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Sounds of the world : the real Colombia is not forgotten

Cet article en anglais est le résul­tat d’un pro­jet col­la­bo­ra­tif entre #Aux­Sons et Ale­jan­dro Abbud Torres Tori­ja, pro­fes­seur à Sciences Po Paris Cam­pus Reims, et contri­bu­teur régu­lier d’#AuxSons. Dans le cadre du cours “Sons du monde : la musique comme miroir de l’intime et du col­lec­tif” des étu­diants inter­na­tio­naux de Sciences Po Paris Cam­pus Reims se sont pen­chés sur les liens entre musiques des quatre coins du monde et enjeux sociopolitiques. 

This article is a result of a col­la­bo­ra­tive pro­ject bet­ween #Aux­Sons and Ale­jan­dro Abbud Torres Tori­ja, lec­tu­rer at Sciences Po Paris Cam­pus Reims, and regu­lar contri­bu­tor to #Aux­Sons. As part of the class “Sounds of the world : Music as mir­ror of the inti­mate and the col­lec­tive”, inter­na­tio­nal stu­dents from Sciences Po Paris Cam­pus Reims pre­pa­red articles pre­sen­ting contem­po­ra­ry music from dif­ferent parts of the world in connec­tion with recent socio-poli­ti­cal events.

 

Recent­ly, Colom­bia has been suf­fe­ring from an eco­no­mic cri­sis heigh­te­ned by the pan­de­mic. With unem­ploy­ment as high as 17% and a fis­cal defi­cit, the govern­ment under­took a new tax reform. In recent weeks, citi­zens took the streets in pro­test, which have evol­ved into a natio­nal strike. Des­pite the vio­lences and des­pair, Colom­bians are sen­ding around the world a mes­sage of strength and hope. One of these voices is Lido Pimien­ta, sin­ging from the other side of the continent.

Born in Bar­ran­quilla, a city in the Colom­bian Atlan­tic coast, Lido grew up sur­roun­ded by music, with the cum­bia and Afro sounds from her father’s side and indi­ge­nous melo­dies from her mother’s. She then moved to Cana­da, where she has lived most of her life.

Lido Pimien­ta is the part of Colom­bia not usual­ly heard of, far away from the win­ners of beau­ty pageants or other Colom­bian musi­cians. She repre­sents the fre­quent­ly igno­red Afro-Colom­bian popu­la­tion, and the Wayuu indi­ge­nous tribe from the penin­su­la of la Gua­ji­ra. She is a queer plas­tic artist, cura­tor, women and mother. And all of this is por­trayed in her Gram­my nomi­na­ted album, Miss Colom­bia.

 

Nada, one song from the album focuses on her expe­rience as a woman and the pain of natu­ral labor. It is a hymn to all Colom­bian women who are being taken for gran­ted. Her whole album Miss Colom­bia breaks the usual over-roman­ti­za­tion that an immi­grant has towards their coun­try once they leave it, and breaks the usual boun­da­ries of rea­li­ty por­trayed in music.

 

Her album was relea­sed just before the pan­de­mic took over the world. As eve­ry other artist, her concerts and plans got can­ce­led. But even through the obs­tacles her main goal has been rea­ched : have her music sup­port and help lis­te­ners. Espe­cial­ly throu­ghout the past year’s struggles and now with the cur­rent Colom­bian situation.

Her mes­sage is an ode to the mothers strug­gling during these times, and their strength within the sexist latin culture. With the recent pro­tests that have sha­ken Colom­bia the past weeks, she never ceases to voice her sup­port and puts inter­na­tio­nal pres­sure on the abuses and human rights vio­la­tions being committed.

Throu­ghout her music, she offers a safe place, peace and calm to the Colom­bian popu­la­tion. Not only through her alrea­dy crea­ted music, but she does lives in her social media accounts sin­ging lul­la­bies to her baby. That way people can receive some com­fort during these dif­fi­cult times and mothers can work toge­ther to put their babies to bed des­pite the situa­tion. Her voice is a mes­sage of hope and calm bet­ween the storm.

 

the author : 

Isa­bel­la Ospi­na is a Colom­bian student in Sciences Po Paris – Cam­pus of Reims. Cur­rent­ly taking the Eco­no­mics and Socie­ty major, she has always been inter­es­ted in social issues and the inter­ac­tions and dyna­mics of indi­vi­duals. She stu­died music from a young age at a govern­ment pro­gram, increa­sing her sense of belon­ging and her inter­est on the influence of music in society.

 

 

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