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Published online by Cambridge University Press: 17 November 2021
In April 1982, Great Britain and Argentina went to war over the Falkland Islands/Malvinas. On 14 June, the defeated Argentine military began the evacuation of the Islands. Most Argentines came to view this short war as an absurd adventure entered into by a military dictatorship in decline trying to cling on to power. Yet by analysing Argentine songs about the Malvinas from 1941 to 1982, this article shows that the national imaginary had long included ideas of sovereignty usurped and captive islands awaiting redemption. Argentine songs about the Malvinas, I maintain, can be analysed as expressions of an ‘emotional community’ around the Islands. By examining the emphases, constants and changes in the songs emerging from that community, we get a clearer picture of how ideas about the territory and its recovery changed over time.
En abril de 1982, Gran Bretaña y Argentina fueron a la guerra por las Islas Malvinas/Falkland. El 14 de junio, las tropas argentinas, derrotadas, empezaron la evacuación de las islas. La mayoría de los argentinos acabaron considerando esta corta guerra como una aventura absurda llevada a cabo por una dictadura militar en declive tratando de prolongar su poder. Sin embargo, el análisis de las canciones argentinas sobre las Islas Malvinas compuestas entre 1941 y 1982 muestra que el imaginario nacional incluía desde hace mucho las ideas de una soberanía usurpada y de unas islas capturadas en espera de redención. Las canciones argentinas acerca de las Malvinas, según sostengo, pueden ser analizadas como expresiones de una ‘comunidad emocional’ acerca de estas islas. Examinando los énfasis, las constancias y los cambios en las canciones que emergieron de esta comunidad, podemos alcanzar un cuadro más claro sobre cómo las ideas alrededor de este territorio y su recuperación fueron cambiando en el tiempo.
Em abril de 1982, a Grã-Bretanha e a Argentina entraram em guerra pelas Ilhas Malvinas/Falkland. Em 14 de junho, os militares argentinos, derrotados, iniciaram a evacuação das ilhas. A maioria dos argentinos acabou considerando essa curta guerra como uma aventura absurda iniciada por uma ditadura militar em declínio tentando prolongar seu poder. Porém, a análise das canções argentinas sobre as Ilhas Malvinas compostas entre 1941 e 1982 mostra que o imaginário nacional há muito incluía ideias de usurpação de soberania e de ilhas cativas à espera de redenção. As canções argentinas sobre as Malvinas, eu argumento, podem ser analisadas como expressões de uma ‘comunidade emocional’ em torno destas ilhas. Ao examinar as ênfases, termos comuns e mudanças nas canções que emergiram dessa comunidade, podemos chegar a uma imagem mais clara de como as ideias sobre aquele território e sua recuperação mudaram ao longo do tempo.
1 Toynbee, Arnold J., Between Maule and Amazon (Oxford: Oxford University Press, 1967), p. 66Google Scholar.
2 This dictum is disseminated in Argentine culture, popular and literary. General Martín Balza, a former combatant and later head of the army, declared ‘Malvinas was a noble cause in bastard hands’: Gente (Buenos Aires), 21 Jan. 2003.
3 Escudé, Carlos, ‘Argentine Territorial Nationalism’, Journal of Latin American Studies, 20: 1 (1988), pp. 163, 157CrossRefGoogle Scholar.
4 Thies, Cameron G., ‘Territorial Nationalism in Spatial Rivalries: An Institutionalist Account of the Argentine–Chilean Rivalry’, International Interactions, 27: 4 (2001), p. 400CrossRefGoogle Scholar.
5 Rosenwein, Barbara H., ‘Worrying about Emotions in History’, American Historical Review, 107: 3 (2002), p. 842CrossRefGoogle Scholar.
6 For a use of the concept in a transnational sense, see Papadogiannis, Nikolaos, ‘A (Trans)National Emotional Community? Greek Political Songs and the Politicisation of Greek Migrants in West Germany in the 1960s and early 1970s’, Contemporary European History, 23: 4 (2014), pp. 589–614CrossRefGoogle Scholar.
7 See, for example, Adrián Gorelik, Miradas sobre Buenos Aires: Historia cultural y crítica urbana (Buenos Aires: Siglo XXI, 2004); John Mraz, Looking for Mexico: Modern Visual Culture and National Identity (Durham, NC: Duke University Press, 2009); Bockelman, Brian, ‘Between the Gaucho and the Tango: Popular Songs and the Shifting Landscape of Modern Argentine Identity, 1895–1915’, American Historical Review, 116: 3 (2011), pp. 577–601CrossRefGoogle Scholar; Daniel B. Sharp, Between Nostalgia and Apocalypse: Popular Music and the Staging of Brazil (Middletown, CT: Wesleyan University Press, 2014); Kevin Coleman, A Camera in the Garden of Eden: The Self-Forging of the Banana Republic (Austin, TX: University of Texas Press, 2016).
8 Ariel de la Fuente, Children of Facundo: Caudillo and Gaucho Insurgency during the Argentine State-Formation Process (La Rioja, 1853–1870) (Durham, NC: Duke University Press, 2000), chapter 6.
9 On the importance of music as a source for exploring emotional communities, see Plamper, Jan, ‘The History of Emotions: An Interview with William Reddy, Barbara Rosenwein, and Peter Stearns’, History and Theory, 49: 2 (2010), pp. 237–65CrossRefGoogle Scholar.
10 There were relevant works in other disciplines, such as the essays written by Argentines who travelled to the Islands. However, they are noticeably less numerous than songs.
11 The most relevant of these compilations is José A. Da Fonseca Figueira, Cómo los poetas les cantaron a las Malvinas (Buenos Aires: Plus Ultra, 1978).
12 Although since the end of the 1920s there had been an Argentine Association of Authors and Composers of Music, it was SADAIC that made it possible for songwriters to exercise rights granted by Law 11,723 on Intellectual Property, passed in 1933: SADAIC, Reseña histórica 1936–1986 (Buenos Aires: SADAIC, 1986, available only from SADAIC). SADAIC registrations are given with the number in the form ‘#xxx’ and date when known; as ‘n.n.’ and ‘n.d.’ otherwise, with the year of publication [in square brackets]. Regrettably, SADAIC's online database is incomplete, and special authorisation is needed to access the physical archives.
13 Vila, Pablo, ‘Tango to Folk: Hegemony Construction and Popular Identities in Argentina’, Studies in Latin American Popular Culture, 10 (1991), pp. 107–39Google Scholar, and ‘Tango, folklore y rock: Apuntes sobre música, política y sociedad en Argentina’, Cahiers du Monde Hispanique et Luso-Brésilien, 48 (1987), pp. 81–93.
14 Vila, Pablo, ‘Peronismo y folklore: ¿Un réquiem para el tango?’, Punto de Vista, 9: 26 (1986), pp. 45–8Google Scholar.
15 Oscar Chamosa, The Argentine Folklore Movement: Sugar Elites, Criollo Workers, and the Politics of Cultural Nationalism, 1900–1955 (Tucson, AZ: University of Arizona Press, 2010), chapter 4.
16 ‘Malvinas: Sin plebiscitos y para siempre’, Panorama, 6: 84 (3–9 Dec. 1968), p. 6. See also the movies Esta es mi Argentina, by Leo Fleider (1974) or Mire que es lindo mi país (Look how Lovely my Country is), by Rubén Cavallotti (1981).
17 Federico Lorenz, Todo lo que necesitás saber sobre Malvinas (Buenos Aires: Paidós, 2014), p. 114.
18 Rosana Guber, ¿Por qué Malvinas? De la causa nacional a la guerra absurda (Buenos Aires: FCE, 2012), pp. 75–6. On Palacios's role in the process of the ‘malvinisation’ of Argentine political culture, see Vicente Palermo, Sal en las heridas. Las Malvinas en la cultura argentina contemporánea (Buenos Aires: Sudamericana, 2007), pp. 139–43.
19 Juan Carlos Moreno, Nuestras Malvinas (Buenos Aires: El Ateneo, 1956 [1938]), pp. 7–9.
20 Enrique Ros, ‘Las conclusiones y recomendaciones del Comité Especial de las Naciones Unidas para la aplicación de la Resolución no. 1514 (XV) en el caso de las Islas Malvinas’, Revista de Derecho Internacional y Ciencias Diplomáticas, 13: 25–6 (1964), p. 85.
21 Willard Price, ‘Perón's Antarctica’, The Spectator, 181, 5 Nov. 1948, pp. 583–4.
22 Palermo, Sal en las heridas, p. 124.
23 Allen Gerlach, ‘The Falkland Islands’, Contemporary Review, 1 June 1982, pp. 287–93.
24 The board's charter is reproduced in Juan Carlos Moreno, La recuperación de las Malvinas (Buenos Aires: Plus Ultra, 1973), pp. 317–20.
25 Da Fonseca Figueira, Cómo los poetas, p. 91.
26 Carlos Obligado and José Tieri, ‘Marcha de las Malvinas’, #160215, 14 June 1982.
27 Luis Ortiz Behety, Cancionero de las Islas Malvinas. Nuestra Señora de la Soledad (Buenos Aires: Pilmayquen, 1946).
28 ‘Canción de la reconquista de las Islas Malvinas’, ibid., pp. 23–4.
29 ‘Destino’, ibid., p. 62.
30 Mario Clavell, ‘¡Las Malvinas: Argentinas!’, #1634751, n.d. [1952].
31 Mario Clavell, Somos … Una vida de canciones (Buenos Aires: Iturbe, 1996), pp. 78, 81, 98, 180–1, 266 and 275.
32 Palermo, Sal en las heridas, p. 124. See also Carlos Escudé, ‘Cultura política, política exterior, y caducidad del modelo del Estado como actor racional: El caso argentino’, Relaciones Internacionales, 9: 19 (2000), pp. 37–61.
33 Alfredo Luque Cabrera, ‘Las Malvinas’, n.n., 30 April 1954.
34 A 1966 song affirms: ‘Argentina for many years / claimed from England / The legacy from Spain / That my homeland inherited. / This was the month of May in 1810. / We inherited the Malvinas that were later usurped’: Francisco Ríos and Pedro Vettori, ‘Son nuestras las Malvinas’, #74501, 14 June 1966.
35 See also Salvador Llamas, ‘Queremos nuestras Malvinas’, #65320, 14 Sept. 1964.
36 By the mid-1970s, this rhetoric of exhausting ‘national patience’ was prominent in the writings of several intellectuals and journalists (see, for example, the series of notes published in January 1975 in the newspaper La Opinión, which featured contributions from Osiris Troiani and Mariano Grondona), making its appearance in a 1950s song even more striking.
37 Carlos Rolando Vassallo, ‘Malvinas Argentinas’, n.n., 10 Jan. 1955.
38 Manuel Wilkinson and Jorge Calandrelli, ‘Malvinas Argentinas’, n.n., n.d. [1957].
39 Author's correspondence with Calandrelli, 26 and 29 March 2021.
40 Gabino Coria Peñaloza and Luis Teisseire, ‘Nuestras Malvinas’, #37949, 30 May 1974.
41 Carlos Escudé, Patología del nacionalismo: El caso argentino (Buenos Aires: Editorial Tesis, 1987), pp. 113–44; Mariano Santos La Rosa, ‘Malvinas. La construcción histórica de una causa nacional en el ámbito escolar’, Clío & Asociados. La historia enseñada, 28 (2019), pp. 20–32.
42 Eduardo Archetti, Masculinities: Football, Polo and the Tango in Argentina (Oxford: Berg, 1999), p. 20.
43 José Adolfo Gaillardou and Mario Valdez, ‘Las Islas Malvinas’, #64760, 6 July 1965. The characterisation of Gaillardou is by León Benarós, ‘Apachaca [Gaillardou] trae algo nuevo’, Revista Folklore, 59 (1964), pp. 13–15.
44 Guillermo Pelayo and Amelia Cabeza, ‘Nuestras Malvinas’, #67032,15 Nov. 1964.
45 From Fitzgerald's manifesto, reproduced in Alejandro Betts, ‘El 8 de septiembre de 1964 Miguel Fitzgerald aterrizaba en Malvinas’, Agenda Malvinas, 8 Sept. 2019. The manifesto continued: ‘Today, a day when my homeland too wakes up from a long sleep, aware of its moral and material greatness, it has decided to recover this, its island territory’. The national press covered Fitzgerald's feat: ‘Reclaman las Malvinas’, Crónica, 12 Sept. 1964.
46 Fernando Panet and Juan Ramón Ponce, ‘El gaucho de las Malvinas’, #64676, 16 Nov. 1964.
47 Bockelman, ‘Between the Gaucho and the Tango’, p. 600.
48 Adolfo Prieto, El discurso criollista en la formación de la Argentina moderna (Buenos Aires: Sudamericana, 1988), p. 157. In the Argentine context, ‘criollo’ refers to traditional gaucho culture; in songs about the Malvinas, it means ‘Argentine patriot’.
49 See also Juan Pueblito and Ramón Casal, ‘Zamba de las Malvinas’, n.n., 1 July 1966.
50 See also Atanacio (Teté) Vedoya's ‘Las Islas Malvinas’, #64759, n.d. [1965], in which Fitzgerald became not only a hero but also a role model.
51 Ríos and Vettori, ‘Son nuestras las Malvinas’ (see note 34).
52 On this event, see Fritz Hoffmann and Olga Mingo Hoffmann, Sovereignty in Dispute. The Falkland/Malvinas, 1493–1982 (London and New York: Routledge, 2019 [1984]), pp. 104–6; and Rosana Guber, ‘1966: La otra Operación Cóndor’, Todo es Historia, 35: 417 (2002), pp. 18–26. On the origin of the hijackers, see Daniel Gutman, Tacuara. Historia de la primera guerrilla urbana argentina (Buenos Aires: Vergara, 2003).
53 ‘La proclama’, Así, 28 Sept. 1966, p. 6.
54 Miguel Tejada, Ritmos de la nueva Argentina (Buenos Aires: Mundo Peronista, 1952), pp. 7–8.
55 Juan Carlos Onganía, ‘Comunicado oficial’, Clarín, 29 Sept. 1966, p. 1; Juan Perón, Perón. 1967. Correspondencia, entrevistas, escritos, mensajes (Buenos Aires: Biblioteca del Congreso de la Nación, 2020).
56 Miguel Tejada, Canto a las Malvinas argentinas (Buenos Aires: Ediciones La Paloma, 1966). Tejada also honoured Fitzgerald's achievement in verse: see Da Fonseca Figueira, Cómo los poetas, p. 168.
57 General Assembly Resolution 2065 (XX), ‘Question of the Falkland Islands (Malvinas)’, 16 Dec. 1965, available from https://www.un.org/en/ga/search/view_doc.asp?symbol=A/RES/2065(XX) (last accessed 28 June 2021).
58 See Ronald K. Crosby, El reto de las Malvinas (Buenos Aires: Plus Ultra, 1981 [1968]); ‘Malvinas: ¿La última perla de la corona?’, Panorama, 6: 80 (5–11 Nov. 1968), pp. 26–7; ‘Gran Bretaña devuelve las Malvinas’, Primera Plana, 7: 310 (3–9 Dec. 1968), pp. 12–14; and ‘¿Qué haremos con las Malvinas?’, Tío Landrú, 1: 27 (11 Dec. 1968), p. 1.
59 Sucesos Argentinos, 19 Dec. 1968, NA 666, Museo del Cine, Buenos Aires.
60 Juan Carlos Pérez Corrado, ‘Nuestras Malvinas’, #1629525, 28 Oct. 1968.
61 César Jaimes and Julio Gambaro, Reseña para la historia de Castelar (Castelar: Nueva Ciudad, 1971).
62 César Jaimes and Isidoro Juan Dávila, ‘El triunfo de las Malvinas’, #79476, 12 Jan. 1968.
63 Eduardo Díaz Blasco and Enrique Flocken, ‘Brumas Malvineras’, #79779, 22 Nov. 1968.
64 ‘Entretelones’, Confirmado, 193 (27 Feb. 1969), p. 11.
65 Lord Franks, Falkland Islands Review. Report of a Committee of Privy Counsellors (London: HMSO, 1983), pp. 22–3.
66 The Joint Statement is available at https://www.fiassociation.com/key-documents (last accessed 28 Sept. 2021).
67 The most serious incident involved the British research vessel RRS Shackleton in 1976, when the Argentine destroyer ARA Almirante Storni fired across Shackleton's bows in a warning against entering Argentine territorial waters. Between 1976 and 1980, Argentina and the United Kingdom did not have diplomatic representation at ambassadorial level.
68 Panet and Ponce, ‘El gaucho de las Malvinas’.
69 Orlando Punzi and Orlando Zanier, ‘Islas Malvinas’, #80293, 30 Dec. 1968.
70 María Elena Damiano, ‘Las Malvinas son nuestras’, n.n., 28 March 1969.
71 Federico Mittelbach and Gabino Correa, ‘Malvinera cautiva’, #1630168, n.d. [1968].
72 Ibid. Idelfonso González and Juan Giannantonio's song ‘Hasta las Malvinas’, #83848, 13 Oct. 1969, attributes virility to the nation (‘this virile people’).
73 Catalino Domínguez, ‘Barajando las Malvinas’, #85387, 4 Feb. 1970.
74 Hernán Ríos and Julio Riveros, ‘Con sabor a Malvinas’, #1593011, 14 Dec. 1970.
75 However, invocation to the heroes of Argentine independence was still present in songs about the Malvinas. See Zulema Nancy Tolosa and Andrés Saldaña, ‘Mi bandera en las Malvinas’, n.n., 7 April 1978. Addressing the Argentine flag, that the Malvinas long to see waving, the chorus of this chacarera states, ‘Let's sing all together / Until the clarion sounds / And from the sky greets you / General San Martín.’
76 Arnoldo Canclini, Malvinas 1833. Antes y después de la agresión inglesa (Buenos Aires: Claridad, 2014), pp. 53–73.
77 Martiniano Leguizamón Pondal, Toponimia criolla de las Malvinas (Buenos Aires: Raigal, 1956).
78 Caillet-Bois, Ricardo and Burzio, Humberto, ‘Actuación de Antonio Rivero en las Islas Malvinas’, Boletín de la Academia Nacional de la Historia, 39 (1966), pp. 219–21Google Scholar.
79 Rivero continued to be debated in newspapers and books. See, for example, José Manuel Moneta, ¿Nos devolverán las Malvinas?… Los actuales problemas malvineros (Buenos Aires: n.p., 1970); Juan Lucio Almeida, ¿Qué hizo el gaucho Rivero en las Malvinas? (Buenos Aires: Plus Ultra, 1972); and Martín Berger, El rescate de las Malvinas. La verdad oculta en un histórico relato a partir del 2 de abril (Buenos Aires: Bruguera, 1982).
80 Enrique Flocken, ‘Gaucho Rivero, héroe de Malvinas’, #1629430, n.d. [1969].
81 Juan de los Santos Amores, El Gaucho Rivero: Héroe de las Malvinas (Buenos Aires: Doma, 1969). This album can be heard at: https://www.youtube.com/watch?v=KHQBUhaqJgU (last accessed 2 Sept. 2021). The song ‘Brumas Malvineras’ (note 63) is the epilogue to this work. Solari Yrigoyen's book is Así son las Malvinas (Buenos Aires: Hachette, 1959). The film, of the same name, has been lost.
82 ‘Noticiero de América’, 2 Jan. 1969, NA 668, Museo del Cine, Buenos Aires.
83 The video-clip can be watched at: https://www.youtube.com/watch?v=oJgVT__mn0M (last accessed 27 Aug. 2021).
84 Mario Ponce and Carlos Di Fulvio, ‘Capitán de las Malvinas’, #98244, 26 Sept. 1972.
85 Another of Ponce's lyrics portrays the landscape infused with his name. See Da Fonseca Figueira, Cómo los poetas, pp. 137–8.
86 Héctor Marcolongo, ‘Antonio Rivero’, n.n., n.d. [1968]. Marcolongo, better known by his pseudonym Marcó, wrote several famous tangos in partnership with composer Carlos Di Sarli, such as ‘Corazón’ and ‘Así era mi novia’.
87 Odín Eduardo Fleitas and Pedro Luca Ortiz, ‘Che Malvinas’, #89170, 18 March 1975.
88 In the mid-nineteenth century, British estate manager and artist William Dale portrayed gaucho life in the Islands in watercolours, some of which can be seen in Joan Spruce, Corrals and Gauchos (Bangor: Peregrine Publishing, 1992) and Marcelo Beccaceci, Gauchos de Malvinas (Buenos Aires: South World, 2017).
89 Jorge Durietz, ‘Las Malvinas Rock’, #114649, 20 May 1975.
90 The quotation is from Yupanqui's introduction to his song ‘La hermanita perdida’ in the film Mire que es lindo mi país (see note 16). Yupanqui and Ariel Ramírez, ‘La hermanita perdida’, #254133, 29 May 1980.
91 This image of separation was not unique. See also the chamamé of Avelino Flores and Isidro Prado, ‘Homenaje a las Malvinas’, #90471, 17 July 1973.
92 Carlos Büsser, Malvinas. La guerra inconclusa (Buenos Aires: Fernández Reguera, 1987), pp. 20–31; Palermo, Sal en las heridas, pp. 201–4.
93 Bóveda, Jorge Rafael, ‘¿Cómo se tomó la decisión de recuperar las Malvinas?’, Todo es Historia, 617 (2019), pp. 6–19Google Scholar.
94 Ismael Orozco and Juan José Galati, ‘Las gloriosas Malvinas’, #159357, 5 April 1982.
95 Giachino would later be denounced by human rights organisations for his participation in the ‘Dirty War’, the military junta's campaign against suspected opponents (1976–83).
96 Gerardo Ferradas, ‘Soldadito que a Malvinas’, #1608099, 15 April 1982. Ten days earlier, on 5 April, the famous folklorist Argentino Luna gave the first TV performance of his song ‘Décimas para un valiente’, also dedicated to Giachino: Berger, El rescate de las Malvinas, p. 135.
97 Domingo La Valle and Damián Ficarra, ‘Tango a las Malvinas’, #158648, 15 April, 1982.
98 In the same vein, and written at the same time, see also Margarita Rebuffi and Eduardo Ledesma, ‘Malvinas, mi tierra’, #1118853, 19 May 1999.
99 Cacho Castaña, ‘Oé, oé, oé, las Malvinas son nuestras’, #159764, 27 May 1982.
100 For other songs that express this initial glee, see Manuel and José Abrodos, ‘Cielito de las Malvinas’, #158833, 23 April 1982 and Miguel González and Bernardino Ramos, ‘Malvinas, tierra de nuestra Argentina’, #160123, 9 June 1982.
101 Ramón Méndez and Leopoldo Almada, ‘Sapucay a las Malvinas’, #144909, 31 May 1982. See also Mario Putrino and Mario Rodríguez, ‘Despertar en las Malvinas’, #158527, 13 Dec. 1982; Águeda Del Valle Medina and Olinto Bertgani, ‘Malvinas, dos de abril’, #160685, 25 June 1982; and Ángel Pace, ‘Conquistadas las Malvinas’, #159789, 28 May 1982.
102 Ángel Guevara, ‘Oda a las Malvinas’, #159560, 18 May 1982. See also Rodolfo Chinnici and Ángel Gasset Maltas, ‘De Maracaibo a Malvinas’, #160041, 4 June 1982; Isaad Sued, ‘Zamba a las Malvinas’, #1597689, 6 May 1982 and Francisco Sánchez, ‘Zamba para las Malvinas’, n.n., 10 Aug. 1982.
103 Demetria Rodríguez, Ángel Bassani and Nicolás Costantino, ‘Malvinas heroicas’, #160110, 8 June 1982.
104 Víctor Nicolás Corvalán, ‘Malvinas, pena tropical’, #1614577, 6 June 1983. (‘Tropical’ in the song's title may refer to a dance rhythm.) Corvalán wrote this song immediately after the war, in the hope that the struggle for the Malvinas would soon resume: phone communication with the author, 30 May 2019. See also González and Ríos, ‘Malvinas, tierra de nuestra Argentina’; Demetria Rodríguez, José Sala and Benito Eduardo Cáceres, ‘Malvinas queridas’, #1608112, 8 June 1982; and Casildo and Manuel Almirón, ‘Las Malvinas que defenderé’, #161288, 27 July 1982. Corvalán's lyrics are littered with spelling mistakes, showing his low level of formal education and demonstrating that the emotional community of those who wanted the Malvinas to be returned to Argentina also encompassed people from subaltern sectors of the society.
105 Sergio Pujol, ‘El rock en la encrucijada. Apuntes para una historia cultural de Malvinas’, in Pujol (ed.), Composición libre: La creación musical argentina en democracia (La Plata: Edulp, 2015), pp. 91–8.
106 Federico Pecchia, ‘Malvinas son nuestras’, #662042, 9 Sept. 2014.
107 Some who wrote songs about the Malvinas, such as Yupanqui, Tejada and Durietz, were subject to censorship, but not to my knowledge in respect of their Malvinas songs.