Mexican music may be linked to the Allende administration's close links with Mexico, the "Mexican revolutionary discourse" and the over-all low prestige of Mexican music in Chile. The dictatorship did however never suppressed Mexican music as a whole but came distinguish different strands, some of which were actually promoted. Cueca and Mexican music coexisted with similar levels of popularity in the Chilean countryside in the 1970s. Being distinctly Chilean the cueca was selected by the military dictatorship as a music to be promoted. The cueca was named the national dance of Chile due to its substantial presence throughout the history of the country and announced as such through a public decree in the Official Journal (Diario Oficial) on November 6, 1979. Cueca specialist Emilio Ignacio Santana argues that the dictatorship's appropriation and promotion of cueca harmed the genre. The dictatorship's endorsement of the genre meant according to Santana that the rich landlord huaso became the icon of the cueca and not the rural labourer. The 1980s saw an invasion of Argentine rock bands into Chile. These included Charly García, the Enanitos Verdes, G.I.T. and Soda Stereo among others. Contemporary Chilean rock group Los Prisioneros complained against the ease with which Argentine Soda Stereo made appearances on Chilean TV or in Chilean magazines and the ease they could obtain musical equipment for concerts in Chile. Soda Stereo was invited to Viña del Mar International Song Festival while Los Prisioneros were ignored despite their popular status. This situation was because Los Prisioneros were censored by media under the influence of the military dictatorship. Los Prisioneros' marginalization by the media was further aggravated by their call to vote against the dictatorship on the plebiscite of 1988. Theater and literature Experimental theatre groups from Universidad de Chile and Pontifical Catholic University of Chile were restricted by the military regime to performing only theatre classics. Some established groups like Grupo Ictus were tolerated while new formations like Grupo Aleph were repressed. This last group had its members jailed and forced into exile after performing a parody on the 1973 Chilean coup d'état. In the 1980s a grassroots street theatre movement emerged. The dictatorship promoted the figure of Nobel laureate Gabriela Mistral who was presented as a symbol of "summission to the authority" and "social order". Plebiscite and the return to democracy 1988 plebiscite Following the approval of the 1980 Constitution, a plebiscite was scheduled for