Vivir Quintana is a Mexican singer-songwriter whose artistry stands for hope and the power of women’s voices. She’s no stranger to speaking out against gender violence, femicide, and the injustices women face daily.
Through her music, activism, and life, Quintana demonstrates that songs can be tools for awareness and resistance. This year, she’s nominated for Best Singer-Songwriter Album at the Latin GRAMMYs for “Cosas Que Sorprenden a la Audiencia,” a project that carries the voices of women who fought for their lives.
Quintana shares with CREMA that the inspiration for the album began with a devastating personal experience. A close friend of hers became a victim of femicide, a tragedy that made her ask herself, “What would’ve happened if she had killed him instead?”
She goes on to share: “I realized that if she had killed him, she probably would’ve gone to prison. She would’ve been deprived of her freedom, because in Mexico there are many cases of women who defended themselves from sexual assault, and people told them, ‘you should’ve defended yourself less.'” That question inspired “Era él o era yo” (“It was him or it was me”), one of the most powerful tracks on the album.
Through her research, Quintana discovered countless cases in Mexico where women who defended themselves ended up behind bars. She shared, “That’s when I wanted to create these corridos, telling these stories in the first person. I only tell ten, but there are so many more. I don’t want to lie, but there are over a thousand cases like this in Mexico.”
Each song in “Cosas Que Sorprenden a la Audiencia” gives a voice to these women and challenges a system that criminalizes self-defense.
Being nominated for a Latin GRAMMY this year has been a whirlwind for Quintana, both emotionally and professionally. “I also think it’s a huge opportunity to keep expanding the message behind my music,” she shared. “It’s an incredible platform where we can talk about topics as necessary as ending violence, but also bring conversations into the industry about messages of peace and of love and about narratives where women are the protagonists. Not as objects, but as storytellers who share their experiences from a place of vulnerability and also from strength and resistance.”
The recognition has opened doors for her to reach more listeners and collaborate with new artists and producers, which are opportunities that excite her.
Among the numerous genres of Música Mexicana, Quintana has been pioneering her own lane in corridos by focusing on the voices and experiences of women.
In the past, she shared that corridos were supposed to be composed in a certain way, focusing on specific topics. However, she has diversified the genre’s palette by making space for her own storytelling. Quintana explains that corridos tell real news stories and stories of heroes. “I’m not saying that a woman who kills her aggressor is a heroine, but I do believe that a woman who defends herself is a woman exercising her right to self-defense. So, more than heroines, these are women who find themselves in incredibly vulnerable situations and who have sadly been silenced or punished for defending themselves.”
Her songs give space to a justice that doesn’t exist in today’s world. “We’re saying to people, ‘Hey, these things are happening too.’ And within corridos, there can also be other stories, ones that need to be heard.”
A standout moment this year for Quintana was performing at Willy Chavarría’s Paris Fashion Show, where fashion and activism collided on a massive stage. “Willy’s message and narrative, using fashion as a way to tell difficult stories, connect deeply with what I want to express through my music,” Quintana reflects.
She opened the show with “Te mereces un amor” and closed with the classic “Paloma Negra.” “It was a beautiful experience to be there, but also a powerful one because we were able to speak out about what’s happening in the U.S. with migrants, about how people have been displaced, mistreated, and had their rights violated,” Quintana explains.
The music video for “Era Él o Era Yo” transforms the story into dance. Directed by longtime collaborator David Pablos, the project came to life after discovering that actress Fernanda Castillo was a dancer.
“So he proposed the idea, ‘What if we explore your background as a dancer and create a choreography that expresses this idea of justice and the story this girl had to live through?'” Choreographers Mau Rico and Nancy Rex, both close to Quintana, helped turn that vision into reality. “They were in charge of bringing this choreography to life, and I think the idea was compelling and effective. It truly elevated the song and created such a strong emotional connection.”
While working on the album, Quintana visited women’s prisons in Argentina and Chile, leaving her with memorable experiences she will never forget. “In Chile, I realized that many of my fellow inmates were foreigners, not necessarily Chilean, and that violence permeates so many places. I saw many of them struggling; some told me, ‘I’m here because I couldn’t afford a lawyer, or I don’t have a passport.'”
She goes on to note that some inmates were as young as 19 or 20. In Argentina, she found moments of connection and joy. “There was also a moment when we played cumbias, a song called ‘No me arrepiento de este amor.’ We danced with so much energy… we were just friends sharing empanadas and a soda, singing at the top of our lungs, dancing to Karol G songs, and being happy in that moment.” Those experiences taught her that pain, sadness, and resistance can coexist with joy, a balance she continues to explore through her music.
Beyond music, Quintana recently released a book titled “Sobre-Vivir,” a deeply personal collection of journal entries written over 15 years. “There were moments when I thought, ‘I don’t know if I want to publish this or not,’ because even though I always felt sure about it, there was always a doubt.”
Readers have reached out, saying they never knew these parts of her story and often apologize for what she’s endured. “It’s very inspiring, especially for girls, boys, and young people who want to dedicate themselves to art or for anyone who wants to be free and do things that come straight from their heart.”
One of Quintana’s most powerful anthems against gender violence is “Canción Sin Miedo,” featuring Mon Laferte. She shares what it’s like to collaborate with other artists in these powerful songs. “Whether it’s their direction or their inspiration, it really helps you grow, both as an artist and as a person. You learn so much. I also think that the collaborations I’ve done have been very thoughtful and have come from a loving place.”
She’s also worked with Manuel García on “Canción del Desvelado,” which reflects on the Chilean dictatorship, and Aterciopelados on “Rompecabezas,” which addresses gender-based violence. All of Quintana’s collaborations reaffirm her mission to use her voice, lyrics, and music as tools for awareness, healing, and change. In a world that often tries to silence women, Vivir Quintana makes sure their stories are shared more than ever. Her music is proof that songs can carry powerful messages and inspire others.
