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October 31, 2014<\/p>\n
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JULIANA RIBEIRO<\/strong><\/span> Note from BW of Brazil<\/strong>:\u00a0Juliana Ribeiro is an artist from heavily Afro-Brazilian state of Bahia who brings not only the history of Afro-Brazilian music in her sounds and performances, she is also important as the rare artist who goes beyond learning her craft through practice, but she has also delved into the history of these sounds in her academic career. Her music represents hundreds of years of the traditions developed by Africans enslaved in Brazil and her academic research also brought her closer to her ancestral roots as she connected with the historical importance of one of Brazil\u2019s greatest singers and historic treasures!<\/em><\/span><\/p>\n Check out Juliana Ribeiro\u2019s CD of Afro-Brazilian music\u00a0<\/strong><\/span><\/p>\n She is the daughter of the Sol (sun) and Oxum (1), belongs to the sign of Leo and has the Chinese element of Fire. The description of her personality led to the choosing of the title of Juliana Ribeiro\u2019s first CD,\u00a0Amarelo<\/em>, meaning yellow. The work is the result of extensive research that brings unusual harmony among jongo, Angolan samba,\u00a0batuque<\/em>(drumming), MPB (Brazilian Popular Music), lundu, ijex\u00e1, maxixe and samba is a\u00a0m\u00fasica afro-brasileira<\/em>\u00a0(Afro-Brazilian music).<\/span><\/p>\n A vast African inspiration! The repertoire consists of compositions of the great names of the Bahian music scene such as Roberto Mendes, J. Veloso, Tigan\u00e1 Santana and Reginaldo Souza. Still completing the CD is a new interpretation of the song \u201cZ\u00e9 do Caro\u00e7o\u201d, comprised by samba great Leci Brand\u00e3o.<\/span><\/p>\n The Rebucet\u00ea Interview: Juliana Ribeiro\u00a0<\/strong><\/span><\/p>\n By Tha\u00eds Pimenta<\/span><\/p>\n The work of Juliana Ribeiro is the sum of musicality with academic research. The singer-songwriter is a graduate in History and has technical training in Operatic Song at the Universidade Federal da Bahia (UFBa), but it was in 2005, when she was studying popular song at UNICAMP, that she discovered and became fascinated by a series of rhythms, genres, and manifestations that preceded the samba. \u201cI have always been a popular singer and this kept bothering me, operatic singing is different from popular song, so I went to Unicamp, in 2005, to study popular song, the passion that drove me.\u201d The research started at Unicamp by Juliana gave birth to her master\u2019s thesis in Culture and Society at the School of Communication at the Federal University of Bahia (Facom-UFBa), and her new CD,\u00a0Amarelo<\/em>.<\/span><\/p>\n Juliana has an established career on the\u00a0soteropolitano<\/em>\u00a0(Salvador) music scene, and now, through the Projeto Amarelo Itinerante, funded by the Culture of the State of Bahia (FUNCEB), her work has been extended to the inner cities. In Vit\u00f3ria da Conquista (Bahia) she presented a yellow and radiating show, just as she defined it minutes before going on stage. Every show, a local songwriter\/performer is invited to share the stage with Juliana. In the city of cold, the guest was Alisson Menezes, an artist whose work is also focused on popular culture.<\/span><\/p>\n Samba, ijex\u00e1, maracatu, lundu. Three centuries of stories sung in an hour show. Identity music with a contemporary reinterpretation. The singer invited the audience on a trip to the seventeenth century to the\u00a0senzalas<\/em>\u00a0(slave quarters). The only thing the show didn\u2019t have was shackles as the audience broke loose and started a\u00a0roda de samba<\/em>\u00a0(samba circle).<\/span><\/p>\n A daughter of Oxum, raised by\u00a0Iemanj\u00e1<\/span><\/a>, coming from the waters and with a latent\u00a0baianidade<\/em>\u00a0(Bahian way), Juliana Ribeiro, minutes before her presentation, spoke with\u00a0O Rebucet\u00ea<\/em>. A wide smile wide and striking look, the singer talked about her musicianship, trajectory, and experience with the Amarelo Itinerante project.<\/span><\/p>\n O Rebucet\u00ea: What is your relationship with the samba and popular song in general? How do you link your academic research with your musical work?<\/span><\/p>\n JR: I consider myself a researcher and a popular singer. What moves me are the manifestations of popular culture. In fact, the samba has become a way of life for me, because it was through samba that I found a number of other rhythms, a number of other matrices that come from the eighteenth century, seventeenth century, things that were only done in the\u00a0senzalas<\/em>\u00a0and that move me, captivate me very much. When I went to Unicamp, in 2005, to study popular songs, there I had to do a work on singers of the 1930s, so I went to research the in the library records at Unicamp and discovered that there are a number of other rhythms, genres and manifestations that were not samba, but that preceded the samba, and it began to enchant me, because they are very identitarian songs\u2026I discovered lundu, I discovered Xisto Bahia from 1880, then I discovered\u00a0jongo<\/em>, I discovered Clementina de Jesus that led me to\u00a0batuque<\/em>, that led me to\u00a0jongo<\/em>\u00a0itself because she is also\u00a0jongueira<\/em>. I also discovered\u00a0samba<\/em>\u00a0angolano<\/em>\u00a0(Angolan samba). So today I\u2019m used to saying that there is no\u00a0samba de raiz<\/em>\u00a0(root samba), there is\u00a0samba de ra\u00edzes<\/em>\u00a0(samba of roots). Samba doesn\u2019t have a root, it has several matrices that I bring to the stage in Amarelo, ie, three centuries on a CD.<\/span><\/p>\n OR: Did the stage lead you to your master\u2019s research, or did your research motivate you to take popular song to the stage?<\/span><\/p>\n JR: The stage led me to the research. I took history in Salvador and technical training in Opera Singing at UFBA, but I was always a popular singer and this kept bothering me, opera singing is different from popular song. Then I went to Unicamp in 2005, the passion drove me. I started research that there led to my CD and also my master\u2019s dissertation. I did my masters on the samba, the question of samba as identity, which is this construction starting from the 1950s, as national identity. But without a shadow of a doubt it was my stage, my research because of studying the repertoire, I\u2019ll never stop taking to the stage a song if I don\u2019t know who the composer is, the context in which it was composed, the sense of it, I always do this, it\u2019s a part of me. And then when the more you research the more you discover that not. Then the master\u2019s was a consequence of this, it will an enormous pleasure to be able to do a thesis on something you like.<\/span><\/p>\n
\nStraight from black Bahia, singer Juliana Ribeiro not only performs Afro-Brazilian music but also does academic research on the history of the\u00a0genre<\/strong><\/span><\/p>\n<\/div>\n![\"capa\"](\"https:\/\/gatasnegrasbrasileiras.files.wordpress.com\/2014\/10\/capa6.jpg\")
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