She brings together the music of three races, indigenous porro, puya and gaita with Afro-Latin cumbia, mapale and sexteto. She was born in the northern village of Talaigua, Colombia, on the island of Mompos. As its name suggests, Talaigua was once an Indigenous land. The Spanish invasion five hundred years ago forced the population inland. "The music I play has its roots in mixed race," she explains. "The flutes are pre-columbian, the drums of course are from Africa, and the guitar from the conquistadors." However, she points out that the Spanish guitar actually has its roots in Moorish Africa.
If many of her songs sound a bit Cuban, it is for good reason. Through the 19th century, there were huge waves of Cuban immigration along the northern Caribbean Colombian shores near Baranquilla. These slaves brought with them Cuban music, which led to the development of the sexteto, Colombia's cousin to Cuba's son.
"However, I don't think of it as 'folklore'," adds Totó. "To me, folklore means something that is dead, in a museum. Traditional music, music from the old days is alive." There probably isn't a single person who has done more to revitalize the music of northern Colombia's shores. In 1993, she recorded the landmark album, "La Candela Viva" for Peter Gabriel's RealWorld label and ever since has been busy performing at the world's top music festivals. She is a rare performer whose energetic and passionate recordings capture the energy of her live performances. With a fiery voice and a remarkable spontaneous wit, whether she is leading flute and percussion driven porros or brass section and guitar led Afro-Latin cumbias and sextetos, Toto La Momposina uses her torrid vocal power to make sure that her audience is out of their seats and onto the dance floor, ready to get a taste of some of the most evocative music on the planet.
Totó la Momposina has two Latin Grammy awards from four nominations for her collaboration with the urban group Calle 13 on their song "Latinoamérica", receiving in 2013 the lifetime achievement award.
Cosas pa' pensar
Totó La Momposina Lyrics
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Eran tiempos pa′ gozar
Abundancia tenía mi pueblo
Y sobraba pa' malgastar
Abundancia tenía mi pueblo
Y sobraba pa′ malgastar
Hoy las cosas van cambiando
Tengo los bolsillos pela'os
Y no hay tabaco ni pa′ fumar
Tengo los bolsillos pela′os
Y no hay tabaco ni pa' fumar
Así como están las cosas
No podemos continuar
Acabemos con la deuda
Para poder trabajar
Así como están las cosas
No podemos continuar
Acabemos con la deuda
Para poder trabajar
Hoy el mundo está endeuda′o
Y son cosas pa' pensar
Las riquezas se han lleva′o
Y cada día debemos más
Las riquezas se han lleva'o
Y cada día debemos más
Hoy los pueblos están olvidados
No hay escuelas pa′ estudiar
A otro oficio se han dedicado
Y eso tristeza a mi me da
A otro oficio se han dedicado
Y eso tristeza a mi me da
Así como están las cosas
No podemos continuar
Acabemos con la deuda
Para poder trabajar
Así como están las cosas
No podemos continuar
Acabemos con la deuda
Para poder trabajar
In the song "Cosas pa' pensar" by Totó La Momposina, the lyrics reflect on the changes and challenges faced by a community over time. The first verse reminisces about the old days when the town was abundant and there was plenty to enjoy and even waste. The repetition of "Abundancia tenía mi pueblo y sobraba pa' malgastar" emphasizes the sense of wealth and abundance that once existed in the community.
However, as the song progresses, the tone shifts to a more somber and realistic outlook on the present circumstances. The singer acknowledges the changing times, the scarcity of land for cultivation, and the lack of resources for basic needs like tobacco. This shift is highlighted in the lines "Hoy las cosas van cambiando, ya no hay tierra pa' cultivar, tengo los bolsillos pela'os y no hay tabaco ni pa' fumar."
The lyrics then delve into the theme of debt and its impact on the community's ability to thrive. The call to "Acabemos con la deuda para poder trabajar" reflects a sense of urgency and a desire to break free from the burdens holding them back. The repetition of this sentiment underscores the importance of addressing financial struggles to move forward.
The song also addresses broader social issues such as global debt, the exploitation of resources, and the neglect of communities and education. The lyrics highlight the consequences of these systemic problems, such as villages being forgotten, the lack of opportunities for education, and the displacement of traditional occupations. The lines "Hoy el mundo está endeuda'o, y son cosas pa' pensar, las riquezas se han lleva'o y cada día debemos más" convey a sense of reflection and concern for the future.
Ultimately, the song serves as a call to action, urging listeners to confront the challenges of the present, address debts, and strive for a better future. It conveys a mix of nostalgia for the past, awareness of current struggles, and a hope for positive change. Through its poignant lyrics, "Cosas pa' pensar" captures the complexities of social and economic realities while reminding us of the importance of collective action and resilience in the face of adversity.
Writer(s): Jorge Aguilar, Pablo Florez
Contributed by Chloe Y. Suggest a correction in the comments below.