Abstract
The Misa Criolla by Ariel Ramirez is a symbol of liberation theology in South America. Written between 1963–1964, this musical work is the result of the decisions made on the sacred liturgy at Vatican II and the Indigenous Movements of the 1960s and 1970s. It became popular around the world and helped bring attention to the indigenous poor of South America through its indigenization of the Roman Catholic Mass text and music directly after the Second Vatican Council. The Misa Criolla, however, can only be fully appreciated by understanding its process of localization, from its historical context, theological underpinnings to its musical attributes. From a liberationist perspective, it represents the compromise of the openness, liturgically and theologically, of Vatican II and more conservative movements afterwards through the localization of the Catholic Mass liturgy.
Highlights
History of the Misa Criolla and Ariel RamírezIn 1959, Pope John XXIII called for the Second Vatican Council, which allowed for the mass texts to be translated into any language
The Misa Criolla by Ariel Ramirez is a symbol of liberation theology in South America
In 1959, Pope John XXIII called for the Second Vatican Council, which allowed for the mass texts to be translated into any language
Summary
In 1959, Pope John XXIII called for the Second Vatican Council, which allowed for the mass texts to be translated into any language. Hispánica for the purpose of studying the oral tradition of Spanish music” (Ibid.). He returned to South American in 1954 and founded the Compañía de Folklore Ariel Ramírez while traveling around South America (Ibid.). Ramírez met with Father Osvaldo Catena, who translated the Latin Mass to Spanish and encouraged Ramírez “to compose a Mass in the rhythms and musical forms of Argentina” This commission was tasked with the Spanish translation of the Latin text of the Mass per the directives of the Vatican Council of 1963 presided by. Father Catena invited Ramírez to compose a Mass that used indigenous instruments and style after serving the poor in Santa Fe, an area outlined by railroad tracks, garbage dumps, and caves near the Rio Saldo. The Mass was first recorded in 1964 by the Philips label and was first performed publicly on 20 December 1965 in Mercedes, Uruguay
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