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Speaker 1: We're not sharing his music, but it's all of traditions

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Speaker 1: and its ancestral knowledge. But unfortunately there's no music education

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Speaker 1: about our music and it's resistance music of black and

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Speaker 1: indigenous communities. So what we are sharing is that, and

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Speaker 1: I think that matters a lot. Music education should be

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Speaker 1: a right, not a privilege.

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Speaker 2: From Vudromedia and PRX. It's Latino USA and Maria no

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Speaker 2: Josa today. Ladama the all women ensemble bringing together rhythms

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Speaker 2: from across Latin America and the US to create their

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Speaker 2: own musical experience. Ladama is a group of four women

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Speaker 2: musicians from four different countries across the Americans. Ladama's members

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Speaker 2: Lata Claus, Daniela Sedna mariefeb Nanda Gonzalez, and Sarah Lucas

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Speaker 2: bring together rhythms and oral traditions from each of their

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Speaker 2: home cultures.

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Speaker 3: Now I'm gonna teach you some rhythm from the northeast

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Speaker 3: of Brazil, So we're gonna need you to clap like

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Speaker 3: ta ta ta ta.

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Speaker 2: Growing up in Resife, a city on the northeast corner

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Speaker 2: of Brazil, Lata Claus was fascinated by the power of

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Speaker 2: percussion to bring people together to go out.

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Speaker 3: And see all the percussion groups on the street in

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Speaker 3: Carnivo is crazy. Five hundred people on the street playing

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Speaker 3: this feeling of collaboration, people together sharing music.

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Speaker 2: One of her favorite instruments is the banderu, a Brazilian

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Speaker 2: relative of the.

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Speaker 4: Tambourine, comastan bamasarela Cumbia. We're gonna learn how to end

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Speaker 4: Scumbia very simple.

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Speaker 2: Daniela Serna is a percussionist. Like Lara, her interest in

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Speaker 2: music was sparked by listening to Gumbia as a young

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Speaker 2: girl growing up in Bogota, Colombia. She learned about traditional

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Speaker 2: instruments like the tamborare while traveling across the country.

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Speaker 1: The first way to understand that culture was by traveling

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Speaker 1: to the festivals, into small villages and then connecting with

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Speaker 1: the fact that beyond the rhythm and the music, there's

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Speaker 1: a community.

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Speaker 4: This is what we make it.

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Speaker 2: Growing up in a suburb of Saint Louis, Sarah Lucas

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Speaker 2: was surrounded by black music and the oral tradition in spirituals,

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Speaker 2: freedom songs, and the blues.

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Speaker 5: There was a moment when I was nine years old

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Speaker 5: when I thought I could do this professionally, and that

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Speaker 5: is the moment I saw Linda Ronstein aaron nevill on

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Speaker 5: tour and I went home and I wrote in my diary,

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Speaker 5: I'm going to be a singer.

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Speaker 6: This instrument is a traditional instrument from Venezuela.

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Speaker 7: The name of the instrument is bandola.

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Speaker 4: Could you say that for me please?

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Speaker 7: Bandola.

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Speaker 2: Mari Gonzalez, also known as Mafer Bandola, remembers hearing horopo

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Speaker 2: music when she was just a little kid growing up

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Speaker 2: in Losianos in the high plains of Venezuela, but the

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Speaker 2: only musicians she saw while growing up were men.

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Speaker 6: They saw the plane really fast energetically, like you're just

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Speaker 6: like what I want to do that?

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Speaker 7: And then just right away when they says, well.

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Speaker 6: You won't play like us, Yeah, you are a girl,

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Speaker 6: so the instrument neighbor is going to sound like us.

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Speaker 2: The group has toured across the globe and released two albums.

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Speaker 2: La Dama's first, self titled album draws from the musical

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Speaker 2: lineages of each member's home cultures, while their most recent release, Oyemucher,

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Speaker 2: blends ancestral rhythms with electronic experimentation and speaks to current

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Speaker 2: events like women's rights and climate justice. Outside of the

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Speaker 2: studio La Dama hosts workshops and live shows where they

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Speaker 2: share their music and histories with a focus on empowering

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Speaker 2: young women and girls. Here's Lada, Danny, Adiya and Sarah

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Speaker 2: of Ladama to tell us their story in their own words.

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Speaker 5: So the four of us met in twenty fourteen at

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Speaker 5: a residency called one Beat, where an organization called Fandsound

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Speaker 5: Nation brings together twenty five musicians from around the world

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Speaker 5: to create socially engaged projects and write new music together.

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Speaker 5: I want to say, I don't think I've ever told

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Speaker 5: you guys this. I was waiting tables in Brooklyn, you know.

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Speaker 5: I got in and nobody understood what it was. And

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Speaker 5: I had my phone with me and I was like

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Speaker 5: showing everybody it was the video of my fair and

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Speaker 5: I was like, no, you have to see who I

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Speaker 5: get to play with. I was so beyond excited. I

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Speaker 5: was like, I'm going to meet her, Like I was

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Speaker 5: like in my.

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Speaker 7: Apron, that's so amazing. I never told you, guys, And

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Speaker 7: at the same time like why they peak me? You know,

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Speaker 7: It's like I felt that way too. I was like,

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Speaker 7: how am I going to play music with her?

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Speaker 3: Oh?

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Speaker 7: My god?

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Speaker 1: The first impression I had it from my It was

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Speaker 1: like if we knew each other already. I do remember

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Speaker 1: I was in a big, beautiful living room. I think

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Speaker 1: Maria arrived first. We say hello to each other, We

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Speaker 1: hug each other, hi, commestas. It was very natural, very.

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Speaker 4: Natural, very organic connection. And then satah right. I remember

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Speaker 4: the exact conversation that we have for the first time.

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Speaker 1: She was very interested in how was my life in

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Speaker 1: the alternative music scene in Bogota.

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Speaker 4: Then latter arrived saying phil and it was like, hey,

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Speaker 4: how are you? We hug eachildren.

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Speaker 1: That was just, I would say, a natural connection. We

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Speaker 1: didn't know that Ladama was going to happen.

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Speaker 6: So what I saw for the first time in my

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Speaker 6: life in twenty fourteen, it was female being professional playing instruments.

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Speaker 6: And I was twenty four years old, so that was talking.

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Speaker 6: It's just I was waiting for for so long and

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Speaker 6: I felt part of a community. Make me think, how

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Speaker 6: can this packed girls if they know and see themselves

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Speaker 6: in those examples of female artists. So that's when I

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Speaker 6: told them, guys in Venezuela, we have a strong problem

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Speaker 6: with the girls. There's no future projected already. Besides being mom.

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Speaker 6: Just let's go to play in my street. EMBARKISSI meto,

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Speaker 6: Let's go there, let's play that. This is so easy, guys,

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Speaker 6: we don't have to do anything else. We just play,

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Speaker 6: and that's going to change their whole life. It's a

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Speaker 6: fear principio. The beginning of the idea of La Dama,

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Speaker 6: it wasn't clear what music the gender that we are

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Speaker 6: going to play.

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Speaker 7: We don't have that clear.

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Speaker 4: We have the idea of like.

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Speaker 6: A collective impacting community through sounds.

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Speaker 7: And I was like, Danny, what do you think about

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Speaker 7: the project?

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Speaker 6: I like the idea, let's create a name about this,

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Speaker 6: what about our instrument?

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Speaker 7: What about our countries?

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Speaker 6: But then we start playing with our names for Hamplow Lada, Daniela,

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Speaker 6: Maria okay La Da Maria. No, but let's let's talk

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Speaker 6: about our Primda Sea levels, Lave Ladder, Maria Ma Danny

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Speaker 6: Da okay Da La Ma Ma lad.

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Speaker 4: That was like, yeah, that's it.

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Speaker 5: And then when I I was invited just a few

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Speaker 5: weeks later, and then everyone was.

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Speaker 7: Like, oh La Dama sah salah.

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Speaker 5: And then I was like, nah, just can leave it,

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Speaker 5: just leave it.

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Speaker 7: Who cares? Does matter?

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Speaker 3: You know?

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Speaker 1: My mission was to be a bridge between Maria and Sarah,

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Speaker 1: because Maria didn't speak a lot of English and Sarita

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Speaker 1: was just learning a few words in Spanish. And that's

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Speaker 1: how we wrote our first song together called Confession. So

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Speaker 1: this was Maria's idea, and it's on a about the

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Speaker 1: moon and about how women's solitude should be just natural

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Speaker 1: and it's connected to the moon. So Maria was recitando

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Speaker 1: comona poeta Laluna is mimbro the moon is my shoulder, la,

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Speaker 1: and I was translating to set out what she was

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Speaker 1: about to sing so she can actually understand and interpret.

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Speaker 1: Take theolytics, yes, because they so. I would say that

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Speaker 1: was the first creative, powerful moment that we have as

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Speaker 1: a collective.

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Speaker 5: After our residency in twenty fourteen, while we were back

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Speaker 5: in our own countries of Venezuela, Brazil, Columbia, and the

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Speaker 5: United States, we raised seventy five thousand dollars through grants

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Speaker 5: and crowdfunding in order to produce a four month tour

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Speaker 5: in all of our countries in which we gave public

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Speaker 5: performances and educational workshops to use and focused on women

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Speaker 5: as well. I left New York after the most ginormous

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Speaker 5: snowstorm in history, like in the middle of the night

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Speaker 5: with all my stuff. Yeah, I was like three feet

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Speaker 5: of snow.

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Speaker 7: Oh my god, and I remember what am I doing.

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Speaker 5: And we got to Brazil, I was like, oh my god,

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Speaker 5: it's so warm and it's so gorgeous and it's like whoa,

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Speaker 5: right before Carnival.

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Speaker 3: So yeah, I was in a pretty Carnival body and

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Speaker 3: I went straight to the body to pick them up.

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Speaker 4: At the airport.

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Speaker 7: This is the photo or meeting in the airport. We

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Speaker 7: just rived. January thirty first, twenty sixteen.

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Speaker 5: We met in Queesife, Brazil for our first show together,

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Speaker 5: during which we had one week to create an entire set.

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Speaker 3: When we got there, we had a residency in a

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Speaker 3: museum of frev is one of the most important not

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Speaker 3: only musical traditions, but whole cultural manifestation, so we did

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Speaker 3: a one week residency. It was when we were creating

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Speaker 3: this repertoire. The songs were born by the sharing of

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Speaker 3: experiences and rhythms because we were talking about there's no

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Speaker 3: Cumbia tradition in Brazil, so let's do a Cumbia Brasileia.

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Speaker 5: We were all in a studio Invo and Maria just

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Speaker 5: started playing the melody like I came from God. We

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Speaker 5: use rhythm as a way to connect with each other

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Speaker 5: and to create our own musical language. But we also

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Speaker 5: used oral tradition, so we're not sitting down and looking

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Speaker 5: at music and reading. We all have found experiences from

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Speaker 5: our own cultures that are based in specifically Afro indigenous

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Speaker 5: or traditions of all of our own cultures.

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Speaker 1: America, we were in Rasife, it was carnival. There's this

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Speaker 1: important musician called not now As Conselos. He's like a

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Speaker 1: legend of percussion and he was there performing in Marcoseo,

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Speaker 1: like the plaza principal of the city, and we were

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Speaker 1: then watching him leading up four hundred people Marakato ensemble.

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Speaker 4: We were together feeling like four hundred drums at the

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Speaker 4: same time I was crying. That was powerful. Was like,

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Speaker 4: that's matter cato.

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Speaker 1: You know, it's not really a done to don't to

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Speaker 1: don't do, but the people doing it and engage in.

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Speaker 1: And then two weeks later we arrived in Colombia. They

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Speaker 1: come into my universe and we start jamming about this.

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Speaker 4: Lyric that I have.

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Speaker 1: Cumbia telegos too, but I wrote that, of course because.

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Speaker 4: Of the Brazil experience.

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Speaker 1: So we did the Maraka too, and then we had

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Speaker 1: the portal which is indigenous and black heritage for them

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Speaker 1: from the Korean coast in Colombia and we start jamming

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Speaker 1: and that's how Portmarka Doo was born.

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Speaker 3: And then we were like learning from each other, like

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Speaker 3: songs from Venezuela, Sarta singa blues we brought from Colombia

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Speaker 3: from Venezuela. But I remember very clearly that Okay, let's go,

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Speaker 3: we are done. And then Maria, no, you have to

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Speaker 3: talk about the mission, like what I want mission?

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Speaker 4: No, he wants to talk about.

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Speaker 3: Them, and Maria was always trying, you know, to create this. No,

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Speaker 3: we have to talk about what we want, where we

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Speaker 3: want to go, what we want.

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Speaker 4: To reach the visionary.

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Speaker 3: Yeah, then I understood how important was to understand what

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Speaker 3: we wanted Ladama to be besides playing music.

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Speaker 6: Yeah, it was just like I need to understand why

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Speaker 6: I am doing what I'm doing.

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Speaker 5: Well, we were talking a lot about how we were

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Speaker 5: going to approach these workshops and the public. You know,

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Speaker 5: we're like, what are we really trying to get across

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Speaker 5: to the people, what are we trying to say to children.

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Speaker 5: What are we trying to say to non musicians who

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Speaker 5: might not be accustomed to making music, who think they can't.

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Speaker 5: So I said, well, to create a to exist. If

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Speaker 5: you say the word, if you name it, then you exist.

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Speaker 7: What happened in our workshop?

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Speaker 6: We start like warming up, and then we divide in

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Speaker 6: small group that each of us can work with.

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Speaker 7: We start asking questions, what do you want to talk about?

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Speaker 7: How do you feel today? How was your day?

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Speaker 6: After that, we start recording with them so much, oh no,

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Speaker 6: and then they are able to actually listen right away

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Speaker 6: what they record, and then they see themselves.

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Speaker 7: Oh that's my voice, that was the part that I record.

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Speaker 7: Oh that's my word, Oh.

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Speaker 6: That was you, And then they laughed around the creative process.

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Speaker 1: To me, music education it's always a tweet street relationship.

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Speaker 1: I don't feel like when we going we're gonna teach,

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Speaker 1: we're gonna share something, but actually the community is sharing

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Speaker 1: something back to us.

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Speaker 7: Exactly.

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Speaker 5: We went to Camero on the coast of Colombia. I

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Speaker 5: really learned from the children because they were musicians.

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Speaker 1: When we asked them, like, what's your dream where you're

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Speaker 1: a grown up, what do you want to be I

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Speaker 1: wanna be Doro, I wanna be I wanna be by Laura.

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Speaker 1: They want to be a singer, a dancer, a percussionist.

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Speaker 1: And there was one baby three year old.

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Speaker 3: I don't know.

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Speaker 1: It's him playing chipom pu punch boom, putting punch boom,

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Speaker 1: puchim pon in the bumbo. But just insane because you

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Speaker 1: don't see only the talent. But it's the pride of

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Speaker 1: I'm black and Caribbean, and so it is my community.

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Speaker 5: We started to realize in these communities and even connecting

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Speaker 5: with each other is how to use your body as

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Speaker 5: an instrument and how percussion is like first language for

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Speaker 5: a lot of people. Has this wonderful phrase.

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Speaker 3: That's not mine. Actually, Then he talked about Nanavas gonzalos

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Speaker 3: and he used to say a voice a premiristrumento. The

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Speaker 3: voice is the first instrument, but the body is the

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Speaker 3: best one. For example, we would share maraka to read

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Speaker 3: them from the northeast from where I come from. So

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Speaker 3: we do doom doom doom, doom doom dooms. So just

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Speaker 3: only voices and the voice and bodies.

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Speaker 4: Those Cassie, Wow.

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Speaker 1: It's also important what are we sharing because when we

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Speaker 1: go we're not charging music, but it's all traditions and

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Speaker 1: its ancestral knowledge. But unfortunately, addly, there's no music education

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Speaker 1: about our music. Cumbia, Columbia. You don't learn about Comban.

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Speaker 1: You listen to Cumbia and the radio as part of

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Speaker 1: your culture, but it's not part of the education they

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Speaker 1: learn when they go to school. When they go to school,

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Speaker 1: they go to learn America was discovered and then we

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Speaker 1: celebrate our independence because Crystal Column came.

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Speaker 4: To liberate us. It's like, we know this music, we

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Speaker 4: celebrate with the music. We feel this music in our body.

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Speaker 1: But if you ask me how to play that, I

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Speaker 1: have no idea or even what was the context where

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Speaker 1: Cumbia was born. For example, when we talk about it,

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Speaker 1: it's important to understand that if we could travel in

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Speaker 1: a time machine to that moment where Cumbia and all

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Speaker 1: the world traditions were born, it's a violent and oppressive context,

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Speaker 1: and it's resistance music of black and indigenous communities. So

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Speaker 1: what we are sharing is that, and I think that

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Speaker 1: matters a lot. Music education should be a right, not

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Speaker 1: a privilege.

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Speaker 5: Our second record was written while we were on the

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Speaker 5: road together in twenty eighteen. We spent seven months touring.

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Speaker 5: We started in Venezuela, we went to Colombia, went to England,

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Speaker 5: we went to Canada, and we went to Miami. I

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Speaker 5: mean it was like we were moving around the world

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Speaker 5: and where the first record was us learning how to

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Speaker 5: communicate with each other through rhythm, the second record became

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Speaker 5: more sophisticated than that. We were really trying to draw

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Speaker 5: just from ourselves as musicians and the themes that were

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Speaker 5: happening around us in the world.

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Speaker 6: A strong thing at that point was laying rason in

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Speaker 6: different part of the world and how each government or

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Speaker 6: country was dealing with and also the picture of an

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Speaker 6: immigrant in each country is connected with Saturns and like change.

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Speaker 6: So we create this anthem about recognizing how brave immigrantes

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Speaker 6: are before thinking like Danny and I at the beginning,

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Speaker 6: what is the reading that like everyone can just like

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Speaker 6: smile and we want.

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Speaker 4: To have a meringa.

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Speaker 6: Yes, all listen, this had melenga migrantekoo.

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Speaker 1: So in migrante baltamante forrende.

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Speaker 6: And so I'm an immigrant, the brave walker forced to

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Speaker 6: learn without time in my hands.

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Speaker 4: Yel d n.

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Speaker 6: It's like so migrante minante, like we keep moving Migrante

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Speaker 6: ca me nante.

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Speaker 1: From the musical side of it, a record where we

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Speaker 1: wanted to explore and be more experimental or trying electronic sounds.

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Speaker 3: Yeah, And and the other song, it's a vera di

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Speaker 3: si so Yeah. I started to write this song in

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Speaker 3: Brazil after them that broke in Minager.

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Speaker 8: Eyes of visuals in Brazil say up to two hundred

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Speaker 8: people are missing after a mining dam collapsed in the

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Speaker 8: southeast of the country.

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Speaker 3: But it wasn't actually an accident that this very big company,

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Speaker 3: they were being advised that this thing might happen, and

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Speaker 3: many people died, many people lost their houses, and it

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Speaker 3: wasn't avoided. So I was I started writing this song

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Speaker 3: a vera vera di si sol agreemage there would be

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Speaker 3: a time that there will be only tears, a veraiki

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Speaker 3: avea so agremug.

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Speaker 5: We wanted to find a way to incorporate maybe two

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Speaker 5: languages in a song, and so so I wrote some

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Speaker 5: lyrics in.

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Speaker 7: English dreda, save our souls, stuffs die, a better way home.

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Speaker 5: It became this really beautiful kind of experimental, deconstructed piece

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Speaker 5: that started with just guitar and voice from Lada, but

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Speaker 5: it was arranged at the end by the entire band

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Speaker 5: and it's one of my favorite songs.

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Speaker 3: Yeah.

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Speaker 5: The amazing thing is that because we all love to

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Speaker 5: teach and to mentor in a way like we actually

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Speaker 5: are always teaching each other while we're together. And that's

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Speaker 5: an incredible amount of generosity to receive from people that

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Speaker 5: I work with.

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Speaker 4: Openness to me.

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Speaker 1: Music, like even as working with other collectives or doing

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Speaker 1: our solo art, because we're still doing things on top

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Speaker 1: of Lama and that's beautiful as well.

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Speaker 3: For people in a group. We have different ways of thinking,

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Speaker 3: different backgrounds, and sometimes it's hard because Maria has a

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Speaker 3: way to do one thing sad and Danny I'm different.

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Speaker 4: And then we got to sit and talk.

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Speaker 3: We just okay, I understand maria point of view, Sarah's

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Speaker 3: point of view, Donnay's point of view.

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Speaker 6: As artists, we have a way to work and develop

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Speaker 6: the concept of collective, which means a collective.

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Speaker 7: Understand about managing egos because you are a collective. It's

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Speaker 7: not you, it's a collective. And that's something that I

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Speaker 7: have to be grateful because they save me and I

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Speaker 7: have hope because of them.

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Speaker 2: This episode was produced by Julia Rocha, edited by Alejandra

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Speaker 2: Salasad and mixed by j. J.

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Speaker 4: Carubin.

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Speaker 2: The Latino USA team includes Andrea Lopez Cruzado, Marta Martinez,

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Speaker 2: Daisy Contreras, Mike Sargent, Julia Ta Martinelli, Victories Treda, Renaldo

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Speaker 2: Lean Jr. And Patricia Sulbarrad with home from Raoul Perez.

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Speaker 2: Our editorial director is Julio Ricardorela. Our director of engineering

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Speaker 2: is Stephanie Lebau. Our senior engineer is Julia Caruso. Our

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Speaker 2: associate engineer is gabriel A Bias. Our marketing manager is

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Speaker 2: Luis Luna. Our theme music was composed by Zee Rubinos.

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Speaker 2: I'm your host and executive producer Mario Josa. Join us

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Speaker 2: again on our next episode. In the meantime, look for

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Speaker 2: us on all of your social media and remember not

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Speaker 2: yas bye.

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Speaker 8: Latino USA is made possible in part by the Ford Foundation,

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Speaker 8: working with visionaries on the front lines of social change worldwide,

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Speaker 8: the John D. And Catherine T. MacArthur Foundation, and the

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Speaker 8: Heising Simons Foundation unlocking knowledge, opportunity and possibilities more at

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Speaker 8: hsfoundation dot org.

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Speaker 7: Which I Could ask You, I could ask you