00:00What happened to my father's death in 1994?
00:09Everything has a origin in my father's death in 1994.
00:14I was a boy who studied music at the University of Javeriana,
00:19played in a commercial band that was Polygamia.
00:23But this person died and I started to think,
00:28and I started to think about this feeling of absence,
00:31and I came out with the guitar to give a little music
00:35in the psychiatric clinics, in the homes,
00:39in the institutions of children with a special condition.
00:44And that was a little bit that I did,
00:47that I had a very powerful impact, very positive,
00:53and I discovered that music was not only to make a song,
00:55the single, or whatever,
00:57to bring it to an emissor and promote it,
00:59but that there was a deeper and deeper function,
01:03and then I started to dive deeper,
01:06and I found that the feeling was more with the victims,
01:10with the war, with the conflict.
01:16Even though it was a day when I worked for 20 years
01:19and I felt like I wanted to be there,
01:23and we were walking a lot of kilometers
01:27from Colombia talking about the same topic,
01:30it was a great emotion.
01:34But beyond that, it was emotional,
01:37it was like if there were a few minutes
01:40all the missions and the work of a lot of people.
01:45I looked at the front and saw people in the seats,
01:48people of social organizations,
01:51of all the corners that one knows
01:53that they have been 20, 30, 40 years
01:55looking, looking, marching,
01:59inventing projects,
02:00accompanying communities.
02:02And we were all of a sudden,
02:03all of a sudden,
02:04as we understood as our goal.
02:08And what I did was sing a song
02:14that is an act of historical responsibility,
02:19but of artistic responsibility.
02:22And it is a song composed
02:24in those previous hours,
02:26in the camp,
02:27in the area of Mariana Páez,
02:30in Mesetas Meta,
02:31where we had the opportunity to arrive two days before,
02:34to talk with the guys who were coming from the war,
02:37to exchange ideas
02:39that tell us what is in each one of their lives,
02:42to return to a song,
02:43to be a song,
02:44to be a song,
02:45to be a song,
02:45to be a song,
02:46to be a song,
02:48to be a song,
02:48to be a song.
02:53It is very nice
02:54because every instrument
02:55gives me the opportunity
02:57to access my own different world.
03:01For example,
03:01the piano is a exercise
03:02that I relate to a lot
03:04with the mental health.
03:05by building on it.
03:06start there,
03:07hopefully in harmony,
03:09to be able to work with memories.
03:15That I didn't want to play with these memories,
03:20physical, to charge a little bit of tension, even to connect with my inner rhythm.
03:28And the guitar is a companion, a piece of wood that goes with me to the bottom and to the
03:36bottom,
03:36which is like the key that allows me to connect with other people, with people I've never met,
03:43but they join us with common desires to talk about life, the war, the peace, the well-being, the solidarity.
03:54And that's why, whenever I go, I carry that tool, even as a salvation table.
04:05I have a memory, and it's the day that they kill Luis Carlos Galán.
04:11We were very little, but we had our first band of rock.
04:17We were playing the door, we were playing the door, and a man said to us,
04:22could you reduce the volume to what they are doing, that they just killed Luis Carlos Galán?
04:31Obviously, we closed the instruments, we went to the house,
04:35and my mother said to us, please come, they are asking papers.
04:40But I feel that what we had to do was to do was to do the contrary,
04:43take the instruments to the street and to do it, to play harder.
04:47That I could only again understand years later, but if there is something that I regretted, it was that.
04:54Oh, that's a tremendous question.
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