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THAI FLOW x VIDAL Batalha do Real (edição NIKE Garagem) 20-08-2016

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grime grimebr brasilgrimeshow casadomeio grimeuk bangu

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Grime é um gênero musical que surgiu em Londres, Inglaterra, no início da década de 2000, principalmente desenvolvido a partir do UK Garage. O Grime é caracterizado por usar batidas 2-Step ou Breakbeats em torno de 140 bpm. O Grime é influenciado por vários estilos como Hip Hop, Ragga, Jungle, Drum and Bass, Dubstep, Dub e outros estilos mais eletrônicos.

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Meet the Women Bringing Brazilian Grime and Drill to New Heights

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From N.I.N.A. to Thai Flow, we highlight some of the women using Brazilian grime and drill for survival, affirmation, and revolt.

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Note from BW of Brazil: There is a common belief that says that people get extremely creative when they lack financial resources. Sometimes this creativity leads to illegal activities and sometimes it leads to so incredible movements, inventions, creations and ideologies. The young ladies we present in today's piece are certainly showing what one can do when they can delve into their creative sides and express themselves. Brazil is an incredibly unequal country in which extreme poverty and vast wealth can often only be separated by a street or avenue. And although the population generally follows the ideology that affords a certain level of respect or disrespect according to one's possessions and status, increasingly, Brazil's poor and middle class black population are pushing for more acceptance and recognition of not only their very existence and humanity, but the fact that they have aspirations to do things and achieve goals even if they've never had the same opportunities afforded to those who were born into more well-off families.
Today's technology, particularly the internet, have given these voices that have been stifled for so long the ability to bring exposure to their dreams, works and creations that was not possible just little more than a decade ago. In poorer neighborhoods, one can find a plethora of talented people in all sorts of fields who can provoke changes in these areas of society. Some dream of being the next futebol superstar like a Neymar. Some want to be and become doctors. Some have a talent for designing clothes or at least creating new styles upon older ones. And as the mainstream media is often not interested in these stories as they don't come from the more privileged classes, it's wonderful to see these stories coming out via small, independent media, of which blogs like this one are a part of. Today we introduce you to Tracie and Tasha Okereke, the latest inhabitants of the 'hood who are making a name for themselves. Dubai born tattoo artist Grace Neutral was impressed enough to feature the twins in a short documentary piece for i-D videos. Besides the twins, the above video also talks to Nayara Justino, whose career we've followed since she won the right to be Globo TV's Globeleza girl for Carnaval before being stripped of her title, basically, for having skin deemed "too dark" by Brazilian society. The video also touches on a number of other issues that are regular features on this blog such as the natural hair movement, the lack of black dolls in Brazil's toy stores, a beauty standard that pushes Afro-Brazilian women to straighten their hair, "becoming black", the necessity of Brazil's school system to discuss race/racism and Afro-Brazilian History and Culture, the racist idea that if a person of African descent is attractive, they can be seen as negro/negra (black) but rather 'morena' or 'mulata' and the rise of Afro-Brazilian fashion designers. Today's story also presents yet another connection to Nigeria, which we've seen in a few previous posts in recent weeks (see here and here). Hope you enjoy! Tasha and Tracie Okereke are the voice of the 'meninas pretas pobres da favela': the poor black girls from the 'hood
By Taís Toti and Gabriel Monteiro

October 17, 2016

From the column 'HISTÓRIAS DE VIDAS QUE INSPIRAM' (LIFE STORIES THAT INSPIRE)

It's impossible not to be enchanted by Tracie and Tasha Okereke. The irmãs gêmeas (twin sisters) born under the sign of gêmeos (Gemini, meaning twins) are beautiful, stylish, and known as the favela's 'it girls' for creating incredible looks with custom clothing and from thrift store. It wasn't enough being a fashion inspiration, the 21-year-old girls want to build an empire with empoderamento feminina (female empowerment). With the Expensive $hit movement (1), which came to life through a blog and parties sometimes thrown downtown, but especially in the São Paulo quebradas (ghettos), they promote "a auto-estima da mulher jovem, preta e favelada" (the self-esteem of the young, black woman from the favela). "We want to make people aware that they can do everything, that if they feel powerful, then they would see how much power they have," says Tracie.

Expensive $hit, they say, came out of necessity. With no money to buy new clothes, they customized the ones they received or bought in thrift stores. Besides, they didn't find in the store magazines tips to care for cabelos crespos (kinky/curly hair) or stories about blacks that were a reference in the world of music and fashion. "All the posts are our doubts too, we read things and didn't think the stories were for us," says Tasha. The idea is to communicate with girls who are like them, so the fashion editorials have a maximum of two or three pieces that are not from the thrift store, but most cost a maximum of 20 reais (about US$6.50). Next month, they debut a brand of clothing, with remodeled pieces and some creations of their own.

"We do the editorials to show them that you can buy expensive clothes, but that does not define you, you're not going to be any less tight if you don't have it," says Tasha. The main motto is "foda-se as etiquetas" (fuck the labels), but "the visual part is important, but it's not everything". Because of this, so much space on the blog is dedicated to telling the story of black icons, which were left aside by the racist society. "We want a next generation more imposing and proud and intelligent, because this generation knows nothing of itself, of history itself," says Tracie.

This whole process of exploring beauty and black history contributes to readers gaining self-esteem. "To have self-esteem we have to be proud, to be proud we need to know where we came from," Tasha explains. "We came to create representativeness, but not only visual representativeness."

Being icons of beauty and culture for young blacks from São Paulo and the country, they transmit a lot of self-confidence. But it was not always like that. "Actually, we've always been extremely self-respecting and very shy. We had a complex that we were very thin, that we had very large feet, with our hair too," says Tasha. She says she never thought cabelo crespo was ugly, nor was she ashamed to wear it, but the lack of representativeness was so great that when she saw beautiful, well kept hair, she thought it was another hair type and not hers. "It's the same thing I hear every day from the girls here in my quebrada: 'Wow, your hair is so beautiful, mine is not like that.' Of course, it's because you've never seen it." Even though they have a very common hair type among Brazilian women, they still have to face the curious looks of people, whether in the quebrada or the subway.

The parties promoted by the Okereke twins also work, almost indirectly, on representation. "We want to bring affordable music and also the visual parade, because a lot of empowered, incredible girls with big hair come, and that changes many things in the quebrada, because it gives self-esteem to the girls." For them, the young people on the periphery don't feel comfortable when they leave the quebrada itself, but they want not only to decentralize the rolês (hang outs) but also to promote the movement of these girls throughout the city.

"It usually takes me two hours to get from my house to downtown. Why can't anyone turn around to come to a party where I live?," Tracie asks, taking the time to explain the whole concept of their parties that present a funk, rap and afrobeat flavor.

Their taste for music comes from the cradle. "My father is a DJ, he likes hip-hop, old school music, disco...he's very musical and this music is predominantly black," says Tasha. Daughters of a white Brazilian mother and a Nigerian father, they consider themselves igbos. "I've always liked African music, with an African feel, it's bringing us a little bit closer to our ancestry."

At the time of the writing of this post, the twins were preparing to go to the famed SPFW (São Paulo Fashion Week) that they had previously only watched on TV for the first time.

Tracey, who works every day in the production of the Coca-Cola booth, uploading posts to the brand's social networks, says that until then, she had only seen fashion week on TV. She was able to watch some parades, like Ratier's, between one performance and another, and only regretted the speed of each show. Among the highlights, the two go directly to Monday, the day in which rapper Emicida performed with his brother, partner Fióti, and presented his new fashion line LAB, which entered the line-up of the event with the co-signature of the stylist João Pimenta and a casting composed of mostly black people.

"It's a milestone, in fact," they say. And Tracey continues: "We are in Brazil, where the majority of the population is black. Streetwear is a fashion that, as the name says, came from the street. Who created streetwear was the street, and our fashion didn't reach high fashion. Or rather, the references even arrived, but in the hands of those who never went on the street. It's good for us to take up the space that is ours, you know. In high fashion too. "

They recall that LAB began selling CD's and making T-shirts, usually for those who lived in the extreme of the North Zone, and that things took such proportions that independent fashion had to strengthen itself. They see that this is much more valued these days, even though there's still a ways to go to address some issues, such as the castings of the parades. In a week made up mostly of white people, among models, stylists and guests, the twins say the brands still have a challenge. "Nowadays we are much more questioning and if I do not see myself represented I just don't buy. It has improved, but there is a lot to change. "

LAB not only represented in the selection of models, but also presented on the catwalk a collection with the weight of African and Eastern references tied in a very urban look. Among the highlights, the T-shirts and regattas with the "I Love Quebrada" print soon fell into the taste of those who attended the parade, but also opened a gap among journalists for a discussion about who could or should not use the item. "People don't see a problem with wearing a print with Brooklin (upper crust São Paulo neighborhood) written on it, right? Why can't we write Imirim, Boi Malhado (neighborhoods)?", they ask. They explain that the issue here is much more linked in the pride of who is from the quebrada wanting to talk about where they came from, let alone on influencers who never got close to the periphery and will use the item for reasons of hype.

"Many of the rap fans have also questioned the value of the pieces, but people kill themselves to buy a Supreme item, for example," Tasha points out. Adepts of see now, buy now, some items of the label can already be ordered with prices starting at R$60. "People need to know about a whole social aspect behind independent work," they argue. "There are a lot of cheap clothes and even expensive ones that have slave labor. They need to pay the manpower behind it all."

About their upcoming wishes, they say that, for now, they want to win the Melissa project and exhibit at the brand's gallery, to further activate the blog and to continue with all the parties. In a more distant future, they guarantee that we can wait, because they want "everything" really. But, mainly, to change a little the experience of girls and boys who, like them, live in the periphery but are passionate about fashion.

As the girls' father is Nigerian and a DJ, one can assume that the title of the movement, 'Expensive $hit' was probably influenced by the famous album by Nigerian Afrobeat legend Fela Kuti, whose music has gained quite a following among black Brazilians in recent years.

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Twin daughters of Nigerian father and Brazilian | Black Women of Brazil

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Note from BW of Brazil: There is a common belief that says that people get extremely creative when they lack financial resources. Sometimes this creativity leads to illegal activities and sometimes it leads to so incredible movements, inventions, creations and ideologies.

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13 Brazilian Female Rappers Who are Famous in the World
Note from BW of Brazil: For anyone who happens to catch the "Brazil bug", sooner or later the music coming out the country will surely catch your attention. Whenever a non-Brazilian is introduced to Brazilian Music, surely they will here some of the greatest, most well-known artists first. Names such Antonio Carlos Jobim, the recently departed João Gilberto, Gilberto Gil, Caetano Veloso, Chico Buarque, Gal Costa, Djavan, Milton Nascimento and many others. So of course, like other non-Brazilians, these are some of the first artists I got familiar with when I 'discovered' Brazil.

But it was after this initial introduction that I really began to develop a taste for the artists that I really liked and the types of Brazilian music that I could live without. I remember back in 2006 when NPR radio released a story about Brazilian music called "In Brazil, Even Bad Music Is Good". I didn't necessarily agree with this title as my visits to Brazilian sebos (used album and book stores) starting in the year 2000 most definitely introduced me some great music that one might not discover upon first knowledge of the country's music, but I also learned about some of the horrible music. I mean, everybody is entitled to judge what type of music appeals to them. I personally can't eff with Sertaneja music. Sorry. I just ain't feelin' it. And Sertaneja is EVERYWHERE!
I remember being at a party a few years back of one of the girls in my adopted family. There may have been about 40-50 people there, children, teens and adults. A typical party. Lots of salgados, lots of Coca-Cola, BBQ meat, etc. From one of the rooms, there was a DVD player connected to a set of speakers and the guy in charge of keeping the music bumpin' would switch the DVDs every 15-20 minutes or so. Every DVD he loaded was of some Sertaneja group/singer. One of the guys sitting next to me know I wasn't Brazilian so he asked me, "So, you like Sertaneja?" As I don't like Sertaneja and it was blasting at that party, I didn't hesitate to respond, "NÃO, não gosto!", meaning 'no, I don't like it'. If I would have said what I was thinking, it would have been more like, I HATE THIS SHIT!! Looking at the Wikipedia page about "Música Sertaneja", I discovered this:
"Sertaneja music is a Brazilian music genre produced from the 1910s by urban, rural and other composers generically called 'modas' and 'emboladas' whose som da viola (acoustic guitar sound) is predominant. Sertaneja music is currently the most popular style of music in Brazil, surpassing even samba in most states of the country (especially São Paulo, Minas Gerais, Goias, Parana, Mato Grosso do Sul, Mato Grosso, Rondonia and Tocantins"
So, in fact, it's not just my opinion. It IS currently Brazil's top musical genre. So, what exactly does it sound like? Well, the best way I would describe it would be a sort of Pop-Country type style. The term sertanejo is derived from the term "sertão" which refers to Brazil's rural backlands. Feel free to check it out if you choose, I'm just sayin', it ain't for me! On the other hand, Música Black and Hip Hop has also carved out its own niche audience over the course of a few decades. Artists in these genres can't compete in terms of record sales with Sertaneja, but these styles are much more to my liking. And nowadays, the genre that's often called Música Black has given rise to what is now called Música Preta Brasileira (Black Brazilian Music), or MPB, a blackening of the acronym that for decades has meant Música Popular Brasileira (Brazilian Popular Music). Música Preta Brasileira and Hip Hop Brasileiro (Brazilian Hip Hop) both owe a nod to American Hip Hop as well as Black American Music, Soul, R&B and Funk, but with a feel that makes you think, even with the Portuguese lyrics, there's a slightly different flavor here. These links were established way back in the 1970s when American Soul, R&B and Funk attracted a Brazilian audience and was celebrated in the mostly black periphery regions of large cities. Since the beginning of the 21st century, there have been a number of Brazilian Hip-Hoppers that have caught my eye, or better, my ear. Among those that I like are artists such as MV Bill, Racionais MCs, Rappin' Hood, Marcelo D2, Slim Rimografia, Parteum and his group Mzuri Sana. Of the current school of rappers, I like Emicida, Crioulo, Kamau, Djonga, Baco Exu do Blues and Senzala Hi-Tech. I have to admit that I don't listen to as much Hip Hop as I used to, but of what I've heard, these are the artists that I like. But, some of you must be thinking, where are the ladies? Let's be real. Like its American counterpart, Brazilian Hip Hop is also dominated by the men, but the ladies are there and have made great strides in gaining followings among rap fans. And not just in Brazil. Below is a short list of Brazilian female and one transgender that have been able to attract fans outside of Brazil's borders. A few of these ladies have been featured in previous posts but if you're not familiar with them, check 'em out! Meet the 13 most listened to Brazilian female rappers in the World
By Vinicius Voutsinas
Deezer reveals the 13 most listened to Brazilian female rap artists on the platform worldwide.
On August 6, we celebrated Dia do Rap Nacional (National Rap Day) but we should also highlight the space that women have been conquering in the genre in recent years.

Deezer, the global streaming platform, took advantage of the date and gathered worldwide performance data from 13 of the top Brazilian female rappers in the last 12 months.

The data also show that the audience that listens most to the minas do rap (girls of rap) is between 18 and 35 years old, and the city of São Paulo is the one that most keeps up with women on the scene. Iran and France are the countries, after Brazil, that listen the most to Brazilian female rap on the platform.

Check out the Ranking below.

The twin Gemini sisters are known as the "it girls" from the favela. Creators of the Expensive $hit movement, which promotes "the self-esteem of the young, black and favelada women", they are also DJs of the São Paulo rap group CEIA ENT. Their most heard songs on the platform are 'Pjl: Pelo Menos uma Vez' and 'Cachorra Kmikze'.

- Cities that most listen to them: São Paulo, Curitiba, Rio de Janeiro, Belo Horizonte and Brasilia

- Countries that listen to them the most: Brazil, Iran, South Africa, Italy and the USA.

Joyce Ferreira, artistically known as Preta Rara, makes of rhymes her weapon. The rapper and art educator's songs most heard on the platform are 'Filha de Dandara', 'Falsa Abolição', 'Não Desiste', 'Negra Sim' and 'Cabelo Bom (Live)'. The audience that most embraces her cause is 26-35 years old (48.82%), followed by 18-25 years old (37.8%).

- Cities that most listen to her: Sao Paulo, Curitiba, Rio de Janeiro, Belo Horizonte and Brasilia

- Countries that most listen to her: Brazil, France, Japan and the USA.

At the age of 15, she creates music to break paradigms and prejudices, especially those concerning machismo and racism. Among the lyrics that praise women and self-love, her most listened tracks worldwide are 'Money', 'Barbie Black', 'Menina Pretinha', 'Brincadeira de Menina' and 'Minha Rapunzel Tem Dread'. The age groups that most listen to her are between 18-25 years old (49.27%) and 26-35 years old (37.67%).

- Cities that listen to her most: São Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that most listen to her: Brazil, Iran, USA, France and Portugal.

Girl power ostentation: Mariana made her presence in the music genre by recording her first music video ('Universo em Crise'). 'Poetisas no Topo' is the streaming champion, followed by 'Quem Te Viu Passar', 'Recato', 'Da Onde Eu Vim' and 'Universo em Crise'. Her majority audience (60.87%) is 18-25 years old.

- Cities that listen to her most: Sao Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that most listen to her: Brazil, Iran, USA, France and Portugal.

Bárbara, better known as Bivolt, began her career in MC battles in São Paulo's state capital and has since sought to show that women don't fit the stereotypes created by men - especially in rap. Her top most listened to songs are proof of this: 'Poetisas no Topo', 'Eu Avisei', 'Vista Loka', 'Música Vai Transmitir' and 'Olha pra Mim'. The audience that listens to her most (61.24%) is between 18 and 25 years old.

- Cities that listen to her most: Sao Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that listen to her the most: Brazil, Iran, USA, Portugal and France.

This Paulista (native of São Paulo) is on fire: not only did she just return from her first international tour but she also released the album Próspera, which brings discussions about black feminism between mentions of Beyoncé and Shonda Rhimes. No wonder 'Vício, Shonda' is her most listened to song. Close behind are 'Sinfonia da Revolução', 'No Seu Radinho' and 'Ouça-Me R M X'. The people who most listen to the rapper are between 18-25 years old (48.25%) and 26-35 years old (40.76%).

- Cities that most listen to her music: São Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that most listen to her: Brazil, Iran, USA, France and Portugal.

The transvestite singer is an activist on the rights of LGBTQ + and the black population in Brazil. 'Coytada', 'Necomancia', 'Bixa Preta', 'mEnorme' and 'Bomba pra Caralho' are the songs that get the crowds most hyped respectively - especially those aged 18 to 25, which make up 60.24% of the artist's audience on the platform.

- Cities that listen to her most: Sao Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that most listen to the rapper are: Brazil, France, Iran, Portugal and Germany.

Like the twins Tasha and Tracie, Clara Lima is also part of the São Paulo collective CEIA ENT. Her most frequent successes on the platform in order are: 'Poetas no Topo 3.1: Prólogo', 'Inimigos', 'Último Dia', 'Máximo do Máximo' and 'Filha do Sol'. The age bracket of the people who most hear her music (61.66%) is 18 to 25 years.

- Cities that most listen to her music: São Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that listen to her the most are: Brazil, Iran, USA, Portugal and France.

One of the protagonists of the collective Laboratório Fantasma, Drik began composing music at age 14. Today, she is in the ranking of the most listened to Brazilian women rap artists in the world as she made the top 5. 'Quem Tem Joga', 'Poetas no Topo 3.1: Prólogo', 'Língua dos Campeões', 'Poetisas no Topo' and 'Inconsequente' are her most listened to songs. The majority of her audience is between 18 to 25 (55.44%) and 26 to 35 years (33.89%).

- Cities that most listen to her music: São Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that listen to her the most are: Brazil, Iran, USA, Portugal and France.

Who has never caught themselves singing "Pretin, desse jeito cê me deixa louca" throw the first stone! The song led to Flora Matos' breakout in 2014 and since then the muse has had one hit after another. 'Paradoxo Mítico', 'Preta da Quebrada', 'Pretin', 'Como Faz' and 'Piloto' are her most listened to songs. The people that most listen to her music are between 18 and 25 years old (57.42%) and 26 and 35 years old (33.9%).

- Cities that most listen to her music: São Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that most listen to her: Brazil, Iran, USA, France and Portugal.

The most famous rapper on Instagram (with 1.4M followers) came on the scene in 2014 with 'Tombei' - which, incidentally, is the fifth most listened to song in the world by the singer. 'Nossa Que Isso', 'Saudade', 'Todos os Olhos em Nóiz' and 'Kaça' are her most listened to songs and her biggest fans are between 18 to 25 years old (50.72%) and 26 to 35 years old (37.52%).

- Cities that listen to her most: Sao Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that most listen to her: Brazil, Iran, USA, France and Portugal.

One of the most traditional rappers on the list, Negra Li has already been featured with Chorão na saudosa 'Não é Sério', her third most heard song on the platform worldwide - with the acoustic version coming in fifth place. In first and second place respectively are 'Favela Vive 3' and 'Poesia Acústica #7: Céu Azul'. Her fourth highest rated track is 'Uma Dança'. The majority of her audience is divided into ages 18-25 (51.36%) and 26-35 years (33.02%).

- Cities that most listen to her music: São Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that most listen to her: Brazil, Iran, USA, France and Portugal.

Finally, we've come to the top of our list of top female Brazilian rappers on Deezer: Cynthia Luz is a Deezer Next artist, an exclusive platform project that seeks to highlight early-stage artists with the potential to gain more space in different genres of the local scenery. She started out making homemade rap videos. She went after producers on her own and joined the MC Froid team after the rapper learned a little more about his work. Following the release of her debut album Do Caos ao Nirvana in late 2017, Cynthia has remained active and relevant in hip hop, frequently releasing singles. 'Me Negaram Amor', 'Praia do Rosa (Acústico)', 'Ela Tá Que Tá', 'Eu Não Valho Nada (feat. Cynthia Luz) 'and' Olhares' are the most listened to songs of the Minas Gerais native on the platform. Most of her audience (60.53%) is between 18 and 25 years old.

- Cities that most listen to her music: São Paulo, Rio de Janeiro, Belo Horizonte, Curitiba and Recife.

- Countries that listen to her the most: Brazil, Iran, USA, Portugal and France.

With information from Portal Rap Mais

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13 Brazilian Female Rappers Who are Famous in the World

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13 Brazilian Female Rappers Who are Famous in the World Note from BW of Brazil: For anyone who happens to catch the "Brazil bug", sooner or later the music coming out the country will surely catch your attention. Whenever a non-Brazilian is introduced to Brazilian Music, surely they will here some of the greatest, most well-known artists first.

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Graffiti artists in Brazil combat violence against women

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We'e'ena TIKUNA é uma artista indígena do Amazonas. We'e'ena cujo nome significa "a onça que nada para o outro lado no rio", nasceu na Terra Indígena Tikuna Umariaçu no Amazonas, Alto Rio Solimões.

ARTISTA PLÁSTICA: É formada em Artes plásticas. Conquistou prêmios, como a "melhor artista plástica indígena do Brasil" e 12 de suas obras compõem o acervo permanente de exposição no Museu Histórico de Manaus. Após cumprir 1.090 horas de estudo no IDC- Instituto Dirson Costa de Arte e Cultura do Amazonas, em dezembro de 2004 formou-se em artes plásticas. Descobrindo então o seu dom, no mesmo instituto aprimorou-se em "acrílico sobre tela", concluindo com 504 horas de estudo sua formatura em maio de 2005, recebendo vários prêmios de destaque profissional. Dado aos muitos convites para exposições de suas obras We'e'ena decidiu dedicar-se ao trabalho da inclusão social dos povos indígenas, através da difusão da sua arte. Após expor seus quadros na Casa da Fazenda de São Paulo, numa coletiva de vários artistas plásticos de respeito nacional e internacional, We'e'ena recebeu a medalha e certificado de reconhecimento nacional, sendo no mesmo ano homenageada como melhor artista plástica indígena pela Sociedade Brasileira de Educação e Integração e pelo PRÊMIO QUALITY INTERNACIONAL DO MERCOSUL.
https://youtu.be/sdpCps43x0M Veja o Convite de We'e'ena para sua próxima exposição de ARTE INDÍGENA.
https://youtu.be/UqCBrS2jSqw MODA INDÍGENA POR WE'E'ENA TIKUNA

CANTORA INDÍGENA: Mas, os dotes artísticos de We'e'ena Tikuna vão mais alem. Como herança e divulgadora cultural do seu povo Tikuna, We'e'ena é uma profunda conhecedora de sua própria história e dos cânticos do seu povo, sendo compositora de inúmeras canções, conclui o seu primeiro trabalho discográfico intitulado "WE'E'ENA-ENCANTO INDÍGENA". As letras falam da resistência cultural, da identidade, da preservação da natureza, etc. Desponta no cenário nacional cantando na língua do seu povo em eventos e aberturas destacando a Festa Nacional da Música 2017, como a 1° Indígena em participar do maior encontro da música popular brasileira. Fez inúmeras aberturas, Rio +20, Itaú Cultural, Palácio do Governo de Brasília, Revelando São Paulo, Jogos Indígenas, Festival de Bertioga, Dia internacional dos Povos Indígenas...
https://youtu.be/lZ3olOdlp1U VEJA WE'E'ENA CANTANDO MARAKANANDÉ

PALESTRANTE: We'e'ena é palestrante e militante indígena convidada para inúmeros debates, universidades e fóruns. Itaú Cultural, Universidade de Anhanguera, Rio +20 etc... Atualmente vem realizando shows e palestras sobre a cultura indígena e o meio ambiente como agente ambiental do IBDN -Instituto Brasileiro de Defesa da Natureza.
https://youtu.be/JrwzS-tyLHY VEJA WE'E 'ENA NO ITAÚ CULTURAL PALESTRANDO.

NUTRICIONISTA Sendo a primeira indígena do povo TIKUNA a se formar com Bacharel em Nutrição, WE'E'ENA hoje é Dra., Formou- se Universidade Anhanguera de Santo André- SP. Dra.WEENA trabalhou em clínicas como a ALAMED - ESPAÇO TERAPIA e na Clínica Medicina OCUPACIONAL em SP, cuidando da saúde de crianças, gestantes, adultos e idosos. Atualmente é colunista da "Revista conexão mulher"
https://youtu.be/HinVAA2nfn4 ENTREVISTA COMO NUTRICIONISTA

MÍDIA We'e'ena foi destaque em programas da Rede Globo como Jô Soares, Rodrigo Faro, Danilo Gentili, Domingo Espetacular, TV Cultura, EcoTV, TV Record. Foi Presidente Nacional das Mulheres Brasileiras Indígenas pela Libra. We'e'ena foi destaque e capa de revistas, como a MERC NEWS, REVISTA CARAS etc

VEJA OS PROGRAMAS NO QUE WE'E'ENA FOI DESTAQUE

PROGRAMAS NOS QUE WE'E'ENA FOI DESTAQUE

https://youtu.be/jPcI1WDlKBI

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We'e'ena TIKUNA é uma artista indígena do Amazonas. We'e'ena cujo nome significa "a onça que nada para o outro lado no rio", nasceu na Terra Indígena Tikuna Umariaçu no Amazonas, Alto Rio Solimões. ARTISTA PLÁSTICA: É formada em Artes plásticas.

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s Brazil's world-acclaimed biodiversity turns to ashes, President Jair Bolsonaro has praised the country as an environmental role model. "It is not only in environmental preservation that the country stands out," the far-right leader affirmed in a UN speech on 22 September. "In the humanitarian and human rights fields, Brazil has also been an international reference."

At the same time, the New York Times has reported that a team of Brazilian lawyers are drafting a complaint to the International Criminal Court in the Hague with a view to bringing Bolsonaro to trial for crimes against humanity, for removing environmental protections for indigenous peoples. Bolsonaro has not responded, but has said: "Where there is indigenous land, there is wealth underneath it," and in February proposed a bill to legalise mining in Indigenous lands.

In April, Brazil's National Indian Foundation ( Funai) - whose remit is to defend Indigenous peoples - legalised the takeover of rural land in 235 Indigenous areas. In July, Amazonian Indigenous communities saw a 76% rise in illegal fires on their lands compared to the same month in 2019, and, according to Indigenous rights organisation APIB, coronavirus has been three times more lethal to Indigenous peoples than to the rest of the population.

So, amid the dangers and the violations to their overlooked rights, Indigenous people are taking a stand - with music. A long-existing scene, still little-known among non-Indigenous audiences, is gaining visibility with lyrics and videos that address Brazil's alleged ecocide and ethnocide. By bridging ancestral and urban music with technology, Indigenous musicians are advocating for themselves and fighting for their existence.

When the president assumed office, the singer and composer Kaê Guajajara worried she was "going to die" as a result of his hostile actions and rhetoric. Kaê belongs to the Guajajara ethnicity, located in the Amazonian part of Maranhão state in north-eastern Brazil. Merging hip-hop, traditional instruments and elements from her mother tongue Ze'egete, Kaê makes music about the reality of urbanised Indigenous peoples and the erasing of Indigenous identities.

"I couldn't get a job because of the Indigenous paintings on my skin," Kaê says. "Being in the city, walking on the streets just the way I am, is already an outrage. My music communicates my reality: half of me is Indigenous tribe, the other half is the city." She grew up in the Rio de Janeiro favela complex of Maré, having left Maranhão when she was seven because her mother's living conditions were, she says, no different from slavery. The land where her mother comes from is not demarcated - a process that secures the already constitutional right for Indigenous people to own their land, making it less vulnerable to illegal mining and logging. "My family from Maranhão is more concerned with having food on their table than claiming for land demarcation," she says.

While Kaê's work evokes hip-hop, she evades labels. A brilliant example is Essa Rua É Minha, which fuses the funk carioca-style with Indigenous flute; her second EP, Wiramiri (Birdie, in Ze'egete) revolves around self-care, self-love, Indigenous resistance and the coronavirus pandemic.

I am afraid of whitening myself. I have to be careful to keep my roots and accomplish my mission: infiltrate power structures that say Indigenous peoples no longer exist

Kaê doesn't rule out signing with a big record label, as long as she can keep singing about the Indigenous cause: "I am afraid of whitening myself. I have to be careful to keep my roots and accomplish my mission: infiltrate power structures that say Indigenous peoples no longer exist." Her songs are already being used as learning material by dozens of school teachers.

The sociopolitical perspective driving Kaê's music connects with a recent cultural movement gaining popularity among urban Indigenous artists, known as Indigenous futurism. Kaê says it is about "daring to envision ourselves in the future, and using new technologies to enhance Indigenous visibility".

The term was coined in 2012 by Portland State University's Dr Grace Dillon, who is descended from the Anishinaabe people from Canada and the US. According to Klaus Wernet, an ethnomusicologist at the University of São Paulo, it was also around 2012 when Brazil's Indigenous communities started buying smartphones and built "strategic music partnerships" via WhatsApp and social media. Journalist Renata Tupinambá, co-founder of the Indigenous radio station Yandê, which helped organise the Yby festival - Brazil's first for contemporary Indigenous music - says Indigenous futurism uses technology to make "art, music and literature tools of cultural survival. It defies the racist mindset that Indigenous peoples are stuck in the 16th-century colonial imaginary."

'I sing the truth of my people' ... Kunumi MC. Photograph: Aruan Viola

But not all Indigenous artists embrace the concept. One of Brazil's most prominent Indigenous rappers is 19-year-old Kunumi MC, a native of the Guarani people - who range around southern Brazil, Paraguay, eastern Argentina and elsewhere - of Krukutu near São Paulo. Kunumi's music couldn't be more cutting-edge - one of his latest hits blends trap, reggaeton and Indigenous violin to address land demarcation and deforestation - but he sees Indigenous futurism as a white people's term. "We, native Indigenous people living in tribes, don't think about the future," he says. "The white man has a vision of progress, not us. Our progress is to preserve our culture ... to live in the present, I have to remember my past." For him, the most important technologies are "sacred food, medicines, my rap", rather than smartphones.

The Guarani reality deeply contrasts with São Paulo's. Even before the pandemic, Kunumi hardly ever left the forest because, in the city he feels "like an alien". "We are scared of the city - the pollution; the spiritual and physical diseases." According to Kunumi, half of his Krukutu tribe (about 150 people) have been infected by coronavirus.

A Michael Jackson fan who has rapped since the age of 10, Kunumi's activism gained momentum after Brazil's 2014 World Cup, where he demonstrated with a "Land demarcation now!" poster in the middle of the football stadium. Kunumi sings in Guarani to tell the story of his ancestry: "I sing the truth of my people. My music is a protest against everything happening to the Indigenous peoples in Brazil now." He says the recent attacks of Bolsonaro's government inspire him to be stronger.

Having already recorded with the celebrated Brazilian rapper Criolo, Kunumi is sceptical about the activism of self-declared Indigenous musicians: "They don't really help the cause. They sing the struggle, but we, who live in the tribes, are the ones suffering the most."

One such musician, Juão Nyn, sees Kunumi's point: "I think it makes sense. But the violence that native Indigenous are experiencing now is the same violence my ancestors experienced in the past. My duty, as an urbanised Indigenous artist, is to prevent native Indigenous peoples from experiencing these silencings."

Son of a Potiguara father, Nyn was born in Rio Grande do Norte, the only Brazilian state with no demarcated Indigenous land - though this state is home to at least 14 self-declared Indigenous communities. The fear that the rest of Brazil turns into Rio Grande do Norte - a state Nyn says is "more obsolete than the past itself" due to its historical violence against the Potiguara people - is what inspires him to rescue the Indigenous memory through music: "Is it possible to claim for land demarcation if we don't first demarcate our imaginaries with Indigenous heritage?"

An LGBTQ+ rights activist based in São Paulo, Nyn is the founder of the band Androyde Sem Par, who blend pop and rock styles in Guarani-inflected songs about diverse love relationships and Indigenous ancestry. While Nyn fears the term Indigenous futurism might be a "colonial trap", he thinks contemporary Indigenous artists are making a change by "rescuing traditions to reinvent imposed cultures."

'A claim for respect' ... Djuena Tikuna performing in Rio de Janeiro.. Photograph: How Hwee Young/EPA

Before our interview, musician Djuena Tikuna had never heard of Indigenous futurism, but her music, she affirms, is also a decolonising weapon, "a claim for respect for Indigenous peoples". She belongs to the Tikuna ethnicity from the Amazonas state and brings together Amazonian sonorities and global music references. She has already been nominated for the Indigenous music awards and was the first Indigenous artist to perform at the sumptuous Teatro Amazonas concert hall, a symbol of the Portuguese colonisation in Manaus.

Currently working on A Floresta Cura (The Forest Heals), a song about the coronavirus pandemic, Tikuna is also a journalist covering Indigenous rights - "Journalism helped me understand how to help other Indigenous musicians and make our voices echo" - and founded the first Amazonian Indigenous music festival in 2018. "I want this message to be understood regardless of language barriers," she says, calling her music "an act of resistance".

The self-declared Indigenous musician Zândhio Huku, frontman of Indigenous heavy-metal band Arandu Arakuaa also sees music in this way: "I am not on the frontline, shouting or discussing. But my music resonates a political message." Descending from the Krahô ethnicity and born in the Tocantins state, Zândhio writes in the Xavante, Xerente, and Tupilanguages, and his lyrics depict Indigenous "cosmovisions", where nature is the true raison d'être. "You only understand the Indigenous struggle if you get their worldview, which intertwines nature and the sacred."

'Cosmovisions' ... Zândhino Huku of heavy-metal band Arandu Arakuaa. Photograph: Joelma Antunes/PR

In September, the band launched the video for Am'mrã (Falling Star), a song about the connection between nature and the Indigenous cultures. Blending Indigenous and Afro-Brazilian percussion and folk guitar, the clip was released on the same day that eight European nations warned Brazil to take action on the Amazon deforestation.

For a decade, deforestation in the Amazon had not been so scandalous as it was this August, when the rainforest lost an area close to the size of London. Meanwhile, the Pantanal wetlands this year experienced their worst ever wildfires, which consumed an area as large as Belgium. But authorities gave out fewer fines for environmental violations in 2020 than in any other year in the last decade.

"Our country is divided between those who stand for living well,and those who want to steal it from us. The latter want to impose the way we live, pray and die," says Kaê Guajajara. For this favela-raised Indigenous singer, there is only one way out: "Brazil can only become independent with an Indigenous president, who sees nature and humans as one single being."

More Indigenous Brazilian artists to discover

We'e'ena Tikuna
A Tikuna singer and composer. Blending traditional instruments, such as pau-de-chuva, with violin and guitar, her music talks about love, respect for nature and the union of people.

This article was amended on 26 October 2020 to clarify that journalist Renata Tupinambá is co-founder of the Indigenous radio station Yandê, which helped organise the Yby festival, and to correct the background of Katú Mirim, who is Bororo, not Guarani as previously stated.

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'The way I am is an outrage': the Indigenous Brazilian musicians taking back a burning country

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s Brazil's world-acclaimed biodiversity turns to ashes, President Jair Bolsonaro has praised the country as an environmental role model. "It is not only in environmental preservation that the country stands out," the far-right leader affirmed in a UN speech on 22 September. "In the humanitarian and human rights fields, Brazil has also been an international reference."

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Can marginalized art stand up for marginalized people? Renowned Brazilian graffiti artist Panmela Castro is using paint to reclaim public spaces for female bodies - and training a generation of feminist activists to demand respect.

Panmela Castro wants her graffiti to contribute to the awakening of women and girls to feminism. Panmela Castro portfolio

Panmela Castro found two tools to get ideas about women's rights into the everyday lives of ordinary Brazilians: a can of spray paint and a wall.

An internationally renowned graffiti artist and feminist activist, Castro fills public spaces with paintings that highlight gender inequality and challenge patriarchal norms in sexism, sexuality and power.

She got her start a decade ago when Brazil passed its landmark Maria da Penha Law on domestic violence against women in 2006 - the country's first law to give teeth to protections for women. Castro was inspired to use her art as activism.

Since 2010, she has been founder and president of Rede Nami, a feminist group that uses urban art forms to promote women's rights. Rede Nami runs graffiti workshops that have had more than 5,000 participants learn the art form and create works that confront racism and violence.

"As soon as we schedule a graffiti workshop and announce that the theme is women, women's registrations soar," Castro says. "Graffiti is a good time and people like that, but in these workshops, women's presence feels more accepted - more acceptable."

Castro spoke with Women and Girls Hub about changing Brazilian attitudes and actions toward women.

Women and Girls Hub: Rede Nami combines graffiti - an art form that historically has been marginalized - with feminism and women's rights. Where does this connection come from?

Panmela Castro: I was a victim of domestic violence. Through the hip-hop scene, I became aware of human rights and feminism; before that, there wasn't anyone in my life who introduced those ideas to me. When I discovered graffiti, I saw that within it there was a discussion and a dialogue about these issues that I'd never noticed before.

As I became a graffiti artist and a feminist, I resolved to use my art and my knowledge to contribute to awakening others. To help other girls discover these ideas, I founded Rede Nami - and it really grew. As soon as I started calling my female friends, they called their female friends, and it took off.

Women and Girls Hub: How did you begin focusing on making graffiti paintings of women?

Castro: In the beginning, my graffiti was very masculine, Because of that, I earned respect in the scene: There was "boy's graffiti" and "girl's graffiti" - the latter composed of flowers and dolls. I made graffiti that people called boy's graffiti, so I ended up being accepted. Once I was accepted, I realized what was happening: The boys told me that my graffiti was "so good that it didn't seem like a woman made it."

As soon as I realized that, I resolved to make graffiti that combats violence against women. Graffiti happens in public spaces, and those spaces are very risky for the female body. With these paintings, we occupy those spaces and demand women be respected within them. I came into myself as a woman and made a point to create hyperfeminine work to put a little femininity into the street to force it to accept me within this masculine space.

Women and Girls Hub: When you paint these women, who do they represent, and why?

Castro: People always ask me this question and I never know how to respond, because a painting is very subjective. I don't like to say that it's the expression of my own feelings or experiences, or the experiences of the women I meet, because I don't consider this to be art on a wall but rather a female body in dialogue with the city: a dialogue with everything you have to deal with, and go through, until you reach that point on the wall. In this there are themes of otherness and existence, but what is most important is the woman herself who is painted on the wall, because she is only the result of a moment of experience in that place.

Women and Girls Hub: What are the challenges in terms of advancing women's rights in Brazil?

Castro: Culture and laws come from the people who make them. They are ways to change the way that people think. I see this in graffiti. Brazil is the only country in which graffiti is legal and regulated as an art. Before laws existed to regulate it, people always liked it and we could always make it, but there was a law that criminalized it, and the fact that a law existed made us question changing it.

Today, the law says that graffiti is art. In practice, it didn't change anything, but we now can show that though you may think graffiti is [trash], the law says otherwise.

When there is a change in the law, changing the culture is much easier. Ten years ago it was thought that it's natural for a man to hit a woman. Today, with the Maria da Penha Law, every boy in this new generation knows that it is wrong to beat a woman.

Women and Girls Hub: In Brazil there are increasing numbers of young feminists emerging in secondary schools and women's collectives. How do you compare this new generation with the one in which you grew up? What's different?

Castro: This newest generation of women is much more aware that there is still a need for change - that women have to be politicized and that a woman must think critically about her position in the world. It's a generation that's much more open to think about these issues; before, fewer women were aware of these ideas. These days, every girl has thought about feminism at some point. Even when she doesn't think she's thinking about "feminism," she is thinking about the fundamental ideas that form feminism and staking her claim within it.

Women and Girls Hub: For you, being a feminist is ...

Castro: It's respecting different ways of thinking about women. It's respecting women in general. It's letting a woman be who she wants to be.

Women and Girls Hub: For you as an artist-activist, what is the future for women?

Castro: The future that we want to have is still a long way off. Sometimes that causes discouragement, but we can't miss a beat. We have to continue moving because if we compare things to the entire history of humanity, the advances that we have made in the last century were enormous. We know this was an achievement, but it was also a necessity. What we want is still very far away, but we keep conquering and winning.

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Can marginalized art stand up for marginalized people? Renowned Brazilian graffiti artist Panmela Castro is using paint to reclaim public spaces for female bodies - and training a generation of feminist activists to demand respect. Panmela Castro found two tools to get ideas about women's rights into the everyday lives of ordinary Brazilians: a can of spray paint and a wall.

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For most people the idea of Black History month is relegated to the African-American experience in the United States. While Africa and America are often recognized as the book ends of the African Diaspora, there is an additional link in the Middle Passage that is less publicized, but no less important. The central link in the Middle Passage is Brazil. Today Brazil has the largest population of Black origin outside of Africa, estimated at 90 million people.

Starting around 1550, the Portuguese began trading slaves from the West African and Central African regions of Ghana, Benin, Nigeria, Angola, Congo and Mozambique. An estimated four million people, thirty seven percent of all the captured Africans forced into slavery, were settled in Brazil to work in the sugar plantations and mining industry. Slavery was the foundation of the Brazilian economy until 1888 when slavery was legally abolished.

As with all great migrations, the Africans that arrived in Brazil not only brought over their strength and beauty but also their music and cultural traditions. Their cultural traditions would inevitably blend with the Portuguese and Amerindian customs, to produce a unique cultural manifestation of its own.

The most famous Brazilian tradition is Carnaval. In the 1600's the Portuguese imported the practice of staging masquerade balls to Brazil. It did not take long for this annual celebration that takes place 40 days before Easter, became infused with African and Amerindian practices.

Over the years Carnaval has evolved into a wild smorgasbord of elaborate costumes, floats and drum squads known as blocos. For four days Carnaval unites thousands gyrating dancers to a samba beat. Samba is not only the official music and dance of Carnaval, but is also a linguistic remnant of the Africans in Brazil. The word samba means to dance and invoke the African spirits. Since the 1600's Brazilian Carnaval has captured the imagination of the entire world.

The cultural influence of Afro-Brazilians has consistently expanded from Carnaval into mainstream pop culture. In 1959 the film Black Orpheus, an updated tale of the Greek legend Orpheus and Eurydice, was released. The film was set in a Rio de Janeiro favela during Carnaval. The film brought Afro-Brazilians life to the attention of film audiences due to its vibrant depiction of Rio's favelas, and the film's sophisticated portrayal of Afro-Brazilian spirituality, sensuality, and poetic lyricism. For most audiences outside of Brazil, Black Orpheus was their first awareness of Black people living in South America.

The film, starring an all Black cast, went on to become an international success, winning both an Oscar for Best Foreign Language Film and the Cannes Film Festival's Palme d'Or. To contextualize the impact of the film, one should consider the representation of African-Americans in Hollywood films circa 1959, to fully realize the contrast in tone and narrative.

Over the past fifty years many Brazilian films such as City of God and Favela Rising have increased the visibility of Afro-Brazilians in film. Since 2002, New York's Museum of Modern Art has hosted an annual Premiere Brazil film festival to showcase Brazil's filmmaking talents.

In the late 1960's an unusual confluence of art, music and politics merged into the art movement known as Tropicalia. The Tropicalia Movement thrived on the philosophy of 'cultural cannibalism', which was based on blending influences from all genres to create something new. In effect young artists began combining poetry, rock and roll, African rhythms and performance art to critique the political oppression of the Brazilian dictatorship.

Two of the most outspoken musical forces behind Tropicalia, were Caetano Veloso and Gilberto Gil. Due to their consistent critique of the government and their growing popularity, the two artists were considered to be a threat to the government. Consequently both artists were incarcerated and later exiled to London.

As time passed both Gilberto Gil and Caetano Veloso continued to fuse and experiment with musical genres, the Brazilian government also experimented with various forms of political evolutions. In an ironic twist of fate, Gilberto Gil a former political prisoner, was appointed as Brazil's Minister of Culture in 2003. During his tenor he created the Culture Points program, which provides arts education grants to underprivileged Brazilian children to become cultural visionaries and entrepreneurs.

Although Afro-Brazilians are a central part of Brazilian history an organized Black Consciousness Movement did not develop in Brazil until the 1970s. The Moviemento Negro as it was known as, was the equivalent of the Black Pride Movement in the U.S. At the forefront of the movement was Ile Aiye, an organization dedicated to the promotion of Afro-Brazilian culture and social empowerment in Brazil.

Ile Aiye literally burst onto the public radar in 1974, when their all Black carnival band became the first group to desegregate the Rio Carnaval Parade. Today Ile Aiye is one of the most recognized cultural organizations and carnival bands in the Americas.

To this day a powerful outlet for cultural expression continues to be music. As is the case with many parts of the world, Brazilian youth have become seduced by the powerful forces of two turntables and a microphone. Unlike today's mainstream American Hip-Hop culture that has been refined and commercialized over a generation, Brazil's Hip-Hop and Baile Funk scenes are raw and improvisational art forms that are still coming into being. The music is being produced and supported to a large degree by Afro-Brazilians living in underprivileged neighborhoods. The sound is loud, political, sexual and staunchly pro-African.

The Baile Funk and Hip-Hop scenes are at the most exciting point of evolution; the beginning. Salvador de Bahia, the epicenter of the largest Afro-Brazilian population in Brazil, broadcasted its first Hip-Hop public radio program in 2008. Within three months, Evolucao Hip-Hop became the number one radio program in Bahia.

Picking up on the public's demand for local Hip-Hop, Educadora FM organized Bahia's first Hip-Hop summit. At the event I witnessed hundreds of Brazilian B-boys, fierce breakdancing battles, and vast array of afros, braids and bling. That evening the South Bronx was newly resurrected in Brazil.

In 2016 Brazil will be the first Latin American country to host the Olympic Games. However, long before winning the Olympic Games, Brazil made it's mark in the sports arena numerous times. To say that Brazilians dominate soccer, the most popular sport in the world, would be an understatement. Brazilian's skills at soccer can only be outweighed by their passion for the sport. Due to that combination of skill and passion, Brazil is the only country to win the World Cup five times.

If Brazil is to be considered the kingdom of soccer than The King is most certainly the soccer legend Pele. Rising up from an impoverished childhood, Pele is recognized as the greatest athlete to play the sport. He first made his mark as a member of the famed Santos Futebol Clube. While on the team, Santos won three World Cup medals.

Pele's fame became so widely known, that during the 1967 Nigerian Civil War the warring factions agreed to a 48 hour ceasefire, so they could watch Pele play in an exhibition game in Lagos. Pele's signing to the New York Cosmos is credited for popularizing soccer in the United States. In Brazil the 'King of Football' is revered as a national treasure not only for his athletic prowess but also for his acute business acumen and his social advocacy and philanthropy for the poor.

Due to the development of vast natural resources, Brazil is expected to become the fifth largest economy in the world by 2015, and consequently the leading voice in Latin America. In a time of cultural diversity, one of the most unique resources Brazil has to offer is its African heritage in the Americas.

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Afro-Brazilian History, Beats and Culture

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For most people the idea of Black History month is relegated to the African-American experience in the United States. While Africa and America are often recognized as the book ends of the African Diaspora, there is an additional link in the Middle Passage that is less publicized, but no less important.

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40 stunning pictures from Rio Carnival 2022

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40 stunning pictures from Rio Carnival 2022 Photogallery. 40 stunning pictures from Rio Carnival 2022 Photogallery at ETimes

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Fiz uma de amor - Karol de Souza e Chocolatee

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Hip-hop was born in raised in New York, but it's always traveling. Hip hop first touched Brazilian ground in the late 80's by way of Sao Paolo. It began to take root as part of a growing black empowerment movement in Brazil inspired by the Black Power movement in the United States. Brazilian hip-hop is a distinctive style that is often very raw and incorporates baile funk, a style of dance music that is heavily tied to Brazil's African roots.

But hip hop is an emerging medium of artistic expression in Brazil that still has some growing and changing to do. Unlike in the U.S., Brazilian femcees haven't really had a time to shine. The early pioneers of rap in Brazil are all men and the main chart-topping artists are still men. We've definitely acknowledged the lack of acknowledged female hip-hop artists stateside, and have given props to artists overseas as well. Meet Karol de Souza, an emerging artist whose cool melodic style mixes harmonic singing and hip-hop. She first caught our ears when she featured in Studio Livre's " Brazilian Diva's of Hip-Hop ". The 32 year-old artist from Curitiba, Paraná, Brazil is dedicated to her craft and all about supporting her fellow artists.

How long have you been making music?
I've been rapping and performing for four years. I've never been so happy. I can't see myself doing something else.

Who are your favorite hip-hop artists and what hip-hop artists inspire you?
I love Jay Z, A$AP Mob, Kanye, Tupac, so many others... Here in Brazil, I like Shaw, Amiri, Livia Cruz, Stefanie and Famila Madá.
Which artists would you like to collaborate with in the future?
I'd love to work with a Korean MC in the future. I think it would be an unusual mixture of styles from different countries. We could do something mixing Brazilian Production and Trap.

Where have you performed outside of Brazil? Where would you like to perform?
I have big dreams. I want to travel around Paris, Angola, Tokyo and New York.

Do you think it is hard to be a female rapper in Brazil?
It is very difficult! Brazilian society is so sexist, and we earn less money and have less space in Hip Hop. We're fighting to change this every day!

Do you feel women in hip-hop in Brazil support each other?
Yes, we support one another and help each other a lot. Positive energy makes everything so much better. I have many so many girlfriends, MC's who I admire and have the pleasure of spending time with! Together we are strong!

Do you think Brazilian Hip hop gets enough international attention?
I think the world has been paying close attention to Brazilian music in general,
but we have great Hip Hop artists who are still unknown outside of Brazil. And that is sad. We should not only be selling "Exotic" Rap, but music that really has something to say, music that can change people's lives. This is why the Rap exists.
What are some of your latest tracks or music videos?
No Caminho do Bem (The way of goodness) e Fiz Uma de Amor (I Made A Love)

Do you have any upcoming projects or performances you would like to share?
I'm still working on my next album. I hope to launch it this year. I will have a single and video coming soon. It is a new song and with production by Nave Beatz. I am also working on the Meskla Project, which is a partnership with rapper Livia Cruz.

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What's It Like Being a Female Rapper in Brazil?

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Hip-hop was born in raised in New York, but it's always traveling. Hip hop first touched Brazilian ground in the late 80's by way of Sao Paolo. It began to take root as part of a growing black empowerment movement in Brazil inspired by the Black Power movement in the United States.

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Divas do Hip Hop no Estúdio Showlivre 2014 - Apresentação na íntegra

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This series aired in Brazil this past week and featured Tássia Reis, Yzalú, Pamelloza, Karol de Souza, Stefanie, Cris SNJ, Livia Cruz and Amanda Negra Sim, backed by an all-female band. Even though I don't speak Portuguese, it's pretty obvious to me these ladies have some serious flow.

via BlackWomenofBrazil

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The Brazilian "Divas of Hip-Hop" is all about Girl Power.

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This series aired in Brazil this past week and featured Tássia Reis, Yzalú, Pamelloza, Karol de Souza, Stefanie, Cris SNJ, Livia Cruz and Amanda Negra Sim, backed by an all-female band. Even though I don't speak Portuguese, it's pretty obvious to me these ladies have some serious flow. via BlackWomenofBrazil

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Karol Conká e RDD - Vejo o Bem (Clipe Oficial)

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Falling In Love with Jarina De Marco - Mujeres In Media

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Oferecemos as mulheres de Mirassol e região atendimento personalizado, enviando em sua casa uma... 15130000 Mirassol, SP, Brazil

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The feminist movement has been shaped over the years, as obstacles have been conquered and rights secured. In the Colony of Brazil (started in 1500) the struggle of women was focused on fundamental rights such as political participation, education, the right to divorce, free access to the labor market, etc.

Black women, on the other hand, would still have to face slavery for many years. It was only later in history that they would begin to obtain the rights that white women had already won.

In the empire of Brazil (1822-1889) the women's right to education was recognized, one of the great names of that time was Nísia Floresta, who was responsible for creating the first female school in Brazil and becoming the first person to write about the rights of women in his book "women's rights and men's injustice" written in 1832.

In the 20th century, women began to claim their rights to work, even organising the "seamstress strike". It was a period in which most women worked in textile factories, but with precarious labor rights. At this stage, they mainly wanted to achieve regularization of work, the abolition of night work and 8-hour workdays. A controversial story is told in which textile workers, after a strike for their rights, were trapped in the factory building during the fire because the doors were locked from the outside. According to the story, about 130 women died in that fire. However, many feminist intellectuals claim that this tragic story is just a way of covering up the struggle and mobilization of workers in the late 19th century.

Later in history, women began to demand equality in Brazilian politics. In 1928, Cândida Guimarães Viana's first female vote took place. In the same year, the first mayor of Brazil was elected Alzira Soriano de Souza. Both sides ended up being annulled, but they set a great precedent for the right to female citizenship. So much that, in 1932, under the Getúlio Vargas government, women's right to vote and the right to be elected in Brazil were legalized; one of those who fought for this the most is Bertha Mutz.

Bertha Mutz, a biologist, born in the city of São Paulo, had a direct participation in the political articulation that gave women the right to vote and equal political rights between the 1920s and 1930s. She had contact with the feminist movement for the first time while living in France, studying at Sorbonne University in the early 20th century. She was the second woman to enter the Brazilian public service in 1918, created the League for the Intellectual Emancipation of Women, the embryo of the Brazilian Federation for Female Progress - 1922.

Bertha's activism forced Brazil to grant women the right to vote on February 24, 1932, through Decree No. 21,076 of President Getúlio Vargas - notably the French who inspired Bertha only achieved this feat in 1944. She achieved much, occupying the seat of the first deputy of a federal deputy for a little more than a year, in 1936, after the death of deputy Cândido Pereira. As a deputy, she defended changes in legislation regarding the work of women and minors, the exemption from military service, the three-month leave for pregnant women and the reduction of the working day, which was then 13 hours. In 1975, she was invited by the Brazilian government to participate in the country's delegation at the first International Women's Congress, held in the capital of Mexico. It was his last public act in defense of the female cause and gender equality.

During the two dictatorial periods in the country (the new state and the military regime) the Brazilian feminist movement had a great fall, however there were some achievements, such as the divorce law.

In the 60s and 70s, in the second feminist wave, people started to talk about the right to personal autonomy and to pleasure. Topics such as abortion, sexual harassment and homosexuality were gaining worldwide attention, and reaching Brazil through the alternative press. In the transition to the 1980s, black feminism gained attention from women like Angela Davis and arrived in Brazil through the press of the time.

Sueli Carneiro a philosopher, writer and activist in the anti-racism movement has changed the way in which feminism is seen in Brazil, making it meet racial and social demands. In 1988, she founded Geledés - Instituto da Mulher Negra, the first independent black and feminist organization in São Paulo. Months later, she was invited to join the National Council for the Condition of Women in Brasilia.

Sueli wrote books on a wide range of issues, including, racism, feminism, and social inequality. Sueli is an inspiration for young black women working in contemporary Brazilian feminism, as she was a pioneer in showing the difference between black and white feminism.

Nowadays, topics that in the 60s and 70s were gaining strength, have still been frequently debated and considered by many to be taboo. Abortion in Brazil is not yet legalized and is therefore the root of many demonstrations and protests; Feminist leaders say that as much as there is no legalization, women still have abortions and it is important to create the law so that fewer women die through illegal abortions. According to the Brazilian Ministry of Health, unsafe abortions caused the death of 203 women in 2016, which represents one death every two days; if legalization occurs, women would seek public hospitals that are able to perform a safe abortion. But conservative people disagree because they believe they are taking the lives of children.

However, it should be noted that many women are unable to care for a child, according to UNICEF (United Nations Children's Fund) 6 out of 10 children live in precarious situations in Brazil; According to the NGO, about 70 thousand children live on the streets. In the capital of São Paulo alone there are around 1,800. For children to have a good life they must be the result of choices and not obligations. If safe abortion happens, fewer children will be in such bad shape; and all would have parents determined to give love, care, and all the necessary care!

Sexual harassment is evident in many ways throughout the daily lives of women worldwide. In 2019 thousands of denunciations of femicide and sexual harassment were made throughout Brazil.

Men feel free to masturbate in public places, invade homes, beat up and kill ex-partners, companions, friends, and lovers.

Awareness is needed so that fewer women suffer both in Brazil and in any other country. Children, whether boys or girls, need to be educated to deal with it; girls need to learn how to defend themselves from harassment, at home or anywhere else. They need to feel safe to report abusive boyfriends, uncles who make indiscreet jokes, and colleagues who do not respect boundaries, to name a few examples. Boys should be taught to respect women, take no for an answer, maintain healthy relationships, and understand women's boundaries.

If you, as a woman, feel offended by any masculine attitude do not hesitate to report it! Any physical or moral abuse cannot go unpunished, report someone who makes you feel safe and seek legal solutions.

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The feminist movement in Brazil and the women who influenced it

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The feminist movement has been shaped over the years, as obstacles have been conquered and rights secured. In the Colony of Brazil (started in 1500) the struggle of women was focused on fundamental rights such as political participation, education, the right to divorce, free access to the labor market, etc.

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SÃO PAULO, Brazil - The MTV Music Awards in Brazil had until recently been the domain of tinny pop and smiling boy bands. But last year, one of the show's stars took the stage and unexpectedly delivered a set of rap bars through a deadly serious face:
We are the debunkers of Carnaval/ Runaway slaves on digital drums/ The phoenixes of Ash Wednesday/ The Landless Workers Movement of the social networks
Emicida, now one of Brazil's bigger pop stars, was invoking two of Brazil's most radical historical movements - the quilombos, or escaped slave settlements, and the workers movement, which organized invasions of the lands of rich farmers - to declare that a new age was allowing Brazil's long-marginalized rap community to elbow its way into the spotlight.

There was more evidence that this was afoot later that night. Caetano Veloso, the great Tropicalista singer from the 1960s, took the stage with Criolo to sing along to the rapper's hit, "Love Does Not Exist in São Paulo," helping to baptize him as one of Brazil's reigning philosopher-poets. Emicida and Criolo won all the important awards that night and are now among the few Brazilian artists to regularly headline shows abroad.

FOR THE RECORD:
Brazil rap: A headline in the Sept. 23 Arts & Books section over an article about Brazilian rap music misspelled Sao Paulo as Sao Paolo. -

Rap is exploding into the Brazilian consciousness with the same force it did in the U.S. almost 20 years ago. In the gigantic, gray, oppressive and shockingly unequal city of São Paulo, hip-hop culture had been hidden on the outskirts since it started developing from imported American influences in the 1980s.

Now the well-to-do are paying attention to a genre that is unabashedly political, highly poetic and witty. Until recently, the most well-known music coming from rough, urban Brazil was funk from the favelas of Rio de Janeiro, a fast-paced, bass-heavy dance music that in recent years has taken a nihilistic and sexualized path.

With Brazil's rich lyrical and musical tradition to draw on, rap musicians such as Emicida and Criolo now are turning heads from London to Coachella. Criolo registered 650,000 paid-for downloads in the last year, which is a lot for someone without the major companies behind him, though not as many as the saccharine pop anthem " Ai Se Eu Te Pego" topping the charts.

Around São Paulo's urban culture, 1990s California is strongly present visually. Wearing a Raiders hat or L.A. Kings sweat shirt, with their distinctive black and white logos, is a common way to send a clear message that one is a Brazilian rap fan. Or there is Emicida's trademark cap, also in black in white, which reads: "We are the streets."

Much of their music celebrates and calls attention to the vast swathes of Brazil that tend to be ignored and left behind, despite the country's economic boom.

"There's a change every day. Every day it's a new age, but it depends what street you're on," says Criolo. "And I invite you to walk to the streets. If you go, even to the neighborhoods that appear to be completely forgotten by mankind, you can see an absurd evolution - people maintaining their own dignity, and though they don't have the material resources, they're teaching us what it means to be creative, they are doing amazing things."
Modest goals
This is all a bit new for Kleber Gomes, who is unsure what to do with the newfound attention.

"What I'd like, if I could be permitted, would be a dignified life, three meals a day, and the ability to write and sing what I feel," says the pensive, soft-spoken rapper in central São Paulo, "without expecting anything from anyone else."

For the man who began rhyming at 11 years old and was known for most of his career as Criolo Doido, or the Mad Criollo (mixed-race), this humble set of goals was not always within reach. He hails from the poor, sprawling slums of South America's largest city, and until recently the 36-year-old was sleeping on the couches of friends who believed in him.

He speaks slowly, thinking and rethinking his answers, his face lighting up when he makes a new connection or finds a way to express an idea. "I believe that in every corner of the world there are people living rap and seeing it with different eyes," says the former school teacher. "If I tried to define what Brazilian rap is, or what rap in the U.S. is, that would be to assassinate one of rap's most important characteristics, that it doesn't demand answers."

Even if he didn't insist on the fact, the influence of his mother is obvious. She is a kind of intellectual community leader in Grajaú, his slum of 1 million people where she still lives, and organizes a monthly philosophy discussion for residents. Her presence in his life led to his early interest in "letters," as he says, which found expression in the rhyme-form recently imported from the north.

"We used to be able to buy pirated copies of 'Yo! MTV Raps' from the street dealers around the community," says Emicida at the modest offices of the label he has just launched, Laboratório Fantasma. "But English is a much more monosyllabic language than Portuguese, so you [English speakers] can find different lyrical solutions whereas we have to employ some more clever subterfuges," he says. "Our poetry is different, but the themes were the same: the ghetto, the margins of society, drugs, violence, ascendance."

Early on the music took on Brazilian forms. Left-wing rock group Nação Zumbi put spoken words over Brazilian drums, and the widely influential old-school São Paulo group Racionais MC's poured thousands of radical lines on the plight of the poor, forgotten or imprisoned into a new lyrical mold.

Emicida got into the genre around the time his father was killed in a fight, at age 6, when he withdrew from friends to study and write. "Emicida" is a Portuguese pun on the words "MC" and "Homicide," and he, like Criolo, does nothing to glamorize the harsh life he emerged from, preferring a sarcastic, aggressive takedown of corrupt upper-class Brazil.

He is younger at 27 and perhaps more media-savvy than Criolo and sticks to the tradition of urban wear, electronic beats and rap, whereas the latter is also prone to singing over a live band wearing the all-white spiritual dress of a samba godfather.

Emicida says the technological revolution has given all kinds of hip-hop culture the attention rich Brazil never would have afforded it - the Internet and pirated music in the streets allowed them to sidestep traditional outlets.

"The people getting their music in the streets know what's going on, do you know what I mean? That's where the options are, because they haven't been in the stores," he says. "I've always considered the media extremely racist.... The Brazilian media is ridiculous."
U.S. influence
The rap that is now dominating parts of the culture here is thoroughly Brazilian, but the rappers admit the deep influence of U.S. artists, such as KRS-One, Cypress Hill, Notorious B.I.G., Dr. Dre and Snoop Dogg, Wu Tang Klan and the late Tupac Shakur.

On the other hand, Emicida has been critical of the commercialization of many parts of hip-hop in the U.S., rapping "Today rappers just play at being pimps, pimps/ they pop the champagne, celebrating their own extinction."

For now, the new moment is giving space to emerging talents, such as Rapadura, who mixes rap with traditional rhythms from the distant northeast of Brazil, and Rael da Rima and Rodrigo Ogi, both on Emicida's label.

Both Emicida and Criolo, who now perform together at times, sing extensively of the brutally obvious urban backdrop to their music - the chaotic, money-driven megalopolis of São Paulo. In Emicida's video for "So Take It," starring Criolo, he runs through the dizzying skyscrapers of the city's financial district, and in "Rua Augusta," he sings of the poor women who work the streets a few blocks away.

Criolo's breakthrough "Love Does Not Exist in São Paulo" spoke of
"A mystical labyrinth/ where graffiti screams ... São Paulo is a bouquet/ bouquets are dead flowers/ arranged so pretty/ arranged so pretty just for you."
The video for the song is simply a slow-moving montage of black paint sprayed on the city's gray, dilapidated concrete. Most of the graffiti reads simply: "More love, please." In Portugese, it rhymes: " Mais amor, por favor."
calendar@latimes.com

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Brazil's hip-hop scene takes the country by storm

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SÃO PAULO, Brazil - The MTV Music Awards in Brazil had until recently been the domain of tinny pop and smiling boy bands.

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Listen to Eu, Mariana - EP by Mariana Mello on Apple Music. Stream songs including "Coração Vulcânico", "Recato" and more.

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The Best Latin & Spanish Food Articles & Recipes - Amigofoods

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In 2017, 6.5 million people visited Brazil.

Some of them may have traveled there for fútbol, but no matter what your plans are, you have to try some of the food while you're there.

Brazilian street food is a treat worth trying at home to recreate the energy and buzz of Rio Carnival.

Start planning your next high-energy feast here.

1. Pão de Queijo

Pão de queijo is actually a type of cheese bread. This Brazilian street food actually has its roots from the Brazilian African slaves.

They would get the scraps from their cooking and make these.

These snacks are normally fluffy and light, made with cassava flour and cheese.

These are normally eaten for breakfast, but you can eat it whatever time of day you would like.

You can even order them "as is" and receive them hot and fresh out of the oven.

If you love cheese, you can also ask for them to cut it open and put even more cheese inside of it.

If you want something sweeter, they can also put the jam inside of it.

Once you try them, you definitely won't be able to eat just one. You can find these in almost every bakery.

2. Kibe

Kibe originally started in the Middle East, but now they are a very popular food in Brazil.

Other countries make these meat patties with all kinds of different meats, but Brazil mainly uses beef.

These meat patties are made with bulgur wheat, minced beef, and minced onions.

These ingredients are combined and turned into meat patties.

They can be seasoned with a bunch of different spices, and then they are usually fried.

3. Picanha

If you don't want meat patties, you can also order picanha. It's still beef, but this time it's barbecued.

To make this, they will take the best part of the beef, normally an equivalent to sirloin.

This ensures that the beef will be full of fat which means there will be more taste in the meat.

When it's barbecued, the flavor stands out even more.

The Picanha is normally seasoned with either black pepper or rock salt, but if it's not, you can add it on afterward.

4. Pastel

Pastel is small, fried squares. These little squares can be filled with almost anything, but a popular choice is cheese.

This popular Brazilian street food can also filled with meat. There are also sweeter versions if you have more of a sweet tooth.

These pastels were actually inspired by Chinese egg rolls.

In World War II, the Japanese made their way to Brazil, and the country adopted some of their traditions and foods.

5. Açai Na Tigela

Some of the best açai berries come from the Amazon. Açai is very popular even in America, so this may not be as foreign of a food as some of the others.

Acai na Tigela is also healthy for you because this meal is low in sugar.

It also has plenty of antioxidants and a very popular Brazilian breakfast choice.

The açai berries are normally frozen and smashed and mixed with other healthy options, like strawberries, bananas, granola, and honey.

If you want to try this out, you can order it at most cafes and juice bars. Some restaurants even serve them.

6. Aipim Frito

If you want something a little bit healthier, aipim frito is a great choice.

You can even ask to have them baked to make them even healthier.

These are basically like yuca fries, made from cassava and are incredibly delicious.

7. Coxinha

Coxinha, also known as chicken croquettes, is also something you need to add to your food bucket list.

This is also a deep-fried food. The fry is formed from dough that is covered in breadcrumbs.

Then this dough is formed to look like a chicken leg. Inside of it is shredded chicken and cheese.

While this is the standard one, you can also get different fillings instead.

For example, popular fillings can also be different fruits and vegetables.

This food originated in São Paulo, but now it's popular in all of Brazil.

8. Brigadeiro

Once you've had your dinner, you can get brigadeiro for dessert.

This is a popular dessert in Brazil and ranked #1 in our 11 Brazilian Desserts You've Never Heard Of-and Won't Ever Forget.

Made with butter, cocoa, and condensed milk, this small cake-like food is one that you have to try.

This food was actually named off of a Brazilian politician from the '40s.

Because it only needs a few ingredients to make, it was easy to make during World War II when fresh ingredients were hard to come by.

This dessert will definitely provide a carnival feel, and you can also get extras added onto this cake.

Some people add almonds or coconut flakes to the top of the tiny cake to add just a little bit of extra flavor.

9. Mandioca Frito

If you are missing some chips, you should get some mandioca fritos.

These are yuca or also called cassava chips.

Cassava is one of the most important sources of carbohydrates for Brazilians.

These fritos are actually kind of like potato chips in America.

They are also easy to make, you can find our recipe here.

10. Churro

Churros are most closely associated with Spain. But Brazilians love their churros too!

Traditionally churros are topped with melted chocolate or smothered in cinnamon or sprinkled with sugar.

However, Brazilians do it slightly different, dipping the tip of their churros into doce de leite, more commonly known as dulce de leche.

11. Feijoada

Feijoada is widely considered the national dish of Brazil. It also made our list of 19 Best Brazilian Foods You Have To Try Right Away.

This is an hearty option that will warm you up during the cold months.

This Brazilian stew is made with black beans, beef and pork, and is somewhat similar to chili in America.

If it's cold outside, you couldn't find a more comforting dish.

You will practically find feijoada served in every bar and restaurant, as it is one of Brazil's most popular stews.

Bonus: Pamonha

Pamonha is a popular Brazilian dish that is a sweet corn paste covered in corn husks that's been boiled.

It can be made either sweet with coconut milk or savory by being stuffed with cheese, ham, beef, chicken, or peppers.

Pamonha is derived from the Old Tupi word pa'mua, meaning "sticky."

Try Brazilian Street Food Today

You can try some of these Brazilian street foods when you visit the country.

However, there is still plenty more to learn about Brazilian food.

For example, if fish is your thing, learn more about Brazil's famous fish stew, Moqueca.

Or maybe you're looking for something to wash it all down with, then Caipirinha might be the answer.

To find some great Brazilian recipes or to shop for Brazilian foods & drinks visit our online store.

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11 Best Brazilian Street Food Nibbles for Creating a Carnival Atmosphere - Amigofoods

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In 2017, 6.5 million people visited Brazil. Some of them may have traveled there for fútbol, but no matter what your plans are, you have to try some of the food while you're there. Brazilian street food is a treat worth trying at home to recreate the energy and buzz of Rio Carnival.

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Note from BW of Brazil: 40 years! Four decades of struggle, marches, lectures, speeches, rallies and organizing. 40 years is a long time in some ways but also a short time when we consider that other organizations that are thought to represent the aspirations of the black masses have been around much longer. In Brazil, 40 years of the existence of such an entity is reason to celebrate. The very fact that organizations falling under the umbrella of the Movimento Negro Unificado, or Unified Black Movement, continue to fight in a system that denied and in many ways still today, continues to deny the very existence of racial discrimination. The movement emerged in the middle of a brutal military dictatorship (1964-1985) in which tens of thousands were beaten, tortured and disappeared opposing the regime.

But in was in this period in which besides the denial of rights of the Brazilian citizen, black Brazilians were tired of being ignored when they protested against a very stifling form of racism that sought to simultaneously subject millions of black people to racist practices while telling its black population and the rest of world that Brazil had achieved a 'racial democracy' where so many other societies had failed. So committed to protecting this myth, Brazil's government attempted to block the presentation of the most vocal critic of the 'racial democracy' myth, activist Abdias do Nascimento, when he intended to expose the real treatment of black Brazilians at the 1977 FESTAC festival in Lagos, Nigeria. Nascimento's book O Genocídio Do Negro Brasileiro (The Genocide of the Black Brazilian Negro) tells of Abdias's persecution by the military regime when the foreign ministry tried to silence him in Lagos, Nigeria, at this 2nd Festival of Black Arts and Culture. The Brazilian government was able to veto his name and his invitation to be a speaker was canceled. The University of Ife, where Abdias taught as a visiting professor, published this work as a mimeograph. Abdias registered as an observer and distributed it personally to the delegates. He had the support of African intellectuals and of the diaspora and made his denunciation of Brazilian racism. The Nigerian press published the text.

In the 1970s, even before the official beginning of the Movimento Negro, s ocial and artistic movements such as the Black Rio and Black São Paulo, were the target of spies, as was demonstrated by a nine page document presented by the Centro de Informação e Segurança da Aeronáutica (CISA-RJ or Center for Information and Security of Aeronautics of Rio de Janeiro), on October 20, 1976. With the suggestive title "Racismo negro no Brasil" (black racism in Brazil), the folder reflects the preoccupation of governmental security organs led by General Ernesto Geisel with the infiltration of subversive organizations in popular movements. The agents of the dictatorship followed every step, recorded every word by militants, sympathizers and intellectuals in favor of inclusion of blacks in Brazilian society (see note one).
To this day, there remain strong elements in the world of media, government and industry that wish to stifle an open discussion of racism in Brazilian society and thus stagnate any advances on black demands for equality and thus maintaining blacks in "the place" Brazil has always wished to keep them. And while it can be argued that, in many ways, Afro-Brazilian advances remain decades behind some of the accomplishments of America's Civil Rights/Black Power era, perhaps this is more revealing of the veracity of Brazilian-styled racism rather than the effects of the Movimento Negro. 40 years strong and still on the move! Seminar marks 40th anniversary celebration of the Unified Black Movement
by Sérgio Silva
A symbol of resistance, the MNU celebrates its anniversary with debate on the legacy left by the organization for the history of the fight against racism in Brazil
On Monday (6/18), the MNU (Movimento Negro Unificado/Unified Black Movement) held a seminar in honor of its 40th anniversary. The meeting was attended by members active since the founding of the movement, held on July 7, 1978 on the steps of the Municipal Theater in São Paulo, and militants of the new generation organized within the movimento negro itself in general. The meeting took place in the APEOESP (Union of Teachers of the State of São Paulo) Auditorium, in Praça da República, downtown São Paulo.

The MNU emerged during military dictatorship with the goal of becoming a referencial landmark in the fight against racial discrimination in the country. Today it's present in 12 states of the nation. For many of the members, the MNU played an important role in making Brazil recognize itself as racist.

Among the themes proposed during the event were denunciations of the genocídio da população negra (genocide of the black population) in the peripheries, mass incarceration, which affects mostly the black population, and the importance of the militancy of black feminism. Celebrating the gathering of generations, the tables were attended by historical militants such as Milton Barbosa, Milton, Neusa Maria Pereira and Regina Lúcia, and representatives of the new generation, such as Katiara Oliveira and Douglas Belchior.

In addition, even by the presence of some educators, there was room to discuss the importance of enforcing Law 10.639, which provides for the compulsory teaching of Afro-Brazilian History and Culture in educational institutions, in force since 2003. The claim of many teachers is that, although the law exists, it is still far from being applied correctly and uniformly across all institutions in the country.

At the close of the meeting, a moment to balance things out and point out ways to be followed. The table "Conquistas e Perspectivas do MNU" (Achievements and Perspectives of the MNU) had the participation of Milton Barbosa, José Adão Oliveira, Regina Lucia dos Santos and Luka França, all members of the entity.
March recalls the 40th anniversary of the founding of the Movimento Negro Unificado (MNU)
By Pedro Borges

Celebration takes place in São Paulo and repeats the march made by the founders of the organization, on July 7, 1978, even during the military regime

On July 7, Saturday, the Unified Black Movement (MNU) organized a march in honor of the organization's 40th anniversary, created on the same date in 1978, when Brazil was living under military rule.

The itinerary will repeat the original path, made by the activists in the creation of the entity, with the concentration at the intersection of Avenida Consolação and Rua Visconde de Ouro Preto, with the course of the act destined for Praça Ramos de Azevedo, in front of the Municipal Theater, where the organization was launched.

Luka Franca, member of the MNU, believes it is essential to remember the trajectory and achievements of the MNU to plan the future actions of the antiracist struggle in Brazil.

"40 years later we will re-do one of the paths that, in 1978, the founders of our movement did to reaffirm their commitment to fight racism, denounce the genocide of our population and mass incarceration."

During the act the 8 principles of the foundation of the entity will be presented, which are: For an independent black movement; For the end of police violence and against the criminality "industry"; Ending racial discrimination on the job; For an education directed to the interests of the povo negro (black people) and of all the oppressed; For the end of the political manipulation of cultura negra (black culture); Against the sexual, social and economic exploitation of the black woman; For the end of racial violence in the media; For the international solidarity for the struggle of all the oppressed.

For Luka Franca, the foundations of the MNU make it possible to imagine a more just society.

"It is to show actively that throughout our history we have always reaffirmed MNU's principles of combativeness to construct a society without prisons, without racism and without the deaths of our youth."
MNU - The Fights and Flags are still the same as in 1978
On June 18, 1978, appearing on the front steps of the Teatro Municipal of São Paulo, on July 7th, the Unified Black Movement that at that moment summoned black men and black women and the general population to React to Racial Violence to which we were subjected. There was a silence at that moment because of the period of the Military Dictatorship, even so blacks who supported the spirit of Zumbi dos Palmares, Steve Biko, Malcom X, Nzinga, Dandara, Acotirene, Luiza Mahin and many other leaders of the Black People in Brazil and around the world, were not silenced on July 7, 1978.

They took to the streets and echoed their cry denouncing the torture and murder of Robson Silveira da Luz in the 44th Guaianazes Police District, the racial discrimination suffered by young blacks at the Clube de Regatas Tiete sports club.

Today, 40 years later, it is important to say that on this date of celebration of the Anniversary of the Unified Black Movement in the Young Militants of this organization we have nothing to celebrate because blacks from the north to the south are still the preferential target country of the ongoing process of genocide, they are everyday brutally exterminated, whether by the police bullet or by the bankruptcy of the Democratic State of the Law.

There is in this moment, not only in the Movimento Negro, but throughout the Social Movement, a silence all because of half a dozen crumbs that were dropped from the Casa Grande (Big House/slave master's house), because of this, in the Black Youth of the Unified Black Movement, we have come to the Public to say that we are heirs and grandchildren of Zumbi and Vovó would be sad if we surrendered without fighting (paraphrasing the letter of the Grandchildren of Zumbi sent right from Carandiru in 78 to the act of the Unified Black Movement on the stairs of the Municipal Theater) we continue to say that we carry a civilizational legacy that does not allow us to be silent in the face of the conjuncture because our struggle is beyond the conjuncture, because there are quilombolas having their territories invaded, to militants of our organization being threatened with death for acting in a case against racism in Rio Grande do Sul, at the same time, we have a movement and questioning in the STF (Supreme Court), by the DEM (party), of the racial quotas, not to mention the movement for decree 4887 that ratifies the OIT 167, giving the right to titling of the Quilombola Lands, not counting the ongoing genocide process that is directed at us daily, as Luíza Bairros ("We Carry the Mark") said, and by carrying the mark it is also that we rise to continue a cry that is still necessary every day.

Zumbi will forgive us, but this year it's João Cândido and the Quilombolas

A Day of Struggle in the Eternal Abode of the Ancestors

We are not content, nor will we applaud our so-called allies of the esquerda branca (white left) and the black militants who continue to compromise with this process of Human Rights Violation, which is guaranteed by our charter, the federal constitution; so we say and reaffirm the commitments and all Flags of struggles established on the basis of much blood for our black people in the course of history and ratified by the Unified Black Movement in 78. So it is necessary to say that there is no Pact For Life! Enough with a pact! For the pact that is shown to us every day is the pact that the Casa Grande does to imprison us in mass, the pact of silence that is perpetuated in social movements under a discourse of We are advancing, the pact that the state does to silence our deaths, the constant pact of violation against us who bear the mark.

The pact we will now make is the pact of Continuity to the Reaction to the Racial Violence to which we are submitted.

I no longer want, as a young militant of the Black Movement of Cachoeira (Clicio) put so well, to have to bury Bruno, Carlinhos, Warley and many other brothers of the fifth series, who grew up next to me and today they are no longer but the time has come to see everyone together getting older and being able to live life!

That is why we say and reaffirm

React to Racial Violence

Long Life to the Unified Black Movement as long as we are in a state where Genocide continues.

React or Be Killed, React or Be Killed.

Ailton Pinheiro

MNU- Unified Black Movement BA

Taken from the article, "Intelligence services monitored black movements", by José Carlos Vieira and Carlos Alexandre

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40 years of the Movimento Negro Unificado! | Black Women of Brazil

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Note from BW of Brazil: 40 years! Four decades of struggle, marches, lectures, speeches, rallies and organizing. 40 years is a long time in some ways but also a short time when we consider that other organizations that are thought to represent the aspirations of the black masses have been around much longer.