Bio:
Cláudia Leitão: Professora e pesquisadora da UECE (Universidade Estadual do Ceará), ex-secretária de cultura do Ceará e ex-secretária nacional da economia criativa; consultora em economia criativa.
Professor and researcher at UECE (State University of Ceará), former secretary of culture of Ceará and former national secretary of the creative economy; creative economy consultant.
Cláudia Leitão é graduada em Direito pela Universidade Federal do Ceará (UFC) e em Educação Artística pela Universidade Estadual do Ceará (UECE).
É mestra em Sociologia Jurídica pela Universidade de São Paulo (USP) e doutora em Sociologia pela Sorbonne, Université René Descartes (Paris V).
É Professora do Mestrado Profissional em Gestão de Negócios Turísticos da Universidade Estadual do Ceará, onde participa do Grupo Unificado de Pesquisa sobre Estudos Turísticos e de Hospitalidade.
É membro da Rede de Pesquisadores em Políticas Culturais (REDEPCULT) e do Conselho Editorial da publicação virtual Politicas Culturais em Revista/ UFBA.
Como pesquisadora, foi consultora ad hoc do Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq). Na Universidade Estadual do Ceará criou e coordenou a Especialização em Gestão Cultural e o Mestrado Profissional em Gestão de Negócios Turísticos, tendo sido também coordenadora do Mestrado Acadêmico em Administração, com foco na Gestão da Micro e Pequena Empresa.
Foi Superintendente do Serviço Nacional de Aprendizagem Comercial (SENAC) no Ceará (2001-2002) e Secretária da Cultura do Estado do Ceará (2003-2006). O Programa Cultura em Movimento: Secult Itinerante, criado em sua gestão, rendeu-lhe o primeiro lugar do Prêmio Cultura Viva, do Ministério da Cultura (MinC), na categoria Gestão Pública.
Foi responsável pela criação da Secretária da Economia Criativa (SEC) do MinC, tendo sido sua primeira gestora, entre os anos de 2011 a 2013; e secretária municipal de Cultura e Turismo do município de Aracati, Ceará.
Possui vários livros e artigos científicos publicados, com destaque para as temáticas da economia criativa, cultura, desenvolvimento, turismo e políticas e gestão públicas.
É consultora em Economia Criativa para a Organização Mundial do Comércio (OMC) e a Conferência das Nações Unidas para o Comércio e Desenvolvimento (UNCTAD), assim como para o Sebrae, governos federal, estaduais e municipais, empresas e outras organizações.
É sócia do Centro Celso Furtado de Políticas para o Desenvolvimento. Dirigiu o Observatório de Fortaleza (Governança Municipal e Políticas Públicas) do Instituto de Planejamento de Fortaleza (IPLANFOR) e foi presidente da Câmara Setorial de Economia Criativa na Agência de Desenvolvimento do Estado do Ceará ( ADECE).
Recommend Cláudia Leitão in order to appear here. Click on the grey crosses visible when logged in. Your photo will appear, with a link back to your page:
"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; recorded "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"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
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All is closer than we imagine.
Salvador is our base. If you plan to visit Bahia, there are some things you should probably know and you should first visit:
Conceived under a Spiritus Mundi ranging from the quilombos and senzalas of Cachoeira and Santo Amaro to Havana and the provinces of Cuba to the wards of New Orleans to the South Side of Chicago to the sidewalks of Harlem to the townships of South Africa to the villages of Ireland to the Roma camps of France and Belgium to the Vienna of Beethoven to the shtetls of Eastern Europe...*
*...in conversation with Raymundo Sodré, who summed up the irony in this sequence by opining for the ages: "Where there's misery, there's music!" Thus A Massa, anthem for the trod-upon folk of Brazil, which blasted from every radio between the Amazon and Brazil's industrial south until Sodré was silenced, threatened with death and forced into exile...
And thus a platform whereupon all creators tend to accessible proximity to all other creators, irrespective of degree of fame, location, or the censor.
Matrix Ground Zero is the Recôncavo, bewitching and bewitched, contouring the resplendent Bay of All Saints (end of clip below, before credits), absolute center of terrestrial gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's ineffable Black Rome (seat of the Integrated Global Creative Economy* and where Bule Bule is seated below, around the corner from where we built this matrix as an extension of our record shop).
("Black Rome" is an appellation per Caetano, via Mãe Aninha of Ilê Axé Opô Afonjá.)
*Darius Mans holds a Ph.D. in Economics from MIT, and lives between Washington D.C. and Salvador da Bahia.
Between 2000 and 2004 he served as the World Bank’s Country Director for Mozambique and Angola. In that capacity, Darius led a team which generated $150 million in annual lending to Mozambique, including support for public private partnerships in infrastructure which catalyzed over $1 billion in private investment.
Darius was an economist with the Board of Governors of the Federal Reserve System, where he worked closely with the U.S. Treasury and the IMF to establish a framework to avoid debt repudiation and to restructure private commercial debt in Brazil and Chile.
He taught Economics at the University of Maryland and was a consultant to KPMG on infrastructure projects in Latin America.
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
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).
EX TERRA BRASILIS
The Small World Phenomenon
Susan Rogers
Alicia Svigals
Julian Lloyd Webber
Clarice Assad
Sodré
Betão Aguiar
Bule Bule
Caetano Veloso
Darius Mans
Sparrow/Pardal Roberts
RÁDIO MATRIX