Salvador Bahia Brazil Matrix

The Matrix Online Network is a platform conceived & built in Salvador da Bahia, Brazil and upon which people & entities across the creative economic universe can 1) present in variegated detail what it is they do, 2) recommend others, and 3) be recommended by others. Integrated by recommendations and governed by the metamathematical magic of the small world phenomenon (popularly called "6 degrees of separation"), matrix pages tend to discoverable proximity to all other matrix pages, no matter how widely separated in location, society, and degree of fame. From Quincy Jones to celestial samba in the favelas of Rio de Janeiro to you, all is closer than we imagine.

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  • (Bahia)
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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ Ground Zero

 

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

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...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 is not a North American nation. It is 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...

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world. Like a chessboard which could have millions of squares, but you can get from any given square to any other in no more than six steps..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

  • Fatoumata Diawara
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Fatoumata Diawara
  • City/Place: Paris
  • Country: France

Life & Work

  • Bio: Hailed as one of the most vital standard-bearers of modern African music, Fatoumata Diawara takes her artistry to fresh and thrilling heights on her new album FENFO.

    Boldly experimental yet respectful of her roots, it’s a record that defines her as the voice of young African womanhood – proud of her heritage but with a vision that looks confidently to the future and a message that is universal.

    Her spectacular 2011 debut album Fatou made the Malian singer and guitarist the most talked about new African artist on the planet. FENFO (which translates as “something to Say”’) dramatically fulfils that promise on a set of vivid and original new compositions that draw on the rich experiences she has enjoyed since.

    “I’ve had so many different musical adventures since the last album, touring and working with so many other musicians and I think you can hear how all of that feeds into this record,” she says. “This is my time and I’m sharing my soul.”

    Those she has worked with include some of the biggest names in contemporary music. She recorded with Bobby Womack and Herbie Hancock; played Glastonbury and other major festivals; and toured with the Cuban pianist Roberto Fonseca. She assembled a West African super-group featuring Amadou and Mariam, Oumou Sangaré and Toumani Diabaté to record a song calling for peace in her troubled homeland; and climbed aboard Damon Albarn’s star-studded Africa Express, which culminated in her sharing a stage with Sir Paul McCartney.

    She has also continued her parallel career as an actor, including an acclaimed appearance in 2014’s Timbuktu (Le chagrin des oiseaux), which received both BAFTA and Academy Award nominations.

    More recently she shared the stage at New York’s legendary Carnegie Hall with the likes of David Crosby and Snarky Puppy in an evening of topical protest songs – and, according to many, stole the show. “Fatoumata Diawara, the singer and guitarist originally from Mali, provided two of the night’s most striking moments,” Rolling Stone reported. “Her ode to the power of women, “Mousso,” sung in her native language, was hypnotic, and her captivating stage spins enhanced her anthemic “Unite.”

    She has also worked courageously as a social activist, campaigning against the trafficking and sale of black migrants in Libyan slave markets and recording the song “Djonya” (it means ‘slavery’ in Bambará) in which she restates the universal, but often sadly disregarded, truth that we all belong to the same human race regardless of colour, ethnicity or religion. The video accompanying the song has so far had 30,000 views and can be seen here.

    All of these fruitful experiences have, in their way, contributed to the breadth and maturity of FENFO, on which Fatoumata began work two years ago after signing with the Spanish-based production company Montuno, whose client list includes the original Buena Vista Social Club ™, and with whom she has plotted the album as a self-release.

    Like her debut, which crossed over to feature prominently in the ‘albums of the year’ lists in the mainstream rock press, FENFO is an album that has no borders.

    The modernity of stinging electric guitar lines combine with the ancient African strings of the kora and kamel ngoni and kit drums combine with the timeless rhythms of traditional percussion as Fatou’s African musicians are joined by key collaborators such as the celebrated French auteur Matthieu Chedid aka M, who plays guitar and organ in addition to co-producing, and the brilliant cellist Vincent Segal, whose elegant playing graces two tracks.

    “The first album was an introduction,” Fatoumata says. “I’ve grown as a person and as a musician since then and I think the music feels bolder. My voice is different, more nuanced.”

    One of 11 children born to Malian parents in Ivory Coast in 1982, she grew up in the 1990s in the Malian capital Bamako. Fiercely independent from a young age, she became a celebrated child actor and in 2001 starred in Dani Kouyaté’s film Sia, The Dream of the Python, based on an ancient myth about a young girl who runs away from her family.

    Real life followed fiction, and against the wishes of her parents who wanted her to marry, she fled Bamako at the age of 19 to join the French street theatre company Royale de Luxe, narrowly escaping the pursuit of the police who had been told she was being ‘kidnapped’.

    Touring the world with Royal de Luxe, her singing became a feature of the company’s performances. Encouraged by the favourable reception, she then began singing in the clubs and cafes of Paris.

    That in turn led to her backing the American jazz singer Dee Dee Bridgewater and the Malian superstar Oumou Sangaré on tour and on record an brought her to the attention of the World Circuit label, which released her acclaimed debut album in 2011.

    FENFO took shape in different locations including Mali, Burkina Faso, Barcelona and Paris and she soon had a stockpile of 20 songs from which to select.

    Touring with Lamomali, an African music project put together by singer-songwriter and multi-instrumentalist Matthieu Chedid, and which included Toumani Diabate and his son Sidike, she found a producer who could assist in realising her vision for the album.

    “Matthieu started asking me about my record and saying he wanted to hear it,” Fatoumata says. “I played him the songs, he began adding some guitar parts and it went from there. His involvement seemed super-natural.” Also vital to the realisation of the project was associate producer Pierre Juarez, a long-time ‘M’ associate.

    The compositions on FENFO cover the gamut of African styles, ancient and modern, from the slow-burning blues of “Kokoro” to the simmering funk of “Negue Negue” via the syncopated Afro-pop of “Ou Y’an Ye”. Gentle lullabies (“Mama”) sit alongside spirited rockers (“Bonya”). The hypnotic groove of the title track is juxtaposed against the breezy, playful rhythms of “Dibi Bo”. The hauntingly intimate “Don Do” floats on the simple but telling combination of just Fatoumata’s voice and acoustic guitar and Segal’s evocative cello.

    A modern day storyteller, the dozen songs cover such timeless subjects as respect, humility, love, migration, family and how to build a better world for our children. Like all the best songs her subtle, poetic lyrics – sung mostly in Bambara – plant the seeds of thoughts and ideas to grow in the listener’s mind.

    “I didn’t want to sing in English or French because I wanted to respect my African heritage,” she explains. “But I wanted a modern sound because that’s the world I live in. I’m a traditionalist but I need to experiment, too. You can keep your roots and influences but communicate them in a different style.”

    The album is also accompanied by some spectacular photography and a video shot in Ethiopia by Aida Muluneh, whose work is being showcased in the ‘Being: New Photography 2018’ exhibition at New York’s Museum of Modern Art (MOMA).

    “FENFO expresses how I feel and how I want to sound,” Fatoumata says. “It’s a record that says who I am.”

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Twitter: fatoudiawara
  • ▶ Instagram: fataoumata_diawara
  • ▶ Website: http://fatoumatadiawara.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCLQ-HxUl1sWc-uouJ4I7vMA
  • ▶ YouTube Music: http://music.youtube.com/channel/UC1Q23jHgW9CUsLN4IqsvyDw
  • ▶ Spotify: http://open.spotify.com/album/2jdSj8ZhRoGvKFD9r22BtT
  • ▶ Spotify 2: http://open.spotify.com/album/3mKvAiTrhpJUTAFsJXmjTE
  • ▶ Spotify 3: http://open.spotify.com/album/6t6SBP9fVzlPuXB7ZmjOzF
  • ▶ Spotify 4: http://open.spotify.com/album/5mSMSBWkXLEO95m9EwBhNg
  • ▶ Spotify 5: http://open.spotify.com/album/6CpkXCkmHAQ9JTV9ypbG5N
  • ▶ Spotify 6: http://open.spotify.com/album/6djCcGDx5XNpPrcZEKu2BP

Clips (more may be added)

  • «Timbuktu Fasso» - Fatoumata Diawara & Amine Bouhafa
    By Fatoumata Diawara
    288 views
  • Fatoumata Diawara - Bonya
    By Fatoumata Diawara
    237 views
  • Fatoumata Diawara - Nterini
    By Fatoumata Diawara
    249 views
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YOU RECOMMEND

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 planet. 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 Fatoumata Diawara:

  • 0 African Music
  • 0 Mali
  • 0 Paris
  • 0 Singer-Songwriter
  • 0 Wassoulou

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  • Shanequa Gay Installation
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