| Alí Primera's Biography. |
I inform the Mexican companions, that form the Mexican-worker panel, that I knew in my childhood through the Pedro Infante movies, the people that today I touch and I see closely. It is difficult to speak with a very short personal experience, say it in three minutes, therefore I want to tell you that when I was young I wished to sing and I still continue singing. I had the song simply as something to get amusement giving serenades, for spreeing, and once, being prisoner, I began to write and making myself a question, why were we resisting and our moral did not decay.
I had been revolutionary militant or I am or I intend to be sice 26 years ago and I had fulfilled before Communist Party tasks in every kind of fight in our history that our revolutionary process has to undertake. After leaving jail or the cell, in order to say it lighter, our party outlined a duty over Caracas to try to remove the rout syndrome that we had suffered in the guerilla fight, that is to say, that contact with the masses that was not necessary, and I hardly with a song about Che, Humanity and a song about Uncle Ho, I began to fulfil the singer roles.
I did not know what was a singer, due to the incommunication that many companions have outlined here; I did not know about singers neither the songs that existed in Latin America, except for the Mexican songs that arrived us through Jorge Negrete and Pedro Infante who, by the way, I love a lot in reminisces.
Then, in that duty over Caracas that lasted one month, we were performing agitation tasks during the day and, in the evening, we sang, as the mounting and dismantling of a circus. People heard something new, but knew something important that sowed in me forever: the singer's and song's uninhibitor role made when a respect for the man is outlined in it.
An old man appeared, and said: "I can sing too", he encouraged and stood up in order to sing as an equal. When I arrived to Caracas I has already written many songs of different topics, experience things began to blossom, memory began to work and to become song something that was remaining inside, but that was losing in that time something that it is very important and that I value a lot.
The singer borns to compete already is died, the singer has no allies in the road, therefore José Molina y Daniel, as two different forms toward song or perhaps as two attitudes, with those which I share my militant complicity, because already before this time has been spoken a lot about the song and I have felt here sometimes as if it were a salvation army of the art.
I believe that art is art; it has to exist a typical conduct and it has to exist a militant conduct regarding art. If the artist is very sublime, it is very elevated, it is very high, his art is as artist is, but furthermore if the artist with all those characteristics is militantly linked to the transforming process, his art is more art, art does not stain, art recovers more road. It is considered not to outline us that somebody does not want to disperse art this way or our creative capacities.
As regards what is ideological, we have had tremendous fights in Venezuela, first because the music that we made was also a prism of factional sectarianism and suddenly we realized ourselves that a song for a party was not the song for a people, and that we had to take a fight and to make understand the leftist political leaders that the songs were, were born, for the people and to make a fight thus when one had been accustomed to have the party support in an ideological fight, a fight, first ideological, against a system that we attack because it attacked first the man, an ideological fight against something chronic that has always existed in the left wing, that it is to use artist and song as an accesory.
Our movement was developed in that form and I have always had a tenacious fight in order not to form narrownesss but collective fields, and by that reason appear boys close to the children side in the Salvadoran People's Song for the Victory. An eight years old child sang in Venezuela, and arrived with desire of singing at midnight.
We have made a song for filling, and planing Camilo the guerrilla with his rifle and his gospel that has accompanied him, chinbangueles drums, that is, we have achieved to pour the protest song that was called the political song, in something that is vital currently for us, The Necessary Song.
The necessary song has all the forms peoples have and all the forms men have for thinking and having criterion, therefore I feel brother of every singer. In Venezuela, I have never sung in T.V., but when Lilia Vera is in T.V. television a tremendous weakness invades me.
I had a
tenacious fight in Venezuela with the journalists so that they
reported our acts and get out our songs from that what is called
"the stage", not by the slight of the word
"stage" and those who move inside that field, because
they are human 
beings after all and they are sensitive,
because one must to be sensitive in order to be artist; but one
must to seek a respect location towards what one has made,
towards what one is making, not to make history and to remain in
statues that after are shited by doves.
I have presided many festivals, I have seen singers and I do not want to adopt those curriculars, I went to Cuba and I saw the companion Renier, but I also saw boys who that were still making, who were beginning to make, babbling as singers. I have seen the Quilapayun, but I also have seen companions who are moving currently with many difficulties, but with lots of enthusiasm within Chile, I have seen singers in Mexico who i did not knew and that is my great profit.
When I sticked posters I had a militant attitude and as a singer I must own a militant attitude though it's necessarily reflected on me any artistic conscience of what I am making as artist, I make you the comparison: I see more people when I sing than when I stick posters, it is truth, when I sing I see more people. You will say: yes, but posters are seen later by more people; then I say you: but when you are going to unstick the posters, these will not defend.
So I want to say this because it is necessarily the presence od man, of art, if we defend it so much, let us put on art's side, and if we defend so much the art, let us touch the space where art has more possibility of be known. I am more Leninist in that topic than every other thing: put art where masses are, and that must have a discussion in order not to put it thus, a priori, so nude, that discussion that I intuit it, that it will be given here in Mexico between all the singers, between all the forms of saying the song.
And I am sure that it will obtain a beautiful result, so that Mexico will not be longer the simple critical headquarters between singers, but that Mexico will be the step forward headquarters, where the bolivarian song will be part of the Bolivar thought, will be Morelos who sings, will be Sandino, will be Farabundo who sings, they will be the men who dreamt about something new and that the biological or ballistic time cut them the dream.
Let us make the songs, I once sang a song called Ruperto that says that it is easy is to have a Mustang, and that song was listened in the neighborhood in the same form that a song I wrote and that is called Love in Three Times that says: only Beatriz's solemn song was heard that left the sea fleeing from the fishes...
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