Ramón Ayala (several artists, born Ramón Cidade Posadas, Misiones, March 10, 1927) is delayed in the interview. Although the appointment is in his own house, on the first floor in the Buenos Aires Balvanera area with large dull glass surfaces and walls on which his paintings are painted. Litoraleño's folklorist has a good reason: he recently fell down and affected his walk. The one who opened the door is his wife Maria Theresa, a musician and a poet of love poems with which her sixth book begins, Poems, stories and stories about the road, recently released by the Universidad Nacional del Sur, which includes the author's pictures, and every Sunday at the age of 19 Ayala introduces the CCK, where the author also appears in his music collection. The previous one was Paraguay's tune-up, a popular song about a great war (2015), a publication by the National Ministry of Culture, telling the story of the war of the Triple Alliance of various voices including the writer's mother María Morel or Dominguito, Sarmiento who died in the Curupayty battle, which Ayala himself described.
Pants and shirts, brown hair and tails slightly lighter than the pictures Marcos López, the director of the document Ramón Ayala (2013) that describe this remark. Ayala has written over 300 songs, some of which have been installed for some time in the popular Argentine song book, such as Cute Posadeña or Harvester, songs whose history is Mensu, that according to your Ayala, a story that closes your book, Che Guevara she sang in Sierra Maestra camp; or Cachapecero, which was immortalized Mercedes Sosa. He greets, sits hard and answers questions in his own way, with inevitable gaps in his memory and passes his response to songs to Capella, rhythms marked with clicks to illustrate, rhymes or words of invented words, jokes, childhood memories. As an artist (and a certain artist like Ayala, who always worked as a gauch) never stopped to represent. Though it is a fantasy scenario.
–He is the rhythm creator, gualambao. Can you explain how it is? Is it like chamamé?
– The Latin rhythm is the opposite, two out of four, like tango or carnaval, this is very sensual, it is the rhythm of love. Neither is close to chamamé, because I think the original thing in the invention is original. If we are going to get into the kangaroo, we will lose because we always have something. Here we are kings. Because everyone wants to play gualambao He must come to us. Technically there are three phases and "paradita" is twelve to eight. Four ternaries. It is a wide spectrum rhythm. They asked me: how did you end up in this rhythm with so many common things? Where do you get, Ramon, those channels that go to that point? And well, I said, there are things that are not the same. It seems that everything has been thought. No. It happened. We benefited from being there, we took it. And here it is.
Then he prepares himself aloud and creates the first spaces Singing to Uruguay River (Gualambao).
–Musician, poet, writer, painter and draftsman. If I should choose the word that is best defined, what would it be?
– I think it's a sensitivity. Or better: ultrasensibility. Without wanting to make me altruist (laugh).
–In addition to inventing gualambao, he introduced ten string guitar. Did he make it a way to develop a new rhythm?
– Yes, because the guitar was something exotic, it was person strange. I could not break it. So suddenly I was going to play and a gualambao. Take advantage of all these Emanations and I launched. Because you have to pay attention to the body. If you do not listen to the body, you will lose.
–Some of her songs were hits, they rose and ended up being part of her.
Yes. They've even changed things for me and they've done what they wanted. Because I am a generous work, and because of my work has a lot to offer, they are waiting for feather removal and flying. Since one is part of a planetarium and when someone loves this planet and is born here, I do not know whether it is a coincidence or a causal relationship. Like someone said: at that angle you need a language that says things in the land. It is not a question of whether you are going to produce or renew what is being done, but there are jobs in Litoral that cause complaints that have not been achieved, for example with beautiful music and a terrible letter.
–The opposite example would be like Horacio Quiroga, also a missionary. The book owns a poem. He grabbed the ground.
Yes. He lived there. He died in Buenos Aires, but through him Crucis has done it in Misiones. What a figure he had. Yes it was "masterful".
–Speaking of another "maximum", the first story of his book, Second me, refers to the story of Borges, Second. Thus, their texts can be written in two traditions: Quiroga and Jungle, Borges, City and Suburbs. Because you are a missionary and lived most of your life in Buenos Aires.
– People who have come to this area and have been astonished and some have returned without being able to curb the area. I think the jungle is part of one and some are part of it. And we are escaping and believing that we are citizens, that we are compatriots of long-haul, Cover, as they say, "class". But no, what we are going to be. We are just part of this wonderful country.
–The first poems of the book are about love and devoted to his wife, Maria Teresa.
These poems have formed for a long time. And because all who walk together or around are marked or affixed to love when love is true and maintained. These are the things that nature commands. And when it says good, it's coming to an end, it looks bad to me, it goes on bad, something strange happens. You have to understand this, if not, you will notice one (laughter).
–Is this aspect, humor, part of his personality?
Yes. It is that life is humorous. As you can see, I want to come up with words. Because words will be invented someday or not?
–His second invention is the tenth "ayalianas". Ten verse strains …
– Some are eight bytes of verse. Some, hendecasyllables. The most important thing is that they sound good. I'm looking for music in words. Sometimes I see that Some poets do not have the trembling that the word is, which gives it a musical criterion. Because music was born with man. You have to be with her. Music and words have to go to couples because they are feminine. And the woman is the most beautiful event on the planet.
–And when does this taste tell you that the story is accumulating? In his book, Confessions of an astonished house, talking about the childhood house in Misiones, full of mysteries. Is the origin?
Yes. I was with my dad, and I did not even know how to die. The guy lay down. He had a disease called "tiricia". It was jaundice. I would be seven years old and suddenly realized that he died. I caught him in his hand and said, "Dear old man." At the moment I understand what the picture was about him. Now that I have some unexplained years (laughs), I see his picture on the wall and say, "They rightly called him a patriarch." He was a young man, very tempting and friendly. It would be fifty years old. My mother was 30 years old when she died. And we had five kids. And my mother played the guitar and sang. He had to compose. She had a beautiful voice. There was no one to bother him. And it happens to him: "And someone is playing by singing the bells". It's Neruda. I was amazed. This old woman has to be revealed, I thought. But because life is so poorly regulated sometimes. Because the area you have traveled says something else, he has always been through the parallel paths that they have created. Until finally I decided to record a song from the upcoming album that says (sing Ramón Ayala): "The white house for glorious years aroused the morning sun and the love I gave you, the old white turkey white house, the fire of the earth …"When my dad died, we moved and when we were adopting a new house, the women came out, pale and brunette, one tells my mother:" Mary, depending on how you behaved, is being treated. "I was afraid but the woman says," Do not be afraid its nature and you can reach very important things here because you do not pay rent, they lend you to the house. "And the house started to move." Where something started to shine in that house, what an incredible thing the country has with its hidden pleasures.
–The country is well present in her paintings and drawings, as a second part of her creator.
– It's an intuitive side. I realized that I was able to draw, it worked well and I continued. In school it was astonishing teachers.
–One of his brothers, José Vicente Cidade, is also a musician. And she is Walas, Massacre's singer.
– Yes, Vicente is a vocalist Mensu. Walas suddenly appeared, or suddenly appeared in his life. It's something that's in the family. My sister Juliet was also a singer. I sang tango well. He died at about 40 years of age. A bad girl I was so stuck in what a loving guy in his house, his family should be, and take care of. I was a boy who recently came to the song and guitar life and beat him forward. I had this almost dying vocation, I gave myself completely. Maybe I ignored the other things.
–You also have a daughter.
– I have always been important things that have suddenly appeared. And many are art. My daughter, a friend of the song, got a contract in Chile. And suddenly he stopped writing to me and he has not sent me any more letters. She is free. I never deny him ever.
–What is her daughter named?
– His name is Amanda, like a song.
Ayala begins to sing: "I remember Amanda's wet street …"And she thinks she may remember.
* Ramón Ayala It will be on November 25 at 19:00 at the top of the CCK. Free tickets can be drawn personally to Sarmiento 151 until room capacity is out of stock or booked at www.cck.gob.ar