When she won the BMI Icon award on March 21, Ana Bárbara became the first regional Mexican composer to be recognized with the highest honor presented by the society of composers and publishers, one which has honored figures such as Juanes and Gustavo Santaolalla.
It’s been a long journey for Ana Bárbara (real name Altagracia Ugalde Motta), who from the beginning of her career has defied stereotypes by injecting a decidedly feminine touch into a genre mostly associated with men. In fact, the “Reina Grupera,” as she is known, admits that her great inspirations (besides women like Ana Gabriel and Rocío Jurado) were some of the greatest of Mexican music — men like José Alfredo Jiménez, and then Joan Sebastian and Marco Antonio Solís, who would become her mentors and compadres.
The role of women, she says, has been hard-won. Or, as she says in jest, “like the donkeys: five steps forward, five back.”
Still, Ana Bárbara has had an exceptional career, racking up 16 hits on the Regional Mexican Airplay chart and 12 on Hot Latin Songs. Now, as an independent artist, she has seen a renewed interest in her music, thanks to singles like “La Jugada” with Vicente Fernández (the song and the video were recorded before Fernández’s passing), a testimony to the weight of Ana Bárbara in the genre; and thanks also to her revival on TikTok, where her 2003 hit “Bandido” has gone viral.
The fact that Ana Bárbara is now recognized as being historically significant as a composer reflects her current state: “I believe it now,” she says.
In honor of Women’s History Month, Billboard launched the series “Las Poderosas” featuring a select number of Latina stars speaking candidly about the word “empowerment,” their place in Latin music and more. The series concludes today with Ana Bárbara.
You’ve earned the BMI Icon Award, but I think people sometimes forget that you’re a songwriter as well as a singer…
My team has a theory. [Composing] is something I didn’t talk about much because I was always very shy. From the time I showed my first song — “Quise Olvidar” [at 23 years old] — since I composed it, I felt shy about it because it was something that wasn’t supposed to be very common. You always heard of male composers. And like, I didn’t believe it.
At what point did you take ownership of your identity as a composer?
When they said that one song and two others were out there. Over time, I began to believe it more, even if I always had doubts. Like, I didn’t believe certain songs belonged to me. What’s the difference now? I believe it all now! I don’t know if they’re good or bad, but now I write and write, and write them for myself, and that has helped a lot to connect more with the public.
You told me that when you started writing, composing was seen as a man’s job. Who — male or female — inspired you to write?
They were definitely men, and the first was José Alfredo Jiménez, due to proximity. Then, Marco Antonio Solís and Joan Sebastian. My sister married a son of José Alfredo Jiménez. That provided a little connection to the family. To spend Christmas and New Year’s with the Jiménez family, with the very famous “Paloma Querida.” Seeing José Alfredo’s books was very inspiring — [it was] very impressive for me to see his writings, of his own hands.
What advice did they give you as a female composer?
To keep believing in my songs. It was one of the things Marco told me. Don’t stop believing or creating. Don’t stop doing it, even if it doesn’t work. Also Joan Sebastian. He said to me, “You will only realize a song works if you expose it. Just getting it out of you is of value.”
I’ve always thought that one factor in not having more women on the Latin charts is the lack of female producers and songwriters. What do you think?
Do you want me to tell you my truth?
Tell me your truth; I know there are different truths.
My truth at this point in my life, and at this age, and with this knowledge, a little or a lot, is that there’s a lot of female talent, but women — ladies and gentlemen — are very busy, very busy. We deal with our family, we have the role of mothers, mothers of our brothers, mothers of our husbands … and when you’re a fighting woman who also happens to have talent, your priority will always be either your children, or your husband, your family, the house, or any job that will bring you the bread that you are going to give to your family. Our energy is spent in protection.
Do you like my hypothesis? It is that there’s really lots of talent out there. But you are writing, and the little boy begins to cry, “Mamá, my milk!” You get distracted. You go for the kid’s milk. And the idea that’s up in the air came to a man, who’s in that sense less relaxed than us. Only a woman experiences that kind of dedication to everything.
Then, what are we to do?
Try to focus more and be a little selfish sometimes. If you already give a lot away to your children, and you already gave a lot to your partner, then give a little to yourself. I sometimes try to be selfish and tell my children, “I’m composing.” But I was unable to do that before.
Have things changed, or are we still at the same point?
Sometimes in some things I feel like a donkey — five steps forward, and five steps back. Or six. Sometimes I do think we’re okay, and at other times I don’t. Do you know what I realize sometimes? On tour, with folks in popular music [who support each other] — we recently spoke with Ana Gabriel and we said that when women support each other we are stronger. She’s also one of my tops.
What do you think of the word “empowered”?
I like it. There are places and times to use it. The other day the father of one of my children used it in such a beautiful context that I liked it. He told his son, “Remember that your mother is a woman who has worked a lot on herself, and to empower herself, in order to get respect and love from everyone, be it a child, a partner, or an ex-partner.” I loved the context.
As an artist, what does it mean to be empowered?
It has to be in the context of a woman doing what I think I’m doing, something that empowers my life story. It means that now, suddenly, with all my insecurities, my dyslexia, the notes fall apart in the guitar — but I don’t care and I put myself out there. And it empowers me to say, “I have my insecurities, but I overcome them and I empower myself with the self-esteem of a woman and I go out there and feel brave.” I removed my insecurities. That’s artistic empowerment, and bringing songs out of my soul. To believe it empowers me. I feel like one of those peacocks spreading its tail.
I always see you like this.
[Laughs.] That’s why I do believe in my empowerment. That’s how I feel now. Defending my children, defending the cause of music, opening my soul and saying, I do deserve it now.
