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  • Musa Okwonga

    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: Musa Okwonga
  • City/Place: Berlin
  • Country: Germany

CURATION

  • from this node by: Criador acima/Creator above

Current News

  • What's Up? “I’ve known Musa for many years and I’ve always found him a very honest, very poignant wordsmith. He writes from the heart with no filter, and that’s what the best lyricists do. I’m a fan.”
    —Ed Sheeran

    Musa is precise and all-encompassing in the same line. His poetry is intimate and erudite, passionate and beautiful.”
    —Kate Tempest

    “Stirring, politicallay-charged, ….uplifting and inspiring”
    —TRENCH Mag

    “Pulsating…deliciously multi-faceted”
    —VICE, About to Blow

Life & Work

  • Bio: Musa Okwonga is an Ugandan-British author, journalist and musician (BBXO) living in Berlin.

    BBXO make a style of music they call “Future Blues”, sitting comfortably between spoken word and rap, between politics and pop. Their wondrously organic music freely meanders through pop culture history from the eighties into the beyond, a libertine purely driven by heart and instinct. They formed when Krisz Kreuzer, of urban blues sensation Brixtonboogie, met up with Musa Okwonga, a lauded London-born poet who had recently moved to Berlin. “I talk about the future and Krisz talks about the blues”, Okwonga laughs. “I am more rooted in electronic music and hip hop while Krisz is coming from a rootsy blues or dub reggae and hip hop background.” From the beginning, their aim was to make songs that speak of love, struggle and friendship in a way that is moving, often rousing, and ultimately uplifting.

    “We have no borders, no boundaries”, Kreuzer states, and for once, it’s not just a PR effective slogan. BBXO have crafted a bass-heavy and accessible sound that is urgent, passionate and powerful. Their tunes effortlessly travel from Soul to Dancehall, from Blues to Grime to Pop, and are suitable for the whole range of moods; the late-afternoon euphoria of a midsummer festival, the quiet evening at home, the lonely but hopeful train journey towards a new adventure. Above all, it is a music that connects people like it links Kreuzer and Okwonga. With a message that is both optimistic and altruistic, BBXO light a torch in an age of darkness. “We live in compelling and worrying times”, Okwonga states. “With BBXO, we want to put across that yes, we understand that these times are challenging, but there is a way through it, an underlying positivity. The common theme of my writing is the turning point. Each song goes through that: It usually starts very dark and ends fairly optimistic.”

    Optimism. There is possibly nothing we need more these days. BBXO deliver that, clad in thick beats, warm textures and sophisticated and eloquent words that Kreuzer calls “outstanding in contemporary music”. Political without addressing it constantly, they give a voice to the voiceless, to the rejected, oppressed and sexually targeted, at the same time being extremely personal. “My background is very dominant in my lyrics”, Okwonga says. “They are about my family’s struggles back in Uganda, escaping as refugees, about adjusting to a new society, about a black person in a mostly white world and how that can be challenging.” Kreuzer underlays Okwonga’s words with a sound which is both contemporary and accessible, yet not lacking in depth and texture. A fateful match, as one cannot fail to see. “We both like a wide range of music and know exactly what the other stands for in BBXO”, Kreuzer says of this special bond.

    With Kreuzer being based in Hamburg while Okwonga lives in Berlin, both of them love the respective possibilities their hometowns offer them. “Hamburg is a music city”, Kreuzer raves. “It has a great vibe to work in plus our label is based here.” Okwonga, on the other hand, praises the energy he feeds off in Berlin. “Berlin is the ideal breeding ground for creativity. The city is incredibly intense at night, delivering that huge adrenaline rush, but during the days it is very calm, making it a great place to reflect and work.” In the end, it’s the striking blend of two artists extraordinaire and the influence of two of Germany’s most vibrant cities that’s making BBXO one of a kind. Anti racist, anti hate – and pro love, pro earth, pro hope. Trust us, we need that.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Twitter: Okwonga
  • ▶ Instagram: okwonga
  • ▶ Website: http://www.bbxo-official.com
  • ▶ Blog: http://okwonga.tumblr.com
  • ▶ YouTube Channel: http://www.youtube.com/user/MusaOkwonga
  • ▶ YouTube Channel 2: http://www.youtube.com/channel/UCXu3tIA75flXZKpk3Htckog
  • ▶ YouTube Music: http://music.youtube.com/channel/UClybh7uuAvVTDNYyWgLLyhA
  • ▶ Spotify: http://open.spotify.com/album/251oPi6ONpSpefuYZICayA
  • ▶ Spotify 2: http://open.spotify.com/album/2bHoKB34bD3ATWukgWZ5Db
  • ▶ Spotify 3: http://open.spotify.com/album/2DUBNs6aSb0UmgufpIpmgg
  • ▶ Spotify 4: http://open.spotify.com/album/4wwNSKobdxfTAUffKHzFd6
  • ▶ Spotify 5: http://open.spotify.com/album/3aOYFecHWt9k1CS3LZMqPW
  • ▶ Spotify 6: http://open.spotify.com/album/4NnoXYlwWIJSzTLVz52960

Clips (more may be added)

  • 1:43:44
    In The End It Was All About Love: Musa Okwonga in Conversation with Tayo Popoola - 1 November 2021
    By Musa Okwonga
    82 views
  • 1:25:15
    Football is Political: #Qatar2022, Russia and What Comes Next w/ Musa Okwonga and Justin Salhani
    By Musa Okwonga
    66 views
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Musa Okwonga Curated
pathways in

  • 2 Berlin
  • 2 Essayist
  • 2 Football Journalist
  • 2 Novelist
  • 2 Podcaster
  • 2 Poet
  • 2 Rapper
  • 2 Songwriter
  • 2 Uganda
  • 2 Writer

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    In The End It Was All About Love: Musa Okwonga in Conversation with Tayo Popoola - 1 November 2021
    Musa Okwonga discusses his extraordinary novella, IN THE END, IT WAS ALL ABOUT LOVE, with Tayo Popoola at Pages of Hackney on 1 November 2021.
    • June 26, 2022
  • Musa Okwonga
    A video was posted re Musa Okwonga:
    Football is Political: #Qatar2022, Russia and What Comes Next w/ Musa Okwonga and Justin Salhani
    This is a conversation with Justin Salhani of 'Oh My Goal' and Musa Okwonga (his 4th time on the pod) of 'Stadio' about football, politics and human rights. We talked about the upcoming world cup in Qatar, the role of dirty money in football (including Ru...
    • June 26, 2022
  • Musa Okwonga
    Musa Okwonga is matrixed!
    • June 26, 2022
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

WHO IS INSIDE THIS GLOBAL MATRIX?

Explore above for a complete list of artists and other members of the creative economy.


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 →)

 

QUEM ESTÁ DENTRO DESTE MATRIX?

Explore acima para uma lista completa de artistas e outros membros da economia criativa global.


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.

 

 

  • Loli Molina Piano
  • Eli Degibri אלי דג'יברי Saxophone
  • Jerry Douglas Lap Steel Guitar
  • Will Holshouser Jazz
  • Heriberto Araujo China
  • Jeffrey Boakye England
  • Horacio Hernández Havana
  • Norah Jones New York City
  • Jason Parham Publisher
  • Jane Ira Bloom Jazz
  • Eli Degibri אלי דג'יברי Composer
  • Leci Brandão Rio de Janeiro
  • Geraldine Inoa Playwright
  • Anderson Lacerda Jazz Brasileiro, Brazilian Jazz
  • Filhos da Pitangueira Bahia
  • Andrés Beeuwsaert Composer
  • Paulo Dáfilin Brazil
  • Greg Kot Journalist
  • Corey Ledet Zydeco
  • Jaimie Branch Trumpet
  • Simon Singh Journalist
  • Malin Fezehai Photographer
  • Ahmad Sarmast Music School Director
  • Vinson Cunningham Sarah Lawrence College Faculty
  • Maciel Salú Côco
  • Nooriyah نوريّة Filmmaker
  • Wayne Krantz New York City
  • Arson Fahim Cambridge, Massachusetts
  • Eric Bogle Folk & Traditional
  • Ibrahim Maalouf Flugelhorn
  • Peter Erskine Author
  • Dale Bernstein Wet Plate Photography
  • Olodum Samba Reggae
  • Marc Johnson MPB
  • Derron Ellies Trinidad & Tobago
  • Daedelus DJ
  • Oswaldinho do Acordeon Forró
  • Shana Redmond Black Culture & Politics
  • Jaques Morelenbaum Brazil
  • Helen Shaw Writer
  • David Virelles Cuba
  • Tomo Fujita Author
  • Luke Daniels Scotland
  • 小野リサ Lisa Ono Japan
  • Issa Malluf Arabic Percussion
  • Bule Bule Bahia
  • Antonio García Film Scores
  • Sharay Reed Composer
  • Christopher Silver Jewish Music
  • Antonio Adolfo Rio de Janeiro
  • Joe Newberry Singer-Songwriter
  • Ashley Page Record Label Owner
  • Geovanna Costa Samba
  • Marquis Hill Jazz
  • Andra Day Singer-Songwriter
  • Stefon Harris Vibraphone
  • Tony Trischka Banjo Instruction
  • Chico César Brazil
  • Andrew Finn Magill Ropeadope
  • Edu Lobo Singer-Songwriter
  • Celso de Almeida Drums
  • Lalá Evangelista Samba
  • Donald Vega Juilliard Faculty
  • Christian Sands Jazz
  • James Strauss Brazil
  • Anouar Brahem Arabic Music
  • Shankar Mahadevan Bollywood
  • Shamarr Allen New Orleans
  • Duane Benjamin UCLA Herb Alpert School of Music Faculty
  • Lina Lapelytė Lithuania
  • Guto Wirtti Samba
  • Jeff Parker Guitar
  • Jacob Collier Singer
  • Nubya Garcia England
  • Babau Santana Partido Alto
  • Robert Glasper Record Producer
  • Frank Beacham Storyteller
  • Andrew Gilbert Roots Music
  • Jubu Smith R&B
  • Guilherme Kastrup Drums
  • Nelson Faria Guitar Instruction, Master Classes
  • Ryan Keberle Hunter College Faculty
  • Martin Koenig Čalgija
  • Yayá Massemba Samba de Roda
  • Maria de Xindó Salvador
  • Robert Glasper Piano
  • Stomu Takeishi New York City
  • Serwah Attafuah NFTs
  • A-KILL Chennai
  • João Luiz Classical Guitar
  • Cut Worms Brooklyn, NY
  • Chief Xian aTunde Adjuah Multi-Cultural
  • Ben Cox Filmmaker
  • Nublu Multi-Cultural
  • João Camarero Samba
  • Peter Evans Avant-Garde Jazz
  • Vânia Oliveira Candomblé
  • Bai Kamara Jr. Guitar
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  • Tobias Meinhart Jazz
  • Talita Avelino Cantora-Compositora, Singer-Songwriter
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