Violeta Parra: An Intermedial Representation Project

Abstract

This article proposes to read Parra's artistic projects as one of representation, developed between 1954 and 1967, defined by three intermedial procedures: integration, transformation and interrelation. Consequently, it suggests a triple genealogy (musical, literary, and visual) from which Parra critically introduces new elements, such as the visibility of live singers through a mediation that begins with sound recordings and extends to plastic and audiovisual works. Subsequently, these representations are showcased in conferences, courses, and books, eventually becoming part of the museum she established in Concepción, later reimagined as La Carpa de la Reina.