1
00:00:00,840 --> 00:00:04,840
Speaker 1: So I'm here with Latino USA producers Ginni Montalbo and

2
00:00:04,880 --> 00:00:08,879
Speaker 1: Patricia Sulvaran, and I don't know, maybe our listeners know

3
00:00:08,920 --> 00:00:11,680
Speaker 1: what's coming up now, So hello to the both of you.

4
00:00:11,920 --> 00:00:17,360
Speaker 2: Hi Maria, Hey Maria. So we are here again. Today

5
00:00:17,680 --> 00:00:20,640
Speaker 2: is our last episode of our heniez and music series

6
00:00:20,720 --> 00:00:24,520
Speaker 2: about the lives of notable women musicians and their influential work.

7
00:00:24,880 --> 00:00:28,440
Speaker 3: And this time we're going to Colombia to meet another Henya.

8
00:00:28,600 --> 00:00:32,479
Speaker 3: Her name is Petrona Martinez and she's one of the

9
00:00:32,520 --> 00:00:36,159
Speaker 3: most important black singers in Colombia. And to start with,

10
00:00:36,360 --> 00:00:39,080
Speaker 3: I want to play you a clip of her performing

11
00:00:39,240 --> 00:00:43,200
Speaker 3: in nineteen ninety eight in Bogota, Colombia's capital. It's from

12
00:00:43,240 --> 00:00:50,479
Speaker 3: the documentary latier Ra Santa de Petrona Martinez.

13
00:00:52,440 --> 00:00:53,480
Speaker 4: Oh my god, I love this.

14
00:00:54,200 --> 00:00:57,120
Speaker 1: I guess what I love about it immediately, Patricia and

15
00:00:57,160 --> 00:01:01,319
Speaker 1: GINI is that it is so unique and it's like

16
00:01:01,560 --> 00:01:05,800
Speaker 1: is m Colombiano and I can hear that like she's

17
00:01:05,880 --> 00:01:09,160
Speaker 1: the centerpiece because of her voice, the way that she's

18
00:01:09,280 --> 00:01:14,399
Speaker 1: kind of commanding attention. It's the rhythm and the drumming

19
00:01:14,640 --> 00:01:17,480
Speaker 1: that is really the kind of call and responsing that

20
00:01:17,600 --> 00:01:20,800
Speaker 1: is just it sounds very traditional and it's very alluring

21
00:01:20,840 --> 00:01:21,080
Speaker 1: to me.

22
00:01:21,480 --> 00:01:22,679
Speaker 5: Yeah, you're right, Maria.

23
00:01:22,720 --> 00:01:26,360
Speaker 3: This is traditional music that comes from Colombia, specifically from

24
00:01:26,400 --> 00:01:30,480
Speaker 3: the Caribbean coast, and it started during times of slavery.

25
00:01:30,959 --> 00:01:33,800
Speaker 3: So what you just heard is a specific type of

26
00:01:33,880 --> 00:01:43,840
Speaker 3: music that's called bujeng and it consists of three main components.

27
00:01:43,920 --> 00:01:47,240
Speaker 3: So there's a lead singer commanding like you said, and

28
00:01:47,280 --> 00:01:49,920
Speaker 3: there's a set of drums and a choir and they

29
00:01:49,960 --> 00:01:53,160
Speaker 3: play off each other in a circle and improvise.

30
00:01:53,880 --> 00:01:56,000
Speaker 2: It's interesting how similar a lot of the Afro to

31
00:01:56,080 --> 00:01:58,840
Speaker 2: set in traditional music is across Latin America, so like

32
00:01:58,880 --> 00:02:02,400
Speaker 2: from Brazil leaven to the Dominican Republic, where my family's from,

33
00:02:02,640 --> 00:02:04,600
Speaker 2: and a lot of times it's music that you don't

34
00:02:04,640 --> 00:02:07,680
Speaker 2: typically hear in the big cities. For example, in the

35
00:02:07,680 --> 00:02:10,440
Speaker 2: Dominican Republic, you would have to travel to the countryside

36
00:02:10,480 --> 00:02:12,880
Speaker 2: to learn about this music because it wasn't taught as

37
00:02:12,919 --> 00:02:15,960
Speaker 2: part of our musical traditions. So it's interesting to hear

38
00:02:16,040 --> 00:02:18,600
Speaker 2: that this concert was in Bolda, which is the capitol.

39
00:02:19,000 --> 00:02:21,160
Speaker 5: Yeah, you hit my point exactly, Ginni.

40
00:02:21,520 --> 00:02:24,119
Speaker 3: At the time, in that concert of nineteen ninety eight,

41
00:02:24,520 --> 00:02:27,920
Speaker 3: Petrona had already recorded two EPs.

42
00:02:27,240 --> 00:02:28,320
Speaker 5: And an album.

43
00:02:28,680 --> 00:02:30,640
Speaker 3: She was in the latter part of her career and

44
00:02:30,760 --> 00:02:33,720
Speaker 3: was almost sixty years old when she performed on that

45
00:02:33,760 --> 00:02:37,680
Speaker 3: stage in Bogota for the first time. Nobody knew of

46
00:02:37,720 --> 00:02:41,880
Speaker 3: her music in the capitol until that concert, and despite

47
00:02:41,880 --> 00:02:44,679
Speaker 3: not knowing who she was, the audience.

48
00:02:44,440 --> 00:02:45,520
Speaker 5: Loved her, of course.

49
00:02:45,919 --> 00:02:48,680
Speaker 3: But the crazy thing is that they didn't think that

50
00:02:48,800 --> 00:02:51,960
Speaker 3: she was Colombian. They actually thought that she was Cuban

51
00:02:52,360 --> 00:02:54,320
Speaker 3: or from the Antilles.

52
00:02:53,880 --> 00:02:56,320
Speaker 1: You know. I mean, in many ways that isn't surprising

53
00:02:57,000 --> 00:03:02,680
Speaker 1: because people forget that Colombia is the blackest country in

54
00:03:02,760 --> 00:03:08,359
Speaker 1: Latin America apart from Brazil. But Colombia essentially still portrays

55
00:03:08,400 --> 00:03:12,000
Speaker 1: itself as a very white country. It's not surprising then

56
00:03:12,360 --> 00:03:15,600
Speaker 1: they didn't know that this kind of Afro music was theirs,

57
00:03:15,680 --> 00:03:19,760
Speaker 1: and it's so authentic and so of the place, and

58
00:03:19,840 --> 00:03:20,880
Speaker 1: yet they had no idea.

59
00:03:21,120 --> 00:03:23,440
Speaker 2: Yeah, Maria, and it seems like things are starting to

60
00:03:23,520 --> 00:03:26,840
Speaker 2: change for Afro Colombians. In June, the country elected their

61
00:03:26,840 --> 00:03:30,639
Speaker 2: first black vice president, France and Marquez, but Francia faced

62
00:03:30,639 --> 00:03:33,239
Speaker 2: a lot of racism to get there, despite the fact

63
00:03:33,280 --> 00:03:35,920
Speaker 2: that about twenty percent of the country's population is Afro

64
00:03:36,000 --> 00:03:39,680
Speaker 2: Colombian and Petrona, as a black woman from rural Colombia,

65
00:03:39,960 --> 00:03:42,160
Speaker 2: I'm sure had to overcome a lot of barriers to

66
00:03:42,200 --> 00:03:44,040
Speaker 2: get to where she was at this point in her life.

67
00:03:44,440 --> 00:03:48,720
Speaker 3: But despite all the odds, she still became an icon

68
00:03:49,320 --> 00:03:52,440
Speaker 3: after this concert in Bogota. She went on to receive

69
00:03:52,720 --> 00:03:56,640
Speaker 3: many national and international accolades, and just last year, she

70
00:03:56,720 --> 00:03:59,880
Speaker 3: got her first Latin Grammy in the category of Best

71
00:04:00,080 --> 00:04:03,360
Speaker 3: Folklore Album at the age of eighty two years old,

72
00:04:03,640 --> 00:04:07,480
Speaker 3: letting Para and Sestra Petrona Martinez.

73
00:04:07,280 --> 00:04:10,400
Speaker 1: Which is great. I'm so happy for her, but it's

74
00:04:10,520 --> 00:04:14,240
Speaker 1: just like, why does it take women, especially in the arts,

75
00:04:14,360 --> 00:04:17,760
Speaker 1: especially in music, so much more time to get the

76
00:04:17,800 --> 00:04:19,560
Speaker 1: recognition that they deserve.

77
00:04:19,279 --> 00:04:22,160
Speaker 3: Right, Yeah, and Maria, we will go over what it

78
00:04:22,200 --> 00:04:25,799
Speaker 3: took for Petrona to become one of the most respected

79
00:04:25,920 --> 00:04:28,719
Speaker 3: artists in Colombia despite.

80
00:04:28,320 --> 00:04:30,599
Speaker 5: The barriers that she faced throughout her life.

81
00:04:30,640 --> 00:04:33,200
Speaker 2: And we wanted to end the series with this Henya

82
00:04:33,320 --> 00:04:35,520
Speaker 2: who is still alive today because you know, like we

83
00:04:35,600 --> 00:04:39,599
Speaker 2: say in Spanish, elmenaje Kemeloven and bidra, which means pay

84
00:04:39,640 --> 00:04:42,120
Speaker 2: me tribute while I'm alive, And that's what we're gonna do.

85
00:04:42,279 --> 00:04:43,760
Speaker 2: We're gonna give her her flowers.

86
00:04:45,160 --> 00:04:47,279
Speaker 1: Oh my god, I'm so excited to learn more about

87
00:04:47,279 --> 00:04:51,440
Speaker 1: this musical legend Petrona Martinez. So as usual, Genie and

88
00:04:51,480 --> 00:04:54,680
Speaker 1: this time Patricia take it away for another episode of

89
00:04:54,760 --> 00:05:02,200
Speaker 1: Henyes in Music from Futro Media and pr X.

90
00:05:02,320 --> 00:05:03,480
Speaker 4: It's Latino Usa.

91
00:05:03,640 --> 00:05:07,760
Speaker 1: I'm Maria in no Josa today our last episode of

92
00:05:07,880 --> 00:05:12,479
Speaker 1: Henya's in Music. We're looking at the Afro Latina matriarch

93
00:05:12,520 --> 00:05:17,960
Speaker 1: Petrona Martinez, who made Colombia embrace or ancestral music as

94
00:05:18,080 --> 00:05:20,160
Speaker 1: part of the country's identity.

95
00:05:25,960 --> 00:05:28,560
Speaker 3: So, Ginny, I'd like to play a little clip from

96
00:05:28,560 --> 00:05:30,360
Speaker 3: a concert I went to the other night in New

97
00:05:30,440 --> 00:05:37,160
Speaker 3: York City.

98
00:05:38,320 --> 00:05:38,920
Speaker 2: I love this.

99
00:05:39,760 --> 00:05:44,000
Speaker 5: Who's playing is in New York That's Bange.

100
00:05:44,080 --> 00:05:46,680
Speaker 3: Yeah, it was a band It's called Buja and Albarrio

101
00:05:47,160 --> 00:05:49,120
Speaker 3: and they are mostly from Colombia, but they all live

102
00:05:49,160 --> 00:05:51,279
Speaker 3: in New York City now. And I thought it was

103
00:05:51,400 --> 00:05:54,159
Speaker 3: so cool because they are taking bujenge, which you know,

104
00:05:54,279 --> 00:05:57,599
Speaker 3: is a music that's so Colombian and it's embraced and

105
00:05:57,720 --> 00:06:01,320
Speaker 3: popularized now in Colombian culture, and they're taking it to

106
00:06:01,360 --> 00:06:02,640
Speaker 3: international stages.

107
00:06:03,040 --> 00:06:05,320
Speaker 5: And they were opening up for a salsa orchestra.

108
00:06:05,720 --> 00:06:08,480
Speaker 3: So a lot of people the audience they were listening

109
00:06:08,480 --> 00:06:10,800
Speaker 3: to for the first time in their lives. You know

110
00:06:12,000 --> 00:06:15,640
Speaker 3: this a little from Colonia.

111
00:06:16,240 --> 00:06:17,360
Speaker 5: That's Carolina Livero.

112
00:06:17,440 --> 00:06:20,599
Speaker 3: She's the main vocalist, that powerful voice you're hearing, and

113
00:06:20,640 --> 00:06:23,640
Speaker 3: she's from Barilla, Columbia, but lives in Brooklyn. And she

114
00:06:23,760 --> 00:06:27,000
Speaker 3: tells me that even though she was professionally trained as

115
00:06:27,040 --> 00:06:31,080
Speaker 3: a singer, in order to perform this music, she had

116
00:06:31,120 --> 00:06:34,360
Speaker 3: to learn from listening to Petrona Martinez's records.

117
00:06:34,560 --> 00:06:41,040
Speaker 5: Ey wow.

118
00:06:42,400 --> 00:06:51,520
Speaker 2: So so she's saying here that Petrona sings like she

119
00:06:51,640 --> 00:06:55,560
Speaker 2: talks and that's the beauty of this music. These voices

120
00:06:55,560 --> 00:06:58,800
Speaker 2: are unrepeatable and they have so much power because they're

121
00:06:58,800 --> 00:07:07,159
Speaker 2: connected to those roots. Okay, so can you tell me

122
00:07:07,240 --> 00:07:09,400
Speaker 2: exactly what is the traditional sound.

123
00:07:09,160 --> 00:07:16,040
Speaker 3: Of Okay, let's break it down. They call it because

124
00:07:16,080 --> 00:07:19,920
Speaker 3: it's like a dancing chant. So first people start clapping,

125
00:07:23,520 --> 00:07:27,320
Speaker 3: The yamador drum keeps the offbeat, and the community claps

126
00:07:27,360 --> 00:07:37,680
Speaker 3: the downbeat. The alleged drum improvises and it's in constant

127
00:07:37,720 --> 00:07:48,040
Speaker 3: dialogue with the singer is usually an elder who is

128
00:07:48,080 --> 00:07:54,640
Speaker 3: also a matriarch. She's the lead singer in this case Petrona.

129
00:07:55,240 --> 00:07:59,400
Speaker 3: So the music is communal music. She uses call and response,

130
00:07:59,680 --> 00:08:06,559
Speaker 3: so they and the other singers and the all drum

131
00:08:06,680 --> 00:08:17,840
Speaker 3: respond and this is all happening in which is a

132
00:08:17,840 --> 00:08:20,440
Speaker 3: circle where people gather to sing and dance.

133
00:08:28,400 --> 00:08:32,439
Speaker 2: All right, cool, So you said that the tradition is

134
00:08:32,520 --> 00:08:36,400
Speaker 2: led mainly by elderly women, which kind of completely defies

135
00:08:36,480 --> 00:08:38,400
Speaker 2: westernized views about aging.

136
00:08:38,160 --> 00:08:39,400
Speaker 5: Right totally.

137
00:08:39,440 --> 00:08:43,480
Speaker 3: I mean, in these communities is a respected leader, and

138
00:08:43,520 --> 00:08:46,480
Speaker 3: she's not only a singer. She's an expert in chance,

139
00:08:46,720 --> 00:08:51,400
Speaker 3: in myths, herbal medicine, and prayers. And one of the

140
00:08:51,440 --> 00:08:54,839
Speaker 3: big elements of is that it's not only music, it's

141
00:08:54,840 --> 00:09:03,000
Speaker 3: actually oral history. This song is a perfect example of

142
00:09:03,040 --> 00:09:06,559
Speaker 3: buy songs being part of a family history, in this

143
00:09:06,679 --> 00:09:11,840
Speaker 3: case Petrona's family. The song is called Androsa, and Petrona's

144
00:09:11,840 --> 00:09:14,640
Speaker 3: father composed it right after she was born in nineteen

145
00:09:14,679 --> 00:09:15,320
Speaker 3: thirty nine.

146
00:09:18,160 --> 00:09:22,560
Speaker 2: Nat. So, instead of having a birth certificate like we

147
00:09:22,640 --> 00:09:26,559
Speaker 2: all have in modern times, Petrona's birthdate was first registered

148
00:09:26,559 --> 00:09:30,000
Speaker 2: in a song. That's so cool. So she sings about

149
00:09:30,000 --> 00:09:32,440
Speaker 2: being the queen among women and wanting her dad to

150
00:09:32,480 --> 00:09:39,000
Speaker 2: sing to her. It is okay, So now that we've

151
00:09:39,080 --> 00:09:42,120
Speaker 2: heard this song. I'm kind of curious about the lyrics

152
00:09:42,120 --> 00:09:45,040
Speaker 2: and other songs, like what do they normally talk about?

153
00:09:45,559 --> 00:09:51,080
Speaker 3: Normally the songs capture everyday life, like farming, harvesting, sharing

154
00:09:51,120 --> 00:09:55,199
Speaker 3: with family members, Mama, mama.

155
00:09:55,000 --> 00:09:55,080
Speaker 2: D.

156
00:10:00,000 --> 00:10:03,480
Speaker 3: There are other songs that explore more philosophical questions about

157
00:10:03,640 --> 00:10:06,720
Speaker 3: life and death and happiness and sadness.

158
00:10:06,440 --> 00:10:07,559
Speaker 1: You love.

159
00:10:11,800 --> 00:10:15,760
Speaker 3: Basically, cantas like Petrona capture a way of life in

160
00:10:15,880 --> 00:10:16,720
Speaker 3: rural Colombia.

161
00:10:20,480 --> 00:10:23,800
Speaker 2: Okay, So I'm curious about the details about where it

162
00:10:23,880 --> 00:10:26,960
Speaker 2: came from. I mean, if it's such an ancestral music.

163
00:10:27,400 --> 00:10:30,559
Speaker 3: Yeah, So the origins of bujerenge are actually not very clear.

164
00:10:31,320 --> 00:10:34,600
Speaker 3: Some say that it comes from secret gatherings of pregnant women,

165
00:10:34,880 --> 00:10:38,440
Speaker 3: or that it came from West African ceremonies around maternity

166
00:10:38,520 --> 00:10:42,079
Speaker 3: and puberty. Others say it was born out of repression

167
00:10:42,320 --> 00:10:44,520
Speaker 3: against enslaved people in Colombia.

168
00:10:45,200 --> 00:10:48,520
Speaker 2: So how did little Petrona start to learn this tradition? Then?

169
00:10:48,800 --> 00:10:50,880
Speaker 3: I also wanted to learn this, and I found a

170
00:10:50,960 --> 00:10:55,520
Speaker 3: series of archival interviews of Petrona. Unfortunately, she lost her

171
00:10:55,559 --> 00:10:59,200
Speaker 3: ability to speak in twenty seventeen. She suffered a brain

172
00:10:59,280 --> 00:11:02,320
Speaker 3: injury and she's still recovering. So I was unable to

173
00:11:02,400 --> 00:11:05,120
Speaker 3: interview her for this story, but here's the clip from

174
00:11:05,160 --> 00:11:07,199
Speaker 3: an interview she gave in twenty fifteen.

175
00:11:07,600 --> 00:11:11,559
Speaker 5: Yeah well, yeah, yeah.

176
00:11:14,080 --> 00:11:15,360
Speaker 4: Mao Felina Martin.

177
00:11:16,120 --> 00:11:19,800
Speaker 3: So, although her father composed her birth song, Petrona says

178
00:11:19,840 --> 00:11:23,240
Speaker 3: here that she mainly learned how to sing bojenge by

179
00:11:23,280 --> 00:11:27,160
Speaker 3: watching her great grandmother carmin Cita and grandmother or Felina

180
00:11:27,200 --> 00:11:36,240
Speaker 3: Martinez space Lin. This is El Grechito or the Little Crab,

181
00:11:36,600 --> 00:11:39,520
Speaker 3: which she was able to record many years after learning it.

182
00:11:39,960 --> 00:11:42,679
Speaker 3: She memorized this song after watching the women in her

183
00:11:42,720 --> 00:11:48,199
Speaker 3: family and other cantalas singing it. So this is one

184
00:11:48,200 --> 00:11:51,640
Speaker 3: of the first b songs that Petrona learned, and it's

185
00:11:51,640 --> 00:11:54,720
Speaker 3: great because the lyrics include the names of not only

186
00:11:54,760 --> 00:11:59,920
Speaker 3: her family members but also other cants. And it's crazy

187
00:12:00,040 --> 00:12:04,240
Speaker 3: because these burega songs remained virtually unknown for most of

188
00:12:04,280 --> 00:12:08,160
Speaker 3: the twentieth century until people like Petrona and other cant

189
00:12:08,640 --> 00:12:10,600
Speaker 3: bujenge began to record them.

190
00:12:10,760 --> 00:12:12,680
Speaker 5: So imagine that it's like a whole century.

191
00:12:13,120 --> 00:12:17,040
Speaker 2: That's amazing. But I'm curious why it hadn't been recognized

192
00:12:17,040 --> 00:12:19,320
Speaker 2: before and what kind of changed for them to start

193
00:12:19,360 --> 00:12:20,680
Speaker 2: recording the songs.

194
00:12:21,360 --> 00:12:23,120
Speaker 5: So there are different factors.

195
00:12:23,280 --> 00:12:25,959
Speaker 3: One has to do with the isolation in the region

196
00:12:26,000 --> 00:12:29,120
Speaker 3: where Petrona is from. She was born in San Diagetano,

197
00:12:29,320 --> 00:12:33,200
Speaker 3: a village that's located about an hour southeast of Cartagena

198
00:12:33,720 --> 00:12:38,480
Speaker 3: and Sangaietano has a very strong Afro descendant heritage. It's

199
00:12:38,480 --> 00:12:41,719
Speaker 3: in a region where enslaved people settled in the sixteenth

200
00:12:41,800 --> 00:12:46,839
Speaker 3: and seventeenth centuries. So basically, enslaved people would run away

201
00:12:46,840 --> 00:12:50,800
Speaker 3: from Cartagena, which had a large slave trade under Spanish rule,

202
00:12:51,120 --> 00:12:53,160
Speaker 3: and some of the people who run away settled in

203
00:12:53,320 --> 00:12:57,120
Speaker 3: enclosed areas right, so areas that were surrounded by heels

204
00:12:57,200 --> 00:13:01,160
Speaker 3: and creeks, and Petrona's ancestors settled in these lands.

205
00:13:01,800 --> 00:13:05,200
Speaker 2: You mentioned, though, that there were several reasons why Buyjorrengisans

206
00:13:05,240 --> 00:13:08,959
Speaker 2: weren't nationally known for a long time. So what else happened?

207
00:13:09,440 --> 00:13:12,680
Speaker 3: Like we already mentioned because of slavery, these communities were

208
00:13:12,960 --> 00:13:16,719
Speaker 3: already isolated, But we also have to look into the

209
00:13:16,760 --> 00:13:21,960
Speaker 3: modern history of Colombia to understand how that isolation continued.

210
00:13:23,559 --> 00:13:26,840
Speaker 3: When Petrona was growing up, this was in the nineteen forties,

211
00:13:27,040 --> 00:13:29,679
Speaker 3: there was a civil war in Colombia and it lasted

212
00:13:29,720 --> 00:13:34,640
Speaker 3: for ten years. This period was known as Laviolencia, the violence.

213
00:13:35,440 --> 00:13:36,640
Speaker 5: This was a pretty.

214
00:13:36,360 --> 00:13:40,440
Speaker 3: Bloody conflict between the liberals and the conservatives, and it

215
00:13:40,559 --> 00:13:43,640
Speaker 3: really hit the country's political centers.

216
00:13:44,800 --> 00:13:45,920
Speaker 5: With so much destruction.

217
00:13:46,240 --> 00:13:50,320
Speaker 3: Communities like Petrona's felt even more isolation because the state

218
00:13:50,520 --> 00:13:51,280
Speaker 3: was just absent.

219
00:13:51,840 --> 00:13:54,559
Speaker 2: And I guess because the violence in Colombia didn't stop.

220
00:13:54,760 --> 00:13:58,000
Speaker 2: In the sixties, there was emergence of communist guerrilla groups,

221
00:13:58,440 --> 00:14:01,240
Speaker 2: the war between the state and the Revolutionary Armed Forces

222
00:14:01,240 --> 00:14:04,960
Speaker 2: of Colombia, and that conflict went on for fifty years.

223
00:14:05,840 --> 00:14:08,080
Speaker 2: Also in the seventies and eighties, we saw the rise

224
00:14:08,120 --> 00:14:10,800
Speaker 2: of paramilitary groups and drug trafficking.

225
00:14:17,240 --> 00:14:21,880
Speaker 3: And the conflict has disproportionately affected communities like Petronas you know,

226
00:14:22,120 --> 00:14:26,080
Speaker 3: black and indigenous. We're talking about horrible things like force

227
00:14:26,160 --> 00:14:30,480
Speaker 3: displacements and deaths, of course, and the conflict still lives

228
00:14:30,520 --> 00:14:33,240
Speaker 3: on today because even though a peace agreement was put

229
00:14:33,240 --> 00:14:36,040
Speaker 3: in place in the country six years ago, which was

230
00:14:36,080 --> 00:14:40,440
Speaker 3: a good thing, there are still hotspots of violence, mainly

231
00:14:40,560 --> 00:14:43,560
Speaker 3: in rural communities like where Petrona comes from.

232
00:14:44,000 --> 00:14:47,320
Speaker 2: Yeah, and I mean historically communities with the highest poverty

233
00:14:47,360 --> 00:14:50,800
Speaker 2: rates are also populated by Afro Colombians. They struggle to

234
00:14:50,840 --> 00:14:54,760
Speaker 2: access even basic services like electricity, running water, and education.

235
00:14:55,840 --> 00:14:58,640
Speaker 3: So you kind of wonder how could the culture of

236
00:14:58,680 --> 00:15:02,360
Speaker 3: these regions make it to the cities With this context, right,

237
00:15:02,920 --> 00:15:07,280
Speaker 3: the continual isolation, the violence, the poverty, it was nearly

238
00:15:07,320 --> 00:15:11,680
Speaker 3: impossible for people like Petrona to dedicate ways to play

239
00:15:11,680 --> 00:15:14,320
Speaker 3: her music and put it out there. And there's this

240
00:15:14,640 --> 00:15:17,920
Speaker 3: other thing, which is that Colombia didn't recognize the diversity

241
00:15:17,960 --> 00:15:22,280
Speaker 3: of its people in the constitution. I spoke with Manuel

242
00:15:22,320 --> 00:15:25,360
Speaker 3: Garcia Rosco, best known as Chaco about this.

243
00:15:25,480 --> 00:15:28,280
Speaker 6: We're going to the Center for Athlam Musicology, Okay.

244
00:15:28,720 --> 00:15:31,800
Speaker 3: Chaco is a Colombian musician and he produced three of

245
00:15:31,840 --> 00:15:33,880
Speaker 3: Petrona's most recent albums.

246
00:15:34,120 --> 00:15:35,400
Speaker 5: We met at Columbia.

247
00:15:35,080 --> 00:15:38,000
Speaker 3: University here in New York where he's studying a PhD

248
00:15:38,160 --> 00:15:39,520
Speaker 3: in ethnomusicology.

249
00:15:39,920 --> 00:15:42,720
Speaker 6: So, of course, in the nineteenth century it comes the

250
00:15:42,800 --> 00:15:47,040
Speaker 6: Colombian nation state, and that constitution stated that there was

251
00:15:47,080 --> 00:15:52,080
Speaker 6: only one religion, one language, Spanish, and one race, which

252
00:15:52,120 --> 00:15:55,320
Speaker 6: is the Mestiso. And when you build a nation state

253
00:15:55,440 --> 00:15:58,840
Speaker 6: that tells you that the Afro does not exist. It

254
00:15:58,880 --> 00:16:03,120
Speaker 6: explains why this populations were like so sort of overlooked

255
00:16:03,800 --> 00:16:06,800
Speaker 6: that their music was not even considered music.

256
00:16:07,440 --> 00:16:10,200
Speaker 3: So here's Petrona, right, She's growing up in the nineteen

257
00:16:10,240 --> 00:16:15,200
Speaker 3: fifties in a time when her personhood isn't recognized constitutionally.

258
00:16:16,680 --> 00:16:20,280
Speaker 3: As a child, she's unable to attend school, and instead

259
00:16:20,320 --> 00:16:23,760
Speaker 3: she has to help her family working long hours farming

260
00:16:24,160 --> 00:16:27,160
Speaker 3: and selling produce in the market. So the only time

261
00:16:27,200 --> 00:16:30,040
Speaker 3: she was able to sing buynge was in the moments

262
00:16:30,040 --> 00:16:33,560
Speaker 3: in between. And then at the age of fourteen, she

263
00:16:33,760 --> 00:16:36,760
Speaker 3: leaves her small town to find work in big cities

264
00:16:36,800 --> 00:16:40,640
Speaker 3: like Katahina and Montaria, and she becomes a domestic worker.

265
00:16:41,160 --> 00:16:44,520
Speaker 3: This is Petrona again in that twenty fifteen interview explaining

266
00:16:44,680 --> 00:16:46,040
Speaker 3: that time in her life in.

267
00:16:46,160 --> 00:16:48,160
Speaker 4: Your handle.

268
00:16:50,720 --> 00:16:55,560
Speaker 5: Oscinado pata vana.

269
00:16:57,080 --> 00:17:02,400
Speaker 2: I mean, so she says here that what she enjoyed

270
00:17:02,400 --> 00:17:04,640
Speaker 2: the most was working in the kitchen, and she loved

271
00:17:04,640 --> 00:17:07,359
Speaker 2: to cook. When she would do the dishes, she would sing,

272
00:17:07,440 --> 00:17:10,399
Speaker 2: and she would sing for herself, not for the public yao.

273
00:17:14,760 --> 00:17:16,240
Speaker 5: And then she becomes a mother.

274
00:17:16,840 --> 00:17:19,480
Speaker 3: She had her first two children and raised them by

275
00:17:19,520 --> 00:17:22,680
Speaker 3: herself for a while as a single mother, and then

276
00:17:22,840 --> 00:17:27,040
Speaker 3: she met her lifelong partner, Domasendrigua Jerrena, with whom she

277
00:17:27,080 --> 00:17:30,439
Speaker 3: would have five more children. He was a farmer, so

278
00:17:30,600 --> 00:17:35,640
Speaker 3: the family settled in the countryside. She continues to sing

279
00:17:35,760 --> 00:17:38,680
Speaker 3: Unga songs that she learned from her family, but that's

280
00:17:38,720 --> 00:17:42,200
Speaker 3: pretty much the extent of her singing until one day

281
00:17:42,520 --> 00:17:51,320
Speaker 3: something happens. She composes her first song, and Nino ron

282
00:17:54,200 --> 00:17:57,080
Speaker 3: Petrona has told the story behind the song. She was

283
00:17:57,119 --> 00:17:59,800
Speaker 3: watching her children running around with a little pig that

284
00:17:59,840 --> 00:18:04,320
Speaker 3: they had after a man coming on a horse scare them,

285
00:18:06,040 --> 00:18:08,960
Speaker 3: and it's kind of like an everyday live situation, right.

286
00:18:09,080 --> 00:18:13,360
Speaker 3: So she would also compose about her dreams and her feelings,

287
00:18:13,640 --> 00:18:16,880
Speaker 3: but she was really capturing a way of life in

288
00:18:16,880 --> 00:18:21,320
Speaker 3: her family and in her community. And then in nineteen

289
00:18:21,359 --> 00:18:26,000
Speaker 3: eighty one, another extraordinary thing happens. Petrona is listening to

290
00:18:26,040 --> 00:18:29,760
Speaker 3: a local radio station and all of a sudden, she

291
00:18:29,800 --> 00:18:33,600
Speaker 3: hears the song that her grandmother used to sing. It's

292
00:18:33,640 --> 00:18:35,359
Speaker 3: called Elobo the Wolf.

293
00:18:40,200 --> 00:18:43,160
Speaker 2: Oh wow, so it's playing on the radio. I thought

294
00:18:43,160 --> 00:18:45,040
Speaker 2: the songs hadn't been recorded before.

295
00:18:45,320 --> 00:18:45,679
Speaker 5: Well.

296
00:18:45,920 --> 00:18:49,040
Speaker 3: At that time, other cantaloras of Bujernga in the region

297
00:18:49,320 --> 00:18:53,119
Speaker 3: started forming their bands and releasing albums. For the first

298
00:18:53,160 --> 00:18:56,479
Speaker 3: time that singer that Petrona heard on the radio. It

299
00:18:56,520 --> 00:18:58,879
Speaker 3: was Iden and Martinez and she had a band. It

300
00:18:58,920 --> 00:19:02,040
Speaker 3: was called Los Soneo's and they had found success in

301
00:19:02,080 --> 00:19:06,679
Speaker 3: Barranquilla and Cartagena by creating a more commercial version of bunge.

302
00:19:06,760 --> 00:19:08,800
Speaker 3: If you might here's Petrona again.

303
00:19:09,280 --> 00:19:10,440
Speaker 4: She will sawn ta.

304
00:19:14,080 --> 00:19:16,000
Speaker 5: Liamisola, They ciao.

305
00:19:22,160 --> 00:19:24,640
Speaker 2: So she says, here, if I know how to sing,

306
00:19:25,240 --> 00:19:28,000
Speaker 2: I know my grandmother's song, why can't I sing on

307
00:19:28,040 --> 00:19:31,520
Speaker 2: the radio? So that's the moment she decided that she

308
00:19:31,640 --> 00:19:34,000
Speaker 2: wanted to put her voice out there. No more just

309
00:19:34,040 --> 00:19:35,320
Speaker 2: singing for her and her family.

310
00:19:35,560 --> 00:19:36,440
Speaker 5: That's a big moment.

311
00:19:36,560 --> 00:19:39,120
Speaker 3: Yes, And she told her husband and he didn't really

312
00:19:39,200 --> 00:19:42,399
Speaker 3: take it seriously. But she was a termined genie. And

313
00:19:42,520 --> 00:19:44,920
Speaker 3: at this point she's forty two years old, and it

314
00:19:44,960 --> 00:19:48,719
Speaker 3: would be a hard fought and exciting journey before her

315
00:19:48,800 --> 00:19:52,359
Speaker 3: first Latin Grammy win forty years later. You'll want to

316
00:19:52,359 --> 00:19:53,400
Speaker 3: stick around to find.

317
00:19:53,240 --> 00:20:45,360
Speaker 2: Out more when we come back. Stay with us. Hey,

318
00:20:45,640 --> 00:20:49,119
Speaker 2: we're back. I'm producer gen Montalvo and I'm here with

319
00:20:49,240 --> 00:20:53,320
Speaker 2: fellow producer Patrisa Subran. We're telling the story of Petrona Martinez,

320
00:20:53,520 --> 00:20:57,000
Speaker 2: one of our hens and music. So before the break,

321
00:20:57,240 --> 00:21:00,119
Speaker 2: Petrona discovers that she can compose music of her her

322
00:21:00,160 --> 00:21:03,200
Speaker 2: own and is determined to be featured on the radio. Right.

323
00:21:03,560 --> 00:21:06,920
Speaker 3: She's inspired by another Cantada who was putting out Buea

324
00:21:07,000 --> 00:21:09,840
Speaker 3: songs with a new sound, a more commercial sound, so

325
00:21:10,080 --> 00:21:13,119
Speaker 3: she starts streaming of singing on the radio two but

326
00:21:13,560 --> 00:21:14,679
Speaker 3: live at other plants.

327
00:21:15,040 --> 00:21:17,720
Speaker 2: Yeah, I'm guessing at that point, it's really hard to

328
00:21:17,960 --> 00:21:21,320
Speaker 2: just say, Okay, I'm going to start recording albums because

329
00:21:21,600 --> 00:21:25,160
Speaker 2: as a mom, you know, I understand. She's in her forties,

330
00:21:25,480 --> 00:21:27,960
Speaker 2: she's a family of seven, and she's trying to get by,

331
00:21:28,200 --> 00:21:31,080
Speaker 2: so it's not something that you just pick up and do.

332
00:21:31,600 --> 00:21:34,840
Speaker 3: Besides, she was also living in the countryside, so she

333
00:21:35,000 --> 00:21:37,600
Speaker 3: was away from big cities where everything happens.

334
00:21:38,119 --> 00:21:41,520
Speaker 5: But in nineteen eighty one, she and her family decide to.

335
00:21:41,560 --> 00:21:44,920
Speaker 3: Move to a new town, Balenquito, and Petrona didn't know

336
00:21:45,000 --> 00:21:48,359
Speaker 3: it then, but this move would eventually kick off her

337
00:21:48,480 --> 00:21:49,160
Speaker 3: music career.

338
00:21:49,640 --> 00:21:52,760
Speaker 1: On me nevaalan Quito yobi lovey.

339
00:21:59,480 --> 00:22:01,720
Speaker 2: I think there's one of her most famous songs, right,

340
00:22:02,080 --> 00:22:04,560
Speaker 2: Lavida vale la pena Life is worth living.

341
00:22:05,200 --> 00:22:05,600
Speaker 5: You're right.

342
00:22:05,920 --> 00:22:08,840
Speaker 3: This is probably her most iconic song in the song,

343
00:22:09,000 --> 00:22:12,800
Speaker 3: she sings about struggling to make a living. She worked

344
00:22:13,000 --> 00:22:16,280
Speaker 3: extracting sound from the creek with her family and they

345
00:22:16,320 --> 00:22:19,200
Speaker 3: would sell it to construction companies, and in the song

346
00:22:19,359 --> 00:22:23,200
Speaker 3: she encourages her fellow workers to hang in there even

347
00:22:23,240 --> 00:22:30,880
Speaker 3: when the work is backbreaking and exhausting. And it would

348
00:22:30,880 --> 00:22:33,960
Speaker 3: be years before this song became a national treasure.

349
00:22:35,119 --> 00:22:36,760
Speaker 2: So do you know why this became one of her

350
00:22:36,800 --> 00:22:37,720
Speaker 2: most famous songs.

351
00:22:38,160 --> 00:22:41,440
Speaker 3: The song is a great example of the approach to

352
00:22:41,640 --> 00:22:45,399
Speaker 3: life that Petrona would turn into songs, that attitude of

353
00:22:45,640 --> 00:22:49,240
Speaker 3: singing to mitigate the hardships and the struggles of life.

354
00:22:49,680 --> 00:22:51,760
Speaker 5: So I think that this song became sort of like

355
00:22:51,840 --> 00:22:52,720
Speaker 5: a symbol of that.

356
00:22:53,080 --> 00:22:55,520
Speaker 2: That's a true I mean, I guess so much beautiful

357
00:22:55,640 --> 00:22:57,000
Speaker 2: music has come out of suffering.

358
00:22:57,400 --> 00:23:01,119
Speaker 3: Yeah, and Petrona, despite those hardships, just kept singing.

359
00:23:01,600 --> 00:23:04,000
Speaker 5: I mean, that was what she was born to do.

360
00:23:04,640 --> 00:23:07,840
Speaker 3: And she was forty five years old when words spread

361
00:23:08,000 --> 00:23:11,000
Speaker 3: that there was this woman with a powerful voice singing

362
00:23:11,040 --> 00:23:11,679
Speaker 3: at the stream.

363
00:23:12,200 --> 00:23:14,359
Speaker 5: It is almost like realismo maxico, right.

364
00:23:14,760 --> 00:23:16,639
Speaker 3: And the story is that she used to go to

365
00:23:16,760 --> 00:23:19,080
Speaker 3: the stream to wash her clothes and she would just

366
00:23:19,160 --> 00:23:22,240
Speaker 3: sing to pass the time, and then in August of

367
00:23:22,480 --> 00:23:27,240
Speaker 3: nineteen eighty four, a local musician his name was Marcelliano Rosco,

368
00:23:27,840 --> 00:23:30,119
Speaker 3: heard about this woman and he had to go meet her.

369
00:23:30,760 --> 00:23:33,960
Speaker 3: So when they finally meet, she tells him, I want

370
00:23:34,000 --> 00:23:35,359
Speaker 3: to start my own music group.

371
00:23:35,680 --> 00:23:36,120
Speaker 2: Amazing.

372
00:23:36,359 --> 00:23:41,040
Speaker 3: Finally, yeah, finally, So they formed the band Petrona Martinez

373
00:23:41,119 --> 00:23:50,000
Speaker 3: ILOs Amboris de Malagana. Two of her children, who by

374
00:23:50,040 --> 00:23:53,280
Speaker 3: now are adults, joined as musicians, so it was like

375
00:23:53,359 --> 00:23:57,119
Speaker 3: a family group. They recorded their first album, which was

376
00:23:57,160 --> 00:24:00,280
Speaker 3: a vinyl released in nineteen eighty nine, and by then

377
00:24:00,680 --> 00:24:04,320
Speaker 3: Pitrona was already fifty years old, so the sound of

378
00:24:04,400 --> 00:24:09,160
Speaker 3: the band wasn't quite traditional. They did something slightly more commercial,

379
00:24:09,480 --> 00:24:13,320
Speaker 3: hoping that it would be successful, but actually her recordings

380
00:24:13,480 --> 00:24:15,200
Speaker 3: didn't do very well in the market.

381
00:24:15,640 --> 00:24:17,919
Speaker 2: I wonder if that has to do a little bit

382
00:24:18,040 --> 00:24:21,360
Speaker 2: with you know that people didn't really know that buying

383
00:24:21,520 --> 00:24:22,600
Speaker 2: existed in Columbia.

384
00:24:22,920 --> 00:24:23,600
Speaker 5: Yeah, it could be.

385
00:24:24,119 --> 00:24:27,919
Speaker 3: I talked about this with Petrona's daughter, Joselina Yeerna.

386
00:24:30,440 --> 00:24:30,920
Speaker 4: Laine.

387
00:24:33,520 --> 00:24:38,520
Speaker 2: It was La Duela been married, so she's sang it

388
00:24:38,640 --> 00:24:41,960
Speaker 2: was a constant struggle to get people to know our music. Basically,

389
00:24:42,200 --> 00:24:44,760
Speaker 2: like the people who knew knew and it wasn't as

390
00:24:44,800 --> 00:24:46,320
Speaker 2: commercialized as it is now.

391
00:24:46,680 --> 00:24:49,480
Speaker 3: So they had to conform with playing at Cassetta's, which

392
00:24:49,520 --> 00:24:53,240
Speaker 3: were basically improvised tands that acted as the local bars

393
00:24:53,320 --> 00:24:56,680
Speaker 3: in small towns, and back then there were very few

394
00:24:56,720 --> 00:25:00,520
Speaker 3: bujnga singers that had found success. But that started change

395
00:25:01,040 --> 00:25:04,119
Speaker 3: with something that affected the whole country, which was a

396
00:25:04,200 --> 00:25:06,320
Speaker 3: new constitution of nineteen ninety one.

397
00:25:10,920 --> 00:25:13,920
Speaker 2: Right, that's when the afric Colombian tradition started to be

398
00:25:14,040 --> 00:25:16,760
Speaker 2: promoted and supported as part of a national effort to

399
00:25:16,880 --> 00:25:18,440
Speaker 2: embrace the Colombian identity.

400
00:25:18,600 --> 00:25:20,600
Speaker 5: So it was a big deal for the country.

401
00:25:21,080 --> 00:25:25,360
Speaker 3: The constitution gave political recognition to black and indigenous communities

402
00:25:25,640 --> 00:25:26,680
Speaker 3: for the first time.

403
00:25:26,920 --> 00:25:29,440
Speaker 2: Yeah, it was seen as a massive step towards justice

404
00:25:29,480 --> 00:25:32,720
Speaker 2: and equality. But of course I'm assuming that didn't fix

405
00:25:33,080 --> 00:25:34,800
Speaker 2: all of the issues with violence.

406
00:25:35,280 --> 00:25:38,560
Speaker 3: Yeah, Colombia was still struggling with the war. You won't

407
00:25:38,600 --> 00:25:42,359
Speaker 3: really hear about the armed conflict or national politics in

408
00:25:42,440 --> 00:25:46,639
Speaker 3: Bedrona's compositions, but in many aspects her music is political.

409
00:25:47,080 --> 00:25:49,840
Speaker 3: She sings about resistance and I wanted to bring you

410
00:25:49,920 --> 00:25:52,440
Speaker 3: a song that I think it's a good example of

411
00:25:52,640 --> 00:25:55,560
Speaker 3: how she uses her voice to bring attention to issues

412
00:25:55,600 --> 00:25:57,800
Speaker 3: that affect her and her community.

413
00:26:03,400 --> 00:26:06,160
Speaker 2: Wow, so it's veterana complaining about some of her farm

414
00:26:06,240 --> 00:26:08,800
Speaker 2: animals were robbed and warning neighbors to watch out for

415
00:26:08,880 --> 00:26:09,520
Speaker 2: the hen thief.

416
00:26:15,480 --> 00:26:17,840
Speaker 3: So this is a way of protesting, right, And I

417
00:26:17,880 --> 00:26:21,080
Speaker 3: think it's very important to acknowledge to see with her

418
00:26:21,119 --> 00:26:24,840
Speaker 3: compositions that she makes her struggles visible and that she's

419
00:26:24,960 --> 00:26:28,080
Speaker 3: capturing a way of life in rural Colombia that was

420
00:26:28,280 --> 00:26:32,159
Speaker 3: largely invisible in mainstream culture. And it was at this

421
00:26:32,359 --> 00:26:34,800
Speaker 3: time that she met someone that would work with her

422
00:26:34,960 --> 00:26:37,719
Speaker 3: to transcribe the songs that she had learned from her

423
00:26:37,760 --> 00:26:40,879
Speaker 3: family and her own compositions because she had never written

424
00:26:40,960 --> 00:26:44,560
Speaker 3: them down before. She had gathered more than one hundred

425
00:26:44,600 --> 00:26:46,640
Speaker 3: and eighty songs in her memory.

426
00:26:47,520 --> 00:26:59,959
Speaker 4: And misa no proud juyosallao.

427
00:27:00,640 --> 00:27:02,040
Speaker 5: This is Gillermo Valencia.

428
00:27:02,320 --> 00:27:04,760
Speaker 3: He had come from Cartagena to work as a school

429
00:27:04,800 --> 00:27:08,840
Speaker 3: teacher in Petrona's town, Palenquito, and he later became one

430
00:27:08,880 --> 00:27:11,560
Speaker 3: of the musicians in Petrona's group. He told me that

431
00:27:11,960 --> 00:27:15,480
Speaker 3: he had never heard of Bujernge before, despite having been

432
00:27:15,560 --> 00:27:19,600
Speaker 3: born close to Balenquito in Cartagena. He grew up listening

433
00:27:19,680 --> 00:27:22,800
Speaker 3: to salsa and European ballads. So to him, it was

434
00:27:22,880 --> 00:27:26,720
Speaker 3: an absolute revelation when he heard Petrona's music sounding in

435
00:27:26,800 --> 00:27:28,679
Speaker 3: the distance from his home in Balenquito.

436
00:27:29,119 --> 00:27:31,280
Speaker 2: You know, it's funny because I completely relate to that.

437
00:27:31,840 --> 00:27:34,080
Speaker 2: The same thing happened to me with the Dominican Republic.

438
00:27:34,640 --> 00:27:37,520
Speaker 2: I was born here in the US, but my family's Dominican.

439
00:27:38,320 --> 00:27:41,600
Speaker 2: I didn't know anything at all about the roots music

440
00:27:41,720 --> 00:27:44,399
Speaker 2: or this Afro Dominican richness that was going on in

441
00:27:44,440 --> 00:27:46,800
Speaker 2: the island. And it was literally right in front of

442
00:27:46,840 --> 00:27:47,240
Speaker 2: my face.

443
00:27:47,520 --> 00:27:49,159
Speaker 5: You know, the same thing happened to me.

444
00:27:49,320 --> 00:27:52,479
Speaker 3: I was born and raised in Venezuela, and even though

445
00:27:52,560 --> 00:27:56,359
Speaker 3: we have a large Afro descendant population, I wasn't taught

446
00:27:56,440 --> 00:27:59,840
Speaker 3: about black cultural traditions from my country because it was this.

447
00:28:00,040 --> 00:28:10,640
Speaker 7: Regarded latoria like Toria rico, no likero patrio.

448
00:28:11,600 --> 00:28:11,800
Speaker 3: Right.

449
00:28:12,080 --> 00:28:15,240
Speaker 2: So, like Giermo says, Bunge has a lot of history,

450
00:28:15,720 --> 00:28:18,600
Speaker 2: but it's history told by poor people, not the history

451
00:28:18,680 --> 00:28:20,960
Speaker 2: told by the rich or the history we learned in

452
00:28:21,040 --> 00:28:21,600
Speaker 2: history books.

453
00:28:21,840 --> 00:28:25,320
Speaker 3: In the case of Petrona, eventually she decided that she

454
00:28:25,520 --> 00:28:27,480
Speaker 3: no longer wanted to sing at the cassettas.

455
00:28:27,520 --> 00:28:28,320
Speaker 5: You know the bars.

456
00:28:28,840 --> 00:28:32,480
Speaker 3: She wanted to bring the reedas Bunge to universities and

457
00:28:32,680 --> 00:28:37,040
Speaker 3: festivals in the region to basically teach what schools were

458
00:28:37,080 --> 00:28:41,280
Speaker 3: not teaching. But in nineteen ninety six, a tragic event

459
00:28:41,440 --> 00:28:45,720
Speaker 3: happened and it put Petrona's life upside down. She didn't

460
00:28:45,800 --> 00:28:48,600
Speaker 3: even know if she was going to sing again. Her

461
00:28:48,680 --> 00:28:52,760
Speaker 3: oldest son, Luis Enrique, was shot dead in Cartagena after

462
00:28:52,880 --> 00:28:58,840
Speaker 3: being mugged. Petrona stayed in bed for months.

463
00:28:59,280 --> 00:29:00,400
Speaker 5: She was just so sad.

464
00:29:01,240 --> 00:29:04,840
Speaker 3: But then she received a visit from a Colombian filmmaker.

465
00:29:05,200 --> 00:29:08,440
Speaker 3: Her name was Lisette Lemoin, and she wanted to do

466
00:29:08,520 --> 00:29:12,960
Speaker 3: a documentary about her. At first, Petrona was not interested,

467
00:29:13,160 --> 00:29:17,360
Speaker 3: but eventually, after much persuasion from her friends and her family,

468
00:29:17,840 --> 00:29:22,280
Speaker 3: she decided to do it. She traveled to Cartagena and

469
00:29:22,440 --> 00:29:26,400
Speaker 3: in just three hours and one take, she recorded fourteen

470
00:29:26,480 --> 00:29:29,880
Speaker 3: songs as part of this documentary that's called Yoo Yo

471
00:29:30,200 --> 00:29:38,640
Speaker 3: la man Bunge from nineteen ninety seven. The documentary presents

472
00:29:38,680 --> 00:29:42,520
Speaker 3: a very intimate portrait of Petrona. You can really hear

473
00:29:42,880 --> 00:29:43,760
Speaker 3: her grief.

474
00:29:46,600 --> 00:29:47,280
Speaker 4: Yodo yo.

475
00:29:49,480 --> 00:29:51,320
Speaker 2: And I guess little did she know how far these

476
00:29:51,520 --> 00:29:54,400
Speaker 2: recordings were going to travel or take her no right.

477
00:29:54,960 --> 00:29:59,560
Speaker 3: So the documentary filmmaker Lisette Lemoi had spoken with Pedrona

478
00:29:59,680 --> 00:30:02,520
Speaker 3: not only about doing the documentary but also about the

479
00:30:02,600 --> 00:30:07,000
Speaker 3: possibility of recording a music album. So when she returned

480
00:30:07,040 --> 00:30:10,080
Speaker 3: to France, she showed the material to the people at

481
00:30:10,280 --> 00:30:14,000
Speaker 3: Ocorda France, a music label that had worked with renowned

482
00:30:14,080 --> 00:30:15,600
Speaker 3: artists from all over the world.

483
00:30:16,280 --> 00:30:24,320
Speaker 5: Nobody is so here.

484
00:30:24,400 --> 00:30:26,560
Speaker 2: Petrona says that she got a call a few months

485
00:30:26,600 --> 00:30:29,840
Speaker 2: after the recording and it was Lisette's brother. He told

486
00:30:29,880 --> 00:30:32,200
Speaker 2: her that Lisette had sent her money for the publication

487
00:30:32,360 --> 00:30:35,160
Speaker 2: of her album Colombie Lung.

488
00:30:35,640 --> 00:30:36,480
Speaker 5: Yeah you heard it.

489
00:30:36,560 --> 00:30:41,400
Speaker 3: The name isn't French, and it was the album that

490
00:30:41,640 --> 00:30:49,720
Speaker 3: really marked before and after in her career. But it

491
00:30:49,920 --> 00:30:54,960
Speaker 3: validated Petrona's music and helped her build a new audience.

492
00:30:55,440 --> 00:30:58,000
Speaker 2: Of course, it's an album published in France that made

493
00:30:58,040 --> 00:31:01,640
Speaker 2: people that notice her. But like they always say, Nal,

494
00:31:03,280 --> 00:31:04,200
Speaker 2: you're actually right.

495
00:31:04,320 --> 00:31:08,640
Speaker 3: Because the government institutions didn't approach Petrona at first. The

496
00:31:08,720 --> 00:31:11,240
Speaker 3: reason why she made her first trip to Bogota to

497
00:31:11,360 --> 00:31:14,520
Speaker 3: perform for the first time is because she was invited

498
00:31:14,600 --> 00:31:17,560
Speaker 3: by an independent music journalist in Bogota who wanted to

499
00:31:17,640 --> 00:31:19,640
Speaker 3: bring her music to the capitol.

500
00:31:20,120 --> 00:31:23,440
Speaker 2: Ah, so we've arrived at that legendary concert in Bogota

501
00:31:23,480 --> 00:31:25,800
Speaker 2: in nineteen ninety eight, the one that we spoke about

502
00:31:25,800 --> 00:31:29,760
Speaker 2: at the beginning of the episode. That's the one where

503
00:31:29,840 --> 00:31:31,880
Speaker 2: the audience mistook her from our Cuban singer.

504
00:31:32,160 --> 00:31:35,920
Speaker 3: Yes, and it was such a special concert that Hosselina,

505
00:31:36,040 --> 00:31:39,560
Speaker 3: Pedrona's daughter, still remembers it like it was yesterday. They

506
00:31:39,600 --> 00:31:42,760
Speaker 3: were a band of six musicians, including Hoselina, of course,

507
00:31:42,800 --> 00:31:46,560
Speaker 3: and Petrona's son, Alvaro, and they traveled for hours by

508
00:31:46,640 --> 00:31:50,120
Speaker 3: bus from their town to Bogota. They felt nervous at

509
00:31:50,120 --> 00:31:50,600
Speaker 3: the beginning.

510
00:32:04,200 --> 00:32:12,840
Speaker 2: In os Alena says she hadn't expected such a welcoming.

511
00:32:13,320 --> 00:32:15,800
Speaker 2: That they were really impacted to see many people wanting

512
00:32:15,840 --> 00:32:18,600
Speaker 2: this music that they thought was really just for themselves,

513
00:32:22,040 --> 00:32:22,320
Speaker 2: and it.

514
00:32:22,480 --> 00:32:23,680
Speaker 5: Really took off from there.

515
00:32:24,280 --> 00:32:26,840
Speaker 3: In a news clip I found about a concert Petrona

516
00:32:27,000 --> 00:32:29,840
Speaker 3: gave just the following year in Bogota, it says that

517
00:32:29,920 --> 00:32:33,720
Speaker 3: she attracted so many young people that any passerby would

518
00:32:33,720 --> 00:32:34,240
Speaker 3: have thought that.

519
00:32:34,320 --> 00:32:36,080
Speaker 5: She was a pop artist like Shakira.

520
00:32:39,760 --> 00:32:41,960
Speaker 3: And I think it's really powerful that a lot of

521
00:32:42,080 --> 00:32:46,840
Speaker 3: young college students connected with her music, and it's because

522
00:32:47,000 --> 00:32:49,600
Speaker 3: young people at the time were defying the sort of

523
00:32:49,880 --> 00:32:53,760
Speaker 3: longstanding narratives about what it meant to be Colombian. They

524
00:32:53,800 --> 00:32:57,360
Speaker 3: were wondering about their own identity, and in the context

525
00:32:57,480 --> 00:33:00,280
Speaker 3: of the violence and the armed conflict, petron I was

526
00:33:00,360 --> 00:33:04,000
Speaker 3: bringing a positive reference of what it meant to be Colombian.

527
00:33:04,160 --> 00:33:06,040
Speaker 2: That's so true, and I think that's kind of happening

528
00:33:06,080 --> 00:33:10,080
Speaker 2: all over Latin America, is that people are rediscovering their

529
00:33:10,200 --> 00:33:13,280
Speaker 2: roots and the music they've been shielded from for so

530
00:33:13,520 --> 00:33:14,080
Speaker 2: many years.

531
00:33:18,440 --> 00:33:21,520
Speaker 3: Petrona was all over the radio, giving interviews to the

532
00:33:21,600 --> 00:33:25,360
Speaker 3: main newspapers in the country, performing at international.

533
00:33:24,800 --> 00:33:27,960
Speaker 5: Theater festivals, and she also recorded her.

534
00:33:27,920 --> 00:33:31,080
Speaker 3: Second album, La Bida Vale la Pena Life Is Worth Living,

535
00:33:31,440 --> 00:33:33,520
Speaker 3: which was released in nineteen ninety nine.

536
00:33:35,480 --> 00:33:38,320
Speaker 2: A quick time check and reminder that Petrona at this

537
00:33:38,400 --> 00:33:42,120
Speaker 2: point is sixty years old, an Afro Columbian matriarch coming

538
00:33:42,160 --> 00:33:44,880
Speaker 2: to the main national stages to talk to young people

539
00:33:44,920 --> 00:33:47,960
Speaker 2: about her livelihood and her ancestor's way of living. She

540
00:33:48,520 --> 00:33:49,040
Speaker 2: is a boss.

541
00:33:49,480 --> 00:33:50,320
Speaker 5: She is the boss.

542
00:33:50,600 --> 00:33:53,960
Speaker 3: She was definitely leaving a mark in her country. But

543
00:33:54,160 --> 00:33:57,160
Speaker 3: if this wasn't enough, she was traveling the world from

544
00:33:57,200 --> 00:34:04,400
Speaker 3: two thousand to twenty ten. She performed in the United States, Brazil, France, Spain, Canada,

545
00:34:04,720 --> 00:34:06,680
Speaker 3: even Norway and Malaysia.

546
00:34:07,200 --> 00:34:09,880
Speaker 5: And I cannot tell you the names for each award

547
00:34:10,000 --> 00:34:12,600
Speaker 5: that she received because there are simply too many of them.

548
00:34:12,880 --> 00:34:15,200
Speaker 2: That's amazing. Did she continue to release albums?

549
00:34:15,800 --> 00:34:17,520
Speaker 5: She did during this time.

550
00:34:17,680 --> 00:34:20,359
Speaker 3: She made three more albums and she got her first

551
00:34:20,480 --> 00:34:24,719
Speaker 3: Latin Grammy nomination for her two thousand and two album Bonitoda,

552
00:34:25,120 --> 00:34:26,960
Speaker 3: one of her most acclaimed.

553
00:34:26,560 --> 00:34:27,319
Speaker 5: Records so far.

554
00:34:32,960 --> 00:34:36,239
Speaker 3: She actually recorded it in Bristol, England. She and her

555
00:34:36,360 --> 00:34:38,600
Speaker 3: band spent three months there doing the record.

556
00:34:39,040 --> 00:34:42,680
Speaker 2: She's definitely making the rounds internationally. But do you think

557
00:34:42,840 --> 00:34:45,560
Speaker 2: Petrona would have been as recognized if she hadn't released

558
00:34:45,560 --> 00:34:46,960
Speaker 2: an album with that French label.

559
00:34:47,440 --> 00:34:50,919
Speaker 5: I asked this very same question to Hoselina, her daughter.

560
00:34:51,200 --> 00:34:53,640
Speaker 5: Here's what she said, seeing Ma.

561
00:35:00,120 --> 00:35:09,359
Speaker 4: Ki and foods to Pierra to Pierre, they're gonna see

562
00:35:09,440 --> 00:35:10,040
Speaker 4: that ha.

563
00:35:10,680 --> 00:35:14,480
Speaker 2: She's basically saying that Petrona had to leave the country

564
00:35:14,640 --> 00:35:17,600
Speaker 2: in order to be recognized in her own country.

565
00:35:22,880 --> 00:35:26,560
Speaker 3: But she proved them wrong. Petrona built a solid career

566
00:35:26,680 --> 00:35:29,920
Speaker 3: in music. She made six records after le Bonge in

567
00:35:30,040 --> 00:35:32,960
Speaker 3: nineteen ninety nine, and through that she was able to

568
00:35:33,080 --> 00:35:38,200
Speaker 3: support herself and her family financially. She's won many important awards,

569
00:35:38,280 --> 00:35:41,200
Speaker 3: but has always said that her family is the most

570
00:35:41,239 --> 00:35:45,080
Speaker 3: important thing to her. She said that every financial gain

571
00:35:45,200 --> 00:35:48,600
Speaker 3: she's made, she gave it to her family, and despite

572
00:35:48,719 --> 00:35:52,440
Speaker 3: her busy career, she has kept being the matriarch. She

573
00:35:52,719 --> 00:35:55,240
Speaker 3: always went back home to take care of her thirty

574
00:35:55,320 --> 00:35:58,799
Speaker 3: five grandchildren and forty seven great grandchildren.

575
00:35:59,080 --> 00:36:04,640
Speaker 2: O Sarona's legacy is a village like eighty people. That's amazing.

576
00:36:05,200 --> 00:36:08,080
Speaker 2: So are there other Burenga cantellas in her family?

577
00:36:08,960 --> 00:36:11,200
Speaker 5: Nilda, Araseli and Hoselina.

578
00:36:11,360 --> 00:36:14,399
Speaker 3: They're all Petrona's daughters and they have learned a lot

579
00:36:14,520 --> 00:36:18,160
Speaker 3: from her mother's singing and composition skills and have taken

580
00:36:18,239 --> 00:36:22,040
Speaker 3: the role of the canta Dora and Albaro. Petrona's youngest

581
00:36:22,080 --> 00:36:24,240
Speaker 3: son is a bujerenge drummer too.

582
00:36:28,200 --> 00:36:29,520
Speaker 5: Y Maka.

583
00:36:29,719 --> 00:36:32,680
Speaker 3: This clip that we are hearing is of Hoselina singing

584
00:36:32,800 --> 00:36:35,600
Speaker 3: in a twenty twenty one concert that was a tribute

585
00:36:35,719 --> 00:36:39,840
Speaker 3: to Petrona organized by the Colombian government, and it's beautiful

586
00:36:39,920 --> 00:36:42,799
Speaker 3: because Petrona is there on stage in her rocking chair,

587
00:36:43,200 --> 00:36:45,000
Speaker 3: just looking at her daughter with pride.

588
00:36:45,600 --> 00:36:48,200
Speaker 2: It's amazing when families can come together and play together.

589
00:36:48,680 --> 00:36:51,400
Speaker 2: I hope that Hosselina and Nila and the other younger

590
00:36:51,440 --> 00:36:54,560
Speaker 2: Cantellas are able to kind of continue that ancestral tradition

591
00:36:54,680 --> 00:36:55,480
Speaker 2: and keep it alive.

592
00:36:55,880 --> 00:36:58,520
Speaker 3: It's hard, of course, because the world is so different

593
00:36:58,640 --> 00:37:01,560
Speaker 3: from when Petrona was grown up in the nineteen forties, right,

594
00:37:02,120 --> 00:37:04,879
Speaker 3: But the fight to preserve this music is very much

595
00:37:04,920 --> 00:37:06,520
Speaker 3: alive in Petrona's family.

596
00:37:07,160 --> 00:37:17,719
Speaker 5: Here's Hoselina again, sama Ura.

597
00:37:21,160 --> 00:37:22,120
Speaker 4: Enriquez Laman.

598
00:37:22,480 --> 00:37:25,680
Speaker 3: When I asked her about the future of Buyerenge, she answered,

599
00:37:26,160 --> 00:37:28,759
Speaker 3: we're fighting to get people to fall more in love

600
00:37:28,880 --> 00:37:31,520
Speaker 3: with this music and to make them realize that this

601
00:37:31,640 --> 00:37:37,080
Speaker 3: ancestral music heals and fulfills the soul. Here is Petrona again,

602
00:37:39,160 --> 00:37:40,840
Speaker 3: Andre mas Henting.

603
00:37:48,680 --> 00:37:51,919
Speaker 2: Petrona says here that the more people take her music

604
00:37:52,000 --> 00:37:53,719
Speaker 2: and move it around and play with it, the better,

605
00:37:54,520 --> 00:37:57,439
Speaker 2: because that's going to make her legacy even bigger and greater.

606
00:38:05,880 --> 00:38:09,279
Speaker 2: These lyrics are so honest. She's singing about dying with joy,

607
00:38:09,840 --> 00:38:11,800
Speaker 2: knowing that she left her talent in the hands of

608
00:38:11,840 --> 00:38:13,680
Speaker 2: her daughters, and that's her legacy.

609
00:38:18,320 --> 00:38:22,880
Speaker 3: In twenty fifteen, Pedrona Martinez finally received the highest honor

610
00:38:23,000 --> 00:38:27,000
Speaker 3: to be granted by the Colombian government, the Lifetime Achievement Award,

611
00:38:27,480 --> 00:38:31,040
Speaker 3: and in twenty twenty one, Petrona won the Latin Grammy

612
00:38:31,120 --> 00:38:32,839
Speaker 3: for her album Ancestress.

613
00:38:33,320 --> 00:38:34,520
Speaker 5: She was eighty two years old.

614
00:38:46,080 --> 00:38:50,520
Speaker 3: Petrona Martinez still lives just forty minutes away from Sanca Getano,

615
00:38:50,960 --> 00:38:53,759
Speaker 3: the village where she was born. She's not able to

616
00:38:53,840 --> 00:38:58,360
Speaker 3: sing anymore. She's surrounded by her large family and visitors

617
00:38:58,440 --> 00:39:01,960
Speaker 3: often stopped by from Colombia and beyond to pay their

618
00:39:02,000 --> 00:39:03,759
Speaker 3: respects to the Queen of.

619
00:39:26,160 --> 00:39:27,000
Speaker 2: So g d.

620
00:39:28,520 --> 00:39:30,560
Speaker 5: Yes, Maria, well that's right.

621
00:39:31,080 --> 00:39:35,360
Speaker 1: That is a sigh of something ending, and that's because

622
00:39:35,440 --> 00:39:38,400
Speaker 1: we've come to the end of our hens in music series,

623
00:39:39,280 --> 00:39:43,000
Speaker 1: I have learned so much about some musicians and others

624
00:39:43,560 --> 00:39:45,759
Speaker 1: who are near and dear to me. You gave a

625
00:39:45,920 --> 00:39:49,640
Speaker 1: voice to their history. So thank you, Genie. This was

626
00:39:49,680 --> 00:39:50,440
Speaker 1: so beautiful.

627
00:39:51,160 --> 00:39:57,480
Speaker 2: Thank you Maria. From Maria Griever to La Lupetron, I

628
00:39:57,520 --> 00:40:00,879
Speaker 2: feel like I've learned so much. All of these women

629
00:40:00,960 --> 00:40:03,360
Speaker 2: fought so hard and had the drive to kind of

630
00:40:03,440 --> 00:40:06,640
Speaker 2: make themselves heard and now they're remembered in history because

631
00:40:06,680 --> 00:40:10,520
Speaker 2: of it. But I have to say Maria that after

632
00:40:10,640 --> 00:40:13,680
Speaker 2: going through like one hundred years of history, I actually

633
00:40:14,000 --> 00:40:14,879
Speaker 2: got a little sad.

634
00:40:15,520 --> 00:40:18,719
Speaker 1: I can probably feel that, But tell me what was

635
00:40:18,800 --> 00:40:19,320
Speaker 1: the sadness?

636
00:40:19,400 --> 00:40:20,160
Speaker 4: What connected with you?

637
00:40:21,239 --> 00:40:24,160
Speaker 2: So when I set out to do this series, I

638
00:40:24,239 --> 00:40:26,279
Speaker 2: wanted to see how far we'd come, to make sure

639
00:40:26,360 --> 00:40:29,640
Speaker 2: people knew who Maria Griever was, to make sure people

640
00:40:29,680 --> 00:40:33,280
Speaker 2: knew how unfairly Lea Lupe was labeled, how misunderstood Boleta

641
00:40:33,320 --> 00:40:36,640
Speaker 2: Parra was, and how Petrono overcame race and age to

642
00:40:36,719 --> 00:40:40,800
Speaker 2: achieve what she did. But what I realized is that

643
00:40:40,920 --> 00:40:44,560
Speaker 2: we actually haven't come that far at all. I just

644
00:40:44,640 --> 00:40:47,560
Speaker 2: spent the weekend watching the Jlo documentary Halftime, and I

645
00:40:47,640 --> 00:40:49,360
Speaker 2: spent most of it crying and anger.

646
00:40:49,480 --> 00:40:52,080
Speaker 4: Have you watched it? I haven't, but it's on my list.

647
00:40:52,440 --> 00:40:55,040
Speaker 2: Well, Halftime is kind of like basically an ode to

648
00:40:55,160 --> 00:40:58,640
Speaker 2: what a boss Jlo is. It's clearing up everything that

649
00:40:58,760 --> 00:41:01,719
Speaker 2: Jlo has ever been laid. She's a diva, okay, you know,

650
00:41:02,600 --> 00:41:05,359
Speaker 2: she's untalented, that she can't sing, that she can't act,

651
00:41:05,640 --> 00:41:09,800
Speaker 2: the whole gamut, And I felt so much anger because Maria,

652
00:41:09,880 --> 00:41:12,640
Speaker 2: We've just been through one hundred years of history and

653
00:41:12,800 --> 00:41:15,960
Speaker 2: here I am watching a modern day Henya j Lo

654
00:41:16,560 --> 00:41:20,520
Speaker 2: has been labeled unfairly throughout the past two decades, and

655
00:41:20,640 --> 00:41:22,080
Speaker 2: we're still fighting to be heard.

656
00:41:23,520 --> 00:41:25,759
Speaker 1: I mean, I just think about how many of the

657
00:41:25,840 --> 00:41:29,560
Speaker 1: women gave up, right, It was just too much of.

658
00:41:29,600 --> 00:41:32,799
Speaker 2: A struggle, right, how many out there have given up

659
00:41:32,920 --> 00:41:35,319
Speaker 2: because of that? Like, why is it that women who

660
00:41:35,400 --> 00:41:38,680
Speaker 2: are strong leaders, who are bosses are seen as a threat?

661
00:41:39,000 --> 00:41:41,080
Speaker 1: And I guess you know, one of the takeaways is

662
00:41:41,160 --> 00:41:44,680
Speaker 1: that it's still a struggle and you still have to

663
00:41:44,800 --> 00:41:52,440
Speaker 1: fight against being mislabeled, misidentified, mischaracterized. But one of the

664
00:41:52,560 --> 00:41:55,239
Speaker 1: things that all of the women who we profiled in

665
00:41:55,360 --> 00:41:59,840
Speaker 1: this series is that it's like their voices just for

666
00:42:00,320 --> 00:42:05,800
Speaker 1: them to keep on singing. And there's something very powerful

667
00:42:05,880 --> 00:42:09,000
Speaker 1: about women in music in that that is the opposite

668
00:42:09,080 --> 00:42:09,479
Speaker 1: of sad.

669
00:42:09,600 --> 00:42:09,719
Speaker 2: Right.

670
00:42:09,800 --> 00:42:13,799
Speaker 1: It's like, for me, profoundly uplifting and frankly life changing.

671
00:42:14,160 --> 00:42:17,160
Speaker 2: Right, I mean, despite all of the things that have

672
00:42:17,280 --> 00:42:20,160
Speaker 2: been against them, the name calling, the labeling, they had

673
00:42:20,200 --> 00:42:23,200
Speaker 2: something to say so that just overpowered their fear. So

674
00:42:23,360 --> 00:42:26,040
Speaker 2: I hope by doing this series it inspires more women

675
00:42:26,120 --> 00:42:28,160
Speaker 2: to continue so that we can improve the numbers of

676
00:42:28,200 --> 00:42:29,480
Speaker 2: women represented in music.

677
00:42:30,120 --> 00:42:35,280
Speaker 1: Thank you for imagining this whole series called Heynyes in Music.

678
00:42:35,880 --> 00:42:38,520
Speaker 1: And for those of you who are listening, if you

679
00:42:38,600 --> 00:42:40,640
Speaker 1: want to hear one of the previous episodes, make sure

680
00:42:40,680 --> 00:42:44,080
Speaker 1: you go to our website Latinousa dot org. Remember you

681
00:42:44,160 --> 00:42:47,440
Speaker 1: can find them also on your podcast feed by searching

682
00:42:47,520 --> 00:42:51,240
Speaker 1: through our previous episodes. Thanks again, Jinny, great work, Thanks Brita.

683
00:42:59,400 --> 00:43:02,719
Speaker 1: This episode was produced by Patricia Sulbaran with help from

684
00:43:02,800 --> 00:43:06,200
Speaker 1: Ginni Montalbo. It was edited by Mitre Bonshahi and Marta

685
00:43:06,280 --> 00:43:09,560
Speaker 1: Martinez and mixed by Lea Sjan Demron. Fact checking for

686
00:43:09,640 --> 00:43:13,600
Speaker 1: this episode by Monica Morales Garcia. Special thanks to Manuel

687
00:43:13,760 --> 00:43:18,560
Speaker 1: Chaco Garcia, Rosco Luis Ortiz and Lisette Lemoi for guaranteing

688
00:43:18,680 --> 00:43:23,600
Speaker 1: access to Petrona Martinez's archival tabe. The Latino USA team

689
00:43:23,719 --> 00:43:29,160
Speaker 1: includes Andrea Lopez Grusado, Deisi Contreras, Mike Sargent, Julia Ta Martinelli,

690
00:43:29,560 --> 00:43:34,680
Speaker 1: Victoria Estrada, Renaldo Leanos Junior, Alejandra Salassa and Julia Rocha,

691
00:43:34,920 --> 00:43:38,200
Speaker 1: with help from Raoul Perees. Our editorial director is Julio

692
00:43:38,280 --> 00:43:42,120
Speaker 1: Ricardo Aarella. Our director of Engineering is Stephanie Lebou. Our

693
00:43:42,200 --> 00:43:46,640
Speaker 1: senior engineer is Julia Caruso. Our associate engineers are Gabriela

694
00:43:46,719 --> 00:43:47,520
Speaker 1: Baez and j J.

695
00:43:47,680 --> 00:43:48,120
Speaker 4: Carubin.

696
00:43:48,520 --> 00:43:52,120
Speaker 1: Our marketing manager is Luis Luna. Our theme music was

697
00:43:52,160 --> 00:43:55,240
Speaker 1: composed by Sane Ruinos. I'm your host and executive producer

698
00:43:55,280 --> 00:43:58,120
Speaker 1: Maria jo Josa. Join us again on our next episode

699
00:43:58,160 --> 00:44:00,200
Speaker 1: and in the meantime, look for us on all your

700
00:44:00,280 --> 00:44:05,359
Speaker 1: social media and most importantly not yes a stell approxima.

701
00:44:05,040 --> 00:44:11,239
Speaker 8: Yaou latino USA is made possible in part by the

702
00:44:11,360 --> 00:44:17,719
Speaker 8: Heising Simons Foundation, unlocking knowledge, opportunity and possibilities more at

703
00:44:18,000 --> 00:44:24,160
Speaker 8: hsfoundation dot org, the wind Coat Foundation and the Ford Foundation,

704
00:44:24,800 --> 00:44:28,719
Speaker 8: working with visionaries on the front lines of social change worldwide.

705
00:44:32,840 --> 00:44:37,360
Speaker 5: In nineteen eighty one, something extraordinary happens. Gene thought was

706
00:44:37,400 --> 00:44:37,640
Speaker 5: born

707
00:44:40,239 --> 00:44:42,400
Speaker 4: That too, but