The Day The General Died

The great split that carves through Chilean society is laid bare and brought to the surface in the documentary La Muerte de Pinochet (The Death of Pinochet), a film that shows the many reactions to the news of the general's death at 91 years old on 10th December 2006. From the crowds of pinochetistas who carried out a raucous vigilance outside the hospital where the old man lay dying to the spontaneous carnival that erupted on the Alameda to celebrate his death, the film portrays the various emotions unleashed that day and as such serves as a social portrait of the polarising effect that Pinochet continues to have to this day.

To many Pinochet was the brutal dictator who sewed terror and acquiescence throughout the population with repression and brutality, yet there is a sector of the Chilean populace which sees the dictator in a different light: namely as the leader who saved Chile from Marxism and heralded in an era of growth that today sees Chile as one of Latin America's strongest economies. It remains a topic of furious contention in Chile, a country where Pinochet is not a taboo topic as with Franco in Spain. Those who supported the dictatorship and felt the murder and torture of so many thousands of people was a price worth paying for economic development often remain unrepentant  in their attitudes.

The fanaticism of the Pinochetistas as they pay homage outside the hospital in Santiago where Pinochet takes his last breaths comes as a shock but highlights the quasi-idol status in which many revered him. Shouting and singing, there is a relentless zeal to the crowd, made up of young and old, and as death becomes inevitable an intense delirium envelops the throng, with a middle-aged woman screaming into the camera of her loyalty to the general. As one of the featured Chileans in the film,. she says she was put out of business, selling flowers in the Plaza de Armas, by the democratic government which closed her down due to her support for the regime. Her impassioned devotion on the pavement outside the hospital reaches almost hysterical proportions, highlighting the spell that Pinochet cast over his followers.

The other wild reaction to the death is seen on the Alameda by Plaza Italia as thousands of people take to the streets in a carnival atmosphere of jubilant celebration. With singing, dancing, leaping about and drinking the party takes on epic proportions and the revelers are again made up of various ages. These are raucous scenes although its hard to say if the presence of a camera encourages people, the majority of whom appear inebriated, to act over the top.

This is a film that, by allowing both sides a roughly equal amount of screen time, can claim to be offering an objective look at this heady day, yet I'm not so sure. Why, for example, does the film only focus on these groups? We see the loyal pinochetistas in a state of mourning that manifests itself in eccentric fanaticism and we see drunken men shoving and bellowing in disorderly ways as they party hard. I realise these two opposing groups probably make more watchable subjects for the film but I doubt they are representative of the general population on that day. What about the surely many millions of Chileans who would have gone about things in more refined ways? For example, the minority pinochetistas who would have grieved in private or those who rather than celebrate chaotically would have felt relief that a dark chapter in Chile's history was seemingly finally over. These people who must have existed and I suspect who formed the silent majority of Chileans are absent from the film, which gives the impression that the country witnessed two very contrasting reactions. It portrays Chilean society in a black and white context, while ignoring the vast grey area in between these two poles.

One other thing that I felt while watching this thing was this: was the death of Pinochet really something to celebrate even to the victims of torture or the families of the thousands of dead? When he passed away peacefully in his own bed, the final opportunity to gain justice for the atrocities of the dictatorship also went to the grave. It ensured that, while there have been numerous convictions over the abuses, the tyrant who lorded over the years of death and terror escaped justice until the very end. The death of General Pinochet granted him the eternal freedom that so many Chileans were denied under military rule. And, for me, that was and remains a tragedy for all those who were affected by the dictatorship. The day the general died was not only a sad day for his followers but also for those who he brutalised and oppressed for so long. In this sense the celebrations seem ill-suited to the day.

Electrodomésticos

(This is an article I wrote recently about a new Chilean documentary film entitled Electrodómesticos: El Frio Misterio which focuses on the Chilean music scene in the 1980s, a time obviously not too well documented thanks to the severe military oppression that enveloped the country back then. Electrodómesticos were one of the main bands back then and I've managed to catch them live a couple of times recently. Obviously they're older, but the music sounds modern and pulses with originality and scope. The musicians are very adept and each of the four members seems to play an equally important role within the group dynamic. Anyway, here's the article I wrote and some videos.)

In the 1980s Chilean society lived under the imposing shadow of military rule and nowhere was this more apparent than in the cultural vacuum that enveloped the country as thousands of musicians, artists, writers, and so on lived abroad in exile. But in spite of this creative exodus a generational sub group of young people emerged into the Santiago underground and developed an alternative scene of musical resistance that, out of sight and mind to most people, provided a crucial release for the frustrations of Chile’s repressed youth.

            It is this backdrop which provides the opening scenes of Electrodomésticos: El Frio Misterio, a documentary focussing on this rebellious movement and its main participants. Formed in Santiago in 1984, Electrodomésticos were key players in the establishment of the underground scene, taking direction from the British punk movement and utilising experimental sound effects. Combined with influences as diverse as Led Zeppelin, Talking Heads and Kraftwerk, the band went on to forge a musical legacy that today sees them regarded as one of the most important Chilean rock bands of the last thirty years.

The film, directed by Sergio Castro San Martin, tracks the origins of the scene in the frenetic atmospheres of clandestine galpons in Santiago such as Matucana 19 and Off Bellavista. The intensity of these venues is immediately apparent in the pulsating energy that surges through both crowd and musicians. The ropey quality of old archive footage, rather than detract from the film, give a raw authenticity that portrays a hitherto largely-unseen side of eighties Chile.

One of the key lines sums up the reality of the time: ‘Pinochet existed but we invented our own reality’. With these low-key gigs the only available escape from the cultural suppression in which young people were trapped, the scene took on a far deeper significance than simply another musical fad. For many young Chileans, this was when they lived.  

Charting the band from its origins through to the present day, the film looks at the paths taken by principal members Carlos Cabezas (guitar and vocals) and Silvio Paredes (bass). Electrodomésticos broke up in 1991 as Cabezas went on to release numerous solo albums while Paredes formed seminal electro-group Los Mismos, before a short-lived reunion in the early noughties. With contributions by numerous friends and associates of the band, it is as much a cultural history of the period as a typical band documentary.          

El Frio Misterio provides a compelling look at a band who surely would have gained more widespread acclaim had they not been constricted by the circumstances of the time. For those unfamiliar with the group, this is still an absorbing film, as the music, the sweeping landscape shots, and the socio-political commentaries resonate loudly of creativity and solidarity through music. It is undoubtedly, however, the first half of the film with its juxtaposition of the raucous underground scene with military brutality on the streets that truly captivates. Winner of last year´s Santiago In-Edit documentary festival, this is an intriguing film for anyone with rooted interests in Chilean music.

Electrodomésticos: El Frio Misterio

Directed by Sergio Castro San Martin

On limited release

http://electrodomesticos.promedia.cl/

Cumbia my lord (and Chorizo Salvaje)

More cumbia rhythms recently with Chorizo Salvaje, one of the numerous Santiago-based bands that make up the nueva cumbia rock chilena scene which is thriving in Santiago these days. The afro-cumbia rhythms are heavy and the demon horn section gives the sound a brooding menace which, laced with the cumbia percussion that energises the whole thing makes for a pretty raw sound. As with all these bands, Chorizo Salvaje get a lively crowd and it's good, slightly dark, party vibes.

They are very bass and percussion driven, with fat horn melodies, with elements of other musical forms from gitana through to salsa. One of the most noticeable things about them is the regularity with which the band members change roles in the band. For example the bass player takes over on percussion in some tunes, while the trumpeter gets on the mike and starts bellowing. There are two main singers, male and female, and they offer very different styles: the guy is more like an MC and riles the crowd much more while the girl has a voice that goes low in a bassy baritone or high in sweet harmony. Her voice is not for everyone but there's no denying she's got a pair of lungs.

While not my favourite local band from this particular scene (that would be Conmoción or La Mano Ajena), Chorizo Salvaje is definitely worth checking out and provide yet more evidence of the vibrant music scene in which Santiago revels. The underground cumbia scene in particular is a key part of the city's alternative culture with hugely popular bands whose main source of income comes from playing live, meaning that there are gigs all the time.

Cumbia originated in Colombia through the integration of musical influences of African slaves with indigenous Indians. Its African roots can be heard in percussive rhythms and vocal dynamics that owe much to tribal singing. Over many years it has spread all over Latin America and each country has its own distinct style, using different time signatures and instruments, as the traditions of each particular region were introduced. In Chile, cumbia was for a long time performed in a romantic context, with soppy lyrics and corny imagery alienating many young people from the vital ingredients that form its foundation. Yet in the last ten years or so, the likes of Chico Trujillo, Juana Fe and Conmoción have emerged to reclaim cumbia and inject a raucous and passionate energy into a previously staid musical style. It now represents one of Chile's most stimulating forms of cultural expression.

Winter hibernation over

After a hefty break the blog is back on the go with all the key info about the Santiago scene and what makes the city whir. Things have changed since the last entry in the blog around two and a half months ago. Firstly, the winter has passed and we're now into the lovely spring with plenty of sunny and warm weather. It's a good time of year and culturally the city really comes alive with lots of outdoor events and festivals. And of course getting out of the city is always nice but particularly so in spring.

Anyway, this post is just a reawakening of sorts as I get back into the habit of daily blogging. Stay tuned!

Red Fury at the Copa America

La Selección Chilena

The Copa America is proving to be an exciting ride for la selección who face Venezuela on Sunday, which is no doubt going to see Santiago descend into heavy carrete if Chile win. They're the favourites and they're playing some great stuff, fast, offensive, open, but Venezuela look not too bad a team defensively (at least against Brazil they didn't but they let in three against Paraguay). There's already a heady sense of anticipation about Sunday's game, it's the opponent they wanted, it's the weekend, and a semi-final place is at stake.

I don't follow any Chilean club but I'm a big fan of la selección. As in the World Cup last year, they have been good entertainment and they rely on a rapid passing game that sees the attacking players constantly moving in order to find space. They deservedly won their group, being probably the best team of the initial stages of the tournament and setting off some pretty raucous festivities in streets. Like last year, thousands of fans went to Plaza Italia to get boisterously merry before los guanacos sent them on their way. Not a good time of year to be getting a soaking from water cannon, that's for sure.

Thousands of Chilean fans have made their way the short distance over the border into Mendoza in Argentina and have more or less colonised the city, where Chile played all their group games. The news has constantly shown traffic jams at the snowy border crossing in the mountains with the fans all dancing about for the cameras. The success of the national team never fails to bring out the flags and the celebrations, not to mention the pisco.

Sanchez celebrates his goal against Uruguay

I didn't get to watch all the games in their entirety because I was stuck at work in the evenings but as I work in the centre I was fully aware when Chile scored against both Uruguay and a few days later against Peru. From my vantage point on the sixth floor in Paseo Huerfanos, the goals set off a collective roar that echoed throughout the entire city. People run out onto their balconys to shout and the night descends into a cacophony of car horns and plastic bugles.

After the game against Peru a couple of days ago I headed home on my normal route through Plaza de Armas, where my street begins (although I live about a mile further down the road), and which is like little-Lima owing to all the Peruvians in this area. With the general antipathy that exists between these two countries, couple with the nature of Chile's last minute winner, I was expecting to witness some kind of feisty shenanigans but surprisingly it was as quiet as any other night. Slightly disappointed, I headed home guessing that Tuesdays are probably not the best nights for agro in these parts.

Anyway, here's hoping the boys can make it to the semis on Sunday even though I will be out of the country for those games and the final, and will be both delighted and furious if they make the final. The likes of Alexis Sanchez, Jorge Valdivia, Arturo Vidal and Waldo Ponce have had a strong tournament so far and they have to fancy their chances against Venezuela. Then it'll probably be Brazil in the semi who beat them 7-1 in the last Copa America. Ho Hum.

Vidal holds of ugly bald Uruguayan defender

Fight The Power

And the spirit is lifted as news arrives that the student movement is getting some international support from none other than Public Enemy who have discounted student tickets for their gig at Teatro Caupolican on 24th July. Reducing prices by 30% to those who carry national student cards, it is the first time that an international artist has shown solidarity with the protesters campaigning for a fairer education system.

'If young people are protesting for a better education, it's something that must be respected' Chuck D was quoted as saying in La Tercera. The news guarantees Public Enemy a cracking welcome in what will be their first ever appearance in Chile. Great as well that at least some musicians can grow old without selling out their principles. And if arguably the most influential hip hop group of all time can support the youth of Chile, surely all big name musicians who visit the country should be able to. It is certainly an opportunity for artists to show their social conscience.

Unfortunately I will miss the gig as I will be back in England for a few weeks but no doubt it will be a pulsating night of blood and fire. In the meantime here's a couple of Public Enemy videos to celebrate their gesture... Black Steel In The Hour Of Chaos and, of course, Fight The Power...

Ecological Community

On Saturday's trip to Peñalolen I also took in la communidad ecologica, Santiago's answer to those communes set up to provide an alternative and sustainable way of living. It's a nice place, on the outskirts of the city at the foot of the cordillera and is basically an association of people who have chosen to live in an ecologically efficient way. The Ecological Community of Peñalolen was founded some thirty years ago and, as such, a number of its residents have spent a significant period living there, and the place has been able to develop into a healthy and functional community.

Having been established for a relatively long period of time, it now appears to be a thriving and renowned sector of Santiaguino life. The buildings differ in size, style and material. Some are large houses made of wood while others are more like huts made out of dried earth. A pleasant stroll round the site reveals it to be a place that has clearly developed its own identity and become self-supporting. There are artesanal shops selling crafts, clothes and local produce, metal and wood workshops, restaurants, a theatre-cum-cultural centre, community halls, a bar with good live music and plenty of other things. It is a fully-functioning community and is a fine example of what can be achieved when people work together.

I hadn't been up to these eastern outskirts of Santiago for a few months and I'd forgotten about what for me is the most striking thing about this part of the city: namely the level of tranquility that exists here. You may be able to see the sprawling city below you but there is a stillness in the air, the scents are fresh, and the most intrusive sounds are the birds. I find it remarkable that you can still be in the city but feel so disconnected and it is yet another example of one of the best aspects of Santiago life: the ease with which you can escape the city. With the Andes looming over you, it's a fine spot to visit on a chilled out afternoon.

Having said all that, there is still an element of middle class smugness prevailing here that is so common in London. I particularly liked the car park for the restaurant where a number of 4X4s awaited their owners, who are obviously ignorant to the contradiction. It took me back to Stoke Newington and the self-rightousness of some of its inhabitants. At least they suffer from those people here in Chile as well.

A perusal of the website shows that this is a community that takes an active role in many aspects of Chilean and Santiaguino issues and is seemingly committed to following the environmental path. I hope to head back over to Peñalolen some time soon as I feel at peace over there. You can get there by bus from Grecia Metro although I don't remember the number.

These photos aren't particularly good but I didn't have my camera the other day and at least they give an idea of the different architectural styles of the community.