Mercedes Sosa, globally recognized as “the voice of Latin America,” passed away at the age of 74, leaving behind a powerful legacy as a folk music icon and a fervent political activist. Her distinctive alto voice, coupled with her unwavering conviction and warm stage presence, resonated deeply with audiences across the globe for over five decades. Sosa Mercedes was more than just a singer; she was a cultural commentator, fearlessly addressing the social and political upheavals that marked Latin America’s history.
Born in San Miguel de Tucumán, a modest province in Argentina, Mercedes Sosa emerged from a working-class family with French and indigenous Quechuan roots. Her passion for music and dance ignited in childhood. At just 15, Sosa’s talent shone brightly when she won a local radio station’s singing competition. This victory provided her with a valuable two-month contract, propelling her into a professional singing career.
Initially, Sosa Mercedes explored a wide range of popular music. However, it was her marriage to musician Manuel Oscar Matus that steered her towards a significant shift in her musical direction. Together, they became deeply involved in the nueva canción movement in the early 1960s. This movement, mirroring the folk revival in the United States, saw artists like Chile’s Victor Jara and Cuba’s Silvio Rodríguez redefine Latin American folk traditions. They used music to voice the struggles and realities of the South American continent.
Mercedes Sosa and Matus carefully selected nueva canción pieces that highlighted her vocal strengths and message. Songs like Violeta Parra’s “Gracias a la Vida” (Thanks to Life) and Horacio Guarany’s “Si Se Calla el Cantor” (If the Singer Is Silenced) became staples in her repertoire. Sosa’s interpretations of these songs played a crucial role in popularizing the nueva canción movement, connecting with listeners through her profound emotional delivery. By the mid-1960s, Sosa Mercedes had become a prominent figure in Argentina’s music scene. Affectionately known as “La Negra” due to her striking black hair and indigenous heritage, she released influential albums such as “Romance de la Muerte de Juan Lavalle” (Ballad of the Death of Juan Lavalle) and “Mujeres Argentinas” (Argentinian Women), solidifying her unique artistic identity. By the late 1960s, Sosa expanded her musical horizons, drawing inspiration from across Latin America, including indigenous communities, which elevated her to pan-Latin American stardom. After her marriage with Matus ended, he continued his musical journey as a respected solo artist in Argentina.
In the early 1970s, Sosa Mercedes ventured into acting, appearing in “El Santo de la Espada” (The Saint of the Sword), a biographical film about Argentinian independence hero José de San Martín. Her growing popularity led to international tours. Sosa’s leftist political views, clearly expressed in her 1972 album “Hasta la Victoria” (Until Victory), which celebrated workers’ rights, made her particularly welcome in Soviet bloc countries. As an outspoken advocate for the rights of the marginalized, Sosa became known as “the voice of the voiceless ones,” a title that reflected her commitment to social justice. However, her political stances drew unwanted attention when the Argentinian military, led by Jorge Videla, seized power in the coup of March 1976. Initially, censorship targeted only some of her songs, but as Sosa Mercedes gained international recognition as a symbol of freedom, the harassment intensified.
In early 1979, while performing at a concert in La Plata, a university city in Argentina, the military abruptly halted her performance. In a humiliating display, they searched Sosa on stage before arresting her and 350 audience members. International outcry and pressure led to her release after 18 hours, although she was forced to pay a substantial fine. This incident, coupled with escalating death threats, forced Sosa Mercedes into exile in Europe. She resided in Madrid and Paris, finding exile a challenging and isolating experience.
Yearning for her homeland, Sosa Mercedes returned to Argentina in early 1982, despite the military junta remaining in power. Her widespread fame offered a degree of protection, preventing further direct punishment. Her homecoming concerts at the Teatro Colón in Buenos Aires were a resounding success. Featuring guest appearances from renowned Argentinian artists, these performances were a powerful symbol of her return and were warmly embraced by the nation. A live recording of these emotional concerts was released after the fall of the junta, further cementing her place in the hearts of Argentinians. Sosa Mercedes continued her global tours, including multiple performances in the UK, and continued recording music. Her international acclaim grew, leading to collaborations with diverse artists like Luciano Pavarotti, Sting, and Shakira. Over her illustrious career spanning nearly six decades, she released an impressive 70 albums. Her achievements were recognized with three Latin Grammy Awards and numerous honorary titles, including the UN Voluntary Fund for Women (Unifem) prize from the United Nations, acknowledging her unwavering advocacy for women’s rights. Even in later years, Sosa remained politically engaged, publicly opposing Carlos Menem during his presidency of Argentina.
Reflecting on her life’s path, Mercedes Sosa once stated in an Argentinian television interview, “I didn’t choose to sing for people, life chose me to sing.” Having struggled with weight issues for many years, Sosa’s health began to decline. She was hospitalized two weeks prior to her death due to liver problems, followed by progressive kidney failure and cardiac arrest.
Mercedes Sosa is survived by her son, Fabián, and an enduring musical legacy that continues to inspire and move people worldwide. Her voice, synonymous with Latin American identity and struggle, will forever resonate as a symbol of hope and resistance.
