Ramon Ayala (many artists born Ramon Chidade in Posadas, Mississippi, March 10, 1927) is late for the interview. Although the accommodation is in his own house, the first floor in the Buenos Aires district of Balvanera with large glass windows of frosted glass and walls covered with paintings painted by him. The folklorist at litoraleño has a good reason: he has recently fallen and this has affected his walk. The one who opens the door is his wife Maria Theresa, a muse and the subject of the love poems that her sixth book begins, Stories, stories and stories on the road, recently published by Universidad de los Sul, which includes illustrations by the author and which he presents at the 19th Century Film Festival this Sunday 19th, where the author will also perform some songs from his musical repertoire. It was the previous one Paraguay slots, a popular song about the Great War (2015), published by the Ministry of Culture of the Nation, which tells in verse the war of the triple alliance of various voices, including that of the mother of the author, Maria Morel, or that of Daigangi, the son of Sarmiento who died in the Battle of Crupei, Ayala himself.
Trousers and shirt coached, brown hair and whiskers, a little lighter than in the photos of Markos Lopez, director of the documentary Ramon Ayala (2013) that illustrate this note. Ayala is the author of more than 300 songs, some of which have been installed some time ago in the popular Argentine song, such as Sweet Planting or The retractor, songs with a story like The menu, that according to her own Ayala in the story that closes her book, That Guevara he sings in the camps of Sierra Maestra; or Kaffeepecker, which was immortalized Mercedes Sosa, He congratulates, sits with difficulty and answers the questions in his own way, with inevitable omissions in his memory, changing his replies with songs Capella, rhythms marked with clicks for illustration, rhymes or words invented at that time, jokes, memories of childhood. As if the painter (and a famous artist like Ayala, who always acted as a gauco) never stopped presenting himself. Although it is in a fantastic scenario.
–He is the creator of rhythm, gualambaoCan you explain how it is? Is that like a hamam?
– The opposite of Latin rhythms are two in four, like tango or carnavalito, it's very sensual, it's a rhythm of love. Neither is it near the hamamme because the important thing of the invention that I believe is in originality. If we want to get into the hamamme, we are lost because we will always be subject to something. Here we are kings. Because everyone who wants to play gualambao He has to come to us. Technically there are three steps, and the "paradise" is twelve to eight. Four times. This is a broad-spectrum rhythm. They asked me: how did you get to this rhythm that has so many combinations of things? Where did you reach, Ramon, those channels that go up to this point? And here, I said, there are things that are beyond one. Everything seems to be thinking. No. It was over. We took advantage that we were there, we took it. And here he is.
Then he prepares the voice and describes the first stations of Singing on the Uruguay River (Gualambao).
–Musician, poet, writer, artist and artist. If I had to choose the best word, what would that be?
– I think it will be sensitive. Or better: hypersensitivity. Without wanting to make me an altruist (laughs).
–Apart from inventing gualambao, he presented ten string guitars. Did it do it as a means to unleash this new rhythm?
"Yes, because the guitar was something exotic, it was man strangely. And I could not break it. So suddenly I would play gualambaoI took advantage of all these emanations and started. Because you have to pay attention to the body. If you do not listen to the body, you are lost.
–Some of his songs were hits, they went beyond and somehow belonged to him.
Yes. They've even changed things for me and done what they want. Since I am generous with my work and since my work has a lot to offer, they are waiting to take off their feathers and fly. Since man is part of the planet Earth, and when a person is a lover on this planet and is born here, I do not know if this is a coincidence or a causal relationship. Like someone said, there in that corner you need a language that says things on the ground. It is not what it intends to generate or regenerate what is being done, but there are also works of Littoral that pity regret that have not been achieved, which have, for example, beautiful music and a terrible letter.
–The opposite example will be someone like Horatio Kiroa, also a missionary. In your book you dedicate a poem. He caught things on the ground.
Yes. He lived there. He died in Buenos Aires, but his crossroads made him in Mission. What a hero he was. Yes, it was "the greatest master".
–Speaking of another "maxim", the first story of his book, My other one, refers to the history of Borhe, The otherIn this way their lyrics can be recorded in this dual tradition: Quiroga and Jungle, Borges, the city and suburbs. Because you are a missionary and have lived most of your life in Buenos Aires,
– There are people who have come to this region and were amazed, and some have returned without being able to master the area. I think the jungle is part of one and one is part of it. And there we avoid and believe we are citizens that we are compatriots over long distances, Kate, as they call it, "category". But not what we will be. We are only part of this wonderful land.
–The first poems in his book are for love and are dedicated to his wife Maria Theresa,
"These poems have been formed for a long time. And since everything that goes into one or the other is marked or attached to love, when love is true and maintained. These are things that nature commands. And when she says she's okay, she's gonna end up, she's gonna look at me bad, it's going to go wrong, something odd will happen. From this you have to realize, if not, you will realize another (laughs).
–This aspect, that of humor, part of his personality?
Yes. This is life humorousAs you can see, I love to make up words. Why are the words someday invented or not?
–Another invention is his tenth "ayaliana". Stanzas of ten verses …
"Some are verses with eight syllables. Some, hedecails. The important thing is that they sound good. I'm looking for music for words. Sometimes I notice this in Some poets have no trembling, which has the word that gives them a music criterion. Because the music was born with the man. You have to be with her. The music and the word have to become couples because they are females. And the woman is the most beautiful event on the planet.
–And when did this taste of telling stories come out? In your book Confessions from a fabulous house, talks about a childhood home, a mission full of sacraments. Is there any origin?
Yes. I was with my father and I did not even know he was dying. The man was lying. There was a disease called "tritosis" there. It was jaundice. I will be seven years old and suddenly I realize he is dying. I grabbed his hand and said, "Dear old man." At that moment I realize what his image is. Now that I have indescribable years (laughs), I see his picture on the wall and I say, "They just called him a patriarch." He was a young man, very attractive and friendly. Most would be fifty years old. My mother was 30 when she died. And we were five children. My mother played the guitar and sang. He liked to compose. He had a beautiful voice. There was no one to bend her. And there it happens to him: "And somebody is going to sing with bell sounds." This is Neruda. I was amazed. This old woman must be discovered, I thought. But because our lives are so poorly adjusted sometimes. Since the area you traveled says something else, it has always gone through these parallel paths of creation. As I finally decided to record for the upcoming album a song from her that says (sing Ramón Ayala): "The White House of the Glorious Years awakened the dawn and the love I gave you, the white house of the old coquetry, the fire on the ground …"After my father died, we moved, and when we went into the house, his women went out – blond and brunette, telling my mother:" Maria, depending on how you behave, you will be treated. "I was afraid , but the woman says, "Do not be afraid, the house has its character, and here you can achieve many important things because you do not pay rent, they give you the house." And the house began to move. "That the house began to something shining, what an incredible thing is the Earth with its hidden joys.
–Earth is present in its paintings and drawings, and the other side is an artist.
-It's an intuitive side. I realized that I was able to paint that it was good and I hit it. School is already amazed by teachers.
–One of his brothers, Joseph Vicenza Kidade, is also a musician. And he is the father of Wallace, singer of the slaughter.
"Yes, Vicente is the author of the text The menu, Valus suddenly appeared or suddenly appeared in his life. This is something that is in the family. My sister Julie was also a singer. I was really good at singing tango. She died about 40 years ago. Bad girl I was so disappointed with what a loving man in his house, his family must be, and take care of him. I was a boy who suddenly entered the life of singing and guitar and beat him forward. I had this almost mortal vocation, I completely surrendered. Maybe I ignored other things.
–You also have a daughter.
"I've always been significant things that suddenly came. And many of them are focused on art. My daughter, a friend of the song, got a contract to go to Chile. And suddenly he stopped writing to me and he did not send me any more letters. It is free. I never forbid him.
–What does his daughter call?
– Her name is Amanda, like the song.
Ayala starts singing: "I remember Amanda on a wet street …"And he thinks, maybe he remembers.
* Ramon Ayala It was presented on November 25 at 19:00 at the top of the KKK. Free tickets can be downloaded personally at Sarmiento 151 while the room capacity is exhausted or reserved by www.cck.gob.ar