguayan coast, with signs of having been brutally tortured and have died from impalement. Floreal's mother, Iris, was also kidnapped, detained and tortured for two years.

33 years later, in 2009, were charged, tried and convicted for committing crimes against humanity: General Santiago Omar Riveros, to life imprisonment, General Fernando Ezequiel Verplaetsen, 25 years, General Julio Horacio García, 18 years, the captains and Cesar Raul Jarcich Fragni, 8 years in prison and Commissioner Alberto Aneto to 14 years in prison.

The teenager's father Floreal Avellaneda, died the following year, on June 23, 2010, 34 years after the coup. The military was never able to know where Floreal Avellaneda that night in April 1976. Or your teenager or your wife will never reveal their whereabouts. With his death, a long cycle of impunity that had begun in the 30's, was closed.

But the story did not stop ...

The March 19, 2011, shortly before commemorating the 35th anniversary of the 1976 military coup, the leader of the Argentine Rural Confederation (CRA) Mario Llambias said at a ceremony in the town of Junin, Province of Buenos Aires: "there are many who want to replace our national flag by a dirty red rag."

----------------------------------------

"would stop talking about the past, if this were not so."

Barthelemy Boganda,

hero of the independence of the Central African Republic.

---

[1] "The Pyramids of Egypt, built by Hebrew slaves, or the Palace of Cortes in Cuernavaca, submitted by the Indians" (Löwy, 2007: 2).

[2] Löwy said that the celebrations of the fifth centenary of the discovery of America were typical manifestations of empathy with the victors "(Löwy, 2007 : 3).

[3] Giorgio Agamben, Remnants of Auschwitz. And the control file, Valencia, Excuses, 2005, pp. 15-16. Cited by Sebares Erice, 2008: 92.

[4] Baer, \u200b\u200bA., Holocaust. Memory and representation, Madrid, Losada, 2006, pp. 38-43. Cited by Sebares Erice, 2008: 91.

[5] Quoted by Michael Löwy, 2007: 7.

[6] Walter Benjamin, Experience and poverty in Speech Interrupted, Taurus, Madrid, pg. 168.

[7] Heidegger, Nietzsche, Volume 1, pg. 332.

Snap And Release Bracelets

Giron said plow

Silvio Rodriguez just remember playing one poem / song premiered in 1974, that "On 15 April, the 50th anniversary of the attack at Playa Girón (Bay of Pigs) trained, armed and paid by the United States to invade Cuba and overthrow the Revolution. Also be 50 years since I became a militant. "

Air
tornado taking shape and it will tied
death and love.
A dark column rising
and children are uprooted
games at a stretch.

Grandma, your scissors are rural
and cut other ailments, but the wind
. Beware
your prayer, old friend,
invokes Peralejo,
that comes better.

Nobody is going to die, at least now
this holy woman leans his forehead.
Nobody is going to die:
all life is a brief second of his dream.

Nobody is going to die, all life is our talisman
is our mantle.
Nobody is going to die, at least now.
The Song of the country is our song.

front of the column, the front, where he has traveled
always
gun sight. To speak the fertile
aim,
throat that sends
my lifestyle.

With all things certain death

recorded a door in the middle of April. With
country has drawn the name of the soul

men who will not die.

Nobody is going to die, at least now
this holy woman leans his forehead.
Nobody is going to die:
all life is a brief second of his dream.

Nobody is going to die, all life is our talisman
is our mantle.
Nobody is going to die, unless now.
The song of the homeland is our song.

Released on 4 April 1974
commemorating the 13th anniversary of the victory of Playa Girón.