Born and raised in Brooklyn, New York, Nikara Warren describes herself as being ‘bathed’ in music and the arts since birth. As the product of a mixed culture family (she’s the daughter of a half Trinidadian soca/dancehall lover, and a classic 90’s Brooklyn ‘Round the Way Girl"), Nikara’s aesthetic is a direct reaction to the music she grew up with. As its only natural that Nikara makes ‘rump-shaker’ music with an emphasis on dancing. 

Nikara’s vibraphone playing would eventually earn her a scholarship to Berklee College of Music, where she would study music business, and eventually land a jobs in the copyright and special marketing  departments at Warner Chappell and Sony Music. Feeling disconnected from the music she had always known, she submitted her compositions and earned a spot in The Betty Carter Jazz Ahead classes of 2013 and 2014 directed by Jason Moran. Here she was able to study under the close tutelage of Jason Moran, Marc Cary, Carmel Luny, Dwayne Burno and many more. 

Nikara has has shared the stage with many musicians, including  Charenee Wade,  Jeff ‘Tain’ Watts, Camille Thurman,Tia Fuller, Steve Wilson, Hailey Niswanger’s MAE.SUN, most recently, Kenny Barron and many more. Her newest project, ’Black Wall Street’ is set of ‘feel-good’ tracks designed as an ode to Black Excellence to counteract the emotional trauma caused by news headings of Black men and women being slain by police. Nikara draws from many forms of Black music and brings awareness to the Black Wall Street massacre of 1921 while remaining positive about the future and emphasizing the positive effects of diversity in the arts.

The Cerebral Women media platform presents Cerebral Women Art Talks, a  podcast that is an extension of @cerebral_women. Conversations offer insights into the visual art world from artists, mainly artists of color, and female artists who freely articulate what inspires their creativity. In addition, you'll hear interesting perspectives from dedicated art professionals who work with artists and the art institutions that feature them. Art Advisors, Art Critics, Collectors, Curators, Gallerists, Museum Professionals.

Lisbon was the city that saw DJEFF born in 1984 and where paternal Cape Verde and maternal Angola came together. DJEFF brings us a sound often defined as “Afro Tech”. In 1999, he began to attend the matinees at Bauhaus, Estoril's historic club in Lisbon, while friends dance, DJEFF observes the DJ and the fascination is born. From here a journey begins - buy a mixer to mix with two Discmans; collects dance music and investigates styles and DJs - until he discovers Erick Morillo, that global reference of the art of mixing that would serve as an inspiration to DJEFF until today.

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