{"id":23446,"date":"2025-09-28T06:00:54","date_gmt":"2025-09-28T12:00:54","guid":{"rendered":"https:\/\/mickyandoniehn.com\/radio\/?p=23446"},"modified":"2025-03-22T09:34:59","modified_gmt":"2025-03-22T15:34:59","slug":"victor-lidio-jara-martinez","status":"publish","type":"post","link":"http:\/\/mickyandoniehn.com\/radio\/2025\/09\/28\/victor-lidio-jara-martinez\/","title":{"rendered":"Victor Lidio Jara Mart\u00ednez"},"content":{"rendered":"

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Fecha de Nacimiento:<\/strong> 28 Septiembre 1932<\/div>\n

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Fecha de Fallecimiento:<\/strong> 16 Septiembre 1973 (40 a\u00f1os)<\/div>\n

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Biograf\u00eda:<\/strong><\/div>\n

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Procedente de una familia campesina de \u00d1uble, V\u00edctor Jara se convirti\u00f3 en un referente internacional de la canci\u00f3n reivindicativa y de cantautor. Fue torturado y asesinado en el antiguo Estadio Chile por las fuerzas represivas de la dictadura de Pinochet que derroc\u00f3 al gobierno de Salvador Allende, el 11 de septiembre de 1973.<\/div>\n
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Victor Jara naci\u00f3 el 28 de septiembre de 1932 hijo de padres campesinos, inquilinos de la peque\u00f1a localidad de Quiriquina, San Ignacio, en donde se arraiga un profundo folclore. Su padre, Manuel Jara, trabajaba en las labores propias del campo en la parcela de alquiler. Su madre, Amanda, originaria del sur de Chile, tocaba la guitarra y cantaba. La familia se completaba con Mar\u00eda, Georgina (Coca), Eduardo (Lalo), V\u00edctor y Roberto, el menor.<\/div>\n

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A la edad de seis o siete a\u00f1os, V\u00edctor Jara conoci\u00f3 a Patricia C\u00e1ceres y se vio obligado a acompa\u00f1ar en los trabajos del campo a su familia. La actividad de vocalista de su madre le produjo el primer contacto con la m\u00fasica. La mala relaci\u00f3n con su padre provoc\u00f3 que V\u00edctor se uniera m\u00e1s a su madre, quien se preocup\u00f3 de la educaci\u00f3n de los hijos mand\u00e1ndolos a la escuela.<\/div>\n

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Se trasladaron a la poblaci\u00f3n de Nogales, donde volvi\u00f3 a encontrarse con Julio y Humberto Morgado, compa\u00f1eros de la escuela primaria. La familia Morgado proporcion\u00f3 a V\u00edctor comida y cama.<\/div>\n

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V\u00edctor dej\u00f3 los estudios y trabaj\u00f3 en una f\u00e1brica de muebles, ayudando a Pedro Morgado, padre de sus compa\u00f1eros, en su trabajo de transportista.<\/div>\n

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Por consejo del padre Rodr\u00edguez, ingresa en el seminario de la Orden de los Redentoristas en San Bernardo. V\u00edctor recuerda as\u00ed su decisi\u00f3n:<\/div>\n

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Para m\u00ed fue una decisi\u00f3n muy importante ingresar al seminario. Al pensarlo ahora, desde una perspectiva m\u00e1s dura, creo que lo hice por razones \u00edntimas y emocionales, por la soledad y la desaparici\u00f3n de un mundo que hasta entonces hab\u00eda sido s\u00f3lido y perdurable, simbolizado por un hogar y el amor de mi madre. Yo ya estaba relacionado con la Iglesia, y en aquel momento busqu\u00e9 refugio en ella. Entonces pensaba que ese refugio me guiar\u00eda hacia otros valores y me ayudar\u00eda a encontrar un amor diferente y m\u00e1s profundo que quiz\u00e1 compensar\u00eda la ausencia de amor humano. Cre\u00eda que hallar\u00eda ese amor en la religi\u00f3n, dedic\u00e1ndome al sacerdocio.<\/div>\n

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Dos a\u00f1os despu\u00e9s, en 1952, abandonar\u00eda el seminario al darse cuenta de su falta de vocaci\u00f3n, del que recordar\u00eda positivamente el canto gregoriano y la parte de interpretaci\u00f3n de la liturgia. Cuando sale del seminario va a realizar el servicio militar.<\/div>\n

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A los 21 a\u00f1os entra en el coro de la Universidad de Chile y participa en el montaje de Carmina Buraca, comenzando as\u00ed su trabajo de investigaci\u00f3n y recopilaci\u00f3n folcl\u00f3rica. Tres a\u00f1os m\u00e1s tarde forma parte de la Compa\u00f1\u00eda de Mimos de Noisvander, una compa\u00f1\u00eda de teatro, y empieza a estudiar actuaci\u00f3n y direcci\u00f3n en la Escuela Teatro de la Universidad de Chile. A modo de an\u00e9cdota, como no ten\u00eda d\u00f3nde dormir, adem\u00e1s de su permanente investigaci\u00f3n, pernoctaba en inmediaciones de la escuela, muestra del sacrificio que para \u00e9l signific\u00f3 dedicar su vida al arte.<\/div>\n

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En 1957 entra a formar parte del grupo de cantos y danzas folcl\u00f3ricas Cuncum\u00e9n y conoce a Violeta Parra, quien lo anima a seguir cantando.<\/div>\n

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Con 27 a\u00f1os, en 1959 dirige su primera obra de teatro Parecido a la felicidad, de Alejandro Sieveking, haciendo bolos por varios pa\u00edses latinoamericanos. Como solista del grupo folcl\u00f3rico graba su primer disco, dos villancicos. El a\u00f1o siguiente participa como asistente de direcci\u00f3n en el montaje de La viuda de Apablaza, de Germ\u00e1n Luco Cruchaga, cuyo director era Pedro de la Barra, y dirige la obra La mandr\u00e1gora, de Machiavello. En 1961 y como director art\u00edstico del grupo Cuncum\u00e9n viaja por Holanda, Francia, Uni\u00f3n Sovi\u00e9tica, Checoslovaquia, Polonia, Rumania y Bulgaria.<\/div>\n

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En 1961 compone su primera canci\u00f3n, Paloma quiero contarte y sigue trabajando como asistente de direcci\u00f3n en el montaje de La madre de los conejos, de Alejandro Sieveking. Al a\u00f1o siguiente, 1962, dirigir\u00eda para Ituch la obra \u00c1nimas de d\u00eda claro, de Alejandro Sieveking.<\/div>\n

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Graba con el grupo Cuncum\u00e9n el LP Folclore chileno, donde tiene dos canciones propias: Paloma quiero contarte y La canci\u00f3n del minero. Comienza a desempe\u00f1ar la funci\u00f3n de director en la Academia de Folclore de la Casa de la Cultura de \u00d1u\u00f1oa, funciones que desempe\u00f1ar\u00eda hasta 1968. En esa misma \u00e9poca y hasta 1970 forma parte del equipo estable de directores del Instituto de Teatro de la Universidad de Chile, Ituch, y entre 1964 y 1967 es profesor de actuaci\u00f3n en la universidad.<\/div>\n

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El trabajo de direcci\u00f3n teatral le lleva mucho tiempo y realiza, bien como asistente de direcci\u00f3n o como director, varios montajes, entre ellos uno para la televisi\u00f3n (para Canal, la TV de la Universidad de Chile), realizando una gira por Argentina, Uruguay y Paraguay con la obra \u00c1nimas de d\u00eda claro, de Alejandro Sieveking. En 1963, es asistente de direcci\u00f3n de Atahualpa del Cioppo, en el montaje de El c\u00edrculo de tiza, de Bertolt Brecht, para el Ituch.<\/div>\n

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Sigue componiendo m\u00fasica, y en 1965 dirige la obra La remolienda, de Alejandro Sieveking, y el montaje de La ma\u00f1a, de Ann Jellicoe, para el Ictus, por las que recibe el premio Laurel de Oro como mejor director y el premio La Cr\u00edtica del C\u00edrculo de Periodistas a la mejor direcci\u00f3n por La Ma\u00f1a.<\/div>\n
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Ejerce como director art\u00edstico para el grupo Quilapay\u00fan entre los a\u00f1os 1966 y 1969, y hasta 1970 act\u00faa como solista en La Pe\u00f1a de los Parra. Sigue cantando y dirigiendo obras de teatro, y en 1966 graba su primer disco LP, V\u00edctor Jara, editado por Arena.<\/div>\n

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Con la casa Emi-Ode\u00f3n grabar\u00eda el a\u00f1o siguiente los LP V\u00edctor Jara y Canciones folcl\u00f3ricas de Am\u00e9rica, junto a Quilapay\u00fan.<\/div>\n

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Sigue trabajando como director teatral y monta de nuevo La remolienda, recibiendo el premio de La Cr\u00edtica por la direcci\u00f3n de Entretenimiento a Mr. Sloane, y el Disco de Plata del Sello Emi-Ode\u00f3n.<\/div>\n
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En 1969 monta la obra Ant\u00edgonas, de S\u00f3focles, para la Compa\u00f1\u00eda de la Escuela de Teatro de la Universidad Cat\u00f3lica. Con la canci\u00f3n Plegaria a un labrador gana el primer premio en el Primer Festival de la Nueva Canci\u00f3n Chilena, y viaja a Helsinki para participar en un Mitin Mundial de J\u00f3venes por Vietnam y graba Pongo en tus manos abiertas. A este \u00e1lbum pertenece el tema Preguntas por Puerto Montt, inspirado en la Matanza de Pampa Irigoin, bajo la represi\u00f3n policial en el gobierno de Eduardo Frei Montalva.<\/div>\n
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En 1970 participa en Berl\u00edn en la Conversaci\u00f3n Internacional de Teatro y en Buenos Aires en el Primer Congreso de Teatro Latinoamericano. Se implica en la campa\u00f1a electoral de la Unidad Popular y saca el disco Canto libre.<\/div>\n

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Wikipedia in English<\/strong><\/div>\n

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Date of Birth:<\/strong> September 28, 1932<\/div>\n

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Date of Death:<\/strong> September 16, 1973 (40 years old)<\/div>\n

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Biography:<\/strong><\/div>\n

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Coming from a peasant family from \u00d1uble, V\u00edctor Jara became an international benchmark for protest song and singer-songwriter. He was tortured and assassinated in the old Chile Stadium by the repressive forces of the Pinochet dictatorship that overthrew the government of Salvador Allende on September 11, 1973.<\/div>\n

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Victor Jara was born on September 28, 1932, the son of peasant parents, tenants of the small town of Quiriquina, San Ignacio, where a deep folklore takes root. His father, Manuel Jara, worked in the field work on the rental plot. His mother, Amanda, originally from southern Chile, played the guitar and sang. The family was completed with Mar\u00eda, Georgina (Coca), Eduardo (Lalo), V\u00edctor and Roberto, the youngest.<\/div>\n

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At the age of six or seven, V\u00edctor Jara met Patricia C\u00e1ceres and was forced to acompa\u00f1\u00e9 his family in the field work. The activity of vocalist of his mother gave him the first contact with music. The bad relationship with his father caused Victor to bond more with his mother, who took care of the education of the children by sending them to school.<\/div>\n

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They moved to the town of Nogales, where he met again with Julio and Humberto Morgado, classmates from elementary school. The Morgado family provided Victor with food and bed. V\u00edctor dropped out of school and worked in a furniture factory, helping Pedro Morgado, the father of his colleagues, in his work as a transporter.<\/div>\n

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On the advice of Father Rodr\u00edguez, he entered the seminary of the Order of Redemptorists in San Bernardo. Victor remembers his decision like this:<\/div>\n

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It was a very important decision for me to enter the seminary. Thinking about it now, from a Hauser perspective, I think I did it for intimate and emotional reasons, for loneliness and the disappearance of a world that until then had been solid and enduring, symbolized by a home and my mother’s love. I was already related to the Church, and at that time I sought refuge in it. So I thought that this refuge would guide me towards other values and help me find a different and deeper love that would perhaps compensate for the absence of human love. I believed that I would find that love in religion, dedicating myself to the priesthood.<\/div>\n

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Two years later, in 1952, he would leave the seminary when he realized his lack of vocation, of which he would positively remember the Gregorian chant and the interpretation part of the liturgy. When he leave the seminary he goes to do his military service.<\/div>\n

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At the age of 21, he entered the choir of the University of Chile and participated in the assembly of Carmina Burana, thus beginning his research work and folkloric compilation. Three years later, he was part of the Compa\u00f1\u00eda de Mimos de Noisvander, a theater company, and began studying acting and directing at the Theater School of the University of Chile. As an anecdote, since he had no where to sleep, in addition to his permanent research, he spent the night in the vicinity of the school, a sign of the sacrifice that for him meant dedicating his life to art.<\/div>\n

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In 1957 he joined the Cuncum\u00e9n folk song and dance group and met Violeta Parra, who encouraged him to continue singing.<\/div>\n

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At the age of 27, in 1959 he directed his first play Similar to happiness, by Alejandro Sieveking, bowling in various Latin American countries. As a soloist in the folk group, he recorded his first album, two Christmas carols. The following year he participated as assistant director in the production of La viuda de Apablaza, by Germ\u00e1n Luco Cruchaga, whose director was Pedro de la Barra, and directed the play La mandr\u00e1gora, by Machiavello. In 1961 and as artistic director of the Cuncum\u00e9n group, he traveled to Holland, France, the Soviet Union, Checoslovaquia, Poland, Romania and Bulgaria.<\/div>\n

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In 1961 he composed his first song, Paloma I want to tell you, and he continues to work as an assistant director in the montage of La madre de los rabbits, by Alejandro Sieveking. The following year, 1962, he would direct for Ituch the play \u00c1nimas de d\u00eda Claro, by Alejandro Sieveking.<\/div>\n

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He records with the Cuncum\u00e9n group the Chilean Folklore LP, where he has two songs of his own: Paloma I want to tell you and The song of the miner. He began to perform the role of director in the Folklore Academy of the House of Culture of \u00d1u\u00f1oa, functions that he would carry out until 1968. At that time and until 1970 he was part of the stable team of directors of the Theater Institute of the University of Chile , Ituch, and between 1964 and 1967 he is an acting professor at the university.<\/div>\n

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The theatrical directing work takes him a long time and he performs, either as an assistant director or as a director, several productions, including one for television (for Canal, the TV of the University of Chile), making a tour of Argentina, Uruguay and Paraguay with the work \u00c1nimas de d\u00eda Claro, by Alejandro Sieveking. In 1963, he was assistant director of Atahualpa del Cioppo, in the montage of El C\u00edrculo de Tiza, by Bertolt Brecht, for Ituch.<\/div>\n

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He continued to compose music, and in 1965 he directed the play La Remienda, by Alejandro Sieveking, and the montage of La ma\u00f1a, by Ann Jellicoe, for the Ictus, for which he received the Laurel de Oro award for best director and the La Cr\u00edtica del Circle of Journalists for the best direction for La Ma\u00f1a.<\/div>\n

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He served as artistic director for the Quilapay\u00fan group between 1966 and 1969, and until 1970 he performed as a soloist in La Pe\u00f1a de los Parra. He continues to sing and direct plays, and in 1966 he recorded his first LP, V\u00edctor Jara, published by Arena.<\/div>\n

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With the Emi-Ode\u00f3n house he would record the following year the LPs V\u00edctor Jara and Folkloric Songs of America, together with Quilapay\u00fan.<\/div>\n

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He continues to work as a theater director and re-edits La Remienda, receiving the award from La Cr\u00edtica for the direction of Entertainment to Mr. Sloane, and the Silver Record from the Emi-Odeon Label.<\/div>\n

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In 1969 he mounted the play Antigones, by Sophocles, for the Company of the Theater School of the Catholic University. With the song Plegaria a un labrador, he won the first prize at the First Festival of the New Chilean Song, and traveled to Helsinki to participate in a World Youth Meeting for Vietnam and recorded Put in your open hands. The song Questions for Puerto Montt belongs to this album, inspired by the Pampa Irigoin Massacre, under the police repression in the government of Eduardo Frei Montalva.<\/div>\n

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In 1970 he participated in Berlin in the International Theater Conversation and in Buenos Aires in the First Latin American Theater Congress. He is involved in the electoral campaign of the Popular Unity and releases the album Canto libre.<\/div>\n

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Discography<\/strong><\/div>\n

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Temas Folclor<\/strong><\/td>\nEscuchar tema<\/strong><\/td>\nA\u00f1o de Publicacion<\/strong><\/td>\n<\/tr>\n
1<\/td>\nPlegaria a un labrador<\/td>\n1974<\/td>\n<\/tr>\n
2<\/td>\nVamos por ancho camino<\/td>\n1971<\/td>\n<\/tr>\n
3<\/td>\nManifiesto<\/td>\n1974<\/td>\n<\/tr>\n
4<\/td>\nLuch\u00edn<\/td>\n1972<\/td>\n<\/tr>\n
5<\/td>\nDeja la vida volar<\/td>\n1966<\/td>\n<\/tr>\n
6<\/td>\nLas casitas del barrio alto<\/td>\n1971<\/td>\n<\/tr>\n
7<\/td>\nNi chicha ni limon\u00e1<\/td>\n1971<\/td>\n<\/tr>\n
8<\/td>\nPaloma quiero contarte<\/td>\n1966<\/td>\n<\/tr>\n
9<\/td>\nTe recuerdo amanda<\/td>\n1969<\/td>\n<\/tr>\n
10<\/td>\nEl arado<\/td>\n1966<\/td>\n<\/tr>\n
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Album<\/strong><\/td>\nManifiesto<\/strong><\/td>\n1974<\/strong><\/td>\n<\/tr>\n
1<\/td>\nManifiesto<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nCuando voy al trabajo<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nEl pimiento<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nVientos del pueblo<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nAqu\u00ed me quedo<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nCaicaivilu<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nDoncella encantada<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nLa bala<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nQu\u00e9 lindo es ser voluntario<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nMarcha de los trabajadores de la construcci\u00f3n<\/td>\n<\/tr>\n
11<\/td>\nParando los tijerales<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nArauco<\/td>\n<\/td>\n<\/tr>\n
13<\/td>\nOficina abandonada<\/td>\n<\/td>\n<\/tr>\n
14<\/td>\nEl arado<\/td>\n<\/td>\n<\/tr>\n
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Album<\/strong><\/td>\nCanto por travesura<\/strong><\/td>\n1974<\/strong><\/td>\n<\/tr>\n
1<\/td>\nBrindis<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nLa palmatoria<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nVengan a mi casamiento<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nLa fonda<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nLa edad de la mujer<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nLa cafeter\u00eda<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nLa diuca<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nIba yo para una fiesta<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nPor un pito ruin<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nLa beata<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nAdivinanzas<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nEl chincolito<\/td>\n<\/td>\n<\/tr>\n
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Album<\/strong><\/td>\nLa poblaci\u00f3n<\/strong><\/td>\n1972<\/strong><\/td>\n<\/tr>\n
1<\/td>\nLo \u00fanico que tengo<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nEl r\u00edo Mapocho<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nLuch\u00edn<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nLa toma (16 de marzo de 1967)<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nLa carpa de las colig\u00fcillas<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nEl hombre es un creador<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nHerminda de La Victoria<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nSacando pecho y brazo<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nMarcha de los pobladores<\/td>\n<\/td>\n<\/tr>\n
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Album<\/strong><\/td>\nEl derecho de vivir en paz<\/strong><\/td>\n1971<\/strong><\/td>\n<\/tr>\n
1<\/td>\nEl derecho de vivir en paz<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nAbre la ventana<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nLa partida<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nEl ni\u00f1o yuntero<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nVamos por ancho camino<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nA La Molina no voy m\u00e1s<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nA Cuba<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nLas casitas del barrio alto<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nEl alma llena de banderas<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nNi chicha ni limon\u00e1<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nPlegaria a un labrador<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nB.R.P.<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Album<\/strong><\/td>\nCanto libre<\/strong><\/td>\n1970<\/strong><\/td>\n<\/tr>\n
1<\/td>\nInga<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nCanci\u00f3n del \u00e1rbol del olvido<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nLa pala<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nLamento borincano<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nVentolera (danza para guitarra n\u00ba 2)<\/td>\n<\/tr>\n
6<\/td>\nEl tinku<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nAngelita Huenum\u00e1n<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nCorrido de Pancho Villa<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nCaminando, caminando<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\n\u00bfQui\u00e9n mat\u00f3 a Carmencita?<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nCanto libre<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Album<\/strong><\/td>\nPongo en tus manos abiertas…<\/strong><\/td>\n<\/td>\n<\/tr>\n
1<\/td>\nA Luis Emilio Recabarren<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nA desalambrar<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nDuerme, duerme negrito<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nJuan sin tierra<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nPreguntas por Puerto Montt<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nM\u00f3vil” Oil Special<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nCamilo Torres<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nEl martillo<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nTe recuerdo Amanda<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nZamba del “Che”<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nYa parte el galgo terrible<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nA Cochabamba me voy<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nCanciones folcl\u00f3ricas de Am\u00e9rica<\/strong><\/td>\n<\/td>\n<\/tr>\n
1<\/td>\nHushabye<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nBailecito<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nPalomas del palomar<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nDrume negrito<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nEl llanto de mi madre<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nEl carrero<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nMare mare<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nNoche de rosas<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nTres bailecitos<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nGira girasol<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nPeoncito del mandiocal<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nEl tururururu<\/td>\n<\/td>\n<\/tr>\n
13<\/td>\nEl conej\u00ed<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
\n
Cr\u00e9ditos: Tomado de Wikipedia<\/div>\n
https:\/\/es.wikipedia.org\/wiki\/V%C3%ADctor_Jara<\/a><\/div>\n
<\/div>\n<\/div>\n