The decade of the seventies was submerged in the confrontation, not only political and ideological within the Peronist movement, but also in a dispute over the female uterus between "avoidants" and "Elizabethan". This false dichotomy could be established as a truth instituted only from the generalized ignorance of the true formator of Peronist thought: Aurelia Tizón de Perón
Aurelia Gabriela Tizón (for us the companion "Potota") was the daughter of immigrants. His father was affiliated to the Radical Civic Union (radicals of shuffle in shroud away from the scourge agreement with the right contractor and illiterate) nevertheless never transmitted to his daughter the interest in politics because he considered that women were not able to develop this type of activities.
But the paradoxes of life made his first boyfriend of adolescence, an anarchist who had immigrated from Spain, transmit all his knowledge about the proletarian struggle (we will leave the name of such an illustrious anarchist because it would dwarf the figure of the General, I would go from the pinto horse to ride a pony).
With great desperation, her father wanted to guide her on the path of the arts, especially the plastic arts, believing that there she would stay away from libertarian ideas that did not correspond to a respectable middle-class lady.
Writings of Reclus, Malatesta, Prouhdon (who in his last hours before passing away considered a "lukewarm social democrat") along with some armed actions in the group Giovanni's, clashed with the structured grid of the Prilidiano Pueyrredón Arts Institute, although it followed the path to obtain university membership, using art as a motor and vehicle for revealing experiences to transform reality in a violent way.
In the midst of this dilemma was that he met the General Juan Domingo Perón. One spring afternoon they had sent their division to the woods of Palermo. Aurelia was painting a dream sequence that had tormented her at night, until a young horseman who was walking with his horse over there approached her interrupting his task.
- Are you studying drawing, miss? - He said and added, without waiting for an answer.
- But, let me, this is very good, only if I blow it a little bit up here ...
He took the charcoal and in a few seconds he corrected the surroundings of the work giving it the visionary and futuristic character that all art must have to be proud of being ...
- I hope not to compromise, miss ...
Added our General after having shaped such a pictorial mamarracho that the popular movement would pay with blood a few decades later.
While the young man watched her with an air of superiority waiting for a compliment or thanks for his successful collaboration, she watched him in silence, thinking that this was the man destined to change the history of the Argentines definitively.
Juan Domingo had found someone attentive and charismatic, and there was something about him that caught his attention; he belonged to the army and because of his social position (we believe that also because of the illegal access "to the irons") he had the possibility of carrying out his libertarian ideal. For these reasons, he decided to assume the commitment to transmit his convictions and transform his vision of reality.
They finally got married in 1929. She believed in free love, smoked cannabis (another avant-garde trait of femininity) and considered marriage a contract that corseted and mutilated the freedom of the individual, when the strength of her convictions dictated that relationships should be sustained by love and mutual commitment to that ideal
Companion "Potota" we owe you: our Peronism anarchist, irreverent, ungraspable, almost villanesque. Laika and Gratuita puts you in the place of history that you deserve; against all cagatinta, are the amanuenses of the official history as the false revisionists of the progressive comparsa.