|
 They were practically unknown from people outside
the jail system until they staged the largest rebellion
Brazilian prison had ever heard of. Then, the PCC showed how
powerful they were by taking control of 29 prisons
for 26 hours in 19 different cities throughout the state of
São Paulo. For a time the authorities and the populace
feared that 30,000 inmates would state a huge
and terrifying mass escape.
By Brazzil Magazine
Successive waves of powerful percussion emanated from Praça do Reggae, or Reggae
Square, in the dark heart of Pelourinho Monday night, 29 January. The forceful nature and
overwhelming momentum of each wave seemed to echo and re-echo the pain and suffering of
African slaves. Successive rhythms lulled and seduced my senses until their undertow had
pulled me far from safe harbor. I fell completely under their spell.
Praça do Reggae lies under a long shadow cast by Igreja da Nossa Senhora do Rosário
dos Pretos 1; a church constructed by black slaves when Salvador was still
capital of Brazil and the only church in Pelourinho historically open to blacks. Masses
are still conducted there for blacks, employing distinctively African forms of musical
expression such as the Timbau and Agogô.
Danielle Valim and I were attending a rehearsal of the Carnaval bloco Cortejo
Afro, founded by Jota Velloso and Roberto Mendes, the man with whom Jota composed his
first song. The title "Cortejo Afro" is taken from the tradition of sublimating
to kings; to "court" royalty by honoring them, by acknowledging their power and
authority, by offering up gifts and praise. In this way the Cortejo bloco honors,
reveres and celebrates the influence, impact, contributions and authority of African
cultures that were forcefully relocated to the New World.
Cortejo Afro is also contributing to appreciation of the historically bittersweet
character offered by the legacy of African communities in northeastern Brazil. The
bitterness of African slave trading is giving way to a widespread realization of the
importance of African religious and cultural practices that have been so well preserved
there. Life in some quilombos 2 in outlying areas has changed very little in
hundreds of years. And other African inspired traditions, a product of miscegenated
cultures, were established and are contributing to a rebirth of African pride and purpose
in the world. So this is an irony, that the bitterness of sugar slavery
should have, in the end, borne a sweet fruit. This fruit, with the help of sponsors like
Jota Velloso and Mariene de Castro, echoes the past greatness of African dynasties.
Dani and I were attempting to honor Kirsten Weinoldt's request 3 to call on
her friend Jota, the 40 year old nephew of Caetano Veloso 4 and Mariene, a
music artist and Jota's 24 year old wife. The sheer volume of the sound, and the madness
of the crowd there, made discussion all but impossible. But Jota assured us we could meet
after the proceedings and, besides, we were enjoying the performances. Included were many
old sambas from Bahia and many songs of Afoxé 5. One of my African Brazilian
favorites, "Noite de Temporal", was sung. There is a mournful quality about that
song that draws me close to it; especially the version Virginia Rodrigues recorded on her
breakout CD Sol Negro. Other songs included Afro Bloco Ile Aiyê's anthem and some
works of Gilberto Gil, including "Xodó".
Aloíso Menzes, who regularly appears on stage with Mariene, performed many works
associated with Blocos Afro and Blocos Índios such as "Negrume da Noite" and
"Ilê é Ímpar". This latter selection was co-written by Cortejo Afro president
Alberto Pitta and Aloíso. Guitarist Robson Leal, who also works with Mariene, performed,
as did Paulo Dáfilin, an acoustic guitarist and violinist who backs up AXÉ diva Daniela
Mercury and has produced some of her music. Paulo also backs up Vania Abreu and Caetano's
sister (Jota's aunt) Maria Bethânia. He recently produced Aloíso's first CD, Diamante
Verdadeiro.
Sarajane, famous for blazing the AXÉ trail before Daniela Mercury elevated that form
of music and culturally institutionalized it, performed. Though not the household name she
once was, Sarajane is redefining herself as a performer; now focusing on her
interpretations of older works and classic Bahian sambas. She opened with a sparkling
rendition of "Não quero dinheiro" (Tim Maia), and reappeared throughout the
night to reenergize the crowd. Ninha 6 the main singer for music group
Timbalada 7 performed many of their standards. But, hands down, the most
sustained, impressive and energetic performance of the night came from Mariene, who seems
immune to exhaustion. Even at the very end of the night Mariene was leaping and exhorting
her fellow performers and the crowd.
I'd closely observed Jota throughout the night as rehearsal had unfolded, and was
impressed by his calm and business-like demeanor. Watching him, I recalled from a
documentary that Paul Simon had conducted himself similarly while organizing a rehearsal.
I was curious to see how, if at all, Jota mirrored Caetano. Once the evening's
performances were concluded Jota, Mariene, Danielle and I drove around Salvador looking
for an open-after-midnight restaurant with a suitable atmosphere for informal discussion.
Unable to find what we were looking for, Jota recommended we meet for lunch the following
day at restaurant Vital 8 in Pelourinho; a suggestion we were more than happy
to oblige.
I quickly learned, over seafood and an água tônica, that anything Jota might
lack in terms of Caetano's poetic genius as a composer, lyricist, singer and/or performer
he more than compensates for with an extraordinary talent for organizing and inspiring
people to effectively develop ideas to fruition. It was just too easy to want to
view Jota as living under the shadow of his revered uncle Caetano and aunt Maria
(Bethania). I wanted to probe this with Jota, but felt awkward making an approach. Jota,
though, was completely at ease discussing the issue. He made it clear he never had any
problem with "being a Velloso", and added "no one ever questioned my
work". "Of course" he said "some newspapers would point out" that
he was the nephew of Caetano and Maria Bethânia, "but at the same time any influence
was more positive than negative. People and the media were curious and came out to see my
work". Jota has performed two shows himself in Salvador, and opened each by
acknowledging the example that Caetano and Maria set not only for himself "but for an
entire generation". "Some people with famous relatives" Jota said
"seem to wear a mask to try to hide the connection, or consider being so connected a
burden", but Jota is "only grateful" for who he is. Among his family, he
noted, are so many great personalities that his goal is only to make them happy.
"These people gave me so much joy and happiness" said Jota "that when they
express admiration for my work it makes me happy too".
Jota indicated that he wants to reveal the music of Bahia, especially forms that are
less well known to the outside world. I asked him if he thought he, Caetano, Virgínia
Rodriguez, Marisa Monte and others were formulating a Brazilian music preservation
movement. Jota characteristically sidestepped accepting any credit by referring back to
the Tropicalismo movement, so prominently associated with Caetano and Gilberto Gil.
"Tropicalismo" said Jota "unintentionally began regenerating traditional
music by incorporating it into newer compositions". Throughout our conversation Jota
repeatedly inferred that his own efforts were merely an extension of the earlier successes
of others.
So what, if anything, bothers Jota? "The injustice of the mechanics of current
practices related to the marketing of music". That and the pressure applied to
artists "are negatively impacting creativity, quality and the development of new
music forms and new talent". "What makes people famous today", he says,
"is nothing like what took place in the era of Tom Jobim". His assertion that
commercialism and corruption have overwhelmed the industry echoed complaints I've heard
from other Brazilian music artists in previous interviews and discussions. Jota and
Mariene believe that what they're doing, the type of work they record and sell, "is
running completely against the tide of what is being promoted today". Mariene
complained that "tactics employed by promoters are vicious". "When simple
people have access to the work we are doing", Jota and Mariene say, "they like
(it)".
The term "jabá" surfaced in our conversation. In this context, I
learned, jabá is a nickname for illegal money; money passed under the table.
"Payoffs" they said "are contingent not only on the work of certain
performers being promoted" on targeted media outlets, but "also on seeing to it
that the work of other performers goes unheard". The media, they asserted, even
seemed to have established a scale to assign the cost of playing a particular work or
artist a particular number of times. "More well known radio stations" they say
"charge more money, and there is an enterprise, like a Mafia, that helps to create a
monopoly for their preferred artists". One such agency, said Mariene, "controls
eight artists. It's all very well organized".
Mariene relayed the story of a young female performer who "began to make a name
for herself and naturally wanted to leave the band and strike out on her own". Four
weeks before Carnaval, the agency agreed to let her go. But then "they brought in a
replacement whom they intensively promoted to shift attention from the girl who left the
band. They made every effort to see that the new girl became instantly famous in order to
overwhelm any work of the old girl. The old girl quickly slipped into obscurity".
Jota and Mariene also decry that "some blocos select girls for their
European features 9, voices and body types so that you would believe they are
actually an European bloco". Mariene herself has emerged from the environment
that she and Jota describe. But working with Jota she is now completely independent of the
record labels and cherishes her freedom. Now she only performs what she chooses to
perform. "It's very difficult" she says, "with a family, to try to succeed
under the pressures "of the Brazilian music industry." How do they
succeed I wondered out loud.
Jota and Mariene, I learned, don't survive only on the income of their music
enterprise. Jota is a veterinarian who currently receives income from a state agency
charged with inspecting food. For fourteen years Jota had a veterinary clinic in his home
community of Santo Amaro caring for small animals. But now he works out of his home in
Salvador and only responds to few requests to treat animals. In 1983 Jota moved to the
state of Rio de Janeiro intending to work with milk cows, but felt such saudades
that he returned home after only five months. That's when he established his clinic in
Santo Amaro. Jota, now 40, started in the music business in 1985 when he composed his
first song with Roberto Mendes, his current partner in Cortejo Afro.
I asked Jota about his recent tribute CD to Riachão, titled simply Riachão. I
listened to every one of the 19 selections on Riachão. At times it reminded me of
Buena Vista Social Club in that it represents a regionally (nordestino Brazilian)
specific form of music infused with folkloric and cultural material that was, in this
case, performed by an icon of that form in its own element.
Riachão, said Jota, "is more happy than Batatinha", his
earlier commemorative work, and that seems to be the case. Not very long ago I was
introduced to the happy saudades of the forró 10 music performed
by Flavio José 11. Riachão also performs forró I observed, "Vida
da Semana" being an example on the new CD. "This type of music was played before
the time of TV" Jota responded "as the opening music to the daily programming of
radio stations". A stanza in "Vida da Semana" refers to
"seca-gás" or "end the gas"; an obscure cultural reference to someone
who wants to date but never marry. Riachão and forró, it seems, sometimes reveals
the dry humor of people who struggle to survive in a harsh environment.
Throughout the CD Riachão exhibits the old samba tradition of speaking before
singing. And the samba style of Riachão, Danielle noted, is samba de roda,
the old samba of Bahia with small quick steps backward. "Everyone in the south says
that Bahians samba backward" she said, and they don't emulate it.
"Cariocas", she said, "do partido alto samba, which is only forward,
and a third form is afoxé samba, which is to dance while making the movement of
waters". The more we talked and, later, the more I listened to Riachão, the
more I realized the importance of Jota and Mariene's work; and the work that others in
Salvador and Marisa Monte is doing in Rio 12 to sustain Brazilian culture by
preserving its musical heritage. I also increasingly sensed Jota and Mariene's commitment
to society. I told Jota I was beginning to suspect that their compassion for the less
fortunate in Brazil had something to do with the character of their work.
"I came to become so concerned by mistake" Jota pleaded. He and Mariene know
the priest of the Igreja da Nossa Senhora do Rosário dos Pretos, and Jota has had this
idea of making a CD from the mass at that church. It would include local grupos or blocos
performing alongside the children of a special program started there by the predominantly
Italian Jesuit priests. The program is called Sementes do Amanhã, or Seeds of
Tomorrow. Jota related that not long ago an orchestra had come from Bonn, Germany, to
perform with the children in a series of benefit concerts. On the very last day of
performances a problem prevented the orchestra from participating and the priest asked
Mariene to step in and perform with the children in its place. That performance was more
well received than the earlier ones involving the German orchestra. The spontaneity was
regaled and the performance was regarded a huge success.
Jota and Mariene later accompanied the children on an eight city tour in Italy and are
continuing their work with the children and the church, all of whom are orphans. Mariene
is coordinating that effort. They recorded some of the performances in Italy, along with
some in Bahia, on a special CD that was something like a demo. Only 400 copies were
produced and they quickly disappeared. Unlike that CD, it seems unlikely that Jota and
Mariene will soon disappear from the Brazilian music scene and/or from their efforts to
improve Brazilian society. That's good news for anyone interested in music and
constructive social engagement in Brazil.
1 The church of Saint Rosary of the black
2 Quilombos are communities that were established by escaped slaves in
Brazil. Many such communities have continued to exist up to the present time.
3 Kirsten Weinoldt is a frequent contributor to Brazzil magazine.
4 A short explanation from Kirsten Weinoldt regarding the difference in
spelling of the last name of Jota and the last name of Caetano: Some years ago the
rules of Portuguese were officially changed to eliminate double consonants EXCEPT where
pronunciation was affected. Thus, Caetano followed the new rule and changed the spelling
of his name, and the others didn't. It wasn't personal preference but rather a wish to
"go with the times" on Caetano's part. Thus, passado is pronounced with a
clear sounding s and pesado with a z-sound.
5 Group that performs candomblé inspired songs
6 "Ninha" would normally be a nickname for a woman, but in this
case it refers to a man.
7 Timbalada's "home" is the world class performing facility
Carlinhos Brown established in Candeal ghetto in Salvador da Bahia.
8 Vital is a restaurant that serves traditional dishes of the region of
Recôncavo, where Santo Amaro, the city of his family and where Caetano was born is
located.
9 This is not to assert that there are actually any Europeans among the
candidates, but rather to suggest that girls who have features considered "passably
European" are sought out to perform in the Carnaval grupos. Daniela Mercury,
with her European ancestry, long, straight black hair and slim, very full mouth
exemplifies the ideal candidate in this case. The formation of blocos with people
from higher classes of society (and their more Euro like features) helps to facilitate a
form of class based social segregation rooted in racial discrimination. Although the
population of Salvador da Bahia is overwhelmingly black and mulatto, blacks are rarely
seen in movie theatres and few are seen on airplanes.
10 Forró is said to be a bastardization of "for all". This
music form is associated with the cultures that evolved in the dry areas of northeastern
Brazil often referred to as the caatinga and the sertão. Quadrillas, or
dance troupes, perform choreographed steps similar to square dancing; particularly at the
time of the Festa de São João ("Festival of Saint John") in June. See next end
note.
11 Reference my September 2000 article "But we Survived!"
12 Marisa produced the Tudo Azul CD last year commemorating the work
of one of Rio's most famous Samba Schools ("Old People of Portela").
The author is a freelance photojournalist and regular contributor to Brazzil.
Phillip has an extensive Brazil Website at http://www.iei.net/~pwagner/brazilhome.htm
that includes photographs, recipes, information on the unique Afro-Bloco
movement in Salvador, Bahia and more. He can be reached by e-mail at pwagner@iei.net
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