Anette Christensen - Mercedes Sosa – More Than A Song

Mercedes never truly grows out of the mindset of poverty she grew up with, and it shapes her social consciousness and gives her sympathy for the poor, which, along with the love of her parents, shapes her ideology and provides the firm foundation on which she will continue to stand. As an adult she concludes, “Poverty has always chased us, but it never broke us down. It only helped us to be free and choose our way of thinking.” 3

Mercedes has a close relationship with her grandparents. Her grandfather on her mother’s side is half French, while her grandparents on her father’s side are Amerindian with Quechuan roots, descending from the Inca empire. Mercedes is not aware of her Indian origins until her grandmother is dying and, in her delirium, starts speaking Quechua, but her new discovery instills in her a love for indigenous people and their culture, an affection that stays with her throughout her life. 2

When Mercedes starts going to school, she quickly learns to read. She loves reading, and whenever it is time to cook at home, Ema orders Mercedes out of the kitchen and into her room where she can do so. 6It is important to Ema that Mercedes gain as much knowledge as she can, and Mercedes never resists. She is curious and eager, and she absorbs the words of one book after another like a sponge. It broadens her horizons and gives her an understanding of history, culture, and people of different backgrounds from her own. Mercedes also sings and dances throughout her childhood. It is like walking and talking to her. Yet she remains shy and doesn’t like to perform for others.

Then one day, in October 1950, when she is fifteen, her school music teacher, Josefina Pesce de Médici, discovers her ability to sing. To encourage Mercedes’ talent, she asks her to lead the school choir in singing the national hymn at a school celebration. Mercedes tries to hide in the back, but Medici tells her to step up in front of all the teachers, her fellow students, and their parents, and to sing loud and clear. She is nervous, terrified, but she does so well that her teacher and some of her friends decide, without telling her, to sign her up for a contest at the local radio station. “I remember singing from the far end of my life. However, it is not the same to sing at home and for the world. There is a date for this. I was fifteen years old, and, one day, school finished two hours early. There was a competition on the town’s radio station, LV12. I showed up more to play, rather than to sing.” 5Mercedes chooses to sing “Triste estoy” (I am Sad), a zamba by Margarita Palacios, under the pseudonym Gladys Osorio. She wins the contest, and the reward is a two-month contract with the radio station. This is the first stepping stone of her long career. Mercedes already knows that she wants to spend the rest of her life singing. A star has been born.

Her mother knows about the contest, but not Ernesto, her father, whom they know won’t approve. He finds out any-way, having recognized his daughter’s voice on the radio, and gets very upset. When Mercedes gets home, he slaps her in the face, which is something he has never done before. He doesn’t want his daughter to become a singer because he thinks it will move her away from the family and lead to a wild and dissolute lifestyle. He doesn’t believe there is any future in being a singer and wants his children to get an education so they can achieve more in life than he has. But to get the two months’ contract with the radio station, Mercedes, a minor, needs her parents’ signature, and Ema doesn’t want to sign behind her husband’s back. She is a clever woman who knows how to work on her husband, and, after a little persuasion, he finally gives in and signs the contract on the condition that Mercedes gets an education. To please him, she decides to become a dance teacher and study traditional Latin American dance, such as the Chacarera, Milonga, and Zamba.

The area where she grows up, with the influence of the indigenous culture of nearby Bolivia, inspires her to become a folk singer, although she could easily have made a career in opera instead and even considered it for a while. Her choice of education turns out to be an advantage for her career as an artist. But she can’t stop singing and continues to get many invitations to perform at public events. Her parents have no choice but to get used to the idea, and, little by little, they do. Soon the whole family is following her wherever she goes. 4

As much as Mercedes loves singing, and as often as she is doing so for audiences, it remains an immense challenge each time she stands up before them. She is still shy and, despite appearances, suffers from severe stage fright. It is a fear she knows she must overcome if she is ever to fulfill what is becoming her dream.

EMA AND Ernesto are interested in politics. They don’t belong to any party, but they support Juan Perón, and even more so his wife, Evita, whom they admire for her outward beauty and her impact. Like them, Evita comes from a poor country region; unlike them (but perhaps like their daughter), she has worked her way out of poverty as an actress. Now, with her husband in office, she is responsible for the ministry of employment as well as the ministry of health. Her focus has been reforms to help the population’s poorest, and she founds a charitable organization, Eva Peron Foundation, responsible for building houses, schools, hospitals, and homes for children. Evita is also behind the legislation that gives women the right to vote for the first time. She is a heroine in the eyes of the working class and is loved by millions of Argentines, even while society’s right wing remains vehemently opposed to her.

At seventeen, Mercedes adores Evita and sees her as a real revolutionary. It is a major sorrow for her when, on July 26, 1952, Evita dies from cervical cancer, only thirty-three years old. 2

IN 1957 Mercedes meets Manuel Oscar Matus, a composer and guitarist with a passion for traditional Latin American music, just like Mercedes. She falls head over heels for him and his songs despite the fact she is already engaged to someone else. “I was about to marry a rich man, but I married a poor man, and I never regretted it. That poor man was the author of the most beautiful songs I have been singing. If I hadn’t married him, it would have been a big mistake.” 3

Oscar is also handsome and charming, with conclusive leftist ideals. They tie the knot on July 5, 1957. Mercedes doesn’t want to leave Tucumán, where she has lived all of her life, but Oscar convinces her to move to Mendoza, in the central-west part of the country. The city is a cultural meeting point for artists, where many new beneficial friendships are forged. Mercedes soon becomes pregnant, and on December 20, 1958, she gives birth to a son, Fabián. Making a living from their music is a tremendous challenge; the young family struggles financially and lives in poor conditions that remind Mercedes of her childhood. Though they would love to stay in Mendoza, the looming circumstances force them to move to Buenos Aires, leaving friends and close relatives behind as they begin the journey toward securing better and more stable lives. 8

But even in the capital, they soon find they are not able to make a living from their music alone, so they take cleaning jobs and work as night porters at hotels. Mercedes, like her parents before her, is suffering under the burden of not being able to feed her family. When she goes to the market, she buys the leftover ribs without meat on them—the bones can give some taste to the soup she cooks. For the first time in her life, she feels discouraged and depressed. This is not how she imagined life to be—not for herself or her son.