In 2005, before travelling to China to meet out daughter, I composed a lullaby for her. A Chinese friend (Li Fei 李菲) translated it and helped my wife and I with the pronunciation and we recorded it both in Catalan and Chinese.
Our intention was that by listening to the song in the orphanage, she could get used to our voices and thus, when she faced painful moments, the song could serve us as one more tool to mitigate her anxiety.
In 2008, I got in contact with Luo Tong 罗彤 (Shanghai), the executive producer of the valuable documentary “A farewell song” which shows the preparations for the farewell concert of different brilliant musicians specialised in Chinese traditional instruments.
My intention was that someday I could be able to listen to this lullaby performed with Chinese traditional instruments as it was something I had been longing for since in the middle of the adoption trip I came across the documentary. Luo Tong presented them the idea and Luo Shoucheng 羅守誠 (a great player of “dizi” and “xiao”, two Chinese bamboo flutes) embraced the idea enthusiastically.
In parallel, thanks to my connection to independent audiovisual projects, I had worked on compositions infused with cross-cultural influences. And then it started to take shape what at first had seemed to be a utopia: to produce my own album which meant to be a bridge across cultures, to bolster up my daughter’s love for her origins and to serve me as a sort of legacy of values I would like to transmit to her as her father.
It is an album which, through its love to music, encapsulates the relations established among people and cultures as a result of migration flows. It extols the cultural interweaving present in my musical style; it values the cultural differences and similarities; it benefits from those traditional elements (symbolised by the traditional instruments) which could be adapted to the present times but it also reflects the transformation that tradition must undergo in order to break away from scourge of machismo, racism, xenophobia (this adaptation is reflected through songs which are not always traditional and/or “local” and through the sometimes unorthodox use of traditional instruments as far as phrasing or other particular features are concerned).
Then, once Luo Shoucheng 羅守誠 decided to help me, I had the chance to gather all the artists of this wonderful dream team who, one by one, joined the project.
Watercolors by Mònica Espinosa