Inaê Sodré
This Brazilian cultural matrix positions Inaê Sodré globally...
Curation
CURATION
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from this page:
by Matrix
The Integrated Global Creative Economy
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Name:
Inaê Sodré
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City/Place:
Salvador, Bahia
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Country:
Brazil
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Hometown:
Ipirá, Bahia
Life & Work
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Bio:
Em 18 de fevereiro de 1976, nasce Inaê Sodré em Ipirá, Sertão da Bahia. Sua primeira experiência profissional foi como cantora em Bandas-de-baile, aos 16 anos, com as Bandas Sinal Verde, Ases Indomáveis e Flor de Lis. Depois, em Salvador, trabalhou como backing vocal com Wilson Aragão, Raimundo Sodré, Celo Costa, Sérgio Otanazetra e Gerônimo. Em 2000, começa a estudar teatro no projeto Intercena de Carmem Paternostro ministrado por Meran Vargem no TCA - Teatro Castro Alves. Em 2005, assume dois papeis na peça Morte e Vida Severina de João Cabral de Melo Neto, sob a direção de Marcos Machado, no Espaço Xisto da Bahia. Como dramaturga e atriz, cria, escreve e interpreta, entre 2006 e 2007, o espetáculo de poesia “Fêmeas”, sob a direção de Ildásio Tavares, no Teatro SESI- Rio Vermelho; CEPAIA, Casa do Comércio - SESC/SENAC, ILUFBA e na Maison du Brésil em Paris-FR. Em 2007, em Paris, faz um curso intensivo Le français par le théâtre, com a atriz e diretora Sylvaine Hinglais na Alliance Française de Paris-FR. Em 2008 e 2009, escreve/transcreve, concebe e interpreta o monólogo “Mirante dos Astros”, uma transposição da linguagem cinematográfica do documentário “Estamira”, de Marcos Prado, para a linguagem teatral. Apresentando-se no teatro SESI do Rio Vermelho, ILUFBA, Sala Cinco (TEA-UFBA) sob sua direção; no Teatro Gamboa Nova, sob a direção de Dodi Só e no Teatro Molière, sob a direção de Valdíria Souza. Em 2010, escreve e interpreta o monólogo “Palavra há Tempo” no Teatro Gamboa Nova e no Teatro Raul Seixas (Sindicado dos bancários). Em 2011, com a Dança Flamenca, foi aluna de Laura Pacheco e Presentación Gonzalez. Em 2012, entra para a CIA de Dança Flamenca Szely de Nuñez, onde fez workshop com Natalia Meiriño (Madri-ES) e cante flamenco com Elena Diz (Cárdova-ES). Em 2015, cria e interpreta “Estrela da quarta dimensão do Espaço: Tempo”, leitura dramática baseada no livro de poesia Reino dos bichos e dos animais é o meu nome de Stela do Patrocínio, apresentação única, no Cine Teatro Solar Boa Vista. Em 2016, foi coordenadora e educadora do projeto Garagem Literário aprovado pela SECULT-BA, em Ipirá- Sertão da Bahia. Inaê Sodré é professora da Língua Portuguesa do Brasil (aulas privadas e colaboradora do BrazilLink – Brazilian Institute of Language and Culture ), poeta e escritora, graduada em Letras-UFBA e mestre em Estudos de Linguagens-PPGEL-UNEB.
ENGLISH
Inaê Sodré was born February 18, 1976, in Ipirá, Sertão da Bahia and established her roots in Salvador twenty-three years ago. Her first professional experience was at 16 as a singer in Bandas-de-baile, followed by performances with the bands Sinal Verde and Ases Indomáveis (from Ipirá, Bahia) and Flor de Lis (from Itaberaba, Bahia). Later, after moving to Bahia’s largest city, Salvador, Inaê worked as a backup singer with Wilson Aragão, Raimundo Sodré, Celo Costa, Sérgio Otanazetra and Geronimo. In 2000, she began to study theater at Carmem Paternostro’s Grupo Intercena project where she was instructed by Meran Vargem at Salvador’s Teatro Castro Alves. In 2005, she took two roles in João Cabral de Melo Neto’s play “Morte e Vida Severina,” directed by Marcos Machado at Espaço Xisto da Bahia. Between 2006 and 2007, Inaê created, wrote and performed the poetry show, “Fêmeas.” was directed by Inaê and Ildásio Tavares at the Teatro SESI-Rio Vermelho; CEPAIA, Casa do Comércio (the House of Commerce) - SESC / SENAC, ILUFBA and the Maison du Brésil in Paris. In Paris in 2007, Inaê took the intensive course Le Français par le Théâtre with actress and director Sylvaine Hinglais at the Alliance Française de Paris. In 2008 and 2009, she wrote and performed the monologue “Mirante dos Astros”, a theatrical adaption of the film documentary “Estamira”, by Marcos Prado. She performed this work at the SESI Theater in Rio Vermelho, ILUFBA, Sala Cinco (TEA-UFBA) under her own direction; at the Teatro Gamboa Nova, under the direction of Dodi Só and at Teatro Molière, under the direction of Valdíria Souza. In 2010, she wrote and performed the monologue “Palavra há Tempo” at the Teatro Gamboa Nova and at the Teatro Raul Seixas. In 2011, she studied ‘Flamenco Dancing’ under Laura Pacheco and Presentación Gonzalez. In 2012, she joined the CIA of ‘Flamenco Dancing Szely of Nuñez’, where she participated in a workshop with Natalia Meiriño (Madri-ES) and “Cante Flamenco” with Elena Diz (Cárdova-ES). In 2015, she created and interpreted “Estrela da quarta dimensão do Espaço: Tempo”, a dramatic reading based on the book of poetry entitled “Reino dos bichos e dos animais é o meu nome” by Stela do Patrocínio, a unique presentation at the Cine Teatro Solar Boa Vista. In 2016, she was coordinator and educator of the Garagem Literária project, approved by SECULT-BA, in Ipirá, Sertão da Bahia. In 2018, the book of erotic literature “Ardor e Ardências: poesias” ("Ardor and Embers: poetry") was launched at the Goethe Institute-ICBA in Salvador da Bahia. In 2019, the one-person show “Ardor e Ardências: Teatro” was launched at the Teatro Gamboa Nova in Salvador. In 2021, the children's book “Inaê, a menina que nasceu Água” ("Inaê, the girl who was born Water"), was launched with the support of the Lei Aldir Blanc prize of the Fundação Pedro Calmon. Inaê Sodré is a teacher of the Brazilian Portuguese language, (private classes in addition to collaborating with BrazilLink - Brazilian Institute of Language and Culture), a poet and writer, and has graduated with a bachelor of Letters degree from the UFBA and a master’s degree in Language Studies from the PPGEL-UNEB.
Clips (more may be added)
There are certain countries, the names of which fire the popular 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 world. And while Rio de Janeiro, or its fame anyway, tends toward the sophisticated end of the spectrum, Bahia bends toward the atavistic…
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 (and here; 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, and in the past it extended into what is now urban Salvador), 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 all over the planet.
This Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... expanding like the canopy of a rainforest tree rooted in Bahia, branches spreading to embrace the entire world...
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
Ex Terra Brasilis
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX