On October 17, 1945, a great mobilization was carried out to demand the release of Colonel Juan Domingo Perondetained in the Martin Garcia Island by the ruling Military Junta. Hundreds of workers, mostly from the Buenos Aires suburbs, occupied the Plaza de Mayo that afternoon demanding the presence of the military. former secretary of Work and Social Security it had promoted several significant rights for the working class and the strengthened union corporation, for which it enjoyed the support of the labor movement.
From that moment on, the Peronist liturgy would spread throughout the entire region of the country by virtue of a future electoral meeting. The creation of the basic units, the Peronist denomination of the party committees, would lead to the proposal for Perón to achieve his first presidency in 1946. Once in power, propaganda, together with social policies, would be installed in the popular imagination Argentinian. The symbolic musical milestone would be born in 1948, with the creation of the Peronist march.
“The Peronist boys / All united we will triumph / And as always we will give / A cry from the heart: LONG LIVE PERON! LONG LIVE PERON!/ For that great Argentine/Who knew how to conquer/To the great mass of the people/Fighting capital/Perón, Perón, how great you are,/My General, how much are you worth/Perón, Perón, great driver/You are the first workerare the first verses of the flagship song of the justicialista movement.
Different genres such as jazz, cumbia or rock, whether in instrumental or even symphonic modality, traveled the Peronist march with innumerable versions. While the recording of the singer and filmmaker Hugo del Carrilreleased in 1949, is the most popular, it was not the actor of “Beyond oblivion” Y “The waters go down murky” the author of the song. Many myths surround the creation of the anthem dedicated to the popular movement founded by Juan Domingo Peron.
According to the journalist Hugo Gambini, the emblematic march is inspired by the composition of a carnival murga from the neighborhood of Mouth of the 1920s. However, the Club Barracas Juniors had a tribune hymn for football matches with similar verses composed by the bandeon player John Streiff: “The boys of Barracas/all together we will sing/and at the same time we will give/a heartfelt hurrah./For those brave boys/who fought fervently/to defend the colors/of this great institution”.
The pianist Norbert Ramosmember of the orchestra of Florindo Sasson and of Yumba Trio, claimed to have recorded the march “The Peronist graphics”, whose melody coincides, note for note, with the Justicialist theme song. “In 1948 my father worked as a graphic designer at the Atlántida publishing house. I was 15 years old, and one day he appeared with some of his companions: Rafael Lauría, Enrique Odera and Guillermo de Prisco. They wanted to make a march for the Peronist graphic workers and they needed me to put music for it. They sang “Perón, Perón, que grande sos” to me, a melody that, they told me, was used by a comparsa,” the musician recalled in a report for the now-defunct cultural magazine “La Maga.”
Another myth is found in the reference to the “first worker” that the lyrics contain. It is affirmed that it corresponds to a phrase of the general secretary the Railway Union, Joseph Domenechwhich in a union assembly held in Rosario presented the then Colonel Juan D. Perón saying “Perón is the first Argentine worker.”
Whether legends or myths, the symbolic and musical liturgy of the National Justicialist Movement It does not have a visible individual author, but rather a collective and circumstantial set that the context itself was responsible for shaping. A similar paradox occurs in Peronist ideology throughout the decades. Perhaps Perón himself explains it better: “First the Homeland, then the Movement and then the men.”
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