The essay “Tribu No” appeared in La memoria: modelo para armar [Memory: A Model to Assemble] (1995), the book written by the critic and academic Soledad Bianchi (b. 1948). This publication provided an overview of Chilean poetry in the 1960s and 1970s through interviews with the major figures in the field, which showed the diversity of Chilean literature at the time based on firmly-held opinions that were sometimes, but not always, in agreement, thus underscoring the subjective nature of memory.
Based on Bianchi’s work we can state that Tribu No was an experimental group that transcended the traditional boundaries of poetry to experiment with music, visual arts, and pop culture through their appearances on television. One of the group’s best-known members was Cecilia Vicuña (b. 1948), who, in addition to her successful career as a poet, also worked in the visual arts. She came from an artistic family: her great-grandfather Carlos Lagarrigue (1858–1928), her grandmother Teresa Lagarrigue, and her aunts Teresa Vicuña (b. 1927) and Rosa Vicuña (1925–2010) were all sculptors. Her father, Carlos Vicuña (1886–1977), was a writer. Highlights from her career include Otoño y Pinturas, Poemas y Explicaciones, also known as Salón de otoño. After the coup d’état in 1973 she worked with the English independent publisher Beau Geste Press to publish Sabor a mi [Taste of Me], a bilingual book that included poems and reproductions of her paintings (of Lenin, Fidel Castro, Salvador Allende, and Violeta Parra), self-portraits, and the Ángel de la Menstruación [Angel of Menstruation]. She wrote stories about the fascist coup in Chile and the Unidad Popular socialist party. One of her most famous works of visual poetry was Palabrarmas, a piece of assembled writing that challenged the viewer. She spent most of her career away from Chile, mainly in New York, where she settled. Edited by Francisco Zegers, her first text in Chile was La Wik’uña (1990). [For more information about her work, see the following in the ICAA Digital Archive: “Suspensión y disposición en el trabajo de Cecilia Vicuña” (754571) by Justo Pastor Mellado, and her own essay “Rosa Vicuña” (765138).]