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  • Shanequa Gay

    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: Shanequa Gay
  • City/Place: Atlanta, Georgia
  • Country: United States

CURATION

  • from this node by: Criador acima/Creator above

Life & Work

  • Bio: Shanequa Gay’s work draws upon ritual and personal memory, storytelling, fantasy, and the deep well of southern black traditions found in her home place of Atlanta. Gay’s fodder is play, indigenous belief systems and the spirit of African-Ascendant Womyn and girls finding Divinity in self. She is invested in counter narratives, mythology, and the expansion of the black imaginary. Gay engages in this practice through installations, paintings, performance, photography, video and monumental sculptural figures.

    Gay received her BA from the Savannah College of Art and Design and an MFA from Georgia State University. An active member of the Atlanta art community, Gay's accomplishments include selection for OFF THE WALL, a city-wide Civil Rights and Social Justice Mural initiative led by the Atlanta Super Bowl Host Committee (2019). Her recent exhibitions include Atlanta Biennial, Atlanta Contemporary (2021); Le Monde Bossale, Montreal, Canada, in (2021); Adorned, McColl Center for Arts and Innovation, Charlotte (2020); Holding Space for Nobility: A Memorial for Breonna Taylor, Ackland Museum, Chapel Hill North Carolina (2020); and Lit Without Sherman, Hammonds House Museum, Atlanta (2019).

    Gay exhibits her works and procures residencies within the United States, Japan, and South Africa. She is a Do Good Fellow recipient and an Emory University Arts and Social Justice Fellow, 2020.

Contact Information

  • Email: [email protected]
  • Contact by Webpage: http://www.shanequagay.com/contact
  • Management/Booking: Representation
    JACKSON FINE ART
    3115 E Shadowlawn Ave NE
    Atlanta, GA 30305
    (404) 233-3739
    jacksonfineart.com

    CO-OP ART ATLANTA
    (203) 435-0834
    coopartatl.com

Media | Markets

  • ▶ Buy My Art: http://www.shanequagay.com/works
  • ▶ Twitter: shanequagay
  • ▶ Instagram: shanequagay_
  • ▶ Website: http://www.shanequagay.com
  • ▶ YouTube Channel: http://www.youtube.com/c/ShanequaGay
  • ▶ Article: http://bittersoutherner.com/feature/2022/shanequa-gay-standing-with-zebras
  • ▶ Articles: http://www.shanequagay.com/news-1

Clips (more may be added)

  • 0:37:16
    Shanequa Gay: Shanequa Gay
    By Shanequa Gay
    236 views
  • 4:03
    NBAF Reimagined featuring Shanequa Gay
    By Shanequa Gay
    142 views
  • 4:33
    The imaginative dialogues in the art of Shanequa Gay
    By Shanequa Gay
    115 views
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Shanequa Gay Curated
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  • Shanequa Gay
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    • April 19, 2022
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    • April 19, 2022
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    • April 19, 2022
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    Shanequa Gay: Shanequa Gay
    Shanequa Gay at CreativeMornings Atlanta, April 2020.
    • April 19, 2022
  • Shanequa Gay
    A video was posted re Shanequa Gay:
    NBAF Reimagined featuring Shanequa Gay
    Join us this week with Atlanta's own, Shanequa Gay. Her work evaluates place, tradition, storytelling, and subject matter to develop imaginative dialogues and alternative strategies for self-imaging.
    • April 19, 2022
  • Shanequa Gay
    A video was posted re Shanequa Gay:
    The imaginative dialogues in the art of Shanequa Gay
    We visited artist Shanequa Gay in her studio, to talk about her work in different mediums. As an artist, her work evaluates place, tradition, storytelling and subject matter to develop imaginative dialogues and alternative strategies for self-imaging. “Th...
    • April 19, 2022
  • Shanequa Gay
    Shanequa Gay is matrixed!
    • April 19, 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.

 

 

  • Tatiana Campêlo Bahia
  • Christopher Seneca New York City
  • Eliane Elias Singer-Songwriter
  • Miroslav Tadić CalArts Music Faculty
  • Joe Newberry Folk & Traditional
  • Utar Artun Piano
  • Andrés Beeuwsaert Multi-Cultural
  • Célestin Monga Africa
  • Vincent Herring Manhattan School of Music Faculty
  • Angel Deradoorian Los Angeles
  • Ronell Johnson Funk
  • Alicia Keys New York City
  • Helder Barbosa Dono de Site de Cultura, Cultural Website Owner
  • Custódio Castelo Portugal
  • Keshav Batish Santa Cruz, California
  • Matias Traut Tango
  • Nduduzo Makhathini Piano
  • Joey Baron Composer
  • Conrad Herwig Composer
  • Paulo Paulelli Brazilian Jazz
  • Rosa Passos Bahia
  • Gunter Axt Escritor, Writer
  • Maria Rita Singer
  • Merima Ključo Theater Scores
  • David Chesky Record Producer
  • Marcello Gonçalves Brazil
  • Eder Muniz Bahia
  • Ramita Navai Iran
  • Jamie Dupuis Composer
  • Fábio Zanon São Paulo
  • Natan Drubi Violão, Guitar
  • Peter Evans Composer
  • David Kirby Journalist
  • Dave Douglas Jazz
  • Alex Mesquita Brazil
  • Peter Erskine USC Thornton School of Music Faculty
  • Philip Watson Cork
  • Tray Chaney Actor
  • James Poyser New York City
  • Dan Trueman Electronic Music
  • Neymar Dias Brazil
  • Orlando 'Maraca' Valle Havana
  • Alan Williams Furniture
  • Sierra Hull Americana
  • Wayne Escoffery Yale Faculty
  • Seu Regi de Itapuã Forró
  • Roberta Sá Samba
  • Andy Kershaw Radio Presenter
  • Tia Fuller Jazz
  • Jeff Coffin Saxophone
  • Marco Pereira Classical Guitar
  • Nigel Hall New Orleans
  • Mika Mutti Multi-Instrumentalist
  • Dwandalyn Reece Ethnomusicologist
  • Nathan Amaral Violin
  • Rachel Aroesti Writer
  • Terreon Gully Composer
  • Ibrahim Maalouf Composer
  • Robin Eubanks Trombone
  • Jaques Morelenbaum Cello
  • Luis Delgado Qualtrough San Francisco
  • China Moses Singer
  • Daymé Arocena Havana
  • Bobby Sanabria New York City
  • Tomo Fujita Blues
  • Linda May Han Oh Double Bass
  • Kimberlé Crenshaw Author
  • Marcos Portinari Diretor Artístico, Artistic Director
  • Lalah Hathaway Piano
  • Mateus Aleluia Filho Candomblé
  • Duncan Chisholm Traditional Scottish Music
  • Olodum Bahia
  • Varijashree Venugopal Flute
  • John Boutté Blues
  • Mariana Zwarg Universal Music
  • Ofer Mizrahi Indian Slide Guiter
  • Gian Correa São Paulo
  • Ambrose Akinmusire Jazz
  • Betão Aguiar Brazil
  • Armen Donelian Multi-Cultural
  • Jessie Reyez Hip-Hop
  • Marcus Rediker Playwright
  • Matt Glaser Composer
  • Chris Dave Jazz
  • Restaurante Axego Brazil
  • Berta Rojas Paraguay
  • Robertinho Silva MPB
  • Renato Braz Brazil
  • Mariana Zwarg Rio de Janeiro
  • Theon Cross Tuba
  • Barbara Paris Multi-Media Artist
  • Gretchen Parlato Jazz
  • Jane Ira Bloom New York City
  • The Rheingans Sisters Sheffield
  • Flora Gil Produtora Musical, Music Producer
  • Chris Dave Hip-Hop
  • Miles Mosley Multi-Instrumentalist
  • Cory Henry Funk
  • Jam no MAM Jam Sessions
  • Mestre Nelito Samba
  • Ilê Aiyê Bloco Afro
  • Rudy Royston Percussion
  • Nooriyah نوريّة North African Music
  • Avishai Cohen Jazz
  • Marcelo Caldi Singer
  • Márcio Bahia Drums
  • Muhsinah Hip-Hop
  • Ben Paris Writer
  • Tab Benoit Louisiana
  • MicroTrio de Ivan Huol Trio Elétrico
  • Gilad Hekselman Composer
  • Moacyr Luz Rio de Janeiro
  • Simone Sou Record Producer
  • Gearóid Ó hAllmhuráin Ethnomusicologist
  • Rachael Price Tin Pan Alley
  • Hugues Mbenda Chef
  • Sam Yahel Organ
  • Isaak Bransah Ghana
  • James Brandon Lewis Saxophone
  • Guto Wirtti Brazilian Jazz
  • Dhafer Youssef ظافر يوسف Oud
  • Ilê Aiyê Brazil
  • Anat Cohen Brazilian Music
  • Bill Summers Latin Jazz
  • David Sedaris Writer
  • Moses Sumney Singer-Songwriter
  • Ilya Kaminsky Literary Critic
  • John Doyle Singer-Songwriter
  • Adonis Rose Drums
  • Dan Tyminski Singer-Songwriter
  • David Ritz Lyricist
  • Forrest Hylton Writer
  • Djuena Tikuna Indigenous Brazilian Music
  • Anoushka Shankar Film Scores
  • Aindrias de Staic Television Presenter
  • Marcel Powell Rio de Janeiro
  • Joey Alexander Composer
  • Simone Sou São Paulo
  • Ronaldo do Bandolim Rio de Janeiro
  • Léo Brasileiro MPB
  • Mahsa Vahdat Multi-Cultural
  • Jeremy Pelt Trumpet Instruction
  • Tarus Mateen New York City
  • Piti Canella Salvador
  • Mariana Zwarg Samba
  • Bebel Gilberto Samba
  • Theon Cross Jazz
  • Jane Ira Bloom Contemporary Classical Music
  • Sátyra Carvalho Salvador
  • J. Period DJ
  • Mingus Big Band Big Band
  • Arson Fahim Composer
  • Les Thompson Singer
  • Lydia R. Diamond Playwright
  • Les Thompson Cinema Engineer
  • Sarah Jarosz Banjo
  • Colm Tóibín Columbia University Faculty
  • Fernando Brandão Berklee College of Music Faculty
  • Chris Dingman Multi-Cultural
  • Mark Markham Jazz
  • Jeff Parker Composer
  • Marc Maron Actor
  • Natalia Contesse Guitar
  • Natan Drubi Salvador
  • Mischa Maisky Cello
  • Mavis Staples Gospel
  • Julien Libeer Classical Music
  • Colson Whitehead Writer
  • Elie Afif Lebanon
  • Danilo Brito Composer
  • Itiberê Zwarg Multi-Instrumentalist
  • Wolfgang Muthspiel Contemporary Classical Music
  • Joshue Ashby Afro-Panamanian
  • Maria Calú Chapada Diamantina
  • Logan Richardson Jazz
  • David Sacks MPB
  • Timothy Jones Contemporary Classical Music
  • Lorna Simpson Brooklyn, NY
  • Romero Lubambo New York City
  • Luê Soares Rabeca, Fiddle
  • Bukassa Kabengele Actor
  • Michael Cuscuna Writer
  • The Bayou Mosquitos Zydeco
  • Jorge Ben Rio de Janeiro
  • Shannon Ali Arts Journalist
  • Greg Ruby Author
  • Osvaldo Golijov Argentina
  • Barney McAll Australia
  • Kim Hill Singer
  • Riley Baugus North Carolina
  • Márcia Short Cantora, Singer
  • Flora Gil Bahia
  • Simone Sou Drums
  • Carl Allen New York City
  • Leci Brandão Singer-Songwriter
  • Lenny Kravitz Designer
  • Phineas Harper Architecture Critic
  • Victor Gama Multi-Cultural
  • Sombrinha Brazil
  • Moacyr Luz Samba
  • Joel Best London
  • Yelaine Rodriguez Bronx, NY
  • Philip Ó Ceallaigh Romania
  • Caroline Shaw Singer
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