{"id":1513,"date":"2025-03-05T02:28:11","date_gmt":"2025-03-05T05:28:11","guid":{"rendered":"https:\/\/luhorta.com\/blog\/?p=1513"},"modified":"2025-03-05T03:03:51","modified_gmt":"2025-03-05T06:03:51","slug":"ai-eu-vou-misturar","status":"publish","type":"post","link":"https:\/\/luhorta.com\/blog\/2025\/03\/ai-eu-vou-misturar\/","title":{"rendered":"A\u00ed eu vou misturar\u2026"},"content":{"rendered":"<p><iframe loading=\"lazy\" title=\"Lu Horta - Road To Nowhere (Talking Heads)\" width=\"584\" height=\"329\" src=\"https:\/\/www.youtube.com\/embed\/oHajHlw5B58?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>As s\u00edlabas t\u00f4nicas de uma melodia conversam e refor\u00e7am o acento de uma levada, de um ritmo. Nesse sentido, uma base r\u00edtmica pode criar diferentes molduras para uma can\u00e7\u00e3o. Temos in\u00fameros exemplos de can\u00e7\u00f5es que foram retiradas do seu contexto original e colocadas no contexto de um outro sotaque, ou que sofreram mudan\u00e7a de compasso. Um exemplo cl\u00e1ssico (um pouco besta talvez) \u00e9 quando cantamos &#8220;Parab\u00e9ns pra voc\u00ea&#8221; em ritmo de samba corrompendo totalmente o compasso tern\u00e1rio. Podemos perceber que o jeito de cantar e a inflex\u00e3o da melodia ficam totalmente alterados. A melodia ganha uma nova acomoda\u00e7\u00e3o num novo balan\u00e7o, dentro desse novo espa\u00e7o de acentua\u00e7\u00f5es. Este arranjo com sotaque de bai\u00e3o para a can\u00e7\u00e3o \u00ab\u00a0Road to nowhere\u00a0\u00bb (David Byrne) foi mais uma escolha nesse sentido para essa vers\u00e3o.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>Da\u00ed fiquei pensando como a m\u00fasica brasileira \u00e9 resultado desse tipo de experimenta\u00e7\u00e3o, desses choques de diferentes converg\u00eancias, diferentes grooves, claves, acentos, sotaques\u2026 E \u00e9 lindo observar como nossa cultura se expandiu a partir dessa antropofagia (nomeando uma fase important\u00edssima do modernismo brasileiro) at\u00e9 o ponto de perdermos &#8220;o fio da meada&#8221;, sermos arrebatados pela beleza e del\u00edrio que a mistura na cultura brasileira provoca. Mas sabemos que existe muita ferida por detr\u00e1s da nossa miscigena\u00e7\u00e3o, o buraco \u00e9 sempre mais embaixo e existe uma necessidade urgente de visitar estes limites.<\/p>\n<p>Pensei em Jaider Esbell e sua arte ativista, suas reflex\u00f5es sobre o txa\u00edsmo &#8211; &#8220;modo de tecer rela\u00e7\u00f5es de afinidades afetivas nos circuitos interculturais das artes pautadas pelo protagonismo ind\u00edgena&#8221; &#8211; e de quando visitei a sua curadoria para exposi\u00e7\u00e3o de artistas ind\u00edgenas contempor\u00e2neos no MAM exatamente na semana de sua partida em novembro de 2021. Makunaim\u00e3, a divindade ind\u00edgena do tempo imemorial, acertou meu cora\u00e7\u00e3o como uma flecha. Escrevo para n\u00e3o me esquecer desse arrebatamento e chamar a aten\u00e7\u00e3o sobre a minha total ignor\u00e2ncia.<\/p>\n<p>O livro &#8220;Makunaim\u00e3: o mito atrav\u00e9s do tempo&#8221; vai aprofundar essa reflex\u00e3o e \u00e9 revolucion\u00e1rio, porque &#8220;traz \u00e0 tona vozes e vis\u00f5es do outro lado &#8211; o ind\u00edgena &#8211; que por noventa anos esteve totalmente invis\u00edvel, sendo reiteradamente desrespeitado em sua exist\u00eancia e em seu sagrado.&#8221; <span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>Esse apagamento e apropria\u00e7\u00e3o cultural sempre estiveram presentes na hist\u00f3ria do Brasil, e \u00e9 justamente essa reflex\u00e3o que me inquieta. Se, por um lado, a nossa cultura nasceu desses encontros e misturas, por outro, quantas vozes foram caladas nesse processo? Como podemos honrar e resgatar essas influ\u00eancias sem repetir os mesmos padr\u00f5es de silenciamento e apropria\u00e7\u00e3o?<\/p>\n<p>Todo cuidado \u00e9 pouco. Quem tem chamado muito a minha aten\u00e7\u00e3o<span class=\"Apple-converted-space\">\u00a0 <\/span>sobre isso \u00e9 a artista, compositora e pesquisadora M\u00f4nica Freire, atrav\u00e9s do seu trabalho sobre intersec\u00e7\u00f5es culturais.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>O livro de Ruy Castro \u201cCarmen\u201d que conta a hist\u00f3ria de Carmen Miranda, a brasileira mais famosa do s\u00e9culo XX tamb\u00e9m traz hist\u00f3rias surpreendentes sobre essa quest\u00e3o da apropria\u00e7\u00e3o cultural. Atualmente esse debate est\u00e1 bem mais fortalecido e em pauta. Mas ainda temos muitos fios e n\u00f3s para serem respectivamente identificados e desatados no emaranhado da nossa meada.<\/p>\n<p>Por amor ao debate!<\/p>\n<p><em>\u00ab\u00a0S\u00f3 ponho bebop no meu samba quando o tio Sam pegar no tamborim. Quando ele pegar no pandeiro e no zabumba, quando ele entender que o samba n\u00e3o \u00e9 rumba, a\u00ed eu vou misturar Miami com Copacabana\u2026\u00a0\u00bb<span class=\"Apple-converted-space\">\u00a0 <\/span><\/em>&#8211; Chiclete com Banana<span class=\"Apple-converted-space\">\u00a0 <\/span>(Gordurinha e Almira Castilho)<\/p>\n<p>No v\u00eddeo, a can\u00e7\u00e3o <em>\u201cRoad to Nowhere\u201d<\/em> (David Byrne)<\/p>\n<p>Lu Horta: voz, acc guitar, shaker and keyboard.<\/p>\n<p>Loco Sosa (Marcelo Effori): zabumba, snare, conga, triangle, shaker, audio and video producer<\/p>\n<p>Jo\u00e3o Erbetta (very special guest): baritone guitar, banjo and steel guitar.<\/p>\n<p>Gravado em fev\/2011 , S\u00e3o Paulo &#8211; est\u00fadio Noise Factory.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As s\u00edlabas t\u00f4nicas de uma melodia conversam e refor\u00e7am o acento de uma levada, de um ritmo. Nesse sentido, uma base r\u00edtmica pode criar diferentes molduras para uma can\u00e7\u00e3o. Temos in\u00fameros exemplos de can\u00e7\u00f5es que foram retiradas do seu contexto &hellip; <a href=\"https:\/\/luhorta.com\/blog\/2025\/03\/ai-eu-vou-misturar\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1513","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>A\u00ed eu vou misturar\u2026 - Lu Horta<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/luhorta.com\/blog\/2025\/03\/ai-eu-vou-misturar\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A\u00ed eu vou misturar\u2026 - Lu Horta\" \/>\n<meta property=\"og:description\" content=\"As s\u00edlabas t\u00f4nicas de uma melodia conversam e refor\u00e7am o acento de uma levada, de um ritmo. 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