Na dança dos soundbites

“Aquele homem está nervoso porque está preocupado e está preocupado por nós.”

José Pacheco Pereira in Público-17/11/05

Na dança do poder IV.

Pior que desconhecer o que um politico pensa, é desconhecer que ele assim o deseja.
Daí essa estranha libido dominandi : “calado logo existo”

Dois em um fim-de-semana

» Naná Vasconcelos Chegada
Clube de Jazz: de Janaina Cunha Melo Zumbi com Villa-Lobos
E se quer sorrir com a magia de Naná clique : Naná Vasconcelos

» Leila Pinheiro Nos Horizontes do Mundo
Biscoito Fino - 2004
entrevista de Leila Pinheiro à revista Época

Nos horizontes do mundo
Paulinho da Viola

Nos movimentos do mundo
cada um tem seu momento
todos têm um pensamento
de vencer a solidão
e quem pensar um minuto
saberá tudo dos ventos
e se tiver sentimento
estenderá sua mão
Nos movimentos do mundo
quem não teve um sofrimento
e não guardou na lembrança
os restos de uma paixão
coração, recolha tudo
essas coisas são do mundo
só não guarde mais o medo
de viver a vida, não
Nos movimentos do mundo
requerer perdas e danos
é abrigar desenganos
sem amor e sem perdão
nos horizontes do mundo
não haverá movimento
se o botão do sentimento
não abrir no coração

Salif Keita, Salif Keita - M'Bemba

vocals: Salif Keita
Featuring: Buju Banton
Recording Arranger: Kante Manfila, Mino Cinelu
Interprète Instrumental: Harouna Samaké, Diely-Moussa Kouyaté, Kante Manfila, Michel Alibo, Jean-Louis Solans, Mino Cinelu, Papa, Ousman Kouyate, Prince, Guy Nsangue, David Aubaile, Pierre-Laurent Bertolino, Souleyman Doumbia, Lansana Diabaté, Hamid Djouhri, Mama Sissoko, Toumani Diabate, Adama Coulibali

Chorus: Aida Khann, Djanka Diabaté, Hadja Kouyate, Sirandou Sissoko, Altiné Tamboura, Smriti Minocha, Diarra Keita, Salimata Keita, Maimouna Keita
2005 Emarcy Records - Universal Jazz

"... with M'Bemba, the first of all his albums to be recorded in Mali, in the very studio that Salif had built for himself at home in Bamako. It's an important detail when you consider the force with which the light, the colours and the scents of the country can impregnate things. Jean Lamoot is in charge, and there are some of the musicians featured on the previous album, like percussionist Mino Cinélu or guitarist Jean-Louis Solans. Among the most loyal of the faithful, and also on board, are Kanté Manfila, the guitarist Djelly Moussa Kouyaté, the kamele ngoni player Harouna Samaké and, last but not least, Ousmane Kouyaté, the legendary guitarist from the Ambassadeurs band at the end of the 70's. A genuine ark of sound, M'Bemba provides a change of scenery right from the beginning, with the rare sounds of the simbi, a lute played by hunters, on the astonishing Moriba. It makes your hair stand up with two “tradi-funk” pieces, Yambo and Dadjani, the latter entwined around an inflexible loop played on a hurdy-gurdy, the same instrument as that used in the folk-music of Brittany or the Auvergne region in France. Over a spectrum of tones that is broader than on the previous album, nothing is neglected, from the slight notes of the flute to the abrupt, broad roundness of the bass. Three voices join forces on Laban to urge the tune on in the same direction, bringing Salif to declare: “Dance is the difference between Moffou and M'Bemba. And daring.” M'Bemba is the most traditional of these ten new titles, and it is daring because of the summons sent out to the cream of Mali's Griot musicians, among them the kora master Toumani Diabaté and ngoni player Mama Sissoko. A M'Bemba is an 'old one', the grandfather called on - in spirit - by Salif as a witness to the intolerance and lack of generosity shown by a part of traditional Mandingo society - particularly towards Salif Keita. It's hardly surprising to find his foster-sisters Maimouna, Salimata and Diarra Keita involved in this family matter: they decorate the house with shimmering vocal garlands. It is in this way that Salif Keita, the rebel and taboo-breaker, the one cursed for infringing the laws of his caste, has returned to the terrain of his adversaries: tradition. Quite apart from the fact that this is a sumptuous demonstration of the vocal artistry of the Griots, M'Bemba is also penetrated throughout with a symbolic power that shakes its very structure without causing it to fold, like the way the sails of a great mast welcome the wind from the open sea. This is an album smitten by liberty, the freedom of an artist who has arrived simultaneously at the maturity of his years and his art; an artist who causes his roots to speak in revisiting the works of his youth, in funk, soul and rock, with wisdom and mastery; or an artist dancing one or two steps with an ex-mistress, Cuban music, on the delicate tune Tu vas me manquer. But also an artist who can cause his anger to explode, or pour out tenderness, or dare to admit he is happy, in love or hurt (Bobo, Dery). Not to mention being more alive than he ever was before. M'Bemba is the work of an artist who has been singularly mistreated by life without ever falling into resignation; for thirty-five years he has been striving to make peace with himself, and create unity, to solve his paradoxes: an artist declaring, with the immense sincerity that has always been with him, that this has finally been achieved." [ler na integra]

Na dança do poder III.

Vivemos num período de uma tal confusão que para ter razão basta salientar o oposto do que um outro diz, para se ficar pelo menos tão parcialmente certo como o oponente.

Uma perspectiva dual :

"Direita e esquerda passaram por inúmeras variações e combinações ao longo dos últimos séculos. Mas, onde quer que se perfilem com força suficiente para hostilizar-se mutuamente no palco da política, essa distinção permanece no fundo dos seus discursos: direita é o que se legitima em nome da antigüidade, da experiência consolidada, do conhecimento adquirido, da segurança e da prudência, ainda quando, na prática, esqueça a experiência, despreze o conhecimento e, cometendo toda sorte de imprudências, ponha em risco a segurança geral; esquerda é o que se arroga no presente a autoridade e o prestígio de um belo mundo futuro de justiça, paz e liberdade, mesmo quando, na prática, espalhe a maldade e a injustiça em doses maiores do que tudo o que se acumulou no passado."

Olavo de Carvalho, Direita e esquerda, origem e fim, Diário do Comércio, 1 de novembro de 2005