Deusas de Elekô foi parida a partir de um poema de mesmo nome, escrito por mim e inspirado em minhas experiências como  Mulher Negra, Filha e  Mãe SOLO. A canção emergiu como prece e louvor a Divindade Feminina viva e latente no Ser Mulher para que possamos retomar com mais força e consciência o nosso lugar de  protagonismo e potencialidade na criação de nossa própria realidade. 

A Deusa Iorubana Obá, Rainha das Águas Revoltas, das cheias, e quedas d'água, ela é o próprio transbordamento do que não pode mais ser contido, ela é o grito e ação de liberdade, seu domínio é a justiça para os castradores do poder feminino, caçadora e guerreira destemida,  lidera a sociedade de Elekô que cultua a Ancestralidade Feminina através de ritos de ativação das potência individuais de cada mulher.

Assim como a Deusa Nyahbhing que liderou sua  comunidade através da ritualística musical dos tambores sagrados orientando o ritmo, motivando e energizando o espírito e a corporeidade para o combate contra o colonizador, as Deusas que coabitam nosso Ser, são facetas de nós mesmas prontas pra agir, vencer e dançar conosco nossas demandas. 
_Bárbara Leoa

Letra: Bárbara Leoa @barbara-leoa
Música: Vagné L. @vagne-l

Gravação de Vocais: Sebastian Notini
Arranjos e Produção Musical: Vagné L.
Arte Capa: Vagné L.

Muziek Mutantti - 2021

Deusas de Elekô

Bárbara Leoa - Deusas de Elekô

Composição de Mo Maie.
Um flamenco com ares do sertão brasileiro. Essa versão da música foi gravada em 2008, em Barcelona (Espanha) com os músicos João Oliveira (violão), David Carnicer (baixo), Marc Claramount (Cajón), e Quim (guitarra).

Pássaro de fogo

Sarau JACA de Poesia 2021 - ÅFRØFUTURISMØ

Silêncio (Letra: Cairo Costa | Música: Vagné)

Ficha Técnica:
Cairo Costa: Voz
Vagné: Riddin, Synths, Piano, Guitarra, Fx
Produção Musical: Vagné @vagne-l - Muziek Mutantti @muziekmutantti

Ano:2021
 
Realização: Coletivo JACA @coletivojaca

Sarau JACA de Poesia 2021 - ÅFRØFUTURISMØ

Relação Abusiva

Cairo Costa - Relação Abusiva

Trilha produzida para o mito/manifesto do coletivo Mil Tambores

Miltons

caminhada

Interghetto

Our new track “Knees On The Ground” might benefit from an explanation. This is the most unguarded I ever intend to be when writing about Clipping.

What had happened was this: our very brief UK/Europe trip got called-off the day before we were supposed to get on a plane to London. Since we didn’t have any other plans, we met up in the studio with an idea to crank out a new track. On our list of songs to finish was one particular piece aimed directly at the club (or, at least, our twisted idea of what clubs should play). But none of us were in the mood for it. Each of us had spent the previous several days following the news of protests in Ferguson, MO. It was the only thing on our minds. We couldn’t bring ourselves to think about anything else, so we decided to direct our fear, our revulsion, our heartbreak into a new track.

The problem was that we’d defined our band — in interviews and to each other — as decidedly-not-an-activist-project. Diggs’s lyrics have been criticized for seeming apolitical, at least in comparison to what many listeners (perhaps rightly) expect to hear from an ‘experimental’ rap group. I have many times said (perhaps naïvely) that our politics lie in our structures, in our formal engagement with the rap genre. We love its conventions, its clichés, and we’re not above them. We see our participation in rap as something resembling an old punk flyer — an out-of-context collage of charged images with an fractured, contradictory, multiple point-of-view. I hope that our more dedicated listeners hear this and understand that we’re not interested in spoon-feeding them a position. At the same time, I’ve always assumed that they pretty much agree with us on most issues anyway. (We have yet to meet the misogynist, homophobic, white supremacist Clipping fan with an MBA and an NRA membership).

So what do we do when all we can think about, all we can feel, is a profound injustice — yet another young unarmed person of color is murdered by a police officer? How does a band, which overtly rejects affect and the emotions, address something that is, for its authors, a deeply felt, deeply affecting topic? Well, we don’t entirely know. But the fact is: there’s more truth in Diggs’s lyrics than we generally let on. “Inside Out” describes a drive-by shooting in Oakland, “Chain” is about three stick-ups. They are presented with a lot of detail and specificity (perhaps the result of personal experience). But at the same time, they represent archetypal scenarios within rap music. One trope we had yet to explore as Clipping was the anti-police rap — the lineage of Public Enemy, NWA and Paris, straight through The Coup, and all the way into the ‘stop snitching’ panic of the early 2000s. “Knees On The Ground” is a paradigmatic white-cop-kills-an-unarmed-black-kid-and-gets-away-with-it tale — a story that happens all the fucking time in the US. What we have learned — from our first hand experience in Oakland in 2009, and from the media coverage of Ferguson in 2014 — is that the second part of this story involves a police response better suited to a war zone than to an American city. Cops think they’re playing Call Of Duty when they’re supposed to be part of a community. If Ferguson were in Iraq, Obama would have sent in an airstrike already.

This is the least obtuse Diggs’s lyrics will ever get. We’re embarrassed by the timeliness of this track. We do not intend to capitalize on what is, undoubtedly, a terrible tragedy. But journalists make think-pieces and we make songs. Writers write what they know, and this is what we know right fucking now.

— William Hutson, Clipping.

Knees On The Ground

Bright Shadows off of Creature Dreams EP (Brainfeeder) OUT NOW!

Bright Shadows

Guilherme Darisbo: electric guitar, mixing

22 de abril, 14 de junio [boceto/esboço]

Reza - Dom Santana

Carta Sonora elaborada para a instalação OuvidoChão - Cartas Quilombolas, que integrou a exposição coletiva ArtSonica Residência Artística entre os meses de agosto e setembro de 2019, no Centro Cultural Oi Futuro, Rio de Janeiro-RJ

Realização: Bamako Produção

OuvidoChão - Camorim Estéreo

Muziek Mutantti é uma NetLabel que fornece ao artista independente uma ferramenta abrangente para produzir e promover sua arte de forma colaborativa! 

Acreditamos no poder da comunidade e estamos dispostos a conhecer novos artistas profissionais e independentes. Apoiaremos seus sonhos e aspirações.

Seja você escritor, fotografo, ilustrador, músico, videomaker... Envie sua arte para nosso email e vamos juntos realizar novos projetos.

Estamos selecionando uma equipe de artistas, produtores, freelancers, ativistas. 

Mande seu portfólio/currículo/links....

\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\

Muziek Mutantti is a NetLabel that provides the independent artist with a comprehensive tool to produce and promote their art in a collaborative way! 

We believe in the power of the community and are willing to meet new professional and independent artists. We will support your dreams and aspirations.

Whether you are a writer, photographer, illustrator, musician, videomaker ... 
Send your art to our email and we will carry out new projects together.

We are selecting a team of artists, producers, freelancers, activists. 

Send your portfolio / resume / links ....

Bárbara Leoa - Deusas de Elekô

Muziek Mutantti

Related tracks