Ari Colares
This Brazilian cultural matrix projects Ari Colares globally...
Curation
CURATION
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from this page:
by Matrix
The Integrated Global Creative Economy
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Name:
Ari Colares
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City/Place:
São Paulo
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Country:
Brazil
Life & Work
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Bio:
Ari iniciou sua jornada como percussionista aos dezessete anos, integrando o Grupo Abaçaí, dedicado à pesquisa e produção de espetáculos de teatro, dança e música inspirados pela rica cultura popular brasileira. Em suas primeiras experiências nos palcos, desempenhava diversas funções, incluindo tocar, cantar, dançar e atuar como ator. Gradualmente, especializou-se na área musical, passando a estudar bateria no CLAM, percussão erudita na Escola Municipal de Música de São Paulo e concluindo o Bacharelado em Percussão na ECA – USP.
Desde 1993, é professor de percussão popular na Tom Jobim – Escola de Música de São Paulo (antiga ULM), onde, de 2008 a 2013, coordenou a área de percussão, abrangendo cursos de percussão popular, erudita e bateria. Atualmente, lidera o Grupo de Percussão Popular e há quatro anos leciona percussão na Ong Acaia, atendendo jovens de comunidades próximas ao CEAGESP.
Ao longo de sua carreira, ministrou cursos e workshops no Brasil e no exterior, incluindo destaque para os cursos da Sociedade Kodály do Brasil, ABRAORFF e ABEM – Associação Brasileira de Educação Musical. Suas contribuições educacionais também alcançaram outros países, com workshops em Hong Kong, participação nos cursos internacionais Orff de Madrid e Salzburg, além de experiências em Paris, EUA, Chicago, e em diversas cidades europeias.
Como músico, teve a oportunidade de se apresentar em diversos países ao lado de renomados artistas, como Wynton Marsalis, Egberto Gismonti, Cesar Camargo Mariano, e outros. Desde 1993, colabora com Naná Vasconcelos no ABC Musical, participando de projetos notáveis, como o Dvd "Lingua Mãe" e integrando um trio com Naná e o cellista Lui Coimbra.
Além de integrar o grupo Palavra Cantada e projetos dirigidos por Benjamim Taubkin, faz parte do grupo A Barca, realiza parcerias com Heloisa Fernandes e Chico Saraiva, e esteve envolvido em turnês e gravações em diversos projetos musicais. Atualmente, está concluindo um livro didático para o ensino de samba e, em 2011, finalizou um livro para o ensino de percussão no Projeto Guri, aplicado em 350 polos no interior do Estado de São Paulo.
English:
He began his journey as a percussionist at the age of seventeen, joining the Abaçaí Group, dedicated to researching and producing shows in theater, dance, and music inspired by the rich Brazilian popular culture. In his early stage experiences, he played various roles, including playing, singing, dancing, and acting. Gradually, he specialized in the musical field, studying drumming at CLAM, classical percussion at the Municipal School of Music of São Paulo, and completing a Bachelor's degree in Percussion at ECA – USP.
Since 1993, he has been a popular percussion teacher at the Tom Jobim – São Paulo School of Music (formerly ULM), where from 2008 to 2013, he coordinated the percussion area, including courses in popular percussion, classical percussion, and drums. Currently, he leads the Popular Percussion Group and has been teaching percussion at the Acaia NGO for four years, serving young people from communities around CEAGESP.
Throughout his career, he has taught courses and workshops in Brazil and abroad, including notable courses with the Kodály Society of Brazil, ABRAORFF, and ABEM – Brazilian Association of Music Education. His educational contributions have also reached other countries, with workshops in Hong Kong, participation in the international Orff courses in Madrid and Salzburg, as well as experiences in Paris, the USA, Chicago, and various European cities.
As a musician, he has had the opportunity to perform in several countries alongside renowned artists such as Wynton Marsalis, Egberto Gismonti, Cesar Camargo Mariano, and others. Since 1993, he has collaborated with Naná Vasconcelos on the ABC Musical, participating in notable projects such as the DVD "Lingua Mãe" and forming a trio with Naná and cellist Lui Coimbra.
In addition to being part of the Palavra Cantada group and projects directed by Benjamim Taubkin, he is a member of the A Barca group, collaborates with Heloisa Fernandes and Chico Saraiva, and has been involved in tours and recordings in various musical projects. Currently, he is completing a didactic book for teaching samba, and in 2011, he completed a book for percussion teaching in the Guri Project, applied in 350 locations in the interior of the State of São Paulo.
Clips (more may be added)
This is a small-world open-curation network initially created so that magnificent but unknown (to the wide-world) Bahian artists might be eminently discoverable by humanity everywhere. However! For the Matrix to function for the Bahians it must function for ALL artists/creators:
MATRIX ONLINE NETWORK
There are certain countries, the names of which fire the imagination. Brazil is one of them, an amalgam of primitive and sophisticated, jungle and elegance, luscious jazz harmonics...there’s no other place like it in the universe. The Integrated Global Creative Economy (we invented the concept) uncoils from this sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix — concatenating branches of a virtual rainforest tree rooted in Bahia, canopy spreading to embrace the entire planet...
Ex Terra Brasilis
Starting point for this project was the culture born in Brazil's quilombos (in Angola a "quilombo" is a village; in Brazil it is a village either founded by Africans or Afro-Brazilians who had escaped slavery, or — as in the case of São Francisco do Paraguaçu below — occupied by such after abandonment by the ruling class):
...theme music for a Brazilian Matrix, from an Afro-Brazilian Mass by
From inside this Matrix, all creators-creative entities everywhere — empowered by the mathematics of network theory — become potentially discoverable by all people worldwide. Go straight to one of the (randomly selected) creators-creative entities below to see how their Matrix Page — information and media, outgoing and incoming curation — works (reload to feature other artists/creators), or find out below the black line below what unsung (metaphorically only) brilliance this is all about:
More on these profound incubators of Afro-Brazilian culture at:
Os Quilombos da Bahia
The Quilombos of Bahia
It’s like a trick of the mind’s light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there (the Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present:
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 — 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 an unprecedented fourth. Pandeirista on the roof.
That's where this Matrix begins:
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers worldwide.
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX