In April 2016 Inés Osinaga brought the boots for the last time for a Gose concert. She was pregnant and promised to return soon to the hundreds of girls she was observing. But it didn't come back. Osinaga loves the book of illustrations by Amaia Arrazola, The Meteorite, because she has experienced motherhood: she explodes in her identity, in her life, in her creativity.

Postpartum depression caused the music to go off inside. One night of Insomnia read a column of Miren Amuriza; bertsolari translated the letter of Everything changed from Mercedes Sosa. Osinaga took the Ukelele, played the song and sent it to Amuriza with the following message: “Thank you very much. Today you have saved my life.” Since then, it has combined times of great creativity with new depressions and duels, without concealing them. In fact, he wants to take the responsibility of having the microphone in his hand to break the taboos.

“Gose is the singer and soundtrack of the musical group.” Your Wikipedia page has not been updated yet.

It has not been easy to get rid of that identity. As in all the duels, I have been angry, reneged, lacking, even in excess, with Inés. After six years, I have to admit that I'm still present on many phone agendas like Ines Gose. Now I'm able to hug Ines, look affectionately and thank them. It's part of the journey.

If I were to update your Wikipedia page, I would highlight the word pleasure.

The choice I have made with conscience is to define myself as pleasurable. I have said many times that I am not trikitilari, although I touch trikitixa, that has to do with the rare genres and with what we pursue, among others. Two different professions are that of the musician and the placenta. I'm a musician, but I've also realized that I like to go out to the plaza, influence the plaza, occupy the public space, leave my voice. Of course I am pleasurable, what the hell! I've been in the square for 25 years! I agree with Onintza Enbeitia, saying that we are pleasurable is an exercise of appropriation, because we have been told that the plaza is not for us.

A few months ago you started to make an impact on a new plaza: Instagram.

Yes, I like to tell things through story; about maternities, violence or feminism… Before I was on social networks, but I had no voice. At the time of Myspace I worked as a Christian on Gose's blog. When we took out the Bondage song, we were censored by the page. I became angry! You invested a lot of energy in producing content and could close it any day, without backups. On the other hand, networks give me social anxiety, so I don't have whatsapp. I've had a big knot, but I've decided that I want to leave my voice in that space. A friend says I'm with the joy of the newcomer's life. That is the case!

In a video he explained that it is better to promote the visibility of women than to foster mutual authority.

I heard this idea at a Ainara LeGardon conference. They call me many times to talk about feminism. It's cool, but, as Uxue Alberdi said, it seems that we only have authority when we talk about feminism. Visibility is a contest. We struggled with each other for being a poster woman, a feminist musician from the March cycle. I don't want to compete with my sisters, what I want is to give authority, to make room. I don't want to create it for that, and above all, I don't want to create it from there.

I've put his music to my father and he's considered him an heir to Kepa Junkera. I'm sure it's happening constantly, but not with Maurizia Aldeiturriaga.

Peter has affected me, but it is not who has affected me, but who gives him the authority to be a referent. When I was told that Gose has been a benchmark for uniting electronic music and trikitixa, I humbly answered no. Of course we have been referents! We need all the referents. I need Ana and Kai Nakai. Until an age, women are not referents, but promises. But when we get to that age, when our men are sacred musicians, we are asked about motherhood, or "How long do you think you're in the square?" How long? As Onintza [Enbeita] says, this starts to be fun!

He wrote on Instagram: “We grew up listening to ‘Kill your father’ and decided to embrace all mothers.”

Lately, the speech I have heard about Basque culture is that transmission has been interrupted, that young people do not know who Mikel Laboa is. Maybe it's not bad, maybe it's an opportunity, maybe we have to break the thread. We have to discuss who has a place in Basque culture, who does not and why. Where has the voice of whom come? Why the irrintzis of Mikel Laboa are valued and Maurizia sings badly.

Who is Maurizia?

Maurizia is a wonderful lady, the mother and grandmother of pleasures. We claim it as a symbol, almost as a pop icon, with hashtag. There's a way of being. They asked him: “Why do you constantly say in the coplas of Aupa Maurizia!” And he said, “Beitu, I have two men by my side. One plays the alboka and has his mouth occupied; the other one sounds but is stuttered. If I don’t say it, who is going to hear me?” “Aupa Maurizia!” is a feminist aldarri.

It has become a collective project: “Maurizia hasn’t killed anyone.”

Yes. I saw a bag to Leire Palacios, "The devil hasn't killed anyone," and that bounce came to me. I'm with Olatz Salvador, Lorea Argarate and Itziar Soraluze, but the different women come together to launch different Maurizia. Uxue wrote an introductory text, based on a study by an architect, listing where the Machistan murders occurred in the Spanish state. It's terrible: at home, her husband, at home, her husband. Ane Labaka and Nerea Ibarzabal have made us coplas. We took a melody from Chavela Vargas to make it in coplas. We turned it into a perty arin. Well, come and see it!

I'm going to come back to Wikipedia. Lourdes Iriondo puts it at the beginning of the biography…

… don’t say! “She’s Xabier Lete’s wife.”

Yes! And if we go to the page of Xabier Lete…

… “He is a consecrated artist.”

She doesn't mention who her husband was.

It looks silly, but it's not. The genealogy of Basque culture is the most pleasurable; the genealogy of those poets that said cool things, that came together, Zumeta made them a wonderful skin… I don’t give up on beauty, but it’s a canon! And Maurizia does it to the canon, tururu! I am aware that at 40 years and 25 years of pleasurable trajectory I can say that.

Hunger Inés has been associated a lot with provocation, with sexuality. How do you see it today?

Psss could say, but I put myself in the skin of this 20-year-old girl, I look fondly, tenderness, and I say: “Aupa Maurizia, txikita!” As Virginie Despentes wrote, we have to be beautiful but not too many, we have to be thin but not too thin, we have to be women but not too many, we have to be seductive but not vultures. We have to be good singers, if not, we won't go onstage, but not perfect. Let us appropriate mediocrity! In the interviews, I was continuously brought up with the theme of sex, because Gose had a couple of songs about him. But one or two, really! In the early concerts, in the previous rows there was a hole, because the bodies that always occupied that place felt uncomfortable, because what affected my boots and my looks wasn't what was expected of me. A girl should appear desired, not suggested. I realized that with my erotic I was able to turn the power relations around. Then I cut the skirt even further, krask!

It appears lying on an Instagram photo, naked. You take out of your chest a stream of milk with a gesture of pleasure, with your two children watching. Have you found a new way of provocation?

In the last six years, my breasts have been permanently in the square, but my body has deserted completely because I've read as a mother. During a pregnancy I wrote “Desire escapes from my lips”; I felt all flesh, all sex. If the provocation is to question what is expected of me, or to use the rules of the game in our favor, I like it. What I often want to perform as a pleasurable does not correspond to what I live in my intimacy. Shirley Manson, leader of the Garbage group, said at the Bilbao concert: “Having a microphone in your hand is a responsibility.”

He wrote then, “I don’t know if you are twice scared.” Aupa Rigoberta Bandini?

I connect with Rigoberta for my struggle for breastfeeding. It seems that breastfeeding is natural, but for me it has been a political choice, because it cost me a lot. That's why I do activism. I love my breasts and I love all the breasts that don't throw milk. I've realized that when my mom comes up with a jet of milk, Instagram doesn't censor me because the algorithm doesn't read like nipple.

How has motherhood influenced your creativity? I was afraid of the lockdown.

And it happened. In my first half I was shut down the music inside. I didn't want to wear the trikitixa because I rejected my body. My biggest fear was: “What if I never want to make music again?” “What if the choruses have been exhausted?” Then I learned that I had postpartum depression and that I didn't stay alone. I'm not talking about this to train myself (that's why I'm going to therapy), but because it's important to talk about this in the plaza. A lot of taboos go through motherhood. From the beginning, I felt like I started to dismantle romantic love. how many pains and lies! People would tell me. “Oh, how well you are pregnant!” Once I answered: “Well, I’m not well.” Our pain is expected to remain quiet. & '97; We don't have to be always happy pregnant, what the hell!

In addition to postpartum depression, two other taboos have been broken: obstetric violence and gestational death.

Not all pregnancies end with a healthy baby born alive. This belief introduces us to a cage with immense suffering and loneliness. I've had three pregnancies and in the second birth a dead child. When they tell you that everything goes well… It doesn’t always go well. Life is not always born of Aluz, and life is not always born of the upper part. I bought a wonderful book from illustrator Paula Bonet, Rodents. Pregnant body without embryo, as well as her painting of an embryo. At the moment I have not been able to read the Karena de Alaine Agirre, because it hurts me. But we have to give voice to that pain.

Less bad than feminism crossed me before I dreamed! I've had tools my mother didn't have to manage what happened to me. We are all daughters, our generation has been born surrounded by obstetric violence and that wound has not been cured. We are still expected in childbirth to be docile. Respect for childbirth is our right, but it is also the right of young people not to be born violently. I sincerely believe that ensuring that can change the world.

Your interior has been refilled with music. She is currently working with Joseba Sarrionandia. What are you going to Havana in March?

When I was discharged from depression, I applied for leave in my teaching work. Otherwise, I couldn’t create, energize Maurizia’s collective project… I had a debt to myself: What would it be like if I were a full-time creator? Creating takes time and time for money.

Ten years ago we musicated the texts written by Joseba Sarrionandia, who came to Euskal Herria by hand. Now, with Joseba here, I go to Cuba to meet with the Maurices of Havana. What would those songs look like if they weren't that white? This is the only path that the Sea will show.