“Whatever you do, please don’t do the Pablo Escobar tour. That would be very indignant for me,” Gina said to me. Gina was my host in El Retiro, a sleepy, crisp-weathered, mountainous town an hour outside of Medellin, Antioquia, Colombia. I had just flown into Medellin that night from Nicaragua, and Gina had been kind enough to pick me up from the airport during an important soccer game. She was helping me plan for what to see and what to avoid. When I told friends I was visiting Medellin, most of them innocently referenced Pablo Escobar, a drug lord whose ruthless chokehold on Colombia’s cocaine supply left Medellin victim to decades of violence.
We stopped at a typical paisa (a term representative of the northwest region’s people and culture) restaurant. In between glimpses of the Colombia vs. Chile world cup game, she broke down the political, economic, and cultural history of the region for me. The waiter asked if I wanted sugar in my guayaba juice, and I was surprised that I had an option. I don’t even remember what I chose.
She asked me what I knew about Medellin. “Well, I know that Escobar was a very violent man…” I trailed off, embarrassed that I didn’t do my research. Gina clarified that there was more to life in Antioquia than Escobar. I listened eagerly as I poked into some crunchy fried pork rinds with a toothpick.
Medellin, she explained, was Colombia’s center for textile production in the first half of the 20th century. The city of over three million people even boasts a skyscraper called the Coltejer Building, which is shaped like a needle. Today, Medellin’s economic legacy includes high-quality coffee production and it’s famous for beautiful leather products. Oh, and Latin America’s biggest fashion show, Colombiamoda. I should have taken advantage of the sales at the Velez leather outlet while I had the chance.
Once Escobar’s drug cartel took over, Medellin became as violent as Beirut, Gina explained, shaking her head. Car bombs went off frequently in the city. She grew up being used to the violence. Once Escobar died in 1993, the violence decreased. I felt safer in Medellin than I did in Nicaragua. Gina suggested that we go for a walk when it was dark, and I wondered if it was safe to do so. In Nicaragua, once the sun goes down, it’s usually time to head home and lock the doors. Gang violence isn’t as prevalent there as it is in Guatemala, but petty thefts and muggings in isolated areas after dark are common.
Unfortunately, it was drizzling, so we couldn’t go for a walk. Instead, we went to bed early and I slept like a rock. When I’m in a new place, my mind feels the need to rest up as much as possible in order to absorb its surroundings when it is ready to.
I decided that in order to understand the region’s history, that I would eventually go to the Museo de Antioquia. I walked to the bus stop in El Retiro, and spoke with other people waiting to confirm that my bus was the one going to Medellin. Five minutes later, a woman honked her horn and asked if I were headed to Medellin. This was the first time a woman had offered to give me a ride, but I declined. In retrospect, I wish I’d done it, but I didn’t do it, and I was safe.
I spent the day in Medellin with a fellow Wellesley alum, Vero, who graduated with me, but who I had never met. Thanks to a mutual friend, we were able to meet and to reminisce about our college days. We also bonded over how driven Wellesley women are, and about how we just cannot seem to sit still. We always need to be doing something and doing what some people call “overachieving.” To us, it’s just “achieving.” That’s what happens when you are privileged enough to go to school with some of the most driven, independent, and intelligent women in the world. It was nice to be with someone who got me. I didn’t have to really explain why I was spending three weeks traveling alone.
Eventually, I made it to the Museo de Antioquia. As a child, I dreaded museums. I thought they were the most boring, lifeless places. It wasn’t until I studied abroad in France that I began to appreciate museums, especially art museums, for being portals into a region’s history. These histories are never completely inclusive of different racial, socioeconomic, and gender identities, but that’s why I allow myself to be critical of these spaces in the first place.