África

Joan Manuel Serrat's song 'África' is a poignant and evocative portrayal of the African continent, personified as a suffering entity. The lyrics begin with the repeated declaration, 'Mi nombre es África,' emphasizing the identity and presence of Africa. Serrat contrasts the continent's past glory, once envied by Eden, with its current plight, ravaged by the Four Horsemen of the Apocalypse: famine, war, pestilence, and the beasts that spew fire. This metaphorical imagery paints a vivid picture of Africa's struggles, highlighting the severe challenges it faces today.

The song delves deeper into the human aspect of Africa's suffering. Serrat describes Africa as 'carne viva' (raw flesh), 'chador rasgado' (torn veil), and 'pervertida' (perverted), illustrating the physical and moral wounds inflicted upon the continent. The lyrics also touch on the world's indifference, as Africa's cries go unheard or ignored. The mention of 'mis pobres hijos' (my poor children) who are born just like any other children, underscores the shared humanity and the unjust disparity in their fates.

Serrat further explores the diaspora and the exploitation of African people. Africa is depicted as wandering in a world that neither fully accepts nor rejects it, laboring in foreign lands like the docks of the Thames, the vineyards of the Duero, and the streets of Paris and Rome. This imagery of Africa's children working abroad highlights the ongoing exploitation and the search for a better life. The song concludes with a series of powerful images: 'África muñeca rota' (broken doll), 'África clandestina' (clandestine), and 'África, a la que le brotan flores de las espinas' (Africa, from which flowers bloom from thorns), symbolizing resilience and hope amidst suffering.

Serrat's 'África' is a moving tribute to a continent that has endured immense hardship yet continues to persevere. The song calls for recognition, empathy, and action, urging listeners to see and hear Africa's plight and to acknowledge the shared humanity that binds us all.