The group was formed by students at Universidad Técnica del Estado at Santiago, Chile in 1967. In 1973 as they were on tour abroad, General Augusto Pinochet launched a coup d'etat and took power. Having heard of the numerous extra-judicial killings of many fellow artists by Chile's army, they took up residence in Italy, resulting in "the longest tour in history" for Inti-Illimani as they lived in de facto exile. They continued their efforts supporting Chilean democracy internationally; magnitizdat copies of their work continued to be widely distributed in Chile. In September 1988, days after they were no longer banned from Chile, they began touring Chile again. They helped organize the voting down of the referendum that would have re-elected Pinochet. Recently, they were actually supported by Chile as representatives of Chilean culture.
In the past the group was musically led by Horacio Salinas and politically led by Jorge Coulon. However, in 2001 there was a controversial split of the group, which started when three key members left the group (José Seves, Horacio Durán and Horacio Salinas). They were replaced by Manuel Meriño (from Entrama), Cristián González and Juan Flores. Due to the importance of departed members, many called into question the ability of the remainder to carry on the Inti-Illimani name. Meanwhile, the three departed members started their own group they call Inti-Histórico. From 2005 there are two groups:
Inti-Illimani New (Coulon brothers)
Inti-Illimani Histórico (José Seves, Horacio Durán and Horacio Salinas)
Membership
In August 1967 Inti-Illimani's earliest membership consisted of:
Horacio Durán
Max Berrú
Jorge Coulon
Luis Espinoza
Oscar Guzmán
Ciro Retamal
Pedro Yáñez
In 1968 Inti-Illimani's membership consisted of:
Horacio Salinas (Musical director and main composer)
Horacio Durán
Max Berrú
Jorge Coulon
Ernesto Perez de Arce
Current line-up of the "Inti-Illimani Nuevo":
Jorge Coulon
Christian González
Daniel Cantillana
Juan Flores
Efren Viera
Marcelo Coulon
Manuel Meriño
César Jara
Current line-up of the "Inti-Histórico":
Horacio Salinas
Horacio Durán
José Seves
Jorge Ball
Fernando Julio
Camilo Salinas
Danilo Donoso
Other members in the history of the group:
Ernesto Pérez de Arce
Homero Altamirano
José Miguel Camus
Renato Freyggang
Pedro Villagra
La Desnudez de Mario Ague
Inti-Illimani Lyrics
Jump to: Overall Meaning ↴
Dejó su ropa en el río
Pero lo vieron desnudo
Anoche bajo el rocío;
Anduvo la tarde entera
Amándose en el arroyo
Con una morena que usa
Un vendaval en el rostro
Desnudo como si Dios
Lo hubiese puesto a nacer
O como si la razón
Perdida por un querer
Desnudo como el sabor
Del mango y el canistel
O como quien se olvidó
De todo cuanto hay en él
Sospecho que Mario Agüé
Dejó de ser un pecado
Con la suerte de su piel
Caminando liberado;
Anduvo la clara noche
Exacta de luna llena
Llamando como un pregón
Pa′ que la gente lo viera
Desnudo como si Dios
Lo hubiese puesto a nacer...
Presiento que Mario Agüé
Quiso romper la rutina
Y hacer por primera vez
Lo que soñaba en su vida
No importa si terminara
En una celda del pueblo
La multa y el "calabó"
Pero sació su deseo
Desnudo como si Dios
Lo hubiese puesto a nacer...
¿Quién ha visto la ropa de Mario Agüé?
The lyrics of Inti-Illimani's song "La Desnudez de Mario Agüé" convey a poetic and symbolic story of a man named Mario Agüé who is seen naked by others, sparking curiosity and speculation about his actions and motives. The repetition of the imagery of nudity throughout the song serves as a metaphor for vulnerability, authenticity, and a break from societal norms. It suggests a sense of freedom and liberation that comes from shedding the constraints of clothing and expectations.
The first stanza presents the scene of Mario Agüé being seen naked by others, possibly after leaving his clothes by the river. The mention of him being with a mysterious woman in the river evokes a sense of sensuality and freedom in nature. The reference to the woman wearing a "vendaval en el rostro" (whirlwind on her face) adds an element of mystery and wildness to the encounter, emphasizing the unconventional nature of their relationship.
The repeated lines "Desnudo como si Dios lo hubiese puesto a nacer" (Naked as if God had placed him to be born) highlight the primal and natural state of being naked. This imagery suggests a return to a state of innocence and purity, as well as a rejection of societal conventions and expectations. The comparison of his nakedness to the taste of mango and canistel further emphasizes the sensory and elemental aspects of his newfound freedom.
The song goes on to suggest that Mario Agüé's nudity represents a rebellion against routine and a pursuit of his dreams and desires. Despite potential consequences such as being imprisoned or fined, Mario Agüé's actions are portrayed as a fulfillment of his deepest desires and a breaking free from the constraints of society. The final question "¿Quién ha visto la ropa de Mario Agüé?" (Who has seen Mario Agüé's clothes?) leaves a lingering mystery and invites contemplation on the symbolic significance of Mario Agüé's nudity and the implications of his bold actions.
Writer(s): Pedro Luis Ferrer Montes
Contributed by Sadie T. Suggest a correction in the comments below.
Fanny
on Hermanochay
Hola, mi padre tenia un grupo de musica andina y cantaba esta cancion. Mi padre hoy ya no está y me hubiera gustado entender la letra, no encuentro traducción por ningún lado, alguien sabe la traducción?