Bio:
Cantora, arte educadora e ativista cultural, natural de Maputo, Moçambique. Hoje transita entre o seu país de origem e o Brasil mergulhada em constante pesquisa e intercâmbio com as afro-culturas e movimentos sociais de ambos países.
No Brasil, fundamentou sua pesquisa sobre a música vocal e diferentes caminhos para o uso da voz e do corpo como instrumento musical e de expressão artística.
O histórico de sua carreira musical conta com encontros e colaborações locais de diferentes diásporas como Cheny Wa Gune (Moçambique), Stewart Sukuma (Moçambique), Mário Laginha (Portugal), Mû Mbana (Guiné Bissau), Virginia Rodrigues (Brasil), Benjamim Taubkin (Brasil), Kastrup (Brasil), Mateus Aleluia (Brasil), o escritor e seu conterrâneo Mia Couto entre tantos outros.
Atualmente, além de suas apresentações SOLO, lidera o projeto de música vocal NÔMADE, homônimo ao seu primeiro disco autoral, o duo TAUBKIN & BAHULE, em parceria com o baixista paulistano, João Taubkin. Como arte educadora Lenna orienta e conduz desde 2013, atividades relacionadas ao canto em grupo, corpo, voz e movimento e repertório da cultura popular de Moçambique (jogos, brincadeiras e cancioneiro popular). É também Embaixadora da causa "SOMOS MOÇAMBIQUE" que surgiu em apoio às vítimas dos dois ciclones que atingiram o centro e norte do país, no começo de 2019, onde reuniu mais de 60 artistas para um concerto beneficente em parceria com a Connecting Dots, Casa Natura Musical e a Cruz Vermelha.
Lenna Bahule started her training in music at the age of five, having joined the National School of Music (ENM) in Maputo- Mozambique where she was born. Since 2012, based in São Paulo, she has based her research on vocal music and different ways to use voice and body as a musical instrument and artistic expression. She studied and participated in exchange activities and study groups with pioneering artists of the various techniques that support this research, such as: Fernando Barba, Stênio Mendes, Zuza Gonçalves, Pedro Consorte, Ronaldo dos Santos, Tiago Pinheiro, Tiago Pinheiro, Georgia Dias, Wagner Barbosa, Sílvia Goes, Eleni Vosniadou (GRE), Rhiannon (USA), Santiago Vasquez (ARG), Guillermo Rozenthuler (UK).
In private lessons and group meetings, Lenna guides singers and choral / vocal groups, developing creative and expressive expansion work, using some free improvisation techniques, body awareness, musical games and jokes from the universe of body music, circlesong and signal conducting, and an introductory work on the repertoire of Mozambique's vocal music.
In the area of art education, she researches and teaches a workshop on games, games, songs and children's and popular dances from her homeland. She has taught this workshop in several places such as: Instituto Brincante, Casa do Brincar, Teca Oficina de Música, Sesc’s, among others.
She collaborated with artists such as Angelo Mundy (Abrigação), Luiz Tatit (Words and Dreams), Jurema Paes (Mestiça), Benjamim Taubkin, João Taubkin and Itamar Doari (O Pequeno Milagre de Cada Dia) and shared the stage with artists like Na Ozzetti , Juçara Marçal, Marcelo Pretto, Clarianas, Mu Mbana (GNB), among others.
She performed with the Youth Choir of the State (EMESP) and partnered on the soundtrack and musical direction of the play accessible to the blind and deaf "FEIO" by the collective GRÃO, which in 2016 won first place in the "Premio de SP de incentivo ao teatro" children and young people and the best show of inclusion and accessibility by APCA.
He participated in some literature meetings with Mia Couto, at the launch of his last book “Sombras da Água” according to the book of her trilogy “As Areias do Imperador”.
Currently, in addition to her presentations "SOLO", she has just released his first CD entitled NÔMADE "which is part of the list of the 100 best albums of 2016 by the website Embrulhador.
She's a part of the South African dance group, GUMBOOT Dance Brasil as a dancer and as a musical director.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"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, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
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.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).