Question: Cu Roi (Cu Rui, Cu Raoi) mac Daire is a king of Munster in the Ulster Cycle of Irish mythology. He is usually portrayed as a warrior with superhuman abilities and a master of disguise possessed of magical powers.

Cu Roi further appears in the episode known as "The Trance of Amairgin", variants of which appear in Recension I and II of the Tain bo Cuailnge.  The episode appears as Aislinge n-Aimirgin ("The trance of Amairgin") in Recension I of the Tain. Having followed news of Cu Chulainn's sustained success in single-handedly opposing the Connacht army, Cu Roi once again appears on the scene, this time to fight Cu Chulainn directly. However, on finding Cu Chulainn weak from the injuries which Ferdiad had recently inflicted on him, he refused to carry out his original plan. Instead he faces the giant warrior poet Amairgin, who in a trance is hurling stones at the Connacht army in Tailtiu, with devastating effects. Cu Roi attacks him in kind and their stones meet in the air. They pause when on Cu Roi's request, Amairgen allows the cattle to go past Tailtiu, but seeing as the passage had become difficult, Cu Roi agrees to withdraw from the contest altogether.  The episode in the Book of Leinster (Recension II), called Imthusa Chon Rui meic Daire (header) or Oislige Amargin (text), offers by and large the same story, but adds more explicit detail, notably on the point of Cu Roi's sense of honour in his encounters with Cu Chulainn and Amairgin. First, Cu Roi explains his refusal to fight Cu Chulainn not only by pointing out the inequality between a physically healthy and an injured warrior, but also by saying that a victory would not be his, seeing as it was Fer Diad who had laid low his opponent. Second, the conclusion of Cu Roi's fight with Amairgin is told from a perspective which highlights the role of honour in his motives. Medb insisted "[b]y the truth of your [Cu Roi's] valour" ([a]r fir do gascid fritt) that he should abandon the competition, obstructive as it proved to be to the progress of the expedition. Cu Roi, however, was determined to persist "till the day of doom" (co brunni bratha) unless Amairgin agreed to stop. (When the matter was settled and Cu Roi returned to his country, Amairgin resumed his attacks on the invading army, explaining that his agreement was with Cu Roi only.)

Using a quote from the above article, answer the following question: Who is Amairgin
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Answer: giant warrior poet Amairgin,

Problem: Victor Jara was born in 1932 in Lonquen, near Santiago, to two peasants, Manuel Jara and Amanda Martinez. His father was illiterate and encouraged his children to work from an early age to help the family survive, rather than attend school. By the age of 6, Jara was already working on the land. His father could not support the family on his earnings as a peasant at the Ruiz-Tagle estate, nor was he able to find stable work.

After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life.  In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called penas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumen, with whom he continued his explorations of Chile's traditional music. He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda.  In the 1960s, Jara started specializing in folk music and sang at Santiago's La Pena de Los Parra, owned by Angel Parra. Through these activities, he became involved in the Nueva Cancion movement of Latin American folk music. He released his first album, Canto a lo humano, in 1966, and by 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda").

What was Jara's artistic work like

Answer with quotes:
In the 1960s, Jara started specializing in folk music