First taking shape in the southern cone of South America during the late 1950s and early 1960s, nueva cancin, also known as trova and canto, began as a proactive movement that contested the political dictatorships of the times. Declining social conditions in rural areas led people- primarily from Native communities- to move to cities. They brought with them distinct musical traditions that students and the middle class blended with other styles rooted in European culture to form new artistic hybrids that transcended class distinctions. These emerging musical styles became outlets to denounce political oppression. Evocative and poetic lyrics called for protest and sought active participation for social change. Elements of traditional culture and regional folk songs, reinterpreted by the literati, validated the region's marginalized Native cultures. Early nueva cancineros often made use of folk instruments, such as the quena (Andean flute), zampoas (pan-pipes), and the ten-stringed charango, to stress dignity and pride in Native cultural roots. Pioneering ensembles Inti-Illimani and Quilapayun offer examples of the blending of traditional and popular styles of the times.