»“Known for her expressing singing and barefoot dancing, Susana to date, has released eight studio albums and even bagging a Latin Grammy Award under the category of Best Folk Album.”« The Straight Times

Susana Baca

In Spanish, recuperar means to recover the past, to rescue from the ravages of time. It means to shepherd together that which has drifted apart; it also carries the more obvious meaning of recovery, healing, getting better. All of these describe the life and work of Susana Baca.

She was born in the black coastal barrio of Chorrillos, outside Lima, "populated with fisherman and cats," Susana remembers, where the descendants of slaves have lived since the days of the Spanish Empire. She grew up surrounded by music and her mother´s good cooking. Señora Baca taught her daughter what she knew of both. "My father played guitar and my mother showed me my first steps - she was a dancer, not a singer. I listened to the radio and watched Mexican movies, all those great rumba dancers and Cuban musicians like Perez Prado and Beny Moré."

Despite childhood asthma, Susana avidly pursued folk singing and dancing. "Every June 29, there was the Chorrillos festival, with a religious procession for the patron saint. It was very pretty; the townspeople carried the image of Saint Peter onto a boat out to sea to bless the water and the season´s fishing. The next day everyone in town went down to the beach. The old folks played guitar and cajón, everyone sang."

It was at school that her talents were noticed, and as she took an interest in the poets of Peru, she began to see herself as a link in the cultural work of preservation and instruction. She formed an experimental music group combining poetry and song. Through grants from Peru´s Institute of Modern Art and the National Institute of Peruvian Culture, she began performing. At the prestigious international Agua Dulce festival in Lima, she took top honours.

Susana began to attract attention, the most flattering of which was the admiration of the late Chabuca Granda. One of the great figures of Latin American song, composer and singer, Granda was known throughout the Americas for her works in many idioms, but it was only late in her life that she turned her attention to the sounds of Afro-Peru. In Susana she must have seen a worthy successor, and hired her as personal assistant, inviting the young singer into her home. "She was the mother of my singing," Susana recalls. "One of her records she dedicated to me, and it had a lyric, "Don´t forget about me; sing me.""

At Chabuca´s insistence, Susana was given her first opportunity to record professionally in Peru. But the composer´s sudden death in 1983 left all deals off. Susana´s work continued, but it would be years later before any label sought to bring her to a wider audience.

Undaunted, she continued what she has come to see as her life´s work: to study, to document, to recuperate the music of her people. "I proposed to learn the foundations of our past - to know more about the blacks and their grandparents, who my grandparents were as well. I wanted to know that, aside from being good football players and cooks,we were a culture that had contributed to the formation of a nation," she says.

To that end, Susana and her husband Ricardo Pereira have founded the Instituto Negro Continuo("Black Continuum") In Lima. Years of labour have created this facility for the exploration, expression and creation of black Peruvian culture. "It began as a need for a place where young people could experience cultural investigation and music making. Now we have a library, an archive, a performance and dance space."

The artistic growth demonstrated on her debut album have developed concurrently with the institute. "I express myself with the songs and poetry of my people," Susana explains. "I choose songs that speak to me: they´re tender, melancholic, rhythmic and poetic. And a few of them are a little risqué.

"My repertoire is both old and new. It has to be that way. That"s how you mature in life. And how you grow into your culture. I have traditional songs about the life of our grandparents in the countryside, others are more about rhythm and dancing. These are the festejo, the lando, the golpe é tierra. There are songs more tied to city life and more "composed" music: the waltz, the marinera and the zamacueca. Then there are those which in their joy and pain share a diversity of rhythmic and interpretative aims; like Afro-Peruvian culture, they are mixtures of very different forms."

The resilience of Susana Baca´s talent lies in these tensions, ones which have haunted a people for centuries, and continue to rattle like ghosts throughout the history of the Americas. With her gifts of song and dance, Susana lights a way beyond the past, a way into healing. "I never wanted to become a museum for the dead. Interpreting the old and traditional songs in a new way has always been my greatest goal," she says. "This is what unites the old and the new, all that is ours in an unending story."

Luaka Bop has produced two acclaimed albums by Susana Baca " "Susana Baca" (1997) and "Eco de Sombras" (2000). Susana Baca has just completed the recording of her third album for the label, recorded in New York in the week of September 11th and due for release April 15th 2002.