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  • Jake Webster

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE/pathways out

Network Node

  • Name: Jake Webster
  • City/Place: Elkhart, Indiana
  • Country: United States

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: The challenge one gets by direct carving and adding other materials is so rewarding. It allows me to experience making art without any hesitation or reservation. It’s like I am collaborating with myself to prepare me to work with others. Yes, wood is my primary material and being from Indiana has given me the audacity to carve stone (limestone, marble and alabaster). Indiana is known as the limestone capital of the world. Because my inspiration comes from the environment in which I live, I always have an art project that I am working on.

    I am so moved by the people that come into my life, our shared stories become the foundation and the synergy for making art in this BIG/SMALL world. No matter how simple the solution we will find a way to make it complicated. Art allows us to communicate with one another without becoming angry and upset or shouting and shaking our fist when the topics become difficult. When others around us are saying let’s be tolerant, Art says no, let us be respectful. Art helps us find that inner peace as we seek the tranquility in our physical world. Art allows us to dialogue when we feel good, and know it, within ourselves. Art builds the trust that feeds the soul so that one knows what is right.

Contact Information

  • Email: [email protected]
  • Telephone: 574-326-1114
  • Address: 114 W. Jefferson St
    Elkhart, IN 46516

Media | Markets

  • ▶ Blog: http://www.artpostblog.com/jakewebster/

Clips (more may be added)

  • 3:16
    Jake Webster reading his poem associated with his sculpture, Lord When I'm Old, Carol. 2020
    By Jake Webster
    237 views
  • 2:01
    Jake Webster - Wood & Stone Sculptures Indiana Artisan
    By Jake Webster
    335 views
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  • Jake Webster
    A category was added to Jake Webster:
    Painter
    • October 7, 2020
  • Jake Webster
    A video was posted re Jake Webster:
    Jake Webster reading his poem associated with his sculpture, Lord When I'm Old, Carol. 2020
    • October 7, 2020
  • Jake Webster
    A video was posted re Jake Webster:
    Jake Webster - Wood & Stone Sculptures Indiana Artisan
    Jake Webster has been carving since 1974 and painting for at least a decade prior to that. He travelled the world before putting down roots in northern Indiana more than 15 years ago.
    • October 7, 2020
  • Jake Webster
    A category was added to Jake Webster:
    Indiana
    • March 24, 2019
  • Jake Webster
    A category was added to Jake Webster:
    Sculptor
    • March 24, 2019
  • Jake Webster
    Jake Webster is matrixed!
    • March 24, 2019
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

THE MATRIX BEGAN IN AFRICAN BRAZIL BUT NOW ENCOMPASSES THE WORLD

Explore above a complete (and vast) list of artists and other members of the global creative economy interconnected by matrix. If you fit, join them (from the top of any page) and create your own matrix page.


WHY BRAZIL?

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.

 

Three cultures — from three continents — running for their lives, their confluence forming a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington


RESPLENDENT BAHIA...

...is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

PORTUGUÊS (to English →)

 

O MATRIX COMEÇOU NO BRASIL AFRICANO MAS AGORA ENGLOBA O MUNDO

Explore acima uma lista completa (e vasta) de artistas e outros membros da economia criativa global interconectados por matrix. Se você se encaixar, junte-se a nós (do topo de qualquer página) e cria sua própria página matrix.


POR QUE BRASIL?

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas — de três continentes — correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


RESPLANDECENTE BAHIA...

...é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

  • Shaun Martin R&B
  • Towa Tei テイ・トウワ DJ
  • Horácio Reis Brasil, Brazil
  • Shana Redmond Ethnomusicologist
  • Ayrson Heráclito Bahia
  • Glória Bomfim Brazil
  • Mateus Alves Recife
  • Larissa Luz MPB
  • Zeca Freitas Salvador
  • Milford Graves Drums
  • Bill Laurance Multi-Instrumentalist
  • Betsayda Machado Venezuela
  • Scott Kettner Percussion
  • Casey Driessen Composer
  • Isaiah Sharkey Guitar
  • Itamar Vieira Júnior Short Stories
  • Fernando Brandão Brazil
  • Clint Smith Poet
  • Kalani Pe'a Singer-Songwriter
  • David Sánchez Afro-Caribbean Music
  • Aubrey Johnson Singer
  • Garth Cartwright Writer
  • Aaron Goldberg New York City
  • Stefon Harris Vibraphone
  • Kiko Loureiro Rio de Janeiro
  • Ron Blake Juilliard Faculty
  • Iara Rennó Poeta, Poet
  • Rory Marx Anderson Cinematographer
  • Hugo Linns Composer
  • Luciano Matos Dono de Site de Cultura, Cultural Website Owner
  • Maria Rita Brazil
  • Leonard Pitts, Jr Writer
  • Burkard Polster Author
  • Yuja Wang Piano
  • Nancy Ruth Composer
  • Massimo Biolcati App Developer
  • Clint Mansell Singer-Songwriter
  • Andrew Dickson Art Critic
  • Meddy Gerville Singer
  • Dave Weckl Multi-Cultural
  • Carlos Blanco Compositor, Composer
  • Jeff 'Tain' Watts Composer
  • Evgeny Kissin Writer
  • Ibram X. Kendi Writer
  • Toninho Nascimento Brazil
  • Yelaine Rodriguez Multimedia Art
  • Arismar do Espírito Santo Composer
  • Melissa Aldana Composer
  • Otmaro Ruiz Piano Instruction
  • Hank Roberts Jazz
  • Rose Aféfé Brasil, Brazil
  • June Yamagishi R&B
  • Laura Cole R&B
  • Bill Pearis Brooklyn, NY
  • André Mehmari Contemporary Classical Music
  • Edivaldo Bolagi Cineasta Documentarista, Documentary Filmmaker
  • Alberto Pitta Artista Plástico, Artist
  • Kurt Rosenwinkel Jazz
  • Judy Bady Patterson, New Jersey
  • Tiganá Santana Salvador
  • Joel Guzmán Tex-Mex
  • John Waters Songwriter
  • Vânia Oliveira Candomblé
  • Armen Donelian Multi-Cultural
  • Michelle Burford New York City
  • Martin Fondse Amsterdam
  • Samuca do Acordeon Chamamé
  • Warren Wolf Piano
  • Shanequa Gay Atlanta, Georgia
  • Tito Jackson R&B
  • Glenn Patscha Keyboards
  • Greg Spero Los Angeles, California
  • Tigran Hamasyan Armenia
  • Jim Beard Record Producer
  • Dan Tyminski Nashville, Tennessee
  • Tatiana Campêlo Afro-Brazilian Dance Instruction
  • Arto Lindsay MPB
  • Margareth Menezes Violão, Guitar
  • Roberto Martins Produtor Cultural, Cultural Producer
  • Toninho Horta Belo Horizonte
  • Ricardo Bacelar Piano
  • Márcio Valverde Guitar
  • J. Cunha Artista Plástico, Artist
  • Avishai Cohen אבישי כה Tel Aviv
  • Brooklyn Rider String Quartet
  • Asma Khalid White House Correspondent
  • Chau do Pife Maceió
  • Restaurante Axego Salvador
  • Orlando Costa Salvador
  • David Binney Record Producer
  • Luiz Antônio Simas Samba
  • Steve Coleman Saxophone
  • Hank Roberts Composer
  • Olga Mieleszczuk Jewish Music
  • Burhan Öçal Percussion
  • Linda Sikhakhane Saxophone
  • Ricardo Markis Salvador
  • Duane Benjamin Composer
  • João do Boi Brazil
  • Jakub Knera Radio Presenter
  • Fabiana Cozza MPB
  • Terri Hinte Liner Notes
  • Dom Flemons Singer-Songwriter
  • Miroslav Tadić Jazz
  • Michael Formanek Peabody Conservatory of Music Faculty
  • Meddy Gerville Jazz
  • Alex Clark Director
  • Victoria Sur Singer-Songwriter
  • Bukassa Kabengele Brazil
  • Reza Filsoofi Singer
  • Brandon J. Acker Chicago
  • Dave Smith Percussion
  • Welson Tremura Choro
  • Lô Borges Belo Horizonte
  • Tonynho dos Santos Jazz
  • Guto Wirtti Multi-Instrumentalist
  • Shannon Sims Rio de Janeiro
  • Neymar Dias Classical Music
  • Dan Tepfer Classical Music
  • Léo Brasileiro Bahia
  • Alex Mesquita Brazil
  • Liron Meyuhas Percussion Instruction
  • Jim Beard Jazz
  • Joan Chamorro Double Bass
  • Alessandro Penezzi Guitar
  • Wouter Kellerman Johannesburg
  • Diosmar Filho Bahia
  • David Chesky New York City
  • Otto Brazil
  • Sheryl Bailey Jazz
  • Mayra Andrade Singer
  • Woody Mann Guitar Instruction
  • Hugo Linns Recife
  • Mykia Jovan Soul
  • Gerônimo Santana Brazil
  • Leo Nocentelli Songwriter
  • Susan Rogers Psychologist
  • Cacá Diegues Brasil, Brazil
  • Júlio Lemos Choro
  • Guillermo Klein Composer
  • Joachim Cooder Record Producer
  • Emmet Cohen New York City
  • Mariana Zwarg Samba
  • Nick Douglas Tech Writer
  • Wayne Escoffery Saxophone
  • Sérgio Machado Cineasta, Filmmaker
  • Nabaté Isles Composer
  • Andrés Prado Guitar
  • Philip Watson Ireland
  • Steve Abbott Singer-Songwriter
  • Rogério Caetano Rio de Janeiro
  • John Harle Film Scores
  • Sátyra Carvalho AfroPop Baiana, Bahian AfroPop
  • Gui Duvignau Brazilian Jazz
  • David Sánchez Puerto Rico
  • Orrin Evans Composer
  • Jaimie Branch Composer
  • Daedelus Hip-Hop
  • Zeca Freitas Brasil, Brazil
  • Joe Lovano Flute
  • Hercules Gomes Choro
  • Anna Mieke Irish Folk Music
  • Jason Marsalis New Orleans
  • Perumal Murugan Novelist
  • Asali Solomon Haverford College Faculty
  • Chris Dingman New York City
  • Matt Garrison Jazz
  • Bill Laurance Composer
  • Concha Buika Spain
  • George Porter Jr. New Orleans
  • Eric Alper Music Publicist
  • Arto Tunçboyacıyan Multi-Instrumentalist
  • Luciano Matos DJ
  • Don Moyer Graphic Design
  • Gretchen Parlato Jazz
  • Dave Eggers Writer
  • Maria Nunes Photographer
  • Thomas Àdes Composer
  • Casa da Mãe Choro
  • Cedric Watson Accordion
  • Elif Şafak Women's Rights Activist
  • Gregory Hutchinson R&B
  • Cara Stacey Composer
  • Guillermo Klein Argentina
  • Nic Adler Restaurant Owner
  • Terell Stafford New York City
  • Anna Mieke Wicklow
  • Tab Benoit Music Venue Owner
  • Román Díaz Percussion
  • Dan Auerbach Multi-Instrumentalist
  • Sombrinha Cavaquinho
  • Cainã Cavalcante MPB
  • Guga Stroeter Vibraphone
  • Tom Wilcox Singer-Songwriter
  • Orquestra Afrosinfônica Bahia
  • Nara Couto Cantora, Singer
  • Rhuvaal Scotland
  • Stefan Grossman Music Producer
  • Daedelus DJ
  • Menelaw Sete Escultor, Sculptor
  • Eddie Kadi Actor
  • Peter Serkin Piano
  • Robertinho Silva Choro
  • Madhuri Vijay Writer
  • Paul McKenna Scotland
  • Philip Cashian Contemporary Classical Music
  • Laércio de Freitas Arranger
  • Iuri Passos Candomblé
  • James Carter New York City
  • Askia Davis Sr. Educational Consultant
  • Brett Orrison Record Label Owner
  • Omer Avital Composer
  • Tambay Obenson Cultural Critic
  • Milton Nascimento Brazil
  • Benjamin Grosvenor Classical Music
  • Giveton Gelin Trumpet
  • Shahzad Ismaily Recording Engineer
  • Wayne Shorter Saxophone
  • Kim Hill Actor
  • Sônia Guajajara Servidor Público, Public Servant
  • Dexter Story Los Angeles
  • Kaveh Rastegar Record Producer
  • Jeff Parker Guitar
  • Ofer Mizrahi Tel Aviv
  • Guiga de Ogum Poeta, Poet
  • Omar Hakim Drums
  • Nelson Cerqueira Bahia
  • Daymé Arocena Santeria
  • Burkard Polster Monash University Faculty
  • Ibrahim Maalouf Flugelhorn
  • Alma Deutscher Violin
  • Leon Bridges Singer-Songwriter
  • Zisl Slepovitch New York City
  • Lenna Bahule Singer-Songwriter
  • Carlos Malta Clarinet
  • Jaleel Shaw Jazz
  • Arismar do Espírito Santo Brazil
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