Bernardo Aguiar
This Brazilian cultural matrix projects Bernardo Aguiar globally...
Curation
CURATION
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from this page:
by Matrix
The Integrated Global Creative Economy
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Name:
Bernardo Aguiar
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City/Place:
Rio de Janeiro
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Country:
Brazil
Life & Work
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Bio:
Nascido em 1984, o músico, produtor musical, professor e pesquisador, desde criança se interessou pelo universo das baterias de escola de samba.
Aos 13 anos era solista da orquestra de pandeiros Pandemonium e aos 17 passou a integrar o grupo Pife Muderno, liderado por Carlos Malta. Em 2009 o músico fundou, com Gabriel Policarpo, o Pandeiro Repique Duo (PRD), um duo de percussão, que percorre o mundo levando a universalidade rítmica extraída de suas influências regionais.
Bernardo Aguiar recebe destaque como convidado especial da banda norte-america Snarky Puppy em seu projeto “Family Dinner 2”, em que atuou ao lado de grandes nomes da música do mundo como Chris Turner, Suzana Baca e Salif Keita.
Carnegie Hall, Juilliard School of Music, Forbidden City Concert Hall são alguns dos lugares por onde já passou levando a sua arte. O músico colabora com grandes referências da música do Brasil e do mundo como Guinga, Marcos Suzano, O Rappa, Jaques Morelenbaum, Yamandú Costa, Hamilton de Holanda, Aline Paes, Roberta Sá e Jacob Collier.
My Instruction
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Lessons/Workshops:
OFICINA DE FUNDAMENTOS RITMICOS DA MUSICA BRASILEIRA
A partir de sua vasta experiência assimilando diversas manifestações culturais, Bernardo apresenta um curso de introdução a esse assunto tão inesgotável e vasto que é a linguagem rítmica brasileira. As diversas culturas espalhadas pelo território são abordadas como um manancial inesgotável de conhecimento.
Através de material audiovisual, de demostração musical e de práticas de conjunto, os aluno são convidado a expandir as suas fronteiras musicais, enxergando, a partir de perspectivas regionais, uma perspectiva universal da música brasileira. O curso é uma viagem possível pelas diferenças e similaridades das muitas manifestações que compõem o universo rítmico brasileiro, com a plena certeza que tratase de um assunto inesgotável.
O passeio que propõem Bernardo serve, tanto para instigar o aluno interessado em música brasileira a se aprofundar em certos conhecimentos específicos como para usar o conhecimento assimilado em outras formas de música, para além das regionais.
A imensa fusão rítmica da Música Brasileira, algumas poliritmias características, o universo rítmico regional que inspira Bernardo em seus trabalhos são alguns assuntos abordados de maneira expositiva e prática.
OFICINA DE PANDEIRO
Em sua oficina, Bernardo Aguiar utiliza o pandeiro como um instrumentosíntese de idéias rítmicas apresentando o pequeno instrumento como uma verdadeira “bateria de bolso” capaz de atuar em diferentes contextos musicais. O pandeiro é tratado pelo músico como um instrumento infinito do qual se pode extrair uma variedade infindável de sons, até mesmo diferentes registros melódicos.
O aluno é levado a visitar algumas das diferentes tradições em que o pandeiro se faz presente e também a criar e adaptar os seus próprios ritmos, através da Técnica Brasileira Moderna,utilizada por Bernardo nos seus diferentes projetos musicais como o Pife Mudernoe o Pandeiro Repique Duo.
Considerando a riqueza de sons graves, médios e agudos do instrumento, o pandeiro é apresentado como um instrumento muito versátil capaz de executar uma variedade infindável de ritmos, não apenas ritmos regionais brasileiros mas também ritmos universais.
Bernardo Aguiar roda o mundo apresentando as suas oficinas. Já esteve em diferentes festivais, projetos sociais e escolas de música da América do Sul, África e Europa comoThe Juilliard School of Music (NY),The Philadelphia University of Arts, City University London, Kopenhagen Rytmisk Konservatorium, Aarhus Royal Academy of Music e Dhow Countries Music Academy Zanzibar.
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