Ana Tijoux is one of the most dynamic voices in hip hop, and the Grammys have finally gotten around to admitting it.

The Chile-born, France-raised, Chile-returned MC has been busy dropping unique, versatile beats for over a decade. Her recent Spanish-language album 1977 launched her into worldwide commercial success, garnering her a sweet Grammy nomination in the Latin Alternative category.

Who will walk away with the award on February 13? Will it be Ana? Will it be Colombian MCs Choc Quib Town? Despite our mounting anticipation, it seems like the artists are just happy to be nominated.

Regardless, we asked Ana about her Grammy acceptance speech, what it was like to live in exile in France as a child, and the meaning behind her most intimate lyrics in 1977.

Check out our Q&A with Ana Tijoux!

What was the first thing you did when you heard about the Grammy nomination?
To be honest, I thought it was a joke. I was starting to ask and look for the cameras as if someone was pulling a prank on me. That was very first reaction.

Are you already writing your acceptance speech? Can we get a sneak peek?
I haven’t written anything yet. To be honest, I don’t think I’ll win, but someone told me that I should write something in case I do win. I was like, “oh sh** you’re right!” I didn’t think about that.

You’re nominated in the same category as Nortec Collective, Draco, and Grupo Fantasma, who are decidedly not hip hop. Is Latin hip hop becoming more integrated into the pop scene?
First of all, I want to say that it’s an honor to be nominated amongst all the other nominees. Second, I don’t really have an opinion on whether Latin hip hop is becoming more integrated into the pop scene, simply because I haven’t thought too much of it.

What made you ditch French and start rapping in Spanish?
I started rapping in Spanish because frankly more people could hear and understand what I’m saying and I could get my message across here in Chile. It wouldn’t be convenient for me to write lyrics and rap in French when most of my work is based out of Chile. There are not that many French speaking people here. That’s just the basic reason behind it.

Why did your family have to leave Chile?
Well, for multiple reasons. It all began with the events that happened from here in 1973 with the government change in Chile. My parents were political activists, and so by 1976, we moved to France, not by choice. The government forced them to move.

What was it like growing up in Generation X France as a Chilean?
It was interesting because, with the kind of history my family had, especially my parents, when we moved from one country to another, it causes you to open up your eyes and your mind to the different surroundings. First of all, it was hard for me as a fourteen-year-old teenager because you’re in that stage where you’re trying to build your own identity, and when you move to a different place, suddenly it gets a bit complicated. By the time you reach adulthood, however, you start to appreciate your background more and you become proud your unique your history with this whole double vision of things, almost as if you’re getting the best of two worlds (way of life, different culture) and it helps you adapt to your surroundings wherever you are. At least, that’s how I feel about the situation.

Golden age beats and traditional sounds (like jazz, folk) find their way onto 1977. What do you look for in your production samples?
Everything. I try not to limit myself to any kind of style because I think that musicians shouldn’t have to be categorized or placed into one particular genre of music. To me, music is a universal language, and it really doesn’t matter what kind of style one is more affluent in or what instruments are used. I’ll use whatever catches my ear, and will fit well with the concept and message of the song.

1977 has a lot of autobiographical stories in it. Can you tell us about “Crisis de un MC”?
The concept to this song I wrote when I put myself in the mindset of painter. I find that there’s a contradiction that some artists tend to have to deal with when they create their art. For example, when I’m writing, I like to be alone, in silence. Sometimes, it’s just for personal pleasure. But, when you’re on stage, you have to go and express that art you created for yourself to show to others. At the same time, as a musician, you need to play shows, do interviews, and painters need to have art galleries in order to fulfill certain tasks and showcase pieces. I think that’s where the deal has to be made. Almost like the contrast between music as art, and the commercialization of said art. Sometimes I laugh really hard at the thought of this because, sometimes all you want to do is write music and/or paint, and I find it crazy how we’re supposed to commit to certain preconceived standards and ethics, and how you’re supposed to subject marketers to have this image portrayed about you to the general public and fans. It’s something we as creators of art have to acknowledge and it can be troubling.

Has being a woman in the music industry affected reactions, expectations, and treatment of you? If so, how do you brush it off?
I don’t have that problem because I feel that one should feel really comfortable with their respective art, and being of one particular gender within a genre shouldn’t matter. At the end of the day, it’s shouldn’t be about whether you’re a man or a woman, it should be about the music.

What’s next for Ana Tijoux?
I’m heading down to California next week for the Grammy’s, as well as to do some promo and shows with a live band. I’m working throughout the remainder of February! After that, we’re going to Mexico to play for our fans there, and then finally back to Chile. I’m still writing, but it’s been a very slow process at the moment due to all the promo work and touring.

Watch the Grammys on Feb. 13!

Photo Courtesy of MTV Iggy