A referential icon of childhood for several generations, that is María Elena Walsh. Which was both in her country, Argentina, as well as in Latin America and the world. A life full of passion, music, poetry and much more. This article is loaded with a lot of information, do not miss everything related to this excellent and unique artist.
Maria Elena Walsh
María Elena Walsh, was born in the town of Ramos Mejía, on February 1, 1930. Her death was on January 10, 2011. She stood out in a large number of art activities such as:
- Poetess
- Writer
- singer-songwriter
- playwright
- Composer
Being that it is considered as a "living myth, cultural hero and the coat of arms of practically all childhoods". Taking into account that Leopoldo Brizuela, a famous writer, has highlighted the value of his creation, commenting on what was written by María Elena Walsh, which is consolidated as a work that is of importance at all times based on its genre. .
Which can be compared with the work of Lewis Carrol: “Alice”. Or "Pinocchio" which was a work, which was responsible for revolutionizing the way in which it was understood, the relationship between what is poetry and childhood.
In the same way, he achieved great fame due to his children's works. Being that they can be highlighted among them:
- The song character Manuelita the turtle
- The Upside Down Kingdom book
- dailan kifki
- The Monoliso
In the same way, it is also consolidated as the authorship of different songs that are very popular for adults, among which are mentioned, among others:
- like the cicada
- Serenade for the Land of One
- The valley and the volcano.
Topics of his authorship
Also, there are a number of beautiful Maria Elena Walsh songs. They are integrating the Argentine popular songbook among which we have, among others:
- the studious cow
- Titin's Song
- the upside down kingdom
- The Pinta bird
- The song of the vaccine (it is known as El brujito Gulubú
- the sweet potato queen
- The smooth monkey twist
- Song for tea
- In the country of Nomeacord
- The Polillal family
- executives
- Zamba for Pepe
- Lullaby for a ruler
- prayer to justice
- walkers song
In the same way, among the albums that are the most outstanding are:
- Songs to Watch (1963)
- Let's Play in the World (1968)
Being the case that, in relation to the children's music scene in Latin America, María Elena Walsh is standing out together with other great teachers such as:
- Francisco Gabilondo Soler of Mexico
- Teresita Fernandez of Cuba
Also, the film for children that is of animal drawings entitled Manuelita from the year 1999. It was directed by Manuel García Ferré, and it is inspired by his famous character, in addition to bringing together some of the songs of María Elena Walsh.
The jump to the public scene
At just 17 years old, María Elena Walsh makes her leap to the public scene, with a publication of her written work of poetry entitled “Unforgivable Autumn”. Being that this work was the reason for her, so that she would obtain recognition in the literary circuits of that time.
As well as the patronage of Juan Ramón Jiménez. Being that he himself invited her to settle in the United States, for a while.
It is the case that the experience was not easy for Maria Elena Walsh, just as she herself told the story on different occasions. However, this trip became the first of a number of journeys that would conform to what was her training as its author.
Then, around the year 1948, it became part of the literary movement of the "La Plata" era, which gathered around Ediciones del Bosque, which was the publishing house created by Raúl Amaral. In this publishing house some of his poetic works were published.
Likewise, between the years of 1951 and 1963, he consolidated the formation of a duo together with Leda Valladares, which was called the duo Leda and María. Likewise, between the years of 1985 and 1989, through President Raúl Alfonsín, she was appointed to become a member of the Council for the Consolidation of Democracy.
It is noteworthy that in the course of her entire career, María Elena Walsh published a sum of more than 20 albums. As well as the amount of more than 50 books. Among the artists who spread the María Elena Walsh songbook, the following can be highlighted:
- The Zupay Quartet
- Luis Aguile
- Mercedes Sosa
- Jairo
- pink lion
- Joan Manuel Serrat
After his musical retirement
After his retirement from music, he continued to write journalistic articles. As well as scripts for television and also novels that were autobiographical, such as:
- boyfriends of yesteryear
- ghosts in the park
Also, in the course of his life he formed a couple with the well-known folklorist Leda Valladares. Like María Herminia Avellaneda who was a film director. And also with Sara Facio, a renowned photographer at the time. Being that he lived with her, from the beginning of the decade of the 80s until her death.
Biography
In relation to the life of María Elena Walsh, it is known that her father was Mr. Enrique Walsh, who was of English origin. Being that he was an employee of the railway company New Western Railway of Buenos Aires (Ferrocarril Oeste de Buenos Aires). The same was from the chief accountant in the accounting department of said company. Also, within his qualities he played the piano in a very prominent way.
As for the grandparents, they were Londoners named David and Agnes Hoare. Regarding her arrival in the country in the year 1872. Being the case that María Elena Walsh took the Nursery rhymes from English popular culture. As well as traditional songs for children such as:
- Baa Baa black sheep
- Humpty Dumpty
Being these which were sung to her by her father in her childhood. Likewise, she took on the verbal constructions that are characteristic of British nonsense. Which she took as her special habit, which served as one of the main sources to inspire her work.
As for his mother, her name was Lucía Elena Monsalvo, originally from Argentina. She herself was the daughter of an Andalusian mother and an Argentine father, and she also had 10 siblings.
Being that the wedding with his father was the second marriage of his mother. After this marriage they procreated two daughters, who were her sister Susana de ella and her. Likewise, from her father's first marriage, she also had four brothers.
Breeding
His upbringing took place in a large mansion located in Ramos Mejía, in Greater Buenos Aires. In it you could enjoy:
- Playgrounds
- Gallinero
- Rosales
- Cats
- Lemon trees
- Naranjos
- a fig tree
So it is that in this environment you could feel the emanation, of greater freedom in terms of the traditional education that was taught, in the middle class of that time. This being the case of the song "Fideos finos", which became known as "I'm going to tell you what was in Ramos Mejía then".
Also, that his first novel entitled Boyfriends of yesteryear, which was dated in the year 1990. And that has an autobiographical root, they are all dedicated to making the story, and the reconstruction of all his childhood memories.
María Elena Walsh Precocious Poet
María Elena Walsh entered the Manuel Belgrano School of Fine Arts, located in Barracas in Buenos Aires, at the age of 12. Being that she was settled there. She then she then she would become friends with Sara Facio, who would later become quite an outstanding photographer. And also in the life partner of María Elena, in what was the last stretch of her life.
Just as Carmen Córdova is also included as a great friend, who was the daughter of the critic named Córdoba Iturburu, she was an architect herself. And also of Juan Carlos Distéfano, who would end up being a sculptor of great fame in the world.
It can be said that within her personality she was shy and also rebellious. She also read a lot during her teenage years. Then in 1945, when he was 15 years old, he published his first poem, which was in the magazine El Hogar. The same was an issue that she dedicated to spring. The title of the poem was "Elegía" and the illustration was made by her schoolmate Elba Fábregas.
his father dies
It should be noted that he also wrote in the newspaper La Nación in that same year. Then in the year 1947, when he was 17 years old, he suffered from the death of his father and published his first book.
It was a collection of poems entitled "Unforgivable Autumn", which received the second Municipal Poetry Prize. Even when the jury made an excuse in which they indicated that they had not awarded him the first prize. Because he turned out to be too young.
However, despite being so young, this is a remarkable book that immediately drew attention to her within the Hispanic American literary world. In it are collected poems that were written between 14 and 17 years of age.
Being that they surprise, due to a delicate expressive maturity and also because of the quite natural style. Where there are full discoveries and lyrical games, such as in “Término”, where she defines herself as “a place where death will flourish”. This book received the best praise from critics, and even from some important Hispanic American writers, such as:
- Juan Ramon Jimenez
- Jorge Luis Borges
- Silvina Ocampo
- Eduardo Gonzalez Lanuza
- Pablo Neruda
María Elena Walsh Upon finishing her high school
In the year 1948, after completing her high school studies, and graduating as a teacher in the area of Drawing and Painting. She proceeds to accept the invitation made by the author of “Platero y yo” Juan Ramón Jiménez, to visit her house, which was in Maryland in the United States.
Thus, he stayed there for six months, in the year 1949. Since it was a complex experience, given that Jiménez treated him ruthlessly, where he had no consideration for him. This is due to his personal needs and inclinations. This is how María Elena Walsh herself makes the description of said experience, after a few years have elapsed, literally as follows:
“Every day I had to invent courage to face it, review my insignificance, cover myself with a misfortune that today rebels me. I felt scrutinized and condemned. I usually evoke with rancor the people who, older in the world, held my green destiny in their hands and did nothing but paralyze it.
With generous intentions, with a protective conscience, Juan Ramón destroyed me, and he had no right to be wrong because he was Juan Ramón, and I was nobody. In the name of what do you have to forgive him? In the name of what he is and means, beyond the failure of a relationship.
Maria Elena Walsh.
María Elena Walsh and The Return to Buenos Aires
After returning to Buenos Aires, and already touching the edge of the middle of the century, María Elena Walsh spent her time frequenting literary circles as well as intellectuals. She in the same way she was dedicated to writing essays in a number of publications.
When the year 1951 arrived, he proceeded to the publication of what was his second collection of poems entitled "Ballads with Angel". Being that said book was published in a similar volume with the work "Argument of the lover" of the equally young author Ángel Bonomini. It should be noted that at that time he was María Elena's boyfriend.
Taking into account that said volume proceeds to constitute a whole, in what are two lovers who are exchanging their emotions, through the expression of the verses.
It is the case that on this occasion María Elena, proceeds to resort to the ballad in order to make the poetic construction of her work. Being the same a lyrical form which is built, from the musicality corresponding to its structure. Where it is very probable was the reflection of the influence coming from Jiménez.
Moment of joy and optimism by María Elena Walsh
So, in them, you can see the sample of the poet during a moment of great joy and optimism that were induced by love. But at the same time they proceed to show the background dissatisfaction that would explode soon.
These emotions can be made evident in the "Ballad of lost time", where the writer expresses the anguish that had been harassing her. And that now she was calmed by the arrival of love. As we can see in the excerpt:
Like its vain leaves
time wasted me
Nailed to the wood of another dream
they flew over me night and day.
populating me with one
distracted nostalgia
the land, the sea, entered my eyes
and by idle tears flowed.
María Elena Walsh ("Ballad of lost time", frag., in Ballads with Angel.)
Now it seemed that María Elena Walsh was beginning to define her life as one of the most promising figures in the intellectual world of Buenos Aires. More, however, without being noticed by anyone, she felt suffocated. Both due to family-type repressions, as well as social ones, in relation to a sexuality which she always kept very private in private.
Due to jealousy and small or large betrayals that were woven into the cultural world. And furthermore, due to a political climate which was very polarized between Peronism and anti-Peronism, which was the tendency with which she felt identified.
Leda and Maria Elena Walsh
As for the artistic and affective association that was initiated between María Elena Walsh and Leda Valladares, it began in the year 1951, which was through letters. Since she was already 21 years old at that time, that is, she was eleven years younger than Valladares.
She was an artist of Tucuman origin, and was well related to the daily folklore from the Northwest. Likewise, she was the sister of the mythical folklorist named Chivo Valladares. She and she was also one of the first women to graduate from the National University of Tucumán.
It should be noted that Leda was residing in Costa Rica and proceeded to invite María Elena to meet her in Panama. In order together to leave for Europe. This being an invitation that was accepted by her, abandoning her family and her entire intellectual environment. In order to start your way towards experiencing it.
Then for the year 1952, both are installed in Paris. And they begin to interpret folk songs of oral tradition, corresponding to the Andean region of Argentina. Among which are:
- carnival
- bagualas
- vidalas
the first albums
After making appearances singing in cafes and nightclubs, this duo manages to land a contract at the very famous Crazy Horse cabaret. So it was that in the capital of France, they proceeded to interact with other artists such as Violeta Parra, a native of Chile. As with the American Blossom Dearie. And this is how they recorded their first albums:
- Chants d'Argentine – Songs from Argentina year 1954
- Sous le ciel de l'Argentine – Under the skies of Argentina year 1955
Likewise, they sang themes of oral tradition corresponding to Argentine Andean folklore, such as:
- two popcorn
- huachi tori
But in the same way there were songs by Atahualpa Yupanqui, who was based in Paris at that time, such as "La Arribeña". Like Jaime Dávalos such as "El huamahuaqueño". And also by Rafael Rossi as Viva Jujuy. In addition to Rolando Valladares who was Leda's brother.
From Paris to Argentina back
The return to Argentina took place in the year 1956. Leda and María proceeded to carry out a very extensive tour, throughout the Argentine Northwest where they managed to gather a series of songs. They would be recorded later, in the first albums they would make in their own country, during the year 1957. Being the same:
- Between valleys and ravines Vol. 1
- Between valleys and ravines Vol. 2
Being the case that many of said musical themes would proceed to be installed in the folk songbook. Undoubtedly, the two albums had a very good reception within the circles of intellectuals as well as artists, such as, among others:
- Cuchi Leguizamon
- Manuel J. Castile
- victoria ocampo
- Atahualpa Yupanqui
- Maria Herminia Avellaneda
Being that the latter led this duo of María Elena and Leda to the presentation on television, through channel 7. However. Around that time, differences between the two began to appear, which would end up leading them to separation, within the recordings of their own criteria.
Taking into account that, while Leda Valladares made the vindication of indigenism and pure folklore, taking into account the meaning of a creation which was anonymous. Then María Elena Walsh proceeded to lean towards the creation of expressions that were very new.
Taking their food from the folkloric roots, but without being strictly restricted to them. So they were guided by what were the values of social justice, like feminism and also pacifism.
Release of the fifth album
Then for the year of 1958 they proceeded to release their fifth album, entitled "Canciones del tiempo de Maricastaña". Since the songs from Spanish folklore are represented by a title which is playful. As well as informal, and proceeding to anticipate trends that were new and were incubating in the duo.
Since this album includes musical themes, such as:
- El Tururururú – It's your fault
- how are we alike
- Romance of love and death
Also, simultaneously María Elena Walsh proceeds to the publication of her third book of poems, entitled "Almost a miracle". Likewise, the following year Leda and María proceed to release their LP entitled “Leda y María cantan Christmas carols”. Being that four Christmas carols were included in it, which were anonymous. The same ones that came from the northern part of Argentina, another from Bolivia and two from Spain.
In relation to the cover of the album, it is a photo of a small child who is smiling, while looking at the drawing corresponding to a Santa Claus, which is appearing for the first time, in the theme of child cut.
The dreams of King Bombo, Tutu Marambá, Songs to watch and the Children's World
It should be mentioned that while in Paris, he dedicated himself to starting poems, as well as songs and children's characters. Being that they had only been shown to Leda Valladares.
Then, in 1956, the duo had won a contest where they would have the opportunity to sing in the Edith Piaf show, which would take place at the Olympia Theater in Paris. However, the famous singer ultimately excluded them. Being this apparently for reasons, which came from the emotional order. So both of them made the decision then, to return to Buenos Aires again.
Thus, the year 1958 is reached, where María Elena Walsh is offered the opportunity to write television scripts for children's programs. This being from María Herminia Avellaneda. Among them, the program Good morning Pinky can be highlighted.
It was starring Pinky - Lidia Satragno and Osvaldo Pacheco, who played the role of a grandfather. However, the duration of the program was only three months, but the success achieved was remarkable.
Being that this earned him two Martín Fierro awards, as the best children's program and male revelation for Osvaldo Pachecho. As well as the Argentores award for María Elena Walsh herself, which was awarded to her in 1965 as a screenwriter.
Then, from that experience, he obtained a maturation process regarding the possibility of creating a genre, which would be similar to a “Cabaret for boys” or a “Varieté for children”. Being that this would revolutionize the world of entertainment, as well as folklore and children's music.
The premiere of King Bombo's dreams
On February 2, 1959, at the Teatro Auditorium in Mar del Plata, the premiere of "Los Sueños del Rey Bombo" was held. Being this through the Children's Theater of Roberto Aulés. Then for the month of March of that same year, this work for the Teatro Presidente Alvear located in Buenos Aires. Then then in the year of 1962 it was replaced in the Comic Theater.
It should be noted that the original text of the work is lost. And that the only document that has survived, turns out to be the 8 songs that were edited by Ricordi, both for voice and piano. In the same way that "The march of King Bombo" as well as "El gato Confite", were formed as part of the book Tutú Marambá, which has a publication date in the year 1960.
Likewise, the book “Tutú Marambá” also includes some other texts corresponding to the show Rey Bombo. Such as for example "Tringuiti Tranguiti". And also "The Seller of Dreams", in addition to "The Witch Eulalia".
María Elena Walsh and A Turn in Style
Then, when the year 1960 arrived, Leda and María showed a very notable turn, in terms of their style of recording the LP "Canciones de Tutú Marambá", in which they interpret children's musical themes that had been written by María Elena. Walsh for the corresponding scripts for television. It was there that they included the first four songs, which would give María Elena Walsh fame in terms of children's music, which are:
- the studious cow
- fisherman's song
- The Reverse Kingdom
- Titin's Song
Next, the next show of dramatic musical type aimed at children was “Songs to watch”. In this case it was staged with a very small budget. Being its presentation in the Casacuberta Hall that belongs to the General San Martín Municipal Theater, in the city of Buenos Aires. Which happened in the year 1962.
Being the case that unexpectedly said show, managed to obtain an enormous success, which prompted then the preparation for a presentation of a new show for the year of 1963. Then, it went on to become one of the cultural events, of greater importance in the cultural history of Argentina.
The composition of the work
This work was composed from twelve musical themes by María Elena Walsh. Being that they were interpreted by Leda and María, who wore minstrel clothing. As well as the actors Alberto Fernández de la Rosa and Laura Saniez, they were in charge of making the mimic representation of:
- The Moth Family
- The Reverse Kingdom
- Baker's Milonga
- the studious cow
- La Pajara Pinta
- sneeze song
- gardener's song
- the monkey Jacinta
- vaccine song
- Titin's Song
- song to dress up
- And Fisherman's Song
It is the case that, between the intervals corresponding to the songs, two characters who were Agapito and the Lady of Morón Danga, proceeded to say the monologues that were funny.
So then, it was a dramatic type structure which Leda and Maria had taken from the Crazy Horse experience, which they had combined with humor. As well as with traditional rhythms, as well as the carefree and children's audience.
Last presentation of Leda and Maria
Later, the last presentation of Leda and María was Doña Disparate and Bambuco. Being that the new show had a budget which was much higher. As for the direction, it was in charge of María Herminia Avellaneda. And as for the leading performance, it was counted as:
- Lydia Lamaison as Nonsense
- Osvaldo Pacheco as Bambuca
- Theresa Blasco
- Pepe Soriano
Which presented several secondary characters and also bizarre. The Smooth Monkey also has its appearance in this work, as well as the Manuelita turtle. Being the most paradigmatic of the characters, in addition to the best known in the children's universe, which was created by María Elena Walsh.
It is noteworthy that this work was similar to the dreamlike climate of the work Alice in Wonderland. In addition to the fact that a later version was made for television, which was starring Perla Santalla and Walter Vidarte.
The replacement of the work for the year 1990
Later for the year 1990, this work was replaced, now under the direction of José María Paolantonio, and its cast is made up of:
- Georgina Barbarossa
- Adrian Julia
- Gustavo Monk
- Deborah Kepel
- Ivana Padula
- George Louis Freire
Being the case that these were made from 1990 to 1992, three seasons. Among the critics' comments, Leopoldo Brizuela stands out, who indicated that:
«According to the interviews at the time, Walsh conceived of Doña Disparate as the parodic incarnation of common sense, while Bambuco is the «personification of childhood».
But, more deeply, both represent the two personalities of Walsh: the rigorous, romantic and a little too rhetorical of Unforgivable Autumn, and the girl, popular, and a little too cool of Tutú Maramba. The two go out to duel, they never defeat each other and are always reborn in the increasingly luminous bonfire of humor, in the brave ordeal of creating.
Leopold Brizuela
The separation of Leda and María Elena Walsh
By this time, Leda and Maria had decided to continue on different paths. So before the split occurred in 1963, they proceeded to record what was to be one last EP. Then then the title was "Christmas for the boys". Being that the same proceeded to gather four Christmas songs, all of the authorship of María Elena Walsh. Bearing in mind that the two perform the songs together with Roberto Aulés.
Then, “Songs to watch”, was followed by the publication of five books specifically for children, and which are:
- The Upside Down Kingdom year – 1964
- Crazy Zoo – year 1964
- Dailan Kifki – year 1966
- Tales of Gulubú – year 1966
- And Outdoors – year 1967
Being the same the consolidation of the children's universe, which was built by María Elena Walsh in the course of that decade. And that she, without a doubt, was in charge of marking in a significant way, what is related to the cultural formation of the generations that followed in Argentina.
Likewise, during the year of 1965, he published his fourth collection of poems for adults, entitled "Hecho a mano".
Let's play in the world and adult songs
When the year 1968 arrived, the premiere of his show of musical themes for adults entitled "Let's play in the world" was made. Being that it was consolidated as an event of a cultural type, which would have a quite strong influence, in what was the new Argentine popular song.
The same thing that had been shaped from a different number of approaches. Such as, the Movement of the New Songbook - Driven by musicians, among which are Mercedes Sosa and Armando Tejada Gómez.
Likewise, that the vocal folklore, which was developing groups within which were Huanca Hua and the Cuarteto Zupay. Also, the modern tango which had Astor Piazzolla and the "Balada para un loco", as its epicenter. Being that the following year he composed together with Horacio Ferrer.
In the same way the songs of Nacha Guevara and Alberto Favero, which would begin to be shown in the same way the following year in "Anastasia querida".
Thus, just as María Elena Walsh had done with her children's songs, she demonstrated in "Juguemos en el mundo", it was a style related to composition, which was marked by creative freedom, as well as by the theme.
In the same way, their melodies were in charge of giving life to very modern songs, which took inspiration from the most diverse musical sources. This being from folklore to tango, as well as from jazz to rock.
The lyrics of their songs
His lyrics were responsible for contributing a number of themes to what was the protest song throughout Latin America. Being that it had its flourishing during those years, such as the themes "The executives" and ¿Devil are you?
However, there was also the introduction of themes, which were practically absent from what was the Argentine songbook. Such as emigration in the theme "Zamba de Pepe", which was dedicated to the photographer Pepe Fernández. As well as Peronism with 45. Or also the social prudery present in the middle classes, with the theme "Mirón y Miranda".
In the same way, the “Serenade for one's land” was included in the show. Being that it is considered one of the most outstanding musical themes, which borders on the protest song, without being so. For which it is built as a love song to his country. As if he were more of a lover, as he says:
"Because it hurts me if I stay,
but i die if i leave
with everything and in spite of everything
my love I want to live in you”.
Maria Elena Walsh and Another Album
During this show, there was also the release of a new album. It had the same title "Let's Play in the World". Being that the latter managed to achieve extraordinary success. So for the following year, Juguemos en el mundo II was produced.
Then María Herminia Avellaneda during the year of 1971, proceeded to make the direction corresponding to the film "Let's play in the world", being that Doña Disparate and Bambuco make their reappearance there, which were represented by Perla Santaella and Jorge Mayol. Having the accompaniment of:
- Hugo Caprera
- Eduardo Bergara-Leuman
- Virginia Lake
- George Light
- Aida Light
- eva frank
- Norman briski
In the same way during that same year, it was premiered in Buenos Aires, by China Zorrilla and Carlos Perciavalle, the version corresponding to the "Songs to look at" that had been staged in 1966 in New York and also in Montevideo. .
El País Kindergarten and its latest songs and reflections
Finding itself suffocated, because a strong censorship was imposed by the military dictatorship. For the month of July of the year 1978, when the World Cup was in full swing, she made the decision "not to continue composing, nor to perform any more songs in public". Being that paradoxically, there were several of her songs which had become a symbol of struggle, for those who promoted democracy.
Such is the case, for example:
- like the cicada
- Lullaby for a ruler
- Prayer to Justice
- walkers song
- Ballad of Commodus Viscach
- War postcard or its version of We shall overcome – Venceremos
- Classic march of the civil rights movement in the United States.
Then, when the following year arrived, on August 16, 1978, María Elena Walsh published an article titled “Misadventures in Paris” in the cultural supplement promoted by the newspaper Clarín. Kinder garden". Being that, with that same title, she proceeded to take it up again for the title of a book in the year of 1993.
Bearing in mind then that his words were literally:
We have been like children for a long time and we cannot say what we think or imagine. When the censor disappears, because he will one day be demolished by a highway!, we will be decrepit and without knowing what to say.
We will have forgotten the how, the where and the when and we will sit in a square like the old couple in Quino's drawing who wondered: "What were we...?"
Maria Elena Walsh
In the same way, in 1991, when Carlos Menem was president in Argentina, the possibility of implementing the death penalty was being debated in that country. So, on this subject, María Elena Walsh produced the following reflection:
“Throughout history, learned or brutal men knew for sure what crime deserved capital punishment. They always knew that I, not someone else, was to blame. They never doubted that the punishment was exemplary. Every time this lesson is alluded to, Humanity recoils on all fours.”3
Maria Elena Walsh
Published in Clarín (Buenos Aires), September 12, 1991.
Without a doubt, in his role as columnist, his repercussion in the article "La eñe is people too" was very important. Since it came out in defense of the use of the Internet of said letter, with plenty of characteristics especially in the Spanish language, so she made the following reflection:
Let's not let ourselves be snatched away from the eñe! We have already swiped the opening question marks and exclamation marks. They've already reduced us to the apocope [...] Let's continue to be owners of something that belongs to us, that letter with a cap, something very small, but less sappy than it seems [...]
The survival of this letter concerns us, without distinction of sex, creed or software programs. Let us fight not to add more fuel to the bonfire where our discriminated sign is debated [...] The eñe is also people.22
María Elena Walsh, newspaper La Nación (Buenos Aires), 1996.
Democracy, recognition and books
When democracy returned to Argentina, he dedicated himself to conducting a journalistic program, which was broadcast on television daily. He himself did it together with Herminia Avellaneda and also with the tango singer Susana Rinaldi.
Being the same called "Como la cicada", which made a direct allusion to the song by María Elena Walsh. That in a special way, gained great relevance among the singers who were exiled by the dictatorship, as was the case of Mercedes Sosa.
Then, said program became a space full of reflection and raised a number of topics, which were unusual for that time on television.
When the year 1985 arrives, she receives the appointment as Illustrious Citizen of the City of Buenos Aires and then in the year 1990, she is given the Doctor Honoris Causa, corresponding to the National University of Córdoba. As well as, that of Illustrious Personality of the Province of Buenos Aires.
When the year of 1994 arrived, a complete compilation of all his songs for children and adults appeared. Later, in 1997, “Manuelita, where are you going? In 2000, she also received the SADE Grand Prize of Honor. Like her, she was awarded two Platinum Konex Awards in 1981 within the Children's discipline. Likewise, in 1994 it was awarded in the category of Children's Literature.
When the year 2014 arrives, she is again awarded the Konex de Honor. This prize that was awarded to her after her death, and that she was considered the most important figure in Argentine Letters.
Likewise, that same year, through the Alfaguara publishing house, a book entitled "Poemas y songs" was published, which was a compilation corresponding to his musical works. And also to the most outstanding poems of his.
Death
María Elena Walsh physically ceased to exist on January 10, 2011, when she was 80 years old. The same thing happened at the Trinidad Sanatorium, after spending a fairly long hospital stay.
He died at my hand. The night before I went over to settle his head. She told me: "My love, here we are." She squeezed my hand and cried. So I told her that she had to rest, that we were all with her. We were a little group. Sara and three other girls. She called us the petit committee.
The next day he woke up sick. The doctor came and told me: "She is leaving." So I stood there, holding her hand. I had arranged for Sara to go to the studio and for me to call one of the girls from the petit committee to let her know. In the end, when everything happened, Sara came and I told her: "You're not going to go in, are you?" I wanted him to keep the image of María Elena awake.
Mariana Facio, niece of Sara Facio (Walsh's partner)
Wake and tributes
So his remains were veiled, at the central headquarters of SADAIC and his burial was carried out in the pantheon of the entity located, in the Chacarita Cemetery. Then then there the Argentine musician Eduardo Falú, proceeded to dedicate a few words to say goodbye to her.
The commotion that his death produced in the entire artistic environment was great. Being that there were many celebrities, who offered their condolences through the main media and broadcasting in the country. Bearing in mind that through all the air news and also cable.
Like the radios and also the newspapers, even the official website of the Club Ferro Carril Oeste, which was María Elena Walsh's favorite club, made a recognition in one of its online articles and baptized it with the name of the Plaza of games.
Music Compilation
Next, I share with you a compilation of a series of musical themes by the famous María Elena Walsh. Being that they can be enjoyed at any age.
Because this artist always made participants of a magical world with her beautiful melodies, to all those who listened to them. She leaves in each of her songs her messages of love and freedom, in search of a better humanity, and therefore of a better world. Enjoy this little tribute to this great artist.
like the cicada
we are invited
Mail Song
the moth family
Manuelita the Turtle
The Reverse Kingdom
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