We mourn the death of Leonor González Mina, “Colombia’s Great Black Woman”

by time news

On ​November 27, 2024, Colombia lost one of its‍ most iconic cultural figures: Leonor‍ González Mina, known as “The Great ‌Black Woman​ of Colombia.” His death, at the age of‍ 90, leaves a void in the ⁣world of music and folklore, but also a huge legacy that⁤ will transcend ​generations. The artist represented the cultural richness of the Colombian Pacific and⁢ was also a defender of equality and social justice.

By: ‌Astrid Ávila Castro

Leonor González Mina was born on June 16, 1934 in the village of⁤ Robles in Jamundí,‌ Valle del Cauca, ‌within a‌ working family. The daughter of a cocoa farmer and an evangelical ‍housewife, she grew ⁣up among the songs and‍ oral traditions that would shape her artistic path. Since she was little, her grandfather, who was a slave, encouraged her with his powerful bass voice. As⁣ stated in the booklet with his illustrated biography i ⁤ Stories of recognition and pride, “Leonor played soccer ​and used to sing during the town‌ festivals, with her seven ‌brothers and their friends. “He sang with his mother while‍ she sewed, and with the choir of his religious uncles led ⁤by his grandfather, who had ⁢a beautiful bass voice.”

At the age of 18, Leonor decided to accept ⁢her destiny and⁢ traveled to Bogotá, where she joined the brothers’ folkloric ballet. Delia ⁤and Manuel Zapata Olivella. It was there that​ she‌ began to shine, first as a dancer and then as a⁣ singer. His ‍first international performance ⁢took place in Paris, a milestone that began a career with global projection. As you remember National Radio‌ of Colombia, ​ “He performed for the first time in front⁣ of an audience ⁢in Paris, when he was part of Delia and Manuel Zapata Olivella’s Ballet ‌Folklorico group of dancers. They encouraged ⁢her to sing to pass the time ‍between pictures, and from now‍ on she would not ⁢abandon that art.”

In 1964 he recorded his first album, Free song of my country and my race,directed by⁢ Hernán Restrepo Duque, who also gave her ‌the trailer that would immortalize her:⁣ La Negra Grande de ⁢Colombia.

In the⁣ words of the ​ Luis Daniel Vega for National Radio: “In the summer of ⁤1973, La Negra Grande‍ de Colombia⁣ was invited⁢ to the tenth edition of the World Festival of Youth and Students. Mina ​arrived in the German Democratic⁢ Republic together with a wonderful Pillar of Fire, made up for ⁤that‌ occasion​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​ alike Canon”,bid. door), Roberto Fiorilli (drums) and ‍Daniel Basanta (tumbadora). (…)⁤ This was the first ⁣tour by a Colombian rock group on European soil.”

Since then, he came Colombian folklore ambassadorcarrying songs like My Bonaventure, the delightful ⁤fisherman y My name is Cumbia ‍ to stages around the​ world. His legacy was recognized with awards such as the Andrés Bello decoration in Venezuela (1978) and the Order of Simón ‌Bolívar in Colombia (1980).

Leonor’s ‌life was not limited ‍to art, as she ⁣was also a committed activist. Inspired by her own experience of oppressionhe worked for ​racial and gender equality. In 1998, she entered politics and was elected as a Chamber Representative for Bogotá, ⁣using her⁤ voice to ⁤advocate for the rights ‍of Afro-Colombian communities. According to Stories of identity and pride, “the‌ desire for a better world ‍was ignited in her. Being Afro-Colombian and being a woman⁢ were conditions that she⁤ knew needed to be supported and protected.”

Leonor González Mina will be remembered⁢ for her unique voice and ‍her ability to transform adversity into art and action. As ‌stated by researcher José I. Pinilla, quoted in Radionacional.co, “She took the first place among the Colombian singers who ⁢gained the most popularity ⁣abroad through⁣ her tours through Venezuela, Chile, Costa Rica, Mexico, the United States and several European countries.” Jaime Rico Salazar‍ also drew attention to ​her work in‍ “the spread she has made of the songs of the Atlantic and⁤ Pacific coasts, where⁢ she is from.”

Her ‍legacy lives on in songs that are‍ imagined in‍ every corner of Colombia and in the ⁣memory of a woman who showed that music and social justice can go hand in hand. La ⁣Negra Grande de Colombia leaves us a message⁢ of resistance, pride and love for ⁤our roots.

Leonor González Mina died at ⁤the‌ age of 90, forever celebrating the history of Colombian music. His example inspires us to value and protect cultural traditions, while ​at⁤ the same time demanding the fight for a more just world. As his friend‍ Manuel Zapata Olivella once said: “That⁣ little lizard is a bomb.”⁣ That ⁣bomb of talent‍ and passion will continue to light our path.

What ​are⁢ some key contributions ​of ⁢Leonor ‌González Mina to Colombian folklore ​and ‍music?

Interview​ between Time.news ⁤Editor and Cultural​ Expert on Leonor González Mina

Time.news Editor (TNE): Welcome to our ⁤special edition where we celebrate the life and ​legacy of the late Leonor ⁤González Mina, known ⁤affectionately as “The Great⁤ Black Woman of Colombia.”‍ Joining us today is cultural expert⁤ Dr. Elena Morales, ​who has extensively studied Colombian folklore and its⁤ prominent⁤ figures. Thank you for being here, Dr. Morales.

Dr. Elena Morales (DEM): Thank you for having me! ‌It’s ⁤a privilege to discuss such⁣ an influential figure in ⁣Colombian culture.

TNE: ⁢Leonor’s ⁣passing on November 27, 2024, ‌marks a ⁣significant loss for the music and⁣ folklore community. What impact do‌ you think her work had on the preservation of Colombian cultural heritage?

DEM: Leonor was not ‍just a ⁣performer; she was ​a cultural ambassador. Through her art, she showcased the rich traditions of the Colombian‌ Pacific, particularly its music and‍ folklore. Her performances helped bridge local traditions with global audiences. ​By introducing songs like “My Bonaventure” and “My‍ Name is Cumbia” to the world ⁣stage, she ensured the preservation of​ these forms for generations to come.

TNE: Absolutely, and it’s fascinating to learn about⁢ her early life in Jamundí. How ‍do you think her upbringing influenced her artistry and activism?

DEM: Growing up in a working-class​ family, surrounded by oral traditions and music, undoubtedly shaped ‌her‍ perspective. Leonor often spoke of her grandfather, a former slave, and how ⁢his powerful voice ⁤inspired her. This deep-rooted connection to her ancestry fueled her passion for celebrating Afro-Colombian culture. Moreover, her experiences with oppression ‍motivated her commitment to ‌social justice and⁢ gender equality, making her a vocal advocate for these causes throughout her life.

TNE: It’s beautiful‌ how her personal narrative intertwined with ​her public persona. You mentioned her transition from dance to⁣ singing. How did this ‍evolution affect her career trajectory?

DEM: Joining Delia and Manuel Zapata Olivella’s folkloric ballet in Bogotá was pivotal.​ While⁢ she started⁢ as a dancer, her transition into ⁣singing allowed her to find her distinctive voice and style. Her first international performance in Paris marked the beginning of her global journey, and ⁣she quickly became known for⁤ her powerful⁣ presence on⁣ stage. This evolution emphasized her versatility ⁣as‌ an artist and allowed her to⁤ connect more deeply with diverse audiences.

TNE: Leonor’s​ first album, Free Song of⁤ My Country‌ and My Race, directed ⁤by Hernán Restrepo Duque, ⁤is said to have immortalized her identity as “La Negra Grande de Colombia.” Why is this title so significant?

DEM: “La ⁣Negra Grande de Colombia” is⁤ emblematic of her embodiment of Afro-Colombian identity,⁢ pride, and resilience. The title ⁤signifies the ⁢reclaiming of identity in a context ⁢that often marginalized Black⁣ voices. By⁤ embracing this ​title, she challenged stereotypes and became a symbol of cultural pride and​ empowerment. It also resonated deeply in a society grappling with issues of race, gender,⁤ and equality.

TNE: It’s remarkable to see how Leonor also ventured into politics, advocating for racial and gender equality. How do you view the intersection of her artistic and ​activist lives?

DEM: ‌Leonor’s duality ​as an artist and activist is ⁣essential to understanding her legacy. She used her platform not just to entertain but also to inspire social change. Her ‌political ‍career was a natural extension⁤ of her commitment to social justice. By seeking political office, she aimed to challenge systemic inequalities directly, making her voice heard not just in⁤ art but in policy as well.

TNE: In light of her extensive contributions, what do you believe is her ‍most lasting legacy in​ contemporary Colombian ⁤society?

DEM: ​ Leonor González Mina’s legacy transcends her music. ‌She ‍paved the way⁤ for future generations of artists and activists, particularly women and ‍Afro-Colombians, to assert their identities and ‌fight for their ​rights.‌ Her unwavering spirit in advocating for⁢ cultural heritage, racial⁣ equality, and social ⁤justice ​continues ⁤to inspire a⁣ new generation. As we mourn‌ her ‍loss, we must also celebrate and embrace her⁣ teachings, ensuring ‌they live​ on in our culture.

TNE: Thank ⁣you, Dr. Morales, ‍for sharing‍ your⁢ insights and helping us appreciate the incredible life of Leonor González Mina. Her legacy undoubtedly inspires many.

DEM: Thank you for this opportunity. Let’s celebrate her memory and continue advocating for the values she‌ stood ​for.

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