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  • Anne Gisleson

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE/pathways out

Network Node

  • Name: Anne Gisleson
  • City/Place: New Orleans
  • Country: United States

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Anne Gisleson is the author of The Futilitarians: Our Year of Thinking, Drinking, Grieving and Reading (Little, Brown), a San Francisco Chronicle Best Book of the Year. Her writing has appeared in The Atlantic, The Los Angeles Times, The Oxford American, The Believer and many other publications.

    Her essays have been featured in several anthologies such as Best American Non-Required Reading, Life in the Wake, and others. She co-edited and co-wrote How to Rebuild a City: Field Guide from a Work in Progress, about ground-up rebuilding efforts in New Orleans after Hurricane Katrina and wrote the accompanying essays for photographer Michel Varisco’s Shifting, a book about the beauty and degradation of the coastal wetlands.

    She teaches creative writing at the New Orleans Center for Creative Arts and is co-founder of the literary and visual arts non-profit Antenna.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Book Purchases: http://annegisleson.com/The-Futilitarians
  • ▶ Website: http://annegisleson.com
  • ▶ Stories: http://annegisleson.com/Selected-Writing

More

  • Quotes, Notes & Etc. On Anne Gisleson’s The Futilitarians (Little, Brown) —

    “Gisleson writes with wit, warmth, and a spiritual devotion to books... Her search for purpose and connection amid chaos and loss permeates even the most heart-wrenching moments of The Futilitarians-- and it’s what turns the book from a meditation on reading to a celebration of being.” -- Jason Heller, NATIONAL PUBLIC RADIO

    “Essential... this is a shattering and very important important book...one of the best books of this year.”
    — Dave Eggers

    “Truly great writing...Gisleson conjures the strange beauty of her world... An affecting memoir.”
    -- Keziah Weir, ELLE

    “With beautiful writing, Gisleson effortlessly weaves existentialism around narrative, challenging and engaging readers with a seamless blend of theory and memoir. Writer and educator Gisleson’s first book-length work weighs heavy with life’s toughest questions and then instantaneously elevates the soul with hope, making a charming, captivating, and incredibly smart must-read.” -- Melissa Norstedt, Booklist

    “Sets out a search for meaning in grand terms and resolves the search in the beauty of loving detail...Plus, spoiler, it ends in fireworks and a reading list you do not want to miss.”
    — Louise Erdrich

    “A beautiful book about things that matter-- love, death, grief, anger, regret, renewal, the life of the mind, the life of the heart, and the life of the world around you.”
    — Sam Lipsyte

    Praise for The Futilitarians —

    “The Futilitarians sets out a search for meaning in grand terms and solves the search in the beauty of loving detail. From suicide to set painting, lunch pies to Death Row, from decayed eternity to the complex rebirth of New Orleans, this book never loses the treasure of abiding doubt. Plus, spoiler, it ends in fireworks and a reading list you do not want to miss.”
    — LOUISE ERDICH, National Book Award–winning author ofLaRose

    “This is a shattering and very important book—and will, if there is justice (and there must be justice), be considered one of the best books of this year. There is an ocean of hurt here, but Gisleson manages to sail through it and show us everything that’s beautiful about this sea of pain. If you love existential literature, or New Orleans, or your family, or are curious about the meaning of life, then you will find The Futilitarians to be an essential book.”
    — DAVE EGGERS, New York Times bestselling author of The Circle and What Is the What

Clips (more may be added)

  • Reader's Delight: Talking About Books about Books
    By Anne Gisleson
    407 views
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find.
So for him, and the world, I built this matrix.
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington



Bahia is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

Why Brazil?

 

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.

 

Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.

 

Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).

 

Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.

 

Three cultures — from three continents — running for their lives, their confluence forming a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 

PORTUGUÊS (to English →)

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar.
Aí para ele, e pro mundo, eu construí este matrix.
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme o final desta seção) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


A Bahia é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

Por que Brasil?

 

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas - de três continentes - correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 

  • Joel Ross Composer
  • Bai Kamara Jr. Multi-Cultural
  • Fernando César Educator
  • Alex Hargreaves Bluegrass
  • Sharita Towne Multidisciplinary Artist
  • Reggie Ugwu Writer
  • Rosa Cedrón Composer
  • Carlos Blanco Bahia
  • Jeremy Danneman Clarinet
  • Casey Benjamin Funk
  • Glenn Patscha Canada
  • Márcio Bahia Percussion
  • Herbie Hancock Composer
  • Walter Ribeiro, Jr. Salvador
  • Ahmad Sarmast Kabul
  • DJ Sankofa Salvador
  • Sahba Aminikia Contemporary Classical Music
  • Lazzo Matumbi Samba
  • Teddy Swims Georgia
  • Jean-Paul Bourelly Composer
  • Adriano Souza MPB
  • Rez Abbasi Indian Classical Music
  • Lilli Lewis Folk Rock
  • Stefan Grossman Folk & Traditional
  • David Greely Louisiana
  • Barry Harris New York City
  • Calida Rawles Los Angeles
  • Rachael Price Americana
  • Victor Wooten Author
  • Dónal Lunny Ireland
  • Nicholas Gill Food Writer
  • Brandee Younger Classical Music
  • Jupiter Bokondji Kinshasa
  • Nikole Hannah -Jones African American History
  • Terrace Martin Multi-Instrumentalist
  • Greg Spero Composer
  • Hopkinson Smith Vihuela
  • Laércio de Freitas Composer
  • Monarco Brazil
  • Melanie Charles Flute
  • Kevin Burke Irish Traditional Music
  • Jake Oleson Brooklyn, NY
  • John Santos Record Label Owner
  • Kathy Chiavola Bluegrass
  • Andrew Finn Magill Ropeadope
  • Lucía Fumero Barcelona
  • Zeca Baleiro MPB
  • David Chesky Record Label Owner
  • Alfredo Del-Penho Brazil
  • Joe Chambers Jazz
  • Marco Pereira Samba
  • Mykia Jovan Jazz
  • Will Holshouser Folk & Traditional
  • Fernanda Bezerra Produtora Cultural, Cultural Producer
  • Cyro Baptista Percussion
  • Leci Brandão Samba
  • Dale Barlow Jazz
  • Elie Afif Composer
  • Leon Bridges R&B
  • Lorna Simpson Photographer
  • Manolo Badrena Visual Media
  • Kiko Souza Ska
  • THE ROOM Shibuya Soul
  • Stefan Grossman Guitar Instruction
  • Gail Ann Dorsey Multi-Instrumentalist
  • J. Period DJ
  • Chad Taylor Philadelphia
  • Matias Traut Jazz Brasileiro, Brazilian Jazz
  • Jason Marsalis Drums
  • As Ganhadeiras de Itapuã Samba de Roda
  • Hercules Gomes Choro
  • Third Coast Percussion Percussion Ensemble
  • Lionel Loueke Jazz
  • Scott Kettner Pandeiro
  • Evgeny Kissin Composer
  • Dadá do Trombone Salvador
  • Arthur Verocai Piano
  • Danilo Brito Bandolim
  • Ali Jackson Drums
  • Arifan Junior Brasil, Brazil
  • Omer Avital Middle Eastern Music
  • Zebrinha Coreógrafo, Choreographer
  • Leyla McCalla Folk & Traditional
  • Terrace Martin Ropeadope
  • Tigran Hamasyan Singer
  • Ibrahim Maalouf Classical Music
  • Alicia Hall Moran Mezzo-Soprano
  • Arthur Jafa Video Artist
  • John Francis Flynn Singer-Songwriter
  • NEOJIBA Brasil, Brazil
  • Raymundo Sodré Chula
  • Thiago Espírito Santo Baixo, Bass
  • Ben Williams New York City
  • Joel Best Character Artist
  • Maria Struduth Música Nordestina
  • Justin Kauflin Piano
  • Cécile Fromont Writer
  • Léo Rugero Film Scores
  • King Britt Live Producer
  • Thiago Trad Música Experimental, Experimental Music
  • Calypso Rose Trinidad & Tobago
  • Nailor Proveta Brasil, Brazil
  • Leci Brandão Rio de Janeiro
  • William Parker Essayist
  • Merima Ključo Sevdalinka
  • A-KILL Chennai
  • DJ Sankofa Bahia
  • Ênio Bernardes Pandeiro
  • Melanie Charles R&B
  • Cláudio Jorge Arranger
  • Wayne Shorter Jazz
  • Fatoumata Diawara Mali
  • Jaques Morelenbaum Bossa Nova
  • Barney McAll Piano
  • Luizinho do Jêje Bahia
  • Fabian Almazan Piano
  • William Skeen Early Music
  • Cacá Diegues Academia Brasileira de Letras, Brazilian Academy of Letters
  • Lucía Fumero Spain
  • Parker Ighile Singer-Songwriter
  • Bianca Gismonti Piano
  • Nate Chinen Music Critic
  • Lula Moreira Samba de Coco
  • Nooriyah نوريّة Middle Eastern Music
  • Anthony Hervey New York City
  • João Rabello Choro
  • Juçara Marçal Singer-Songwriter
  • Hugo Rivas Buenos Aires
  • Kiko Souza Samba
  • Roberto Martins Bahia
  • Lolis Eric Elie Writer
  • David Castillo Trumpet
  • Myles Weinstein Jazz
  • Mart'nália Percussion
  • Jonga Lima MPB
  • Giovanni Russonello Music Critic
  • Stefano Bollani Jazz
  • Elizabeth LaPrelle Old-Time Music
  • Mary Norris New York City
  • Curtis Hasselbring Trombone
  • Benoit Fader Keita Singer-Songwriter
  • Karsh Kale कर्ष काळे Tabla
  • Gabriel Policarpo Samba
  • Antonio Adolfo Jazz Brasileiro, Brazilian Jazz
  • Burhan Öçal Bendir
  • Nabih Bulos Foreign Correspondent
  • Edgar Meyer Bluegrass
  • Karsh Kale कर्ष काळे Singer
  • Ben Allison Multi-Cultural
  • Dr. Lonnie Smith Hammond B-3
  • Gian Correa Violão de Sete
  • Joan Chamorro Clarinets
  • Neymar Dias Multi-Instrumentalist
  • Samba de Nicinha Bahia
  • Béla Fleck Bluegrass
  • Michael Doucet Cajun Fiddle
  • Jaques Morelenbaum Cello
  • Martín Sued Accordion
  • Gal Costa Bahia
  • Peter Dasent Songwriter
  • Brian Blade Jazz
  • Guinha Ramires Florianópolis
  • Armen Donelian Multi-Cultural
  • Capinam Brasil, Brazil
  • Steve Lehman Jazz
  • Adriano Giffoni Rio de Janeiro
  • Patty Kiss Brasil, Brazil
  • Isaak Bransah Choreographer
  • Tray Chaney Record Producer
  • Tele Novella Texas
  • Inon Barnatan New York City
  • Errollyn Wallen Composer
  • Ayrson Heráclito Cachoeira
  • Mark Stryker Author
  • Saileog Ní Cheannabháin Raelach Records
  • Nooriyah نوريّة Writer
  • Chano Domínguez Jazz
  • Marcel Camargo Record Producer
  • Nêgah Santos MPB
  • Mykia Jovan New Orleans
  • Dave Douglas Multi-Cultural
  • Sophia Deboick Writer
  • Sarah Hanahan Jazz
  • Damon Krukowski Indie Folk
  • Bill Pearis Brooklyn, NY
  • Gian Correa Composer
  • Pharoah Sanders Multi-Cultural
  • Jessie Montgomery Composer
  • Rosângela Silvestre Choreographer
  • Abhijith P. S. Nair Indian Classical Music
  • Yvette Holzwarth Singer
  • Wynton Marsalis Classical Music
  • Tony Allen Africa
  • Darcy James Argue Brooklyn, NY
  • Henrique Araújo Composer
  • José Antonio Escobar Santiago de Chile
  • Andrew Gilbert Jazz
  • Bebê Kramer Composer
  • Babau Santana Bahia
  • Vik Sohonie Journalist
  • Christopher Seneca Journalist
  • Benny Benack III New York City
  • Milton Primo Viola Machete
  • Alain Mabanckou UCLA Faculty
  • Sandra de Sá Rio de Janeiro
  • Nancy Ruth Composer
  • Dwandalyn Reece Ethnomusicologist
  • Mark Lettieri Record Producer
  • Shirazee Benin
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