Ángela Forero-Aponte

If not every body matters, will we be able to attain peace? This was the question raised when Paola Uparela (assistant professor of Hispanic Literature), Maria Victoria Uribe (anthropologist and historian), and Juan Pablo Aranguren (psychologist) got together in FILBo 2025. 

What became very clear in an intense panel is that not every body matters in every context. This is particularly true in the armed conflict in Colombia, where, despite the many known atrocities, there are still more we have yet to hear of. There are too many cases where people, and their bodies, are neither respected nor dignified.

Maria Victoria Uribe has done extensive research on the harm inflicted on bodies and how it is part of war. Aranguren wrote Las Inscripciones de la Guerra en el Cuerpo de los Jóvenes Excombatientes, among many other publications; Uparela is a specialist in Colonial and Transatlantic Latin American cultural studies, gender, sexuality, and queer studies at the University of Florida.

Professor Uribe began by asking what the definition of peace is. “We all talk about peace,” she said, but “how do we define it?” Peace is not necessarily a concept; it is a desire – one that she points out is not universal.

Peace to people in Gaza might mean no more bombardments; the idea of peace for a Buddhist monk in Thailand may be something completely different. Peace is a desire, and when we talk about peace, we need to consider our understanding of the word. 

Professor Aranguren says we probably, wrongly, understand peace as the passage into a calm state after the war. But in the Colombian context, we need to consider the way war wounds and marks. The challenge when talking about peace is to analyse how war has been imbued in our daily lives.

We need to think about how war has been incorporated into a country with a long history of conflict. It isn’t only imprinted on those directly involved – whether victim or combatant — but also on those of us who are “comfortably” seated on a chair as mere spectators.

Professor Uparela says it is important to realize how the Spanish conquest of Latin America should not only be analysed from the context of the conquering of the territories, but from the conquest of those territories through the bodies. That encompasses the way conquerors rule, evangelize, and rape bodies.

It is also important to analyse the way written tools are used to own said bodies. A clear example is how the inhabitants of conquered regions were considered human only if they allowed evangelization; otherwise, they would automatically be considered savages, cannibals, and thus prone to slavery.

The experts talk about known and unknown cases where bodies have not mattered, and how this exposes why precisely they are used to strip others of their dignity. The most recent case, that of trans woman Sara Millerey, who was kidnapped and tortured, her body exposed on a river, and also filmed.

Tatiana Duplat, moderator of this talk, says people would rather film Sara than aid her. “What happens in an urban context, where there is – supposedly – peace? How was this body, her body, not treated with dignity, the dignity other bodies with power have?” asks Duplat.

Professor Uribe says she has hundreds, if not thousands, of examples. She talked about a 16-year-old in Neiva, a young man who worked in the centre of the city as a living statue. He was well-known by the inhabitants of Neiva, but he was captured by a group of men one day.

A few days later, his grandma, who had filed a missing person’s report, was told his body had been found. She wanted answers, and she was told he was a war casualty and that he was associated with a FARC front near San Agustín. 

His grandmother would not accept this – only a few days before, he had been doing his usual living statue work. Uribe says this is an all-too-common rationale soldiers in Colombia give for these deaths. This grandma’s claim is, surely, archived somewhere where nobody remembers this young man.

Uribe’s reflection: “The body of this young man, a young man who coincidentally worked with his body, was not dignified because of his being poor and anonymous. His grandma would not take it, and filed the report anyway.”

The panel presented a number of other unknown cases in detail, some of them cases of torture. In this last portion of the debate, the discussion revolved around the ins and outs of sharing these cases with the public.

Professor Aranguren ponders whether showing images such as Sara Millerey’s is necessary for people to know what happened to her body. Because posting the video also causes more suffering. Images are important to document violence  and collect evidence, but sometimes sharing those images can perpetuate more violence.

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Medellín has been named the third best city in the world for food in TimeOut Magazine’s global ranking for 2025.

The list of 20 cities was based on a survey of locals as well as expert opinions. Medellín came behind Bangkok, at number two, and New Orleans in first place. 

The recognition has been well received by local restaurateurs who believe it will boost the city’s global reputation.  

To compile its ranking, TimeOut magazine surveyed thousands of people, asking them to respond to eighteen criteria about the food in their hometowns, including affordability and quality.

On top of the survey results, TimeOut food experts were asked to score the cities based on what they believe to be the most exciting cities for food in the world right now. 

The article described Medellín as a city with good food “at any price point.” It mentioned traditional food markets like La Placita de Flórez and more upscale spots in the smart El Poblado neighborhood like Mar y Fuego.

The Bogotá Post spoke to Sergio Echeverry, Creative Chef and co-founder of Mar y Fuego, a restaurant which was praised for its ceviches and Colombian fusion cuisine.

He believes Medellín’s food is unique due to its blend of tradition and global influences, making it both “diverse and modern.”

But according to Echeverry, it also has another element that makes it unique: the service.

“Medellín is a city characterized by the warmth of its people, which is reflected in the service and ambience in restaurants, creating unique experiences,” said the chef.

Echeverry explained that Medellín’s culinary scene has changed considerably in recent years.

“In the last five years, Medellín has undergone an important transformation in gastronomic terms. The city has experienced big growth in the variety and quality of the food available,” said the chef.

He credited this evolution to the surge of young chefs experimenting with indigenous ingredients and developing original menus.

Echeverry also noted that Medellín’s food scene has contributed to its popularity among visitors from abroad.

“The city has also attracted many foreign gastronomic tourists who want to have an authentic experience in a modern and vibrant atmosphere,” said the chef. 

Colombia as a whole has been increasingly recognized for its culinary scene in recent years. 

In the most recent ‘50 Best’ list of Latin American restaurants, two of the top ten were in Colombia – El Chato, at number three, and Leo, at number ten. 

But notably, of the four restaurants on the list, all of them were in Bogotá, which did not make TimeOut’s ranking.

The magazine says that it only includes “the highest-scoring city for each country to ensure the list reflects culinary cities globally.”

For restauranteurs in Medellín, inclusion in the list is already having an impact. 

“Since the article was published, we have noted an interest in finding out more about our restaurant,” said Echeverry.

He also believes the ranking will further boost Medellín’s culinary scene.

“These types of mentions help to position Medellín as a global gastronomic destination, which also opens doors for more people from around the world to discover what the city has to offer,” said the chef.

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Recent years have seen football championships, international summits and election fever in Colombia. 2025 has none of that sort of event to provide a natural hook for the year to pivot around. However, there’s no shortage of things going on in the country. 2024 certainly had plenty going on.

Critically, 2026 has the possibility to be huge. There will be one of the most important elections in recent history next year to determine who succeeds Gustavo Petro as Colombian president, a World Cup in which la sele could well shine and much more besides.

Some of the preparation for that will bleed into this year, especially towards the end of 2025 in Colombia. In many ways much of what happens this year will end up affecting the following year and that opens up space for unexpected occurrences – something Colombia specialises in.

So, it’s an odd year that has ‘transition’ written all over it. But Colombia has a habit of springing surprises. With little on the agenda in the way of big events, it’s a hard year to call. Be sure to come back in a few months time and tell us how we got it all wrong.

Political manoeuvres in the dark

This is president Gustavo Petro’s final full year in power. Due to term limits in the Colombian system, the final six months of an administration often ends up as somewhat of a lame duck affair. If Petro can’t get something through before Christmas, it’s likely never happening.

More pertinently, he has to get a budget approved and that’s not going to be easy. He wants a tax reform, and those haven’t been easy to get through in recent years. Few people like paying tax at the best of times and in a cost of living crisis even less so.

Towards the end of the year, the riders and runners for the 2026 elections will become clearer as candidates jockey for position. There are a few hats in the ring already, but more will come thick and fast around autumn time. For a country that has never had a female head of state, there are a few intriguing names bouncing around.

It’s common for candidates to represent a range of parties, which involves a sort of primary process. Those usually take place in December or early January, meaning campaigns will be in full flow well before year end. 

Former Bogotá mayor Claudia López has expressed interest in running for the big office, as most ex-mayors do. The current mayor’s brother, Juan Manuel Galán also appears to be in the mix. Peñalosa might have another go and Fajardo probably isn’t done yet.

Vice president Francia Márquez may take a tilt, although she’s had a rough time as VP. Gustavo Petro’s wife Verónica Alcocer’s name has been mentioned, but that’s starting to die down a bit now as she has taken a back seat in recent months. Gustavo Bolívar recently finished third in a two horse race for the mayorship of Bogotá, but that hasn’t daunted him. 

Luis Gilberto Murillo resigned as canciller recently, which almost certainly means he’s going to enter the race. A highly able politician, he has generally done a good job on foreign affairs in the shadow of Petro and was seen as a safe pair of hands. His replacement is the precocious Laura Sanabria, continuing her ascent through Colombian politics.

From the right, things are far less clear. The definite candidate so far is Vicky Dávila, editor of Semana. She seems to enjoy the support of Uribe, though is not an established political figure with a base and electoral machine. There’s often been talk of Maria Fernanda Cabal running, but it’s one of the few subjects she remains tight-lipped about.

Can Petro secure a legacy?

Quite apart from the start of the presidential election cycle will be the question of Petro’s legacy. He came into power promising much but has so far delivered little. The pressure is on this year to get something big passed – not only for his pride but also the success of leftist candidates to succeed him. He’s going to try health reform again, but that was effectively sunk last year.

It’s not clear what is achievable. Various bills he has proposed have run into holdups within the Senate and he seems unwilling and/or unable to negotiate or compromise in order to get them passed. With time running out, he may break the habit of a lifetime and bend.

On the international stage, there are likely to be further tensions with the Maduro regime in Venezuela. Ex presidents of Colombia Iván Duque and Álvaro Uribe have called for action after last year’s election, leading Caracas to respond angrily. Petro remains cautiously friendly but that doesn’t seem to get him anywhere.

Of course, the return of Trump has already blown apart US-Colombia relations, with a well-publicised spat between the two presidents that ended up with no real change in deportations and plenty of anti-Colombian feeling in the new administration. 

In the end, both sides claimed victory, one more convincingly than the other and the threat of sanctions remains. On top of that, hundreds of visa processes were affected, aid will likely be cut and military operations and collaboration are in tatters. There’s a lot of work on to restore good feelings and it’ll likely take the whole year or more.

Germany is currently reconsidering visa-free access for Colombians, following a spike in asylum claims in the country. That follows the UK, which abruptly revoked visa-free access for Colombians for the same reason last year.

Peace sells, but who’s buying?

The various peace processes are in serious risk of collapse this year, most notably with the ELN. After recent clashes, Petro’s gone as far as to declare a state of emergency in Catatumbo and thousands of people are fleeing the zone.

That’s unlikely to end quickly and even if it does, the effects will linger far longer. All those displaced people will have to rebuild their lives whether they decide to go back or not, extra taxes have been announced to support the effort and of course distrust on both sides will remain.

None of the other processes have gone well, with armed groups on the northern coast making no real progress and FARC dissidents running rings round the state negotiators. It’s been years now of broken promises and wasted time and there’s not much to suggest any of that changing in the short term.

However, there’s plenty of incentive to get things done, and it’s not unusual for acuerdos to come seemingly from thin air. The aforementioned political jockeying may focus a few minds and get people to a deal. After all, Petro is by far the most receptive president any of these groups are likely to deal with.

Local issues

Despite the beautiful sunny days, Bogotá life is a bit of a grind for many at the moment. Crime remains stubbornly high, the Metro works are making it harder to get around the city and water cuts are continuing. Mayor Galán had an OK first year, but has few big achievements to point at. This year he could do with a big win. 

Crime has been top of bogotanos’ concerns for a long while but the numbers remain stubbornly high. Few people believe the official figures, especially as homicides are up – now higher per capita than Medellín. This is one of those things that can burn slowly and suddenly explode – hopefully not this year. 

Trash, too, has been an ongoing problem since both Petro (then mayor) and Peñalosa encountered troubles with the system. Since then it’s been mainly ignored, but rats and other vermin are all over the city again now. With hot, dry day now the norm, this is in danger of becoming the new normal. 

Metro works are now in full flow ahead of the projected 2028 finish date. Closures of key Transmilenio stations are part of this process as many metro stations will be built above extant Transmi stations. That means you can expect even more disruption among the Caracas, both for public transportation and private cars.

There will certainly be a lot more noise about water, at least in the initial months. La Niña barely arrived last year and finished early. With limited rainfall well into the traditionally dry months of January and February, a lot hangs on the springtime rainy season. Until then, water rationing will continue and may intensify.

Although few are predicting a repeat of last year’s forest fires, that’s certainly far from impossible. Most of the same conditions are in place – extended dry weather, high daytime temperatures and careless people are all in abundance once again.

Worryingly, Petro’s on the warpath again. He spent a lot of time arguing with Claudia López, but has until now left Galán’s administration alone. Now though, he’s threatening to pull funding for the capital again, citing budget problems. Whether he’ll go through with it is unclear, but that won’t help matters.

That’s Entertainment

As ever, there’s a feast of capital entertainment in the months ahead. After the roaring success of last year’s event, Festival Estéreo Picnic will be out to solidify itself in the heart of the capital. Later in the year, Cordillera will fulfil a similar brief. Then there’s the various al Parques and plenty of big gigs coming to town.

Festival Estéreo Picnic has a strong lineup and is head and shoulders above the rest of the Bogotá entertainment offerings. Even if the eclectic selection of Tool and Timberlake, Rodrigo and Morissette are not your cup of tea, there’s cracking local talent early doors.

For one off gigs, Shakira is playing Campín in February which will be huge. Also in springtime is posh Geordie Sting and The Offspring, who absolutely levelled Estéreo Picnic last year. Armenian-American metal legends System Of A Down arrive in April and for heavy fans there’s also the Linkin Park tour.

Smaller (musically, although Kylie is coming too) acts you might want to check out include Colombian songstress Juliana, Basque punk polymath Fermin Muguruza and Valeria Castro. Latin legends abound, from Enrique Bunbury to Molotov via Grupo Niche and more. 

A sporting chance

This will be a fairly quiet year in sporting terms, it seems, with few big events in the calendar. There are no Olympics or World Cups to look forward to. Locally, the developing Tour Colombia has been cancelled and doesn’t currently look likely to return. The Copa América Femenina takes place in Ecuador and althouth the women’s game get less fanfare, they deliver results.

With seven out of 10 teams qualifying for the 2026 men’s World Cup, there’s little jeopardy for the impressive Colombian men’s team. However, they have a strong chance of getting a top seed if they continue to do well in the FIFA rankings. They’re currently 12th and both Uruguay and Germany are eminently catchable.

The women’s team, however, get the chance to go one better than last time and claim a first ever Copa América Femenina. Led by precociously talented wonderkid Linda Caicedo, las superpoderosas manage to punch above their weight with limited funding. That means a fighting chance of a glorious return from Ecuador, so keep an eye on them.

One thing that won’t be continuing in the capital is the Falcao-Millos love affair. While his time living the dream with los embajadores was relatively fruitful, he won’t be returning this year in a dispute over wages. 

It seems like a lifetime ago that we were talking of a golden age for Colombian cycling, and it’s entirely possible that there could be small reasons to celebrate in the summer. The likes of Quintana and Chaves are older now but could take a stage somewhere, whereas Dani Martínez shone last year and all eyes are on Egan Bernal’s comeback trail.

A year of waiting, or time for a surprise?

While it does seem like the sort of year that’s not going to go anywhere, there’s so many plates spinning in so many areas that it’s entirely possible something will arrive without warning. The trickier part is working out what that will be.

Obviously, it would be good for a breakthrough to come in one or more of the various peace talks, but that seems like one of the longer shots at this moment in time. The chance of Petro getting something substantive through parliament is also fairly unlikely.

There’s a better chance of heavy rains in April-May which could get the reservoirs full again and see the end of rationing. However, that’s still a way away and the signs in January haven’t been encouraging at all.

So in the end there’s always the chance that things will come out of left-field, much as the Petro-Trump spat did. More upheaval in foreign affairs is distinctly possible, and closer to home displeasure at general conditions and cost of living mean there’s the chance of civil unrest in the cities breaking out over some triggering event.

One thing is for sure: Colombia in 2025 is unlikely to be uneventful even if it doesn’t end up being a historic year. As ever, the country retains the ability to spring surprises and the news cycle will continue to run at a breakneck pace. Let’s hope it’s eventful in a good way.

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The lineup for Festival Estéreo Picnic 2025 (March 27-30) has been announced and tickets are already on sale here. They start from COP$500k for a single day, with four day passes starting at COP$1.8m and going up to COP$3.7m for full VIP. Prices will rise closer to the event.

As usual, the festival is a genre-spanning and eclectic mix of names, from maverick metalheads to Disney stars from different generations and pretty much everything else you could imagine in between. Festival Estéreo Picnic 2025 caters for every musical taste.

The 2024 edition took place in late March and was a roaring success. For the first time, the country’s most important musical event came to the heart of Bogotá. That was a game-changing moment for both the city and the festival.

If you’re in Bogotá around late March 2025, put this in your diary – and if you’re not, it makes a good reason to visit the city. It’s an incredibly well-run festival that attracts the beautiful people and the in crowd. While the headliners might be famous names, there’s a lot of gems hidden further down the schedule. You’ll find new favourites on the bill and have a hell of a time while you do so.

Colombia has a rich musical heritage with much to celebrate from the past, but what’s often overlooked is the creativity and dynamism of the current scene. While traditional music is still popular, Colombia has leading lights in techno, rock, hip hop and rap as well. These are often highly idiosyncratic and fiercely local scenes, putting their own spin on their genre. 

The sad decline of Rock al Parque post pandemic means that Festival Estéreo Picnic 2025 will be by far the biggest deal in the musical calendar next year, with only the (also excellent) Festival Cordillera providing any sort of competition.

Whether you’re going for a single day to see a specific artist or digging in for four freaky days of hedonism, it’s going to deliver. And now it’s in the centre of town, almost all the logistical problems have been knocked on the head.

It’s hardly a secret that Colombians know how to party – and Festival Estéreo Picnic 2025 will be testament to that. Thursday is usually a fairly chill day, but with a hardcore of cool kids staying late, whereas Friday sees those same kids really tear it into the wee hours. Saturday and Sunday attract much bigger and more mainstream parties.

Things start slowly, with plenty of opportunity to get right to the front for bands up until sundown or a little later. From there, it gets more hectic until the big performers finish up around midnight. Then, the tents and smaller stages are the places to be – drag acts, burlesque, DJs and surprise acts will keep you buzzing until sunrise. Or find a tree to mong out under.

Leading local lads/ladies

While the big name headliners shift a lot of tickets, the festival plays a key role in giving local acts a valuable platform to build their careers. Sadly, they often play to small crowds as bogotanos drag their heels in arriving to the parque but music lovers will find plenty of interesting sounds in the mid-afternoon.

Armenia are a criminally under-appreciated rock group that are worth arriving early for on Thursday. They have a solid local following, so it should be a good atmosphere. In a similar vein on Saturday are LosPetitFellas, another band that absolutely nail life in la nevera.

Arde Bogotá have a bombastic sound that suits the biggest of stages, even if it’s early day emptiness. Balthvus are funky and chill – perfect if they’re on in a blazing afternoon sun. Similar vibes too, from Oh’LaVille and Juliana Quedate Otro Día. 

More urban vibes come from the other side of the Magdalena with paisas Julianna and Granuja. Then there’s Motherflowers’ tropicalia, who we’re counting as local, although they hail originally from Venezuela. From Cali comes trap heavyweight Pirlo.

Lunalé has a delightfully light voice that floats on stripped-down melodies, as does Gabriela Ponce. We’ve nothing but love for the strength of both Briela Ojeda’s voice and lyrics – she’s performing with La Muchacha under the name Las Mijas and is not to be missed while Ela Taubert is a more traditional soft-rock balladeer.

A very different Ela, Ms Minus is an ethereal techno pixie who absolutely ripped her stage apart in 2022 – expect her to do the same again. Melov are less abrasive minimal techno if you’re on a comedown. 

Funk Tribu has completely transcended the local scene and is a global superstar, but he’ll get a rapturous homecoming so we’re counting him here. The same goes for Noise Mafia – another Colombian making waves internationally.

Traditional music isn’t to be sidelined either – Bogotá based cumbia fiend Felipe Orjuela is performing with Gato e’Monte on Friday and his own project the following day. Pacific music is Colombia’s most vibrant and interesting right now, so check out De Mar y Río to hear a whirlwind with wickedly wonderful woodwind.

The headline acts at Festival Estéreo Picnic 2025

Kicking things off on Thursday are irony enthusiast Alanis Morissette and Shawn Mendes for a day best described as eclectic. Foster The People are a little further down the bill, along with PabloPablo from Madrid. Moustachioed maestro Benson Boone makes it a good day for singer-songwriters.

Of course, the Estéreo Picnic party really gets started on Friday, which this year is when the rockers come to town. Alt-metal legends Tool share top billing with, errr, Justin Timberlake. Incubus and your old new favourite band The Hives are more heavyweight support, with techno pioneer Richie Hawtin providing the party music for later. 

The weekend proper sees things go more grab-bag mainstream with The Black Keys headlining on Saturday for rock fans. Nathy Peluso will keep Latin b-boys and girls happy and there’s plenty of interesting electronica in the shape of Justice and Charlotte de Witte. Wrapping things up is the eccentric St Vincent. Also playing are the Hermanos Gutiérrez, from (checks notes) Switzerland.

Closing things out on Sunday is Olivia Rodrigo, alongside Aussies Rüfüs Du Sol touring new album Inhale/Exhale. Chilean chartreuse Mon LaFerte always goes down well in Bogotá, and the relentlessly upbeat Cariño from Spain are worth a watch. Dublin’s finest Fontaines D.C. will be great. Then of course, there are the herds that will surely flock to Caribou.

With such an array of talent, this really is not a festival to miss. You might be able to catch some of the big foreign names elsewhere, but there’s so much on the bill that you won’t easily be able to see outside Colombia. Plus, it’s easy to get home now.

Festival Estéreo Picnic 2025 runs from March 27-30 in Parque Simón Bolívar, Bogotá. Tickets range wildly in price from COP$500,000 to COP$3,700,000 depending on access and days.

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Most of us tend to take an interest in art, but how many of us can say we go out of our way to see it? Perhaps that’s because a lot of contemporary art tends to be hidden away in little boutique galleries, nestled discreetly in chic barrios and hardly ever advertised to the average person. High-tier art may often elude us in everyday life, but that could change this weekend in Bogotá. 

This edition of ARTBO marks the twenty-year celebration of the city’s international art fair. Over the past two decades, ARTBO has consolidated itself as the central axis of Bogotá’s art circuit, giving Latin American artists the opportunity to take their place on the global art stage.

ARTBO offers an antidote to the sometimes elitist and elusive nature of fine art by opening works to the public in one central location, away from the obscurity of high-end galleries. This year it centres around themes of the body, memory, daily life, the environmental crisis, and the intersection of art, science and technology. Such a broad scope means there’s sure to be something for all tastes. 

In a similar spirit, ARTBO offers a space to established and emerging artists alike. It features diverse artists and curators from some of the most exclusive galleries worldwide, from Panama to New York City. ARTBO allows top-quality contemporary art to exit the exclusive and enter the quotidian for just one weekend. This makes it the perfect plan this weekend, whether you’re a seasoned art lover, or simply art-curious. With the showcase featuring over 200 artists from 120 institutions, we are spoiled for choice.

Our top picks for ARTBO 2024

Gallery 193, Ágora, fifth floor, stand 521

This Paris-based gallery focuses on amplifying emerging artists from the global south. Gallery 193 offers the perfect portal outside of the familiar, featuring artists such as Kenyan Thandiwe Muriu whose work is also currently being shown at the Venice Biennale. 

Galería El Museo, fifth floor, Ágora stand 526

The gallery that has represented renowned artists such as Fernando Botero offers a glance at some of the greats of Colombian art. Showcased here will be the winner of the Botero prize, Marco Mojica and acclaimed painter, Gabriel Silva. Silva has inspired countless emerging Colombian artists through his work as a professor at the prestigious Javeriana University. Silva’s paintings can also be found in the Museo de Arte Moderno, Bogotá. Silva’s work in the classroom and the studio is representative of ARTBO’s role in giving a platform to the entire spectrum of Colombian artists. Both he and his students have been featured in previous editions of ARTBO.

Homage to David Manzur, Ágora first floor

This year will include an homage to the iconic David Manzur, whose seventy-year career has left an indelible mark on Colombian art and artists alike. Manzur, now in his 95th year, has spawned a generation of Colombian artists through his iconic academy Taller de David Manzur. The exhibition is set to honor the legacy of his work while inspiring the next generation of artists, a monument to artistic greatness in Colombia and a catalyst for its future. 

Artecámara, Ágora third floor

One thing that sets ARTBO apart from the traditional art fair setting is its Artecámara section. This offers a platform for lesser-known artists without gallery representation. The exhibition titled Una moneda al aire is curated by Ximena Gama, the curator of the Colombian National Library. The section includes 30 artists, whose work responds to questions about the uncertainty of the present, through revision of the past.  Among the artists featured will be Andrés Quintero, with his project “Oxigenos Boyaca”. Quintero’s work will transport us temporarily to the mountains of Boyaca in his exploration of campesino traditions and wool production through stunning videography.

Encuentros, Ágora third floor, Salon M

Contemporary art can often be abstract and leave one a little puzzled. But ARTBO’s Encuentros section will feature discussions between curators, museum directors and collectors. This lets us take a peep behind the curtain of art curation, taking the mystery out of the art world and giving us an understanding of the thought processes behind such elaborate collections. Curated by Benedicta Badía, member of the committee for acquisitions of the Latin American circle at the Guggenheim museum, the section will address diverse topics from the question of validity in the art market to tokenism and exoticism in diaspora art.

How to enjoy ARTBO 2024

ARTBO will take place in the Ágora Bogotá, Calle 24 #38-47, from September 26-29. 

• Opening hours: Noon to 8pm (Thurs to Sat). Noon to 7pm (Sunday)
• Tickets: General: COP$40,000. Student tickets: COP$20,000. Children under 12 go free.
  (Affiliates of Cámara de Comercio de Bogotá: COP$30,000, clients of Banco Bogotá: COP$36,000.)

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Colombian-Canadian company Girovago doesn’t fit in any performative boxes. Though given their flair for circus, the group would probably jump out of – and perform on top of – any box we tried to put them into. With a mix of Afro-Colombian beats, Balkan tunes, circus and dance, BARKA’s audiences are in for a treat.

As a group, it’s Girovago’s first time in Colombia. But two of its members, Carmen Ruiz and Sebastián Mejía, are originally from Cali. Carmen took some time to talk to us before their trip. She said the group is excited about coming to Colombia and looking forward to sharing their art with as many people as possible.

“Me and Sebastián, we are both from Colombia,” she said. “We’ve been immigrants in Canada for over two decades and we have also travelled, sharing our dance and our music for many, many, many years. And that’s what inspired at first this creation.”

“When we started doing Gypsy Kumbia Orchestra, we were reflecting a lot about our nomadic way of life and how that changes and changed the communities that we visited,” says Ruiz. Those reflections sparked ideas around roots, nomadic ways, and mixing influences from all over the world. “We created Gypsy Kumbia Orchestra, which has always been an orchestra that mixes not just different music styles but also different art forms like dance and circus and theatrical staging. Performances that always bring in the participation of the audience.”

“We want to share our peace that brings joy and hope to this country that needs it so much,” she says. “And to learn from this experience, from the people, from their own paths in life.” 

The themes of travel and staying afloat are central to BARKA’s evolution. “That’s how we imagined BARKA,” she explains. “A BARKA that is travelling and bringing people from all over – together in one space. And how, collectively, we can possibly make sure that we stay on top of the water and not under the water. And that we come together as people, regardless of the storms that we might face in our lives.”

Don’t miss Girovago’s BARKA in Bogotá:

• 1 September, 3pm in Teatro El Ensueño: Tickets are available from tuboleta at COP$38,850 or COP$49,950. Tv 70 D # 60 – 90 sur.
• 4 September, 7pm in Teatro Jorge Eliécer Gaitán: Free open-air performance. Carrera 7 No. 22 – 47.
• 5 September, 8.30pm in Galería Café Libro del Parque de la 93: Tickets are available from their website at COP$50.000. Carrera 11 A # 93 – 42

BARKA: Art in movement

The group will perform in several Bogotá venues between September 1 and 5. They’ll also run dance, music, and circus workshops in Ciudad Bolívar with the Teatro El Ensueño. The group wants to inspire social change through performing arts, and the workshops and shows are one way they can do that.

“In this trip particularly we are engaging with the circus community of Ciudad Bolívar. It’s a vibrant community that we are very much looking forward to meeting and to exchange with them our experience and our knowledge,” said Ruiz. She explained that one of IDARTES’ goals in making the invitation was to bring some of the expertise in circus arts that Montreal is known for to the Colombian capital. 

The show will be an energetic spectacle that layers music upon dance upon circus performances. The group of 11 Canadian and Colombian artists have extensive experience in all three, and they’ll use their skills to take you on an extraordinary and possibly chaotic boat journey. 

Workshops are not the only way Girovago hopes to inspire change. As Carmen puts it, “Our core mojo is art in movement.” The idea is that the shows themselves will build a sense of possibility, of community – because movement itself is a powerful force. 

“We want to create art that makes people dance, first of all when they come to see our shows and in that way they experience movement and they experience joy. And they experience the beauty and the power of their own personal in-body experience,” Carmen tells me.

“When we are moving we are creating, we are making things differently, and that’s what we are hoping for,” she continues. “That we realise the challenges of our times, but that the challenge doesn’t paralyse us. On the contrary, it makes us keep this inspiration of moving towards new possibilities, to still creating and doing as we do a dance, with lightness, with joy, with open hearts and open bodies to live a better life together.”

There will still be time for arepas

The group will have a lot to fit in during their time in the Colombian capital. Even so, I was keen to know what Colombian food Carmen and Sebastián wanted to share with their crew. Carmen explained that Montreal is packed with culinary wonders from many cultures. Still, she says, “There is definitely something very different when you are tasting the food in the original place and tasting it charged with the experience of the surroundings.”

“So I’m looking forward to share arepas, empanadas, and just any food we can find in places, made by the people of Colombia,” she tells me. “And we are hoping to engage also with the people who are around us – sharing food and sharing the experience of being back in our country.”

Don’t miss the opportunity to see Girovago live when they are in Bogotá. You’ll need to buy tickets for the Teatro El Ensueño and Galería Café Libro shows, but the open-air performance at the Teatro Jorge Eliécer Gaitán is free. 

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Next week, the annual Petronio Álvarez festival will return to Cali, celebrating Colombia’s Pacific culture through food, drink, fashion and – most of all – music. Now in its 28th year, it is a huge celebration of Afro Colombian culture. 

The 2024 Festival Petronio Álvarez will run from August 14 to 19, in the Unidad Deportiva Alberto Galindo. The sports complex is expected to welcome over 500,000 people to listen to more than 1,200 artists. 

This year, 47 groups will be competing in the following categories: Marimba and traditional song, caucano violin, chirimía flutes, chirimía clarinets, and free style. The musicians come from Buenaventura, Guapi, Cali, Bogotá, Quibdó, Puerto Tejada, Tumaco, and Esmeraldas in Ecuador.

The history of Petronio Álvarez

Petronio Álvarez was a key figure in Pacific folk music, particularly for the song “Mi Buenaventura,” but he never received recognition in his lifetime. Putting the festival in his name is a way of honouring him and other artists who racism had all but written out of history. 

Colombia Visible says he was one of the greatest musicians and promoters of the music and folklore of the Colombian Pacific. So much so that he was known as the King of Currulao. The poet and composer never studied formally but spent much of his life traveling the Pacific coast and making music. He died in 1966, aged 52, from bone cancer. 

The first edition of the festival took place in 1997 and has grown exponentially since then, moving to its current location in 2012 after it grew too big for the previous venues. In addition to the music competition, there’s a strong educational element, with workshops for young people. 

Petronio Álvarez 2024: What to expect

Festival Petronio Álvarez 2024 will feature an incredible lineup of big names. Stage times haven’t been announced yet. But watch out for Nidia Góngora, Herencia de Timbiquí, Grupo Socavón, Grupo Saboreo, and more. There will also be some international guests such as Síntesis from Cuba and Didá from Brazil.

There will be music on all the stages throughout the day. Petronio is a competition, and the groups of musicians will be competing in several categories. The most powerful performances will happen towards the end of the night, so it’s better to arrive around lunch time (or mid afternoon) and be ready to stay until the end. Make time to wander around – there will be plenty of other things to see, including a Pacific fashion show.

Don’t miss the food

When you arrive at the festival, you’ll find lines of craft stands, a hall dedicated to Pacific food, and another space featuring viche. Organisers say there will be over 150 stands in total. Food-wise, you will find every possible combination of fish, shellfish, coconut, plantain, rice, and more. 

When it’s quiet, talk to the stall owners about their dishes. If you don’t know much about food from the Pacific region, you are in for a treat. The easiest way to find the best bites is to look for the stalls with the biggest queues. If you are feeling adventurous, look for pianguas – a type of clam or cockle. 

Look out for:

• Stews, especially with seafood and coconut, in the form of cazuela, sancocho, and sudado.
• Atollados, a stewed rice dish with meat, fish, and vegetables from the Valle del Cauca.
• Papas rellenas, balls of mashed potatoes stuffed with fish or meat and deep fried.
• Encocados, essentially various things cooked in coconut cream.

Celebrate viche

You can’t take two steps in Petronio without encountering viche. It’s brewed from sugar cane and a mix of herbs. If the labels are to be believed, it can cure all kinds of illnesses. Particularly sexual ailments. Many of the drinks also boast aphrodisiacal properties. Commercial viche used to be illegal, but that has changed and in recent years the spirit has become a lot more mainstream. There’s even a viche cocktail bar in Bogotá.

I am no expert. Like the food, the best way to learn about viche is to talk to the stall owners and taste the different types. Here are a couple of types you will find:

• Tomaseca, a slightly sweeter viche flavoured with cloves.
• Arrechón, this is made with condensed milk. Kind of like a creamy viche Baileys.
• Viche curao, which is usually packed with herbs and has a slightly bitter taste.
• ​​Pipilongo, brewed with a peppery spice called pipilongo.

Are Harry and Megan really going to be there?

Apparently so. It’s a strange choice of international invitee, given this is an Afro-Colombian festival. According to El Tiempo, they will be in Cali for one day to visit the festival and some other social initiatives. But thankfully the stars of the show won’t be the estranged royals. It won’t even be Francia Márquez, though she was pretty inspiring last year. This is about celebrating and appreciating the culture of communities in Colombia who are often sidelined and maligned. 

This year, local authorities in Cali also want to put an eco spin on the event. With COP16 around the corner, organisers say there will be a focus on recycling, sustainable fashion, and environmental preservation. 

What about the remates?

In previous years, I have been to the remates – kind of like an after party – where residents of predominantly Afro-Colombian neighbourhoods open their houses and play music through the night. It is an experience I will treasure. Part of the spirit of Petronio is passing the music down through the generations. That happens away from the main stage when the old folk make music with youngsters and everyone in between. 

Sadly, in some ways the remates have been the victim of Petronio’s success. Last year thousands of people – both tourists and locals – crammed into the alleyways between the houses. There were too many people. Lisandro Vallecilla Riascos, a musician and social leader, was killed in an altercation. Another man also died. If you want to go to a remate, be aware of where you are. And be prepared to leave if the streets are overcrowded. 

Festival do’s and don’ts

If you are visiting Petronio for the first time, this isn’t a music festival like, say, Festival Estereo Picnic or Lollapalooza. It is special in a whole different way. The Colombian Pacific is one of the most culturally diverse musical regions in the country, both maintaining tradition at Petronio and forging new paths with bands such as ChocQuibTown and Afro Legends.

Do

• Drink and share viche. Once you have a bottle, offer it to the people you meet. 
• Go hungry. That way you can try several different dishes and snacks. 
• Dance and join in. Get a white handkerchief from one of the many sellers and wave it along with the rest of the crowd.

Don’t 

• Get drunk. The viche will be flowing at the festival, but you won’t see a lot of drunkenness. 
• Forget sunscreen and water. It will be hot and you’ll need to stay hydrated if you want to last to the final acts.
• Forget to take cash. There aren’t any ATMs near the stadium and few places will take cards. 

As a foreigner, I am conscious of the fine line between appreciating different cultural traditions and invading or taking over. Petronio is my favourite festival in Colombia and one I’d recommend to anyone. Embrace the music. Talk to people and learn about an often overshadowed part of Colombian culture. Curiosity is often what keeps us on the right side of the line.

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La Vorágine is hated by many a Colombian, not because of its lack of merit, but because it was forced on people through the school curriculum. That’s not a fair end for this cornerstone of Colombian literature, which is still relevant today.

It is 100 years since this classic was first published, and FILBo is taking the opportunity to celebrate it. We were fascinated by a talk given by Prof. Carlos Guillermo Páramo, the Dean of the Department of Anthropology at Universidad Nacional de Colombia.  

Páramo, who has read the novel 23 times, talked to the audience in Gran Salón E of Corferias with devotion about a book he discovered when he was a teenager who was bored with school, but passionate about reading, especially adventure books. He explained that the book can be read through different lenses. For example, the lens of extractive economies, nature, the world as a frontier, and the jungle.

La Vorágine portrays man’s failure to conquer the jungle

In Páramo’s view, La Vorágine clearly portrays the defeat of the West against the natural world, the jungle. This defeat is exemplified by the novel’s last sentence about how the jungle swallows white men. Páramo says these men are always on a quest to conquer and dominate, by extracting natural resources. The book also highlights what many indigenous societies have dubbed the “sons of the wind.” It defines white men as beings who are essentially swept by the wind, who cannot put down roots because they are always on the quest to get ahead, to move forward, they want to conquer and dominate everything. 

Páramo says this is one of the paradoxes of Rivera’s novel: “While the West has an enormous obsession with the wild world, with the inhabitants of the jungle, an obsession which from the get-go judges everybody else as inferior, the West is always seeking to make that inferior land produce and to take advantage of its resources towards progress. But at the same time, is scared of these so-called inferior beings because it most often sees them as cannibals.” He concludes: “La Vorágine is full of mentions of cannibalism, but at the same time, it reminds us of what happens with the West on the other side of the border.”

La Vorágine shows the diversity of a nation such as Colombia, a country with a great variety of geographical, social, zoological, botanical, and climatic resources. It is that same spirit that makes La Vorágine an absolute superlative novel, because it is a celebration of diversity, though covered by the veil of pessimism.

Prof. Guillermo also points out this is a novel that portrays how the West has been unable to communicate with that diversity – it only connects in terms of wealth. We think of natural resources as ways to produce wealth and capital. This logic is still encouraged by utilitarianism. It is precisely the clash between capitalism and the jungle, with the frontier, with the natural world that Rivera wanted to represent. Prof. Páramo calls it the tragedy of the West. Rivera’s response was to give an account of that drama, that of a world chockfull of the most diverse species, thermal floors, an enormous social diversity, but above all, the impulse to take advantage of all that diversity, to get rich through a precious resource – at the time – such as rubber, snubbing over the local indigenous communities.

Prof. Páramo has definitely encouraged his audience to read José Eustacio Rivera´s The Vortex (La Vorágine), and go beyond the adventures of Arturo Cova and his lover Alicia as they elope from Bogotá. We travel with them through the eastern plains and later, as they emerge from criminal misgivings, through the Amazon rainforest of Colombia. The book conveys the rich biodiversity and lifestyle of its inhabitants, as well as the appalling conditions that workers in the rubber factories experienced during the rubber boom. 

In Páramo’s words: “This is not anymore a work set in a specific period of Colombian history. It is very much a universal novel, even with some scenes on the kingdom of magical realism.” Regarding its imposition in schools, he says: “I’ve mentioned – probably unfairly – the fact that many associate the reading of La Vorágine in schools as an imposition, which has certainly left a bitter flavor for many. However, the best time to start reading La Vorágine is at school; this because it is the time in a human’s life when most things cause wonder. This is a young novel, and this is probably something that is not always perceived as such. La Vorágine certainly portrays the dilemmas faced by someone who is trying to find their place in the world, of someone like his protagonist, Arturo Cova, who is probably no older than 30, but whose mental age is probably younger; an intelligent person nonetheless, but a person with several dilemmas to solve.”

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Festival Estéreo Picnic 2024 was, put simply, a tremendous success. Coming home to Parque Simón Bolívar slap-bang in the middle of the city was a masterstroke, instantly removing the event’s biggest headache: transport. World-class talent abounded, with legends alternating with up-and-coming stars also making statements.

This is now a festival with all the bells and whistles. Like other global competitors, everything is cashless, meaning you pay via wristband. All eaters are well catered for, with veggie and vegan options. There’s a veritable plethora of things to do away from the stages and all the support such as drug testing and chill out spots.

Pricing was fairly on point. Most food places had prices slightly higher than in their restaurants, but the difference was a couple of mil rather than twice the price. Booze was relatively pricey at COP$16,000 and up for a can of beer but that served well to keep loutishness in check.

For an event of this size, things ran extremely smoothly throughout the weekend. Recharging the wristbands was fast and reliable (go here to reclaim leftover money); toilets were clean and plentiful with soap and water on hand; lots of areas to rest and recuperate; limited queues everywhere and easy entrance. The organisers even allowed people in with bottles for water refills.

Access and inclusion was also well organised – wheelchair users commented on the ease of navigating via tarmac paths and access was fully separated to allow direct passage to the mobility-restricted areas. Rainbow and Trans flags abounded and there was a safe space for victims of sexual abuse to make denouncements and receive advice/treatment.

Of course, there were a few hiccups, but that’s to be expected with tens of thousands of attendees. Some complained about water access. But it’s worth remembering that there were three free water fountains, where we wouldn’t expect any. Hardly a surprise to see lines waiting to refill bottles.

We’ve been critical of certain things in the past, but it’s hard to find any major faults with Festival Estéreo Picnic 2024 as the organisers seem to have nailed it this year. It’s not to say that it was perfect – large events always have issues – and of course it’s extremely expensive for many. However, it delivered value in abundance.

The music at Festival Estéreo Picnic 2024

The South American tour of Lollapalooza is essentially the template for Festival Estéreo Picnic, meaning that it can reliably attract properly world-class foreign artists, while the local talent pool is strong enough that there’s plenty of classy support acts.

Thursday

The first day was probably the most eclectic, swinging confidently through genres as a day with something for everyone. It was hard rock that stood out though, with King Gizzard and the Lizard Wizard providing the best performance and Limp Bizkit drawing the biggest crowd. Zhu’s set in the dance tent was also first rate.

Fred Durst’s mob literally had the ground shaking as that enormous throng pogoed in unison. Bizarrely dressed in a hi-viz jacket, Durst has lost a lot of his explosive energy but retains a certain charisma. Main stage headliners Kings of Leon were somewhat overshadowed with their plodding set and competent performance that lacked spark.

Before Limp Bizkit on the second stage was King Gizzard, who provided an absolute sonic masterclass of glorious sludgerock. Finishing the night was a limp performance from Bad Gyal. Bringing Spanish reggaeton to Latin America was a brave move, and it didn’t really pay off, simply coming across as a pale imitation.

Maca & Gero did a good job of opening the main stage, although they played to a sparse crowd. The third stage was by far the most interesting. Buha 2030 set down a hard rock (is it jazz infused?) marker, with Kiwis Leisure bringing a Madchester feel and Future Islands providing a dark synthpop finish. Only three bands, but such a sonic range. 

Friday

This was probably the day for cool kids. Visitor numbers were still low enough to feel part of something alternative and plenty of fashion kings, queens and gender non binary monarchs in the crowds. Arca was the single most fabulous show, bringing her hi-beat technopop to really set the third stage alight. A small stage featured a swing and all the performance art you can imagine.

The big stage headliners were solid all round. Sam Smith did what they do, captivating and connecting with the audience naturally, casually dropping in hit after hit throughout the show. James Blake was slightly more awkward, his posh-kid schtick didn’t really stick. Black Coffee finished off with a banging set that energised everyone as much as his namesake.

Over on the main stage, Phoenix were punctual and loud but not much more, with Greta Van Fleet being the first to really put some power in the stage, leaving things wide open for genre-hopping chameleon SZA. She didn’t disappoint, with a stage setup that mimicked a trawlerboat on the high seas replete with a buoy to lift her into the heavens.

The smaller stages were also packed with quality. Anamaría Oramas and Matar Fuma provided a solid start to the day before Okraa put on a fantastic display in the tent. All three suffered from audience ignorance as the festival took a while to get going. No such problems for Akriila, Overmono and Verraco later in the day, with Four Tet closing things out perfectly.   

Saturday

This was the day where the festival really hit its stride in terms of numbers, but also went a little more mainstream. Two rising reggaetonero stars dominated the day, Blessd absolutely tore through the second stage before Feid conquered the main stage.

Karol G’s fella has a big shadow to step out from, which he went a long way towards doing at Festival Estéreo Picnic 2024. A fleet of drones assembled in the sky to form a Colombian flag which then morphed into his grinning face logo. With awe suitably inspired, the lights came up to reveal a fantastic cartoony set. He went on to drop in cumbia and frequent references to medallo. Repetitive and bland music, but a superstar show.

Somewhat more low-key but just as inventive was El Kalvo on the third stage, mocking up a Bogotá street to pay homage to the city he loves. He also found time to call out the genocide in Gaza, collaborator Hi-Kymon running across the stage with a Palestinian flag.

In the dance tent, Penyair brought a rawer, scratchier take on hip-hop. Before them were guitarless trio Homie! who certainly made their groupies happy. It was dance that ruled though. The Blessed Madonna put on an assured set and various Kaputt DJs paid tribute to a sadly missed Bogotá icon. Nuclear Digital Transistor’s dark techno finish was the perfect cap to the night there.

Earlier in the day, Afro Legends opened the main stage powerfully by being both Afro and legends, with Fruko y Sus Tesos carrying on the traditionalist theme after them. Lolabúm and More were strong early bands, far more inventive than Grupo Frontera on the main stage, whose inoffensive MOR latin-rock makes them a sort of Mexican Coldplay. 

Also a bit flat were Placebo on the second stage, Molko’s lyrics a bit lost in an overpowered bass setup. They made little attempt to communicate with the crowd, standing in stark contrast to Blessd, who absolutely put on a show. Pyrotechnics and charisma set him up as a rising star. MIA also had her own “reggaeton moment,” calling up dozens of the audience to dance with her. Opening for Feid wasn’t easy, but she did a good job.

Sunday

By this point, everyone with multi-day wristbands was somewhat dazed and confused, but the lineup was strong enough to bring hordes of day-trippers, making for a bizarre mix throughout the crowd. Both The Offspring and Blink 182 rolled back the years in triumphant performances.

Formed before most of the audience were born, these two bands still have plenty in the locker. The Offspring were up first and the better of the two, ripping straight into classics, inspiring circle pits and doing extensive crowdwork. Blink had the fest’s biggest single audience but fewer songs to sustain it, not that anyone cared much. They managed to transfer their puerile banter pretty well into Spanish, if that’s a positive. 

La Etnnia took the day’s prize for the ‘Why won’t the organisers put local bands on big stages award.’ Thousands flocked to see them on the third (!) stage. Verito Asprilla provided a challenge there, while Los Dinosaurios Murerion Ayer and Volcán played the big stages early but had the quality to be much further up. 

Oblivion’s Mighty Trash came from Medellín but were faintly disappointing, as was Esteban Rojas. Kevin Kaarl from Mexico was somewhat better, but it was Arcade Fire that did the job of sustaining the post-Blink energy. Great closers, they had Bomba Estéreo on stage to sing ‘Fuego’ and were a calm bridge from the high to the comedown. 

At the end of it all, we were certainly tired and emotional, but also euphorically happy. This is now absolutely an event that fully deserves to be in the festival tourism conversation. It’s so well set up and run that even with no experience of Colombia, the Spanish language or Bogotá itself, you’ll find it easy to navigate. This also goes for Festival Cordillera later this year (September).

The real big draw of the event is simply that you’ll be able to see some really interesting bands that you’d have no chance of catching elsewhere. Add to that a clutch of globally famous stars and you have a potent combination. Plus, the Bogotá scene is enthusiastic and energetic, meaning rapturous responses to everyone.

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Okraa freewheels through a range of styles. He says, “I guess it’s electronic music. What I explore most is soundscaping, but I’m not stuck in a single genre. I like to experiment with all sorts of BPMs and the music can have very dancey vibes or be very ambient. I come from a creative space that feels very free.”

Of course, at an event like Festival Estéreo Picnic 2024, there’s a certain style, which he acknowledges too. “While I’m not a guy that wants to fit a mould, I also want to connect with people who aren’t familiar with the project which means finding a middle ground.”

“I’m still ironing out details, he says of his setlist. “I want to include a bit of everything I do. There will be some dark stuff, some ambient, there will be a lot of the electro, garage stuff. I’m still figuring it out. It’s definitely going to be beats-oriented, not just ambient. It’s not that sort of festival, I know that.”

Okraa may no longer be based in Bogotá, but it’ll always be home. “It feels great,” he says, to be back in the city. “The gigs [I played] last year were amazing, there was a massive connection with people, so I’m very excited. At the beginning of the 2010s, people seemed to want to give the local bands hard times so maybe it’s changing for the better.”

His soundscapes conjure up dark, ethereal, mysterious worlds with at times an almost spiritual quality. This is music that few people regularly associate with a country that has so much traditional music with deep roots.

I wonder how much musical tradition means to him. “It’s a funny one to answer,” he says. “Because in terms of the type of music I do, the UK is so important, but I’m Colombian, of course. I grew up listening to salsa and I’ve always been curious about Colombian traditional music, which I’ve experimented with.”

“I would be lying if I said cumbia was my biggest influence,” he continues. “But I love it. I love bullerengue too and so much other music and I feel very attached and identified to it. I feel that there are many ways of being Colombian. Six or seven years ago I thought I didn’t use a guaracha or something like that, that my music wouldn’t sound Colombian.”

He rejects fixed notions of national identity, commenting: “There’s this thing in Colombia, I had it at university, where people complain about artists trying to sound like they’re from the UK or US. They want you to use traditional instruments. I gave that a go, and I will continue, if it comes from a creative space and not pressure.”

Okraa has enough confidence to reject that pressure. He says, “I’ve definitely felt that sometimes, like could there be more gaita or whatever. It’s tough, because sometimes you feel like you should do more of that but right now I feel I shouldn’t.” He’s not wrong to resist – his music is an equally valid expression of his roots and sounds beautifully organic. 

Why Okraa came to London

He’s a philosophical and considered speaker, taking his time over answers and clearly self-reflective about his career. As a curious student of music, he was ready to search for new things: “By the time I left it felt saturated in terms of urban Latin music on radio and TV. Nothing wrong with that, but I wanted something new.”

Running away from problems doesn’t always work though, as he ruefully recounts: “The funny thing is, I wanted to move away from reggaeton and then when we went to Oxford Circus the first thing we saw was a store with a massive J.Balvin display. London goes reggaeton, I was like ‘Wow’.”

That wasn’t everything, of course, in a colossal cultural capital with dozens of venues: “That’s definitely one of the reasons I left, to find a new landscape, which London is great for because there are ambient music nights all through the week, and they’re packed if it’s good music, so I really enjoy that.”

“At first, it was that most of my favourite artists are from London, but now I think it’s a place where people are really into music. I can spend a whole afternoon at a record shop chatting to whoever’s there and find so much music. Much better than the Spotify algorithm, no offence to them.”

Okraa is also receptive to the behind-the-scenes nature of the business. “I’ve had the chance to learn so much about the industry too, how they run independent record labels which I think is something we can develop much more in Colombia. I don’t want to say there are no small independent labels, but you don’t have a Warp Records or Ninja Tune there.”

This is something he thinks could be a game changer for the local scene in terms of building something with long-term prospects. “I think it would be a great thing for the industry in Colombia to get more well managed and efficient independent labels.”

Of course, making music in a foreign country isn’t always easy: “It’s quite challenging, that’s for sure but there are loads of opportunities. You can keep trying until you find something that works, which I wouldn’t say is the same in Bogotá.” He’s clearly made the most of those chances.

He’s had similar experiences in terms of gatekeepers to traditional music: “I think both places to be honest with you, people try to put you in a little box as a Colombian. There’s a pressure when you’re outside your country to do whatever people think your country is.” That means no bongos and maracas, London philistines.

So how have the notoriously cold Londoners been with him? “More responsive than not, has been my experience,” he says. “People seem curious, especially at ambient music events.” He’s happy and enthusiastic, despite having also been on the wrong end of the famously scathing London wit. 

“The sarcasm I find really hilarious,” he says with a chuckle. “It’s a way of bonding I guess. At first, I would sometimes struggle with it, the harsher the banter the more they like you. Now it’s fine, I quite like it.” Classically British understatement there – he’s no doubt popular due to the sheer quality of his musical project. Don’t miss this one, at Festival Estéreo Picnic 2024 in Bogotá or That London later in the year.

Okraa plays at 5.45pm on Friday March 22 on the ColSubsidio stage at Festival Esteréro Picnic 2024 in Parque Simón Bolívar. Tickets still available here at time of publication.

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