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.
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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.
O Curso de Português para Estrangeiros on-line tem como objetivo passar a aprendizagem da língua portuguesa do Brasil na comodidade de sua casa ou onde o aluno preferir. O curso tem como base a Gramática Normativa, nos domínios da fala (fonética),... moreO Curso de Português para Estrangeiros on-line tem como objetivo passar a aprendizagem da língua portuguesa do Brasil na comodidade de sua casa ou onde o aluno preferir. O curso tem como base a Gramática Normativa, nos domínios da fala (fonética), da escrita, da leitura e da compreensão oral, ao mesmo tempo há uma comparação simultânea entre a Linguagem Formal e a Linguagem Informal para que o aluno possa transitar entre todas as formas de comunicação. Ou seja, como se comunicar em determinados espaços para ser entendido ou mesmo para ser bem recebido. Esse é o desafio da linguagem: ONDE usar e COMO usar. Inaê Sodré é professora da Língua Portuguesa do Brasil para estrangeiros há 20 anos. É graduada em Letras pela UFBA, Mestre em Estudos de Linguagem pela UNEB e colaboradora do BrazilLink - Brazilian Institute of Language and Culture. Email: [email protected]. Whatsapp: +55 71 98528 9003.
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This online course in Brazilian Portuguese teaches the language as it is... less
Human creativity is everywhere. From Brazil it's all being connected in a manner allowing one to move from any creator to any other creator in just a few steps. Artificial Intelligence & algorithms not necessary. Real intelligence, yes.
Raymundo Sodré Global
Via Matrix, artists like Raymundo Sodré (who was crushed under Brazil's dictatorship) can inspire around the world. Sodré's (and Jorge Portugual's) A MASSA is a Brazilian anthem exhorting the powerless to stand up to the powerful.
THE MATRIX IS THE MOTHER SHIP (it carries people to culture; per above, it carries culture too)
THE MATRIX IS CULTURAL DIFFUSION ON A PLANETARY SCALE (Bahia is Ground Zero)
THE MATRIX IS THE INTEGRATED GLOBAL CREATIVE ECONOMY (matrixed economist, Dr. Darius Mans, presents the Africare Award to Luiz Inácio Lula da Silva — Brazil's current president — in 2012)
Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix. — Susan Rogers (personal recording engineer for Prince; recorded "Purple Rain", "Around the World in a Day", "Parade", and "Sign o' the Times"; now director of the Berklee Music Perception and Cognition Laboratory)
Dear Sparrow, Many thanks for this – I am touched! — Julian Lloyd Webber (most highly renowned cellist in the United Kingdom; brother of composer Andrew Lloyd Webber (Evita, Jesus Christ Superstar, Cats...)
This is super impressive work ! Congratulations ! Thanks for including me :))) — Clarice Assad (pianist, composer with works performed by Yo Yo Ma and orchestras around the world)
This Matrix was built by an ex-royalty "rescuer" (Aretha Franklin, Barbra Streisand, Gilberto Gil, Astrud Gilberto, Mongo Santamaria, Jim Hall, Led Zeppelin, Bob Marley and many others) so that deep Brazilian culture, much of it otherwise impossible to find if one is not right there where it is made, might also (via an alternative to major media) be discoverable from all around the world. To do this it integrates this immensity into a system whereby ALL CULTURE EVERYWHERE — from small villages in Africa to Grammy-winning artists in Los Angeles — writers, filmmakers, painters... — can be found from anywhere on the planet.
The Matrix uncoils from the Recôncavo of Bahia, Brazil, final port-of-call for more enslaved human beings than any other such throughout all of human history and from where some of the most physically and spiritually uplifting music ever made (samba and its precursor chula, per the Saturno Brothers above) evolved...
WHAT IS THE RECÔNCAVO? The peninsula upon which Salvador is situated is like the thumb of an open and grasping hand, what is normally thought of as the Recôncavo then being defined by the curved index finger. This way of definition developed when agricultural products were brought to Salvador by boat, sometimes making their way first down the Paraguaçu river after having been carried overland from the sertão (backlands) to Cachoeira, the river debouching into the Bay of All Saints at Maragogipe. The city of Bahia (as it was usually called then) was crouched on the bay, comprised of a commercial district much smaller in area than today (landfill has increased it greatly), the area around the upper section of the elevator, and what is now called Pelourinho.
Much of the remainder of the peninsula was given to sugarcane plantations, and dotted within the Atlantic rainforest were countless quilombos (Afro-Brazilian villages founded during the age of slavery); both are attested to today in commonly used city names. The neighborhood of Garcia was once Fazenda Garcia (fazenda being a farm or plantation), and this denomination is still used today to distinguish one end of Garcia (fim-de-linha) from the other (the Campo Grande end). Neighborhoods Engenho Velho de Federação and Engenho Velho de Brotas are so called for the old mills (engenhos velhos) which pressed the caldo (juice, so to speak) from the cane so laboriously hacked out of the fields. The neighborhood of Cabula is named for an nkisi (deity) of candomblé angola (the first candomblé -- a West African religious belief system -- to arrive in Bahia)...whose rhythms comprise the basis for samba, meaning that the rhythms to which so many in the world inexpertly swayed as Stan Getz's saxophone soared and João and Astrud Gilberto sensuously intoned -- this paragon of suave Brazilian sophistication -- was born in the rough senzalas (slavequarters) of Bahia. Ironically enough, the barefoot senzala version was/is far more sophisticated than the sophisticated version.
But times have changed, and Cabula is now a crowded, non-descript middle-to-working class Salvador city neighborhood (plenty of candomblé around though), and Engenhos Velhos de Federação and Brotas are swarming working class neighborhoods (ditto the candomblé); the senzala samba, the samba chula and samba-de-roda have disappeared. A simplified version -- Bahian pagode -- is heard everywhere in Salvador, but the real-deal stuff has died out here in the big city. It remains, however, a potent force on the remainder of its native ground, the Recôncavo proper, where it is danced to upon pounded earth, under moonlight broken by banana, palm and mango leaves, lifting the souls of its participants almost like something religious, which it was, and gods aside, is (again, per the Saturno brothers in the clip above).
By the same mathematics positioning some 8 billion human beings within some 6 or so steps of each other, people in the Matrix tend to within close, accessible steps of everybody else inside the Matrix.
Brazil 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.
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 — the hand drum in the opening scene above — 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.