On July 18, 2025, composer Gabriela Ortiz's latest album, 'Yanga,' was released, featuring the Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel. The album includes Ortiz's cello concerto 'Dzonot,' inspired by the cenotes of Mexico's Yucatán Peninsula, and 'Seis piezas a Violeta,' a 2023 arrangement for string orchestra and piano. 'Yanga' is available on streaming platforms such as Apple Music.
The album delves into themes of cultural identity and historical narratives. The title track, 'Yanga,' is inspired by Gaspar Yanga, an African prince who was enslaved and led a 16th-century revolt in Mexico. Yanga established a free town for escaped slaves, which was later named after him. Ortiz incorporates African instruments like batá drums, guiros, shekeres, and cabasas to create a unique soundscape. While Ortiz states that she uses these instruments to craft her own 'imaginary sound world,' the use of these instruments raises questions about cultural appropriation and the ethical representation of historical figures.
The release of 'Yanga' coincides with ongoing discussions about the responsibilities of artists in narrating stories of oppression and resistance. Gustavo Dudamel remarks that 'Yanga' symbolizes the strength and resilience of those fighting for freedom and serves as a reminder of the enduring struggle against oppression. However, critics question whether an orchestra from Los Angeles, despite good intentions, is the appropriate context to tell this story. The album follows Ortiz's previous success, 'Revolución diamantina' (2024), which won multiple GRAMMY® Awards. This success raises questions about whether the commercial interests of the music industry sometimes take precedence over ethical considerations in representing sensitive historical themes. The question remains whether the music industry pays sufficient attention to the ethical dimensions of such projects.
'Yanga' is a powerful and colorful album that challenges listeners to reflect on the complexity of cultural identity and the ethical responsibility of artists. It compels us to critically examine how we engage with the history of slavery and resistance and to consider the role of music in promoting social justice.