Yupanqui was born Héctor Roberto Chavero Haram in Pergamino (Buenos Aires Province), in the Argentine pampas, about 200 kilometers away from Buenos Aires. His family moved to Tucumán when he was ten. In a bow to two legendary Incan kings, he adopted the stage name Atahualpa Yupanqui, which became famous the world over.
In his early years, Yupanqui travelled extensively through the northwest of Argentina and the Altiplano studying the indigenous culture. He also became radicalized and joined the Communist Party of Argentina. In 1931, he took part in the failed uprising of the Kennedy brothers and was forced to seek refuge in Uruguay. He returned to Argentina in 1934.
In 1935, Yupanqui paid his first visit to Buenos Aires; his compositions were growing in popularity, and he was invited to perform on the radio. Shortly thereafter, he made the acquaintance of pianist Antonieta Paula Pepin Fitzpatrick, nicknamed "Nenette", who became his lifelong companion and musical collaborator under the pseudonym "Pablo Del Cerro".
Because of his Communist Party affiliation (which lasted until 1952), his work suffered from censorship during Juan Perón's presidency; he was detained and incarcerated several times. He left for Europe in 1949. Édith Piaf invited him to perform in Paris in June of that year. He subsequently toured extensively throughout Europe.
In 1952, Yupanqui returned to Buenos Aires. He broke with the Communist Party, which made it easier for him to book radio performances.
Recognition of Yupanqui's ethnographic work became widespread during the 1960s, and nueva canción artists such as Mercedes Sosa recorded his compositions and made him popular among the younger musicians, who referred to him as Don Ata.
Yupanqui alternated between houses in Buenos Aires and Cerro Colorado, Córdoba province. During 1963-1964, he toured Colombia, Japan, Morocco, Egypt, Israel, and Italy. In 1967, he toured Spain, and settled in Paris. He returned regularly to Argentina, but these visits became less frequent when the military dictatorship of Jorge Videla came to power in 1976.
Yupanqui died in Nimes, France in 1992 at the age of 84; he was buried in the Cerro Colorado Cementery.
El arriero
Atahualpa Yupanqui Lyrics
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El sol juega en el brillo del pedregal
Y prendido a la magia de los caminos
El arriero va, el arriero va
Es bandera de niebla su poncho al viento
Lo saludan las flautas del pajonal
Y animando la tropa par esos cerros
Las penas y las vaquitas
Se van par la misma senda
Las penas son de nosotros
Las vaquitas son ajenas
Un degüello de soles muestra la tarde
Se han dormido las luces del pedregal
Y animando la tropa, dale que dale
El arriero va, el arriero va
Amalaya la noche traiga un recuerdo
Que haga menos peso mi soledad
Como sombra en la sombra por esos cerros
El arriero va, el arriero va
The lyrics of Atahualpa Yupanqui's song "El Arriero" describe a journey through the harsh and arid landscape of the Andes by a mule driver or "arriero". The opening lines evoke the swirling sandstorms or "remolinos" that dance across the desert landscape, while the blazing sun reflects off the rocky terrain. The mule driver is described as being "enamored of the magic of the road", suggesting that he has a deep appreciation and respect for his surroundings.
As the song continues, the arriero's actions and words reveal his character: he is humble, hardworking, and deeply connected to the land and the animals he cares for. His poncho, symbolizing the flag of fog, is blown by the wind as he is greeted by the sound of the flutes of the "pajonal" grasses. He leads his herd through the hills with energy, encouraged by the beat of their hooves.
The refrain, "Las penas y las vaquitas / Se van par la misma senda / Las penas son de nosotros / Las vaquitas son ajenas" roughly translates as "Our troubles and our cows / Follow the same path / Our troubles are ours / But the cows belong to others". This phrase speaks to the arriero's humility and acceptance of his place in the world. He accepts the challenges and sorrows that come with life, but he does not let them define him or determine his actions.
Finally, the song comes to a close with the image of the arriero disappearing into the shadows of the mountains, heading towards the night and whatever memories it may bring. The lyrics suggest a deep sense of melancholy and reflection, tempered by a steadfast determination to keep moving forward.
Line by Line Meaning
En las arenas bailan los remolinos
The whirlwinds dance in the sand.
El sol juega en el brillo del pedregal
The sun is playing in the shine of the stony ground.
Y prendido a la magia de los caminos
And captured by the magic of the roads.
El arriero va, el arriero va
The muleteer goes, the muleteer goes.
Es bandera de niebla su poncho al viento
His poncho in the wind is a flag of fog.
Lo saludan las flautas del pajonal
He's greeted by the reeds' flutes.
Y animando la tropa par esos cerros
Encouraging the herd through those hills.
El arriero va, el arriero va
The muleteer goes, the muleteer goes.
Las penas y las vaquitas
The sorrows and the little cows
Se van par la misma senda
Go down the same path.
Las penas son de nosotros
The sorrows are ours.
Las vaquitas son ajenas
The little cows belong to someone else.
Un degüello de soles muestra la tarde
A massacre of suns shows the evening.
Se han dormido las luces del pedregal
The lights of the stony ground have gone to sleep.
Y animando la tropa, dale que dale
And encouraging the herd, keep going, keep going.
El arriero va, el arriero va
The muleteer goes, the muleteer goes.
Amalaya la noche traiga un recuerdo
May the night bring a memory
Que haga menos peso mi soledad
To make my loneliness less heavy.
Como sombra en la sombra por esos cerros
Like a shadow in the shadow through those hills.
El arriero va, el arriero va
The muleteer goes, the muleteer goes.
Lyrics © Warner Chappell Music, Inc.
Written by: HECTOR ROBERTO CHAVERO
Lyrics Licensed & Provided by LyricFind