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  • IMPORTANT ▶▶▶
  • M.O. & Worldlines In(4)
  • The Network Originated in Brazil
  • El Aleph
  • If You Can't Stand the Heat
  • From Harlem to Bahia

IMPORTANT ▶▶▶

M.O. & Worldlines In


Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the world. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Cécile Fromont:

  • 1 Art Historian
  • 1 Writer
  • 1 Yale Faculty
  • 1 Martinique

The Network Originated in Brazil

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? 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, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

This project began in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city.

 

It was inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone...

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

This 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. It 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. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

From Harlem to Bahia



  • Cécile Fromont
    I RECOMMEND

CURATION

  • from this node by: Criador acima/Creator above

This is the Universe of

  • Name: Cécile Fromont
  • City/Place: New Haven, Connecticut
  • Country: United States

Life & Work

  • Bio: I am an associate professor in the history of art department at Yale University. My writing and teaching focus on the visual, material, and religious culture of Africa and Latin America with a special emphasis on the early modern period (ca 1500-1800), on the Portuguese-speaking Atlantic World, and on the slave trade.

    My first book, The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo was published in 2014 by the University of North Carolina Press for the Omohundro Institute for Early American History. It received the 2017 Arts Council of the African Studies Association Triennial Arnold Rubin Outstanding Book Award, was named the 2015 American Academy of Religion Best First Book in the History of Religions, won the 2015 Albert J. Raboteau Prize for the Best Book in Africana Religions, an Honorable Mention in the 2015 Melville J. Herskovits Award of the African Studies Association, and a College Art Association Millard Meiss Publication Fund Grant. It has been translated into French by Les Presses du Réel in 2018.

    Forthcoming from Penn State University Press in 2022, my next book, Images on a Mission in Early Modern Kongo and Angola presents and analyzes for the first time a set of unpublished and unparalleled images from seventeenth and eighteenth century Kongo and Angola created within the Capuchin Franciscan mission to the region. Not only does it shed new light on early modern central Africa and on the little studied Capuchin missionary endeavors outside of Europe. Its novel methodological approach also models a way to look anew at encounter as author in images created at the crux of cultures.

    I am the editor as well as a contributor to the 2019 volume Afro-Catholic Festivals in the Americas: Performance, Representation, and the Making of Black Atlantic Tradition published in the Africana Religion Series at Penn State University Press. My essays on African and Latin American art have appeared, among other venues, in the Journal of the American Academy of Religion, Colonial Latin American Review, African Arts, Anais do Museu Paulista, RES: Anthropology and Aesthetics, Art History as well as various edited volumes and exhibition catalogues.

    Support for my research and writing include grants and fellowships from the Center for Advanced Study in the Visual Arts, the Michigan Society of Fellows, the J. William Fulbright Foreign Scholarship Board, the Yale Institute of Sacred Music, the Renaissance Society of America, and the Paris Institute for Advanced Studies. I am a 2018 Rome Prize fellow of the American Academy in Rome. In Spring 2022, I am a fellow at I Tatti – The Harvard University’s Center for Italian Renaissance Studies in Florence.

    I am currently pursuing two lines of research investigating areas of intersection between visual and material culture, religion, and knowledge creation in cross-cultural environments of early modern Africa, Latin America, and Europe. The first is an investigation of the circulation of African visual, material, and religious culture in the context of the slave trade within the early modern Atlantic world which was the topic of my 2020 Cohen Lectures at Harvard’s Hutchins Center. In the second, emerging line of study, “Connected by Design” I investigate material and aesthetic exchange between Africa and Europe in the era of the slave trade.

    At Yale, I advise emerging scholars in our graduate program whose research explores different aspects of the visual and material cultures of Africa, Latin America, and the Atlantic World in the early modern period and the long shadow this era cast on our contemporary times.

    I was born and raised in Martinique. My ancestors came to the island from Africa, South Asia, and Burgundy.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Book Purchases: http://www.cecilefromont.com/publications
  • ▶ Twitter: CecileFromont
  • ▶ Website: http://www.cecilefromont.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UC2FVGjClOHITDufWcZ6nMkQ
  • ▶ Articles: http://www.cecilefromont.com/press

Clips (more may be added)

  • 0:51:03
    Paper, Ink, Vodun, & the Inquisition | Cécile Fromont
    By Cécile Fromont
    11 views
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