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afrobrasilidades & afins | omenelick 2º ATO | 1

afrobrasilidades & afins | omenelick 2ยบ ATO | 3

quilombo Nabor Jr. | Journalist and photographer, 28 years old. Cristiane Gomes Journalist, 32 years old. Renata Felinto Master in Visual Arts, investigator and plastic artist, 32 years old. Emy Sato Textile Designer and Photographer, 23 years old. Lúcia Udemezue Educator and Social Scientist, 25 years old. Cíntia Augusta Graphic Designer and Photographer, 20 years old. Jéssica Balbino Journalist and writer, 25 years old..

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s i g a > o m e n e l i c k s e gu n d o a t o . b l o g s p o t . c o m

THE MENELICK 2nd ACT is a two-monthly publication of the MANDELACREW COMMUNICATION AND PHOTOGRAPHY Rome St, 80 – Room 144. São Caetano do Sul/ SP zip code: 09571-220 - Tel. (11) 9651 8199 HEAD OFFICE Nabor Jr. | MTB 41.678 COMMERCIAL Maria Cecília Braga EDITORIAL BOARD Nabor Jr., Cristiane Gomes, Alexandre Bispo and Renata Felinto. REVIEW AND CRITICAL READING Alexandre Bispo and Cristiane Gomes GRAPHIC DESIGN Edson Ikê | COVER | Duck PRINT | 2 000 copies FREE DISTRIBUTION in cultural centers, art galleries, shows, parties, markets, festivals, nocturnal houses, shops and zones of conflict.

Ideological affinity, creative freedom, plenty of confidence and a theme. Thus is the relationship between the magazine and the artists invited to develop the cover of The M2 of ATO. With artist Andrew “Duck”was no different. The theme? Carnival. When you suggested to me this issue, so I had the idea of the orgy. It is the second time I do this allegory. The first was the International Biennial of Graffiti, at the museum. Constantly see people taking advantage of her beauty to drive in life. Type carnival all year long in the land of Gozolândia, or search for “cup”sacred.



Maria Cecilia Braga dos Santos, Simone Grazielle, Claudinei Roberto and all that directly or indirectly contributed to this edition of The MENELICK 2 º ATO to become reality.

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“... I remember when blacks just wandered around, as Ralph likes to say, packing up to scratch and itch for reasons to laugh for no reason. But that day is over. Now, business is serious, and we are determined to conquer the place that we have right in God’s world. “ Excerpt from the speech “I’ve been to the mountaintop, “ delivered by Martin Luther King to the population of Memphis, USA, on April 3, 1968, a day before the black leader was killed.

READ THE FULL discourse ON


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14 18 21 22 27 31 36

PHOTOGRAPHY Affectionately to the previous generations By Nabor Jr.

MUSIC Much beyond labels By Cristiane Gomes

22 COMICS D’Salete paints 7

INTERVIEW James and I By Lúcia Udemuzue

LITERATURE Poems, poets, soldiers and books By Jéssica Balbino

COMICS D’Salete paints 7 By Nabor Jr.

VISUAL ARTS Dialogs and identities By Renata Felinto

PHILOSOPHY There’s always a glass of sea to man navigates By Nabor Jr.

CRITICAL Criolex By Nabor Jr.




Affectionately to the previous generations

Nenê da Vila Matilde

Ethnic immersion of the photographer Wagner Celestino visit to the black memory of Sao Paulo through the images of his pioneers samba singers. POR nabor jr.

It’s been said that São Paulo was the tomb of samba. For sure, they forgot that the samba agonizes, but it doesn’t die. Such rhythmical and bloody immortality pulsates not only in the lyrics and samba groups spread on the city, but also in the quotidian life of the intermixed races from São 8 | omenelick 2º ATO | afrobrasilidades & afins

Paulo, making part of the biographical trajectory of people who follows the rhythm as a religion, doctrine and life style, when not, as a sense of life. And it was just to this last group that the lenses of Wagner Celestino, 59, the photographer from


Dona Philomena

Silval Rocha Sao Paulo, turned round when, in March of 2003, he began the daring project of registering the remainders of the Old generations of the Schools of Samba of the City of Sao Paulo. The visit to the black memory from Sao Paulo through the images of his pioneers samba singers, protagonists of the first drum’s sound of the carnival groups of the city, it puts back the bastion as main actors of a movie created, produced and adorned by them. Zelão da Rosa

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The result of this ethnic and photographic immersion is a poetic essay, simple and calm, that represents the historical importance of those 29 portrayed characters. A real tribute to eyes and ears of people from Sao Paulo, no matter if they are samba dancers or not.

“To register the remainders of the Old generations of the Schools of Samba of the City of Sao Paulo, it is to rescue black man’s main role in the creation of one of the biggest cultural inheritances of the city, the carnival”. Xangô da Vila Maria

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Paulo Portela

“Practically all the portrayed people gently opened their houses’ door. I tried to pass such affection through photography. Interchanging a coffee and a slice of cornmeal cake I tried to do the best possible”. afrobrasilidades & afins | omenelick 2º ATO | 11

“We are from Sao Paulo and we dance samba a lot, to be a samba dancer it’s not necessary to own the hill”, Geraldo Filme.

Toniquinho Batuqueiro 12 | omenelick 2º ATO | afrobrasilidades & afins


Carlão do Peruche READ Brazilian black sounds (Os sons negros do Brasil) José Ramos Tinhorão Art Editora São Paulo, 1998

Navel Samba (Samba de Umbigada) Edison Carneiro MEC Rio de Janeiro, 1961

Eternal samba singers (Sambistas Imortais) J. MUNIZ JR. Ed. Part. Santos, 1977. afrobrasilidades & afins | omenelick 2º ATO | 13

Much beyond labels Liberty is the key word on the multifaceted artist Kiko Dinucci POR cris gomes | FOTOS gina dinucci | ilustrações kiko dinucci

Some time ago, walking through a large department store in São Paulo, the musician Kiko Dinucci found three of his CD’s (the artist has recorded four albums) exposed in different segments on the music sector inside the store: one of them was at the pop rock section, another one was at the regional and the last one in the MPB space. “I don’t care about a specific thing. I try to expand my musical abilities as much as possible”, says the artist, that reveals his musical versatility and often mocks at the labels imposed by the market. 14 | omenelick 2º ATO | afrobrasilidades & afins

However, beyond the noise assumptions and common places about his history, Kiko worries a lot about artistic freedom, and such state of mind may be precisely manifested by the diversity found in his music, partnerships and his foray into other artistic forms such as documentary and arts. Kiko began his career in music when he was a teenager playing guitar in Necrophobic metal band. Subsequently, he joined the punk group Personal Choice. The transition to Brazilian music, linked to African traditions, did not happen so fast. It appeared in a natural way and fueled by curiosity and concern that, since that time, it has marked his work. “When we played with punk band, the guys didn’t want to sing in Portuguese because they believed the language didn’t fit. So I took a song in Kimbundo (African language widely spoken in Angola) to the music test. Crudely written, I put all the vocabulary together and made the lyrics. I arrived at the music test, and showed it to them and everyone looked at me with a question on their faces: “Is Kiko crazy?”. Of course I wasn’t crazy. There was a “baby” that would represent an intense connection with African culture and african-Brazilian. By the time he got interested on samba composers that in

his opinion, talked a lot about his punk attitude, Kiko also wanted to know about the black production that preceded the emergence of rhythm, as jongo, congas and drums. Hence, reaching the Candomblé (a religion developed in Brazil from the syncretism of West African’s culture and traditions) was “quite fast” as he says. “Nowadays I don’t separate faith, music and dance. It’s all together like a package called Candomblé and I believe it is more than a cultural expression. It is spiritual.”


Here is a way that people love to call him, the composer of Macumba (in Brazil it refers to any ritual or religion of African origin (as slang), but most people use it as a pejorative word meaning “black witchcraft”). Although candomblé makes a great presence on his work, he wants to expand. “I can do anything. I can I sing a romantic bolero, reggae, a Paraguayan guarania ?. I try to expand the possibilities as much as possible”. And it’s a fact. Kiko has recorded four CD’s: Padê (with Juçara Marçal), A Portrait of the Artist while requesting for something (by Duo Moviola, formed by Kiko and Douglas Herman); Pastiche Nagô (with Bando AfroMacarrônico) and In other people’s mouth, where several performers sing his compositions. “Every time I get inside the universe of the specific artist with whom I’m doing a partnership I learn afrobrasilidades & afins | omenelick 2º ATO | 15

The religion of African origin has entered Dinucci’s life as part of his musical curiosity, then as research for his documentary Dance of Calabash, about Eshu, the Orisha, a misunderstood god in Brazil. Since then, Candomblé is in Kiko’s art and life.

a lot”, said Kiko, who notes that the musicians he works with are also the creators and not just supporting cast. “He is open to share his musicianship with other artists of different styles and this is confluence, the partnership in works is enjoyable “said Iara Rennó, a partner of Kiko who created with him the dance show Xirê Onin. Writer of urban life, his compositions are real stories of the stone jungle. You listen to the song and then you can build on your mind all images of those stories, full of shrewd intelligence and sarcastic humor. These characteristics, which are close to other great writers from São Paulo, such as Adoniran Barbosa and Itamar Assumpção, define him in another way: the legitimate representative of the new generation of avant-garde in São Paulo. But during this process, Dinucci has fun with all these comparisons. “I’m happy because they never define me the same way”. Even with so many changes throughout his musical journey, Kiko punk of the 90’s is still alive. “The way Kiko play the guitar is really special. It is a hybrid between a samba guitar and a hardcore guitar, a result that only someone who has experienced deeply the two styles could notice” affirms the saxophonist Thiago France, another constant partner in Kiko’s work. “One day I want to look back and see that I was like Frank Zappa, who made records one different from other, each one in a different way. I want to proudly say that I’m free. I’m still in the process and I so is every one of my generation, I think, but I won’t focus

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“It’s very nice to create a CD, but nowadays (in such a time cadenced by the internet) it’s a new business card, which serves to present your work. For me, the nicest thing is to have someone going to your show.”

on a specific point, or on any definition people give me. I can make a CD with an orchestra if I want. If nobody hit me or hold me, I’ll do it “. Nobody can doubt it.

Read the complete interview on LISTEN TO

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James and I BY Lúcia Udemezue | Photo Rafael Henri (

I perfectly remember of the first time that I heard the velvety and strong vocal of the North American singer José James. It was in January of 2009, at the Berlin Club, in Sao Paulo, in one of those delicious nights of Tuesday that the house dedicates to Jazz. Between one music and another, the impeccable set list of Dj Waltinho Abud, surprised me with a unique sound, that made me stand up of the 18 | omenelick 2º ATO | afrobrasilidades & afins

chair, meet him with a piece of napkin and a pen on my hands to write down the name of the singer who had touched me. Since that I haven’t stopped researching and virtually following the career of the talented James. Those who hear him for the first time tends to imagine him as the great master of the North American jazz of the decade of 50: a man of classic style, wearing an impeccable suit black and seated

on the edge of a piano. None of that. José James is young and owns strong musicality influenced by the hip hop culture (as well as his dressing style), for the soul and acid jazz. There is no way to deny that the musician has a fundamental role in the diffusion of the jazz around the world, demystifying the character “erudite and elitist” that, for decades has labeled the rhythm. Because of his potential on mixing styles and his constant dialog that breaks the hip hop culture, José James has been enlarging the resonant possibilities of thousands of people so far opposite to the jazzy culture, especially out of the United States. In October of 2010, the musician was for the second time in Sao Paulo (the first one was in 2008), to participate of Nublu Jazz Festival, where he made two presentations, one in Santo André and the other one in Pompéia, both branches of SESC. Followed by a great band formed by Marc Cary (piano), Christopher Smith (bass) and Adam Jackson (drum) James, made two incredible shows that drove crazy his fans and surprised those who didn’t know his work.

interview the show that happened in the ABC of Sao Paulo, where the musician granted an exclusive interview to the magazine OM2ºATO. Unfortunately, it is true, the “cherry” of the cake flew with his band back to the states, but the cake is still here, and now we can share it with you! OM2ºATO - How do you feel in Sao Paulo for the second time, did you feel any difference in the reception of you work? José James - - In the first time that I came to Sao Paulo the album The Dreamer had just been launched and could not make a great tour. The quantity of people is the same with the same love and affection. I saw young people wearing caps like me, a clear style of the hip hop culture, couples, women, children ... there is a mixture of generations in the orchestra and today, two years after the first time that I came here, I feel much more comfortable and happy about the reception of the work.

His arrival in Brazil was a great gift for me and all the lovers of this new jazz that may have the talented North American singer Esperanza Spalding as one of his principal representatives.

OM2ºATO - How do people accept your music “more contemporary and young” inside the musical jazz scene? José James - The jazz permeates the American culture. Jazz as a traditional northern American musical style is the fundamental base and it is present for all generations.

The cherry of the cake of this history was the quick meeting that I had with James right after

OM2ºATO - How do you define your music style? José James - I and my whole band came from afrobrasilidades & afins | omenelick 2º ATO | 19

the jazz, but perhaps what we do is not a “jazz” properly stated. There are several contributions of different styles in this new work (Blackmagic), for example. The jazz is a black music and we make a work with several nuances and collaborations and with freedom of trying. OM2ºATO - On your first album The Dreamer (2008), you composed a lyric which is the name the disc and that is a tribute to Martin Luther King. What is your political view as a black musician and what was your intention while writing the lyric? JJ - The lyric of the song The Dreamer was written for all the ethnic communities. It is a political view on social relations that for me should be egalitarian. I felt really happy for having a black president. I definitely don’t represent direct or indirectly the United States in the songs I sing.


The Dreamer 2008

Blackmagic 2010

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“ ... women’s reaction in the shows, which inevitably surrender to the charm of the singer, contrasted to men’s perplexity, because it’s undeniable that José James has a grand presence of stage ” “ Holding a glass of red wine, with all his charm and elegance, the singer, as well as in his presentations, set the sensual mood - I confess that it was not easy to interview him(sic) ”.


Poems, poets, soldiers and books


BY Jéssica Balbino

Ball on the ground, kite in the sky and a curtain of pollution in the air. Cars, pedestrians, ties, puppets. It’s a frenetic rhythm. Many people with no destination, out of their way, here and there. Definitely in Sao Paulo they are all protagonists. A cold beer on the corner, kids going up and down, the afternoon tastes like childhood, temperance, fate. I pass through it, but I’m a mere visitor. I dismiss the xylocaine, after all, since I got here a few days ago, I’m numb, numb, terrified. Such “come and go” of the everyday fascinates me. For me everything is new, even horns symphony. I stop, I breathe and intercom. I say who I am. I climb two stairs and enter. I freeze while facing everything I see. It’s too much information. On the place I come from, Poços de Caldas (in Minas Gerais), is not common to find it all. So many things in one single place. In a few steps, the bookshelves, tables and shelves names like Song, Erica Pecanha, Sérgio Vaz, Ademiro Alves (Sacolinha), John Anthony, Black and Ghóez Ferréz suddenly appear. Sao Paulo is really plural, multicultural, and surprising at every corner. No wonder that in the middle of the city, on the second floor of an old building at May 13th street, in the traditional district of Bexiga (an Italian stronghold in the capital), the periphery, who would say that, is a lady. There, where, since the 2010 carnival was established the Convinced Suburban bookstore, edges and center converge into a single element: marginal culture (marginal, because it’s a production excluded of the great bookstores and libraries).

The visitation aim is, or better, was to see friends, say “hi” and go back to other commitments, but the sound of the beer can while being opened there, that way, so suddenly, at that point, invites me for some extra minutes. Leaning on the counter or sitting on a sofa, which sits next to a large collection of books and CDs, arranged in folders and files, time passes and I let conversations flow while night goes on. It doesn’t take too long for the new friends arrive, and that “rush”, becomes a desire on staying there. Pioneers in Brazil, the Convinced Suburban bookstore is the only specialized on marginal literature, with unique samples and even rare, of dead authors or sold out editions. Soirees, meetings, discussions and postings. Every week, dozens of people pass through the space and consume culture, sometimes free, sometimes in the form of investment, when purchasing books, movies, or even clothing produced by those who live in suburbs and represents it. If there were more bookstores like these, affordable, real issues and a “real” environment we might have more poets than soldiers on the streets.

CONVINCED SUBURBAN BOOKSTORE Rua 13 de maio, 70 – 2º andar - Bixiga/ SP

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D´Salete paints 7

BY profeta da luz | Photos Hudson Rodrigues

Owner of a crowded gloomy and poetic aspect of subjectivities and mysteries, sometimes flirting with the German Expressionism, other times with the French Realism, Marcelo D’Salete, literally paints the seven (expression used to describe someone that does whatever he (she) wants). Teacher, investigator, graphic designer, illustrator, designer and scriptwriter of COMICS, he already had his comics published in expressive magazines of that type, as the Comics university student, the Slovak Stripburger, the Argentinian Suda Mery k! and the brazucas (a slang used to refer to Brazilian people) Front, Graffiti, Gentle Stories and +Soma. Beyond cinema, and going through names such as Shari Springer Berman, Robert Pulcini and Takashi Miike, the designers Miguelanxo Prado, Neil Gaiman, Sam Keith, Katsuhiro Otomo and Lawrence Mutarelli are some of the references used by the artist to produce works such as the acclaimed publication Night Light. The book, released in 2008, was nominated as one of the 100 best comics of the decade by the Argentine site Comique ( A multifaceted artist’s production includes partnerships with the musician and writer Kiko Dinucci and children’s books illustration of the sambista (man who plays samba) Martinho da Vila. Impossible to separate D’Salem’s productions of issues related to ethnic contemporary discussion. “I don’t only talk about this subject, but according to my history and accomplishments, it’s possible to see that black issues are recurring in my work.”

Illustration of book Noite Luz (Night light)

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At an interview with the magazine Menelick 2 º ACT, the artist talks about his inspirations, future projects and how black is represented in comics tupiniquins (Indians).

“Solving a page of comics is to solve a problem of form, content, time and narrative.”


How to balance artistic treatment and textual plot? My stories start from simple everyday facts. A newspapers note. Chats with friends. In general, such a fact hardly generates a good narrative. So I add new information and facts, to shape and insert more complexity to each character, environment, action and scene. From that point on the story becomes more effective. It all usually takes several weeks or months. Sometimes I can resolve the plot in one day. But in most of the stories I have to make numerous changes. It delights me lately to think about each scene. The way of making each of them important itself and inside the narrative context. In the work process, I have largely excluded the text of stories. It doesn’t mean that the text isn’t important, but it’s to explore the proper side of comics - create a universe with only images in sequence. It’s a difficult but rewarding work. Solving a page of comics is to solve a problem of form, content, time and narrative. afrobrasilidades & afins | omenelick 2º ATO | 23

Is there already recognition by society of the complexity and richness of the narratives of comics and their impact on popular culture? Comics, as we know it nowadays (drawing and text graphically articulated and printed in newspapers or magazines), have existed for more than 100 years. On its most part of history, comics were the subject of a child or a narrow niche audience. Today a great part of authors want to expand the comics’ universe. The recognition of the books as a vehicle for rich narrative happens day by day. There are many comics and inspired on classics of literature, to schools. Parents buy these works to their children with a more positive view than what happened decades ago. It may help to make them more important, beyond simple entertainment. Anyway, outside the adjustments, the adult comics still need to claim their space.

Illustration of book Noite Luz (Night light) 24 | omenelick 2º ATO | afrobrasilidades & afins

What comics were decisive, or inspiring, for you to enter the world of comics? I started reading comics when I was young. It was a daily routine with my brother Mark. In general, I read what was most common in stores. As a teenager, at the designer course from Carlos Campos college, I was introduced to other authors. Short stories of Michelanxo Prado; Sandman by Neil Gaiman and Sam Keith; Katsuhiro Otomo’s Akira and albums Lourenço Mutarelli. Since then my view of comics has changed. I realized that they could have more complexity, talk about real life in a profound and provocative way. At that time I was already familiar to design, practiced since childhood. Then I began thinking of scripts because I wanted to develop my own stories. I’ve drawn stories of Kiko Dinucci, samba singer and a great writer, addicted to movies just like me. Later, I learned a lot about how to tell stories watching movies and reading about cinema. When I started publishing the magazine Front, I

already had many stories that I wanted to tell and a different way to accomplish this. How do you evaluate the migration process from comics to cinema? Do you also have a work in such a way? Do you want to see your stories on movies? Nowadays, there is a great number of American comics for the screens. In general, producers take advantage of the fact that the characters are already known. It’s almost guaranteed that you’ll sell your product and acquire audience. I confess that most of the time I consider strange out of context those movies about American comics. They are fun, but they don’t supply any purpose, they are only for entertainment. Movies based on comics that I consider good, that respect the movies’ language are: American Splendor, the Shari Springer Berman and Robert Pulcini (based on Harvey Pekar’s comics) and the unsettling Ichi the Killer, Takashi Miike’s (based on mangá – Japanese comic books - of Hideo Yamamoto). Besides all that, there are other several successful experiences in animation: Akira, Tekkonkinkreet. Although I appreciate movies very much, I have no intention of taking my work to the screen. My goal is to have them as comics. Do you think is still “labeled” Brazilian designers imagination inspired by black culture to create comics? We live in an environment where few are black comics writers. Moreover, there is little discussion about black characters and themes in

comics. Finally, the maturation of this discussion is still at the beginning. At cinema, theater or on television this conflict is most visible. Analyses of Joel Zito Araujo on television and John Carlos Rodrigues about cinema are important for deepening the subject. In the theater, decades ago, there was the experience of TEN (Teatro experimental do Negro) - EBT in English (Experimental Black Theater) - of Abdias do Nascimento and, more recently, the great group of black actors The Crispy.


READ Book: Night light Author: Marcelo D´Salete Publisher: Via Lettera Year of 2008 Book: Big house & Slaves Authors: Gilberto Freyre (original text), Estevão Pinto (comics adaptation) and Ivan Wasth Rodrigues (drawing) Publisher: Ebal 2000 afrobrasilidades & afins | omenelick 2º ATO | 25

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visual arts

Dialogs and identities The black man representation on Brazilian plastic arts BY Renata Felinto | PHotos Arquivo

Lasar Segall painted the most sensible canvas about the social and psychological agony suffered by black man in Brazil as seen in Bananal (1927).

To make things easier to the analysis of the representation of the black man in the plastic Brazilian arts along the last five centuries, we will chronologically divide this study in three different moments: documentary (what includes the production carried out during the centuries XVII, XVIII and XIX), social (what comprises the first half of the century XX) and personal (what includes the production of the end of the century XX up to the current moment). afrobrasilidades & afins | omenelick 2ยบ ATO | 27

The documental moment includes more detailed national peculiarities such as geography, fauna, flora, population, manners and customs. Significant part of the production of this period was made by foreign artists that arrived in Brazil, generally contracted, with the objective of making works of documental types and that were related to specific aspects of the new land reality. In 1637, the Holland artists Frans Post (1612-1680) and Albert Eckhout (1610-1666), arrived in Pernambuco contracted by Prince Mauritius of Nassau. Post documented the ports, fortifications and the exuberant Brazilian scenery, representing in his works the black man as a supporting actor, an element of the composition of his paintings, as well as the trees or the animals. Arthur Timotheo of the Coast – boy’s Portrait, s.d., oil on canvas – follows at the end of the text.

On the other hand, Eckhout painted the fauna, flora and the curious human types producing a set of eight paintings that show human types found in Brazil, and two of them are representations of black men: Man Negro and Black Woman (1641), where black men appear like inhabitants of Central Africa and not as slaves in Brazil, a detail that checks to the paintings allegorical tone. In the XVIII century, Carlos Julião (1740-1811), an Italian soldier that served the Portuguese Crown, registered in his watercolors the regions of Bahia, Minas Gerais and Rio de Janeiro, anticipating the type of common representation in the XIX century that focused the daily life of cities and towns. In the baroque, final period of the XVIII century and part of the XIX century, the Portuguese’s son Manoel da Costa Athayde (1762-1830) immortalized the black woman, mixed race, in the ceiling of the Church of Saint Francisco de Assis, in Ouro Preto (MG), in the figure of Nossa Senhora da Porciúncula. In 1816, the artists of the Artistic French Mission arrived in Brazil, who consolidated here the esthetic European paradigms that would be bases of the Brazilian production and so on. Among them, one that has gained prominence was Jean-Baptiste Debret (1768-1848) that registered the

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daily life of the capital on its recent Empire, the city of the Rio de Janeiro. In his works, the situations of slave labor include also the daily relations between liege and captives, and the figure of the black man assumes unique importance. Another important traveler-artist of this period was the German Johann Moritz Rugendas (1802-1858), who arrived in Brazil in 1822 contracted by the Expedition Langsdorff. In his watercolors and lithographies black man also appears in a sort of chronicle of the city of the Rio de Janeiro, in a distanced way in situations of labor and punishment. However, it’s by the end of the XIX century that appeared the first black artists who opened way for other black men also artists and that represented themselves and their culture. One of them was the native of Rio de Janeiro Artur Timotheo da Costa (1882-1922). Graduated from the Imperial Academy of Beautiful Arts, on his paintings the black face is the beauty to be studied in its lines, forms and colors, transmitting gentleness and delicacy through its stroke, as seen for example, in the work Boy’s Portait (Retrato de menino). Still at the end of the XIX century black man was also widely registered through the photographic language, which had great prestige at that time. Among the photographers of the period it can be mentioned the Portuguese Christiano Junior (1832-1902), who mounted scenes in his photographic studio in which the black men were representing slaves of profit; and the native of Rio de Janeiro Militão Augusto de Azevedo (1840-1905), who took photographies of black families in Sao Paulo worn in clothes of that time to watch the masses on the Church Our Lady of Rosary, frequented by that population.

Albert Eckhout - African Woman, 1641, oil on canvas– site of the Institute Itaú Cultural.

At the end of the XIX century and beginning of the XX, the representations of black men in the Plastic Arts characterized the successful moment as social, ‘cause in the modernist period to black man figure were attributed some Brazilian aspects. At this moment, there are afrobrasilidades & afins | omenelick 2º ATO | 29

two more visible slopes of representation: the black man harnessed to the slavish past and / or as an individual. Zezé Botelho Egas and the native of Rio de Janeiro Pedro Bruno (18881949) make part of the first group, with works that, even on a moment of exaltation of the black man figure, represent him in situations of torture or slave labor.

Frevo, óleo sobre tela, Heitor dos Prazeres

COMPLEMENTARY READING The journey of the big kalunga: three centuries of images about the black man in Brazil (1637-1899). Carlos Eugênio Marcondes Moura Edusp São Paulo, 2000. Black painters of eight hundred José Teixeira Leite MWM-IFK São Paulo, 1988.

The Italo-Brazilian Alfredo Volpi (1896-1988), the man from Sao Paulo Candido Portinari (1903-1962) and the guy from Lithuania Lasar Segall (1891-1957), three of the biggest modernist artists, painted the black man as the individual, in different situations that exalted his history, culture, beauty, social situation and individuality After the initial modernist change of direction, many black artists without academic formation advance on the artistic national and international stage taking for themselves the commission of representing their cultural inheritances and way of living, transposing barriers imposed by the academy through its originality, vivacity and creativity. As seen on works of the natives of Rio de Janeiro Heitor dos Prazeres (1898-1966) and Sérgio Vidal (1945), and of the one from Bahia Agnaldo Manuel dos Santos (1926-1962). From 1990 on submerge from peripheral studios the representations pointed how that of personal character, which presents sensitive points of view and perception about African diaspora and its continuations, as it’s possible to see on Eustáquio Neves’ work (1955) - a man from Minas Gerais and Rosana Paulino (1967) - a woman from Sao Paulo. As we can observe, the representation of the black man in the Brazilian Plastic Arts suffered important transformations along the centuries. If on the first images black man was represented allegorically seen by foreign eyes, now it’s the black men himself who gives the tone of this representation, assuming his own speeches, being, simultaneously, the creator and creation of his personal histories and of his ancestors.

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parteum by Nabor Jr. | PHotos mandelacrew e Cíntia Augusta

There’s always a glass of sea to man navigates.

It was in the rainy night of the last 26th of November, in the up-to-date Emme Studio club, in Sao Paulo, during the premiere party of the Night Virtual Plot, that the MC and producer from Sao Paulo Parteum, that days before had launched the EP “ The authority of reason ”, said, still on top of the stage, beside his partners of Mzuri Sana, that the Philosophy (as study of basic problems related to the existence, to knowledge, to the truth, the moral and esthetic values, the mind and language) was making influence in his processes of creation.

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As seen in the work Interpretation of the Dreams (1899), where the Austrian philosopher Sigmund Freud joins series of studies that originated in annotations and analyses of his own dreams, Parteum, while weaving such a comment, unconsciously, translated in words the “thoughts” of the magazine O MENELICK at that moment. And, subjectively, he gave us a present with an interesting list. At the age of 35, married and the father of little Cora, Parteum, which received us on Plot Studios, in Pines, lives his life on the top of creativity and productivity. Main piece of the Virtual Plot, music lover of the cinema, skate, video and of the technology (almost always he is armed by his Ipad, Iphone, Macbook and other electronic personal items), yes, Parteum is kilometers far away from his time. Even more if we think about the heads that drive the national rap. An interview with him is never “only” an interview: it is a lesson. His comments and answers essentially flow into hairy artistic references. Jay-Z, Kennie West, Caesar Camargo Mariano, Beto Villares, João Marcelo Bôscoli, Herbie Hancock, Pete Rock, James Yancey, Nigel Godrich, Stewart Copeland, JamesYancey, Native Tongues, Descartes, Sartre, Freud, those are some of the names that he quoted during our conversation. A truthful New Year’s gift. Here comes 2011!

Interest in Philosophy

In fact everything began in the university, in Cásper Líbero, on then the course of Publicity and Propaganda. I was 19 when I started it, a phase where you begin to know yourself a bit better, learning how to deal with your emotions and so on. At that time I started to read what most of the people read when you learn about your area: Sartre, Discard, Schopenhauer and much more.

I’m alive, therefore I exist

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In fact, nobody knows anybody. What happens is that there are moments in which people meet each other. The understanding is always based on your own experience, and not on the others’. You know the world because of your feelings.

The Origin

I watched the (movie) Inception (The Origin) alone, Friday night in a room of cinema in the shopping center. Me, my telephone and my camera. After the show I made a movie of my experience on watching Inception with my camera. This video is posted nowhere, but from time to time I watch it on my camera. On my way back home, I turned on my iPod and started to listen to Force of the Suggestion, a song recorded by me in January of 2007. Since that, I was asked myself how could a song recorded by me in 2007 have a lot to do with a movie that I watched three years later? I didn’t want to find many answers for that, but I believe that our doubts are the stimulus we need to move on to the next step.

Dreams Interpretation

People more intelligent than me say that dream is nothing more than your mind organizing and putting in drawers information that you will need to access all the rest of your life. I had a recurrent dream where all my friends appeared. I know there is a variant of this dream that had already appeared somewhere, movie perhaps, I don’t know. I don’t know if it was since that moment it started to appear for me, but I already had it many times, not anymore. It even turned into a rhyme. I was inside a swimming pool and all my friends were around, and I shouted for help because I was sinking. Suddenly a woman appeared, that I don’t know who was and that I couldn’t see her face. And she was saying: “I don’t understand you. The swimming pool is empty”. Then she disappeared. And the swimming pool was really empty. Years later, when I learned to write rhymes and such a thing I composed: “Living life in alternate days is the same as sinking in an empty swimming pool”. It is necessary to be very well, with very good days in the sequence so that I wake and say “It can bring me something!” I see all my dreams much more like something that can open doors than unique and true answers that will make my doubts disappear. Doubts never disappear. afrobrasilidades & afins | omenelick 2º ATO | 33


Dj Quik – that has already produced for Dr. Dre – and it’s considered a legend of the western North American coast, says that he could only make good music when he started to make music between the notes. When it comes from a man of jazz you can say: wow valiant. You don’t expect to hear that, or better, the great media doesn’t expect to hear that from a rapper. And such a thing, a rapper speaking and showing that, gives me this idea that mathematics doesn’t need to be exact all the time. Because of the fact that I produce, I count the whole time.

I think therefore I exist.

In music, especially on Rap, we exist first. And I place myself on that too because, in theory, we are only a body. I say that because the most difficult thing nowadays to find someone that he says: “no, I just buy and download rap discs, go to the shows. I am a rap fan”. That is very difficult to happen nowadays. People say “I have a blog”, “I am Dj”, “I take some pictures”, or “I negotiate an artist” and so on. It’s really hard to find someone that simply says that likes rap, buys the discs, goes to the shows and follows the scene. If there is, it’s very well hidden.

Erosion of attention

Nowadays people consume much more in quantity than in quality. A guy says “I downloaded many albums this week”. So, I ask: But which of them have you deeply listened to? Have you listened to lyrics by lyrics? It’s similar to the way the writer Maggie Jackson entitled it; she called this phenomenon Eruption of attention. The experience of listening to an album is quite similar to the one of watching a movie. It’s not the guy’s fault for having downloaded 20, 30 albums that week ‘cause that’s good. The problem is that he has no time to deeply listen to them. It’s like a race to obtain as much information as possible but not essentially use them. I believe it’s a bit dangerous.


I was listening to an interview of John Mayer that he canceled his Twitter account to get through a period of digital clean (limpeza digital) cause all the things he shared on Twitter weren’t supposed to be shared with those 4 million followers he had but with his father, mother, brother, girlfriend. And that now he has some rules.

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Authority of Reason

People may access the EP Authority of Reason through the website, where there’s a link. I want to physically launch this EP on March, but I’m adding some songs to this work. Together, I want to launch a DVD with some pictures taken of my quotidian, once I’m always recording. If I skateboard I record, if I go to my nephew’s house I record, if I go to a second-hand bookstore I record, if I go to a computer shop to buy something I record, if I go to my friend’s house, a cinema student that got some movies of the 50’s for us to watch I record too. At that one year away since my daughter was born I recorded many things that I didn’t show to anybody. Neither to Secreto nor to Suissac; neither to my brother nor to my wife, I didn’t show it to anyone. It’s mine, my process. I believe the same happens to all artists. My idea is to be focused on the shows, create more things. I intend to make presentations on March. People want the artist to be an artist 24 hours per day, and I’m not that. I am Arian; I try to have the control of everything all the time.


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Criolo Doido rescues format, music, partners and, even like that, Subirusdoistiozin is new. On the opposite side of the phonographic market and infringing the impositions of the technological advancements, the rapper from Sao Paulo Criolo Doido, authentic beatnik of Grajaú, plays a another trick on his most recent entitled album Subirusdoistiozin, a 12 inch vinyl launched last December. There are four new songs (the new version of Grajauex, the unpublished Subirusdoistiozin, beyond the instrumental versions of both lyrics) the work, which is a single of the complete album - predicted to be launched in March, brings a firm and generous production of his partner Daniel Ganjaman and of Marcelo Cabral, besides it legitimizes and brings details of the DJs (and the lovers of the vinyl culture), that uses and believes in the art of the discs. In the song that represents the album, Criolo,

between strong and clear voice, he plays with his voice presenting us his most melodic side. Opposing the lyrics, the trumpet of Marcelo Guizado and the keyboards of Ganjaman bring rhythm to the song with the solo jazz musi**** Subirusdoistiozin cians really inspired. It shoEstúdio El Rocha, 2010 ws that the convergence of instrumental ones, pick up and the rap’s inside voice, well worked, can bring excellent results. Detach also for the clever scratches of the DJs Marco and Dan Dan, and for collage of the song White Collar, of Duck Jam and the Hip Hop Nation, at the end of the song. In Grajauex, the MC retakes the origins changing his rap to a higher position. In the lyric, the correct rhyme, quick and intelligent of Criolo converge into the new beat gained by the song, what guarantees the energy of the disc. It’s easy to listen to it and clearly imagine people with their hands up and singing it all together. In spite of being a small part of what is really coming next, Subirusdoistiozin is a respected single, with well worked arrangements that presents Criolo Doido more adult and inventive musically. Rap and Brazilian music thank that. Criolo Doido (voice) Marcelo Cabral (acoustic bass and production) Daniel Ganjaman (piano, planning and production) Guilherme “Guizado (trumpet) Marcelo Munari (guitar) Dj Marco (scratches and collages) Dj Dan Dan (scratches and collages)

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foto: Célio Coscia


71 anos de experiência

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