POR AÍ

A Soul Portrait

Once a central port in the Portuguese colonial network of commerce and trade, the city of Salvador, in the state of Bahia, was the entryway for 3 to 4 million enslaved Africans. The Africans were forced to work in the plantations and mines, build cities and labor as craftsmen and artisans in the colonial culture. They brought to Brazil their own heritage of art and religion, which is remembered and celebrated today in the popular arts of this area.

Pelourinho, the historic square at the heart of Salvador, once associated with slavery, is now the remarkable center of a resurgence of Afro-Brazilian culture and identity. Some artists depict the old city itself, inspired by its rich, architectural forms, the colors and textures of sloping roofs, the patterned pavements and façades of colonial palaces and churches. Other artists paint scenes that reveal the complex and rich cultural mix of traditions stemming from the Americas, Africa and Europe. Dislocated Africans and their descendants absorbed many aspects of the European culture, including Christianity.

Founded in 1549 on the steep bluffs overlooking the Bay of all Saints, Salvador da Bahia de Todos os Santos was the first colonial capital of Brazil and the Portuguese gateway into the Americas more than half a century before France and England established permanent settlements in North America. Echoing the town plan of Portuguese medieval cities with fortified walls, narrow twisting streets, open plazas and richly-ornamented churches, Salvador was, by the 17th century, a major colonial center of wealth, commerce and culture and one of the busiest ports in the triangular trade route linking the Americas, Europe and Africa.

A little of Bahia's treasure is coming to the United States. Two Brazilian Art exhibitions open this spring at the UCLA (University of California, Los Angeles) Fowler Museum of Cultural History. "O Pelourinho! Popular Art from the Historic Heart of Brazil" opens March 1 and continues through May 10. The art featured in "O Pelourinho" combines African traditions, Brazilian history, popular culture and the spirituality of Candomblé and Catholicism into a rich celebration of reclamation and renewal.

As documented in a companion presentation, "Scenes from Bahian Carnaval", a select group of photographs, captures the vitality and brilliance of this amazing event and highlights the Afro-Brazilian presence in the city's celebrations. "Scenes from Bahian Carnaval" opens February 4, 1998 and continues through May 10, 1998.

There are 61 contemporary paintings and 25 sculptures in the art exhibition.

The images in "Scenes from Bahian Carnaval" were photographed by Pravina Shukla, UCLA doctoral candidate in Folklore and Mythology, during the city's 1996 and 1997 celebrations. These images clearly show that Carnaval in Bahia is like no other on the planet!

The Pelourinho is the central site of one of the most immense and lavish of all Carnaval celebrations. Lasting for six days and nights just prior to the Catholic observance of Lent, the Bahian Carnaval clearly reflects the history of the city. During all hours of the day and night tens of thousands of Carnaval revelers, both young and old, participate by playing instruments, wearing costumes, or dancing in the streets.

Due to its complex history, Salvador is a city full of juxtapositions—high rises, colonial architecture, cobblestone streets, 365 Catholic churches (or so says the legend), and hundreds of terreiros for the Yoruba-derived religion, Candomblé. This history especially permeates the Carnaval celebrations, influencing the yearly themes for parade organizations, costumes, musical instruments and musical styles.

December to early March is Carnaval season in Salvador. During the few months preceding Lent there are many Candomblé ceremonies and festivities, which must take place prior to Lent when all such activities come to an official halt. These city-wide celebrations may be as secular as they are sacred, depending on the religious preferences of the participants. For example, Candomblé initiates and ordained priests and priestesses engage in processions and religious rituals, while other participants drink and dance on the streets in anticipation of Carnaval.

Both exhibitions will be on view Wednesdays through Sundays, noon to 5 p.m., and Thursdays until 8 p.m. For information, call (310) 825-4361. (L.R.)

Talent and
Imagination

I'm skeptical, at best apprehensive spending money just to check out a new artist. Nowadays, every garage band has a demo because recording and copying CDs is not the exaggerated expense it used to be. I was expecting to listen to Ubatuba once and write it off as a lesson in frugality. But the new CD by Kimson Plaut remained in my CD changer for two days while I digested the absolutely enjoyable arrangements, Romero Lubambo's cavaquinho, Leny Andrade's voice, some killer sax soloing, and pianist Kimson Plaut's well defined role as the lush carpet the other members of this superb ensemble move across.

Plaut studied composition at Yale before leaving for Mato Grosso in 1975, where he researched the musical traditions of the Xavante Indians. He eventually took up residence in Brazil, performing in a wide variety of musical settings. For the past three years Plaut has been Astrud Gilberto's pianist and arranger. His fresh new CD Ubatuba is available from LPC Music. Try a little self-indulgence. (718) 937-3043 or lpc.lima@dglnet.com.br. (B.G.)