2023-09-02 17:01:27
Saturday, September 2, 2023, 17:01
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Ines Osinaga speaks enthusiastically and enthusiastically about the ‘The sea is the only way’ project. He doesn’t hide the headaches he’s experienced – “it hasn’t always been easy” – but on balance he’s very pleased “especially with the road”. He also points out that he has personally received a lot, among other things, as it was an exercise in empowerment to recognize himself as the “artistic director of the project”. He presented it yesterday in Itziar and on October 6th he will stage the album in Havana (Cuba).
– The project has had a long journey, the moment of sharing will be special.
– Yes, it’s a very special moment, I think it’s a great gift. I think it is very cool to be able to present in a town like Itziar, especially as we want and when we wanted. I was clear that I didn’t want a big and prestigious stage, I was clear that I didn’t want a long tour and I didn’t want to get into that vicious circle of the hegemonic commercial music industry. I think there are many ways to be a musician and I claim this diversity. ‘The sea is the only way’ is a unique project, which is outside of these standards, the album is anti-disco, the songs are anti-songs.
– It has been a very personal and intimate initiative, putting a lot of you into getting away from the eternal. But surrounded by a strong team.
– ‘The sea is the only way’ is as intimate and personal as it is political. I speak from me, about me, about what passes through my body. Only in this way are the arts, creations and tools for imagining another world worth something. Hacking the words of Alaine Aguirre ‘singing about me is my way of singing about you’. I’ve always been very interested in singing, but with this project I’m more than ever.
– Is presenting in October also in Cuba rounding off the end?
– When I went to do my artistic residency, I stayed at the Fábrica de Arte Cubano, a very reference place for contemporary Cuban art. Performing there with local musicians is a great opportunity.
– What inspired you to create it?
– I am interested in taking what has been created before, both mine and that of other creators that I admire and love, take it and deconstruct it in order to propose something different from the fragments that remain afterwards. I’m not so obsessed with creating something new or innovative. My creative search goes from there. More than ever I am interested in the sounds related to the earth, the rhythms and music related to the tradition, the people, the roots, but also the electronic music of the freaks. I’ve always been ambivalent and now it’s more extreme than ever.
the pressure
“The need to make a salable product for the market or for Durango determines the creation itself”
– You have emphasized several times that the creative process is not easy. This honesty can create connections with the public, but admitting vulnerabilities can also open the door to attack. How have you experienced being vulnerable in public?
– I think this vulnerability is the most direct and honest way to connect with people’s emotions. We live in a society that stereotypes success with the imaginary of epic victory and I find it the most revolutionary or daring way to bare and put your guts on the table. Creating from vulnerability causes you to embrace your shadows, to appear less than perfect and idyllic. There is something about the creative process that you never know what will come out of it. It may seem demagogic, but just as behind the delicious tomatoes there is many months of gardening work, behind the artistic production of a creative work there is search, doubt and research. And today’s society does not value that at all. No surveillance, no shadow work, no slow work. This, the need to make a salable product for the market or for Durango, conditions the creation itself. ‘Make a song under three minutes, a single that can be distributed via streaming and if it is accompanied by an impressive video clip, even better’. I didn’t want to create from that, I wanted to put the process itself into value.
– Was it easy?
– No (laughs). Anyone who has been pregnant knows that pregnancy is full of ups and downs and even if there is a picture of a little person at the end, the gestation process does not always end as we hope and desire. And I think it’s the same in artistic creations. I didn’t want to think about the album, I thought about what I wanted to tell, research, networks or collaborations. At one point I realized that I had material that could be an album, although I don’t think it is an album. It is more of a narration accompanied by music. The least important thing for me in this project are the songs. It seems like a contradiction musically, but what I’m interested in is telling things.
– If it is not a contradiction, it is at least brave or unusual.
– Some of the songs on the album are not proposals that interest me musically, they don’t fit into those shapes and forms, but the most honest way for me to be in this project was to be absent. My work has been artistic production and research, building bridges, networking, making contact and researching with other creators.
Goal
“I speak from myself, about what goes through me. Only in this way are arts or creations useful for something”
– You looked back at the project. What was it like to act with that past ‘you’?
– I was able to do all this because there have been other Ines before, a musician who has been so caricatured and a different me who I am now. Grief and time have passed and now I can embrace that Ines. I’ve been angry, I’ve missed it, I’ve missed it… That was the starting point, the songs we made when we went to Cuba 10 years ago, when Joseba Sarrionandia lived there and no one knew he was there. That map was the song made 10 years ago, the first seed was in Havana. I wanted to analyze what the songs made from the texts starting from this romanticized clandestineness would be if they were not so white. I have deconstructed and recreated them with other creators.
– Is it a second victory to get such a unique result from another creativity?
– The conversation with Ines has been very healing and empowering, but I want to make it clear that I did not do this to heal my wounds, for that I am going to therapy or I have my non-public sphere to fall and stand up. Bringing that to the public space is one of the strengths of the project because these processes of falling and rising are often taboo, what we do is only seen when we are beautiful, strong and flourishing.
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