Sexta-feira, 27 de Abril de 2012

 

 

 

 

Como si de un efectivo de las tropas de los libertadores O´Higgins y San Martín se tratara, Francisca Valenzuela (California, 1987) ha conseguido traspasar la cordillera andina –nació en Estados Unidos, pero desde los 13 años vive en Chile- con la disciplina de un Buen soldado, de ahí el título de su segundo disco. Esta joven cantante, miembro de la emergente escena musical chilena de la que forman parte Javiera Mena, Gepe o Ana Tijoux, ha tardado cinco años en armar una nueva compilación de historias de amor y denuncia interpretadas al piano clásico, pero con dejes “pop-rock o rock-pop, como cada uno prefiera”, define la artista. “Mi primer trabajo era más confesional, una ventilación biográfica, en este nuevo he seguido en esa línea pero incluyendo una faceta de cuentacuentos propia de un disco de Paul Simon o Bob Dylan”.

 

 

 

 

 

 

Continuar a ler no El País.



publicado por Próximo Futuro às 15:00
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Terça-feira, 10 de Abril de 2012

 

 

 

La música y las revoluciones han ido siempre de la mano. Es un complemento, una herramienta y muchas veces una banda sonora que recuerda a un tiempo y el cambio social que lo marcó. La música de la cantautora tunecina Emel Mathlouthi se convirtió sin ella quererlo en el hilo musical que inspiró la Revolución de los Jazmines, y ahora vive en Francia donde se está forjando una carrera musical imparable. El 21 de julio actuará en Barcelona.

 

“Yo no salí a la calle para cantar, solo estaba en las protestas de Túnez para estar con mis compatriotas, exigir la libertad contra el régimen injusto y tirano de Ben Ali. Mi amiga me cogió de la mano y me pidió que cantase Kelmti Horra (Mi mundo es libre), una canción que se conocía en algunos sectores underground de mi ciudad”. Pronto se convirtió en el himno inspirador de la revolución de su país. “Todavía no soy conocida en muchos países árabes, no hago actuaciones en Egipto ni en Libia, donde los artistas como yo no somos reconocidos, pero me gustaría luchar contra eso, dar la cara por la nueva generación de gente que como yo no tenemos el espacio que merecemos. Creo que la gente necesita un nuevo discurso”.

 

 

 

 

 

 

Continuar a ler no El País.



publicado por Próximo Futuro às 10:06
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Segunda-feira, 26 de Março de 2012

 

 

 

Dakar, Senegal (CNN) -- Jazz, soul and a blend of rock and roll combine to make Senegalese music sound quite familiar, while the sound of the sabar, a traditional Senegalese drum, keeps the music true to its West African roots. I'm listening to the mbalax style of music for my latest "Inside Africa" assignment: to experience the special sounds of Senegal.

Without a doubt, the biggest name in Senegalese drumming is Doudou N'Diaye Rose. He's almost mythical; every person I interviewed spoke of him as the "sabar master." With more than forty children and an untold number of grandkids, he's been performing since the 1930's, gradually crafting the unique rhythm of this part of the world -- literally with his bare hands.

Meeting the legend was not what I expected. At 82 years old he has a small frame and is such a humble person. When we arrived at one of his homes, he was more concerned with our crew eating breakfast than showing off his many accomplishments. Doudou has performed with the Rolling Stones, Miles Davis, at the Cannes Film Festival and has been declared by UNESCO as a "living human treasure."

 

 

 

Continuar a ler na CNN.



publicado por Próximo Futuro às 14:00
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Sábado, 17 de Março de 2012

The Carioca, Caetano Veloso + David Byrne, Live at The Carnagie Hall, 2012



publicado por Próximo Futuro às 17:06
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Quinta-feira, 15 de Março de 2012

Maktub, Natasha Atlas



publicado por Próximo Futuro às 22:36
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Terça-feira, 13 de Março de 2012

Souad Massi, Ya Kalbi



publicado por Próximo Futuro às 23:11
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Terça-feira, 21 de Fevereiro de 2012

 

 

 

Kleber Gomes was 10 when he penned his first song about São Paulo. The year: 1985. The 1985 track: a punk rock tune about his home on its gritty southside.

One of five brothers and sisters born to migrants from north-east Brazil, the budding composers knew more than most about issues plaguing megacities – entrenched poverty, police violence, social discrimination.

Few, however, could have predicted how far such compositions would take Gomes. Today, the 36-year-old is one of Brazil's most critically acclaimed artists, a rapper, composer and urban poet, known by his stage name Criolo.

Since his album Nó na Orelha was released last April to rave reviews, an avalanche of awards has transformed a once-struggling ghetto MC into a modern-day bard for the megacity: Criolo recently played his first gig in New York and will tour Europe and the US later this year.

 

 

 

Para ler o artigo completo no Guardian, clicar aqui.



publicado por Próximo Futuro às 14:00
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Quarta-feira, 18 de Janeiro de 2012

New direction: Baloji put behind him the life of an illegal migrant who survived for years through petty crime

 

Congolese star Baloji tells Mark Hudson how he conquered adversity to ascend to a global stage

 

'When you’re at the airport, about to be deported, there’s no friendly cop to tell you you can phone your family,” says Congolese rapper Baloji. “That happens in films, not in reality. I was crying, telling them I didn’t want to go. Congo is my country, but I’d been living in Belgium for 20 years. That was the moment I realised the strength of my connection to Europe.”

 

One of the most exciting talents to emerge over the past year – his current album Kinshasa Succursale is a superbly nuanced blend of verbal passion, traditional Congolese sounds, funk and reggae – Baloji could be the artist to give African rap a truly global profile. Despite the massive popularity of rap on the continent itself, and isolated successes such as Somali wordsmith K’Naan, the international perception of African hip hop has been of imitative gangsta rap at one end of the spectrum and bland positivism at the other.

 

Baloji, however, has the great advantage of being able to look at Africa from both inside and outside. He understands the contradictory position of the African in Europe having plumbed it to the depths in his own life. Commanding in performance, philosophical in conversation, he has been, in more difficult stages of his life, just the sort of shiftless, stateless marginal person who puts the wind up settled Western society – a sometime illegal migrant who survived for years through petty crime.

 

Para continuar a ler o artigo sobre o músico Baloji, que a 26 de Junho de 2011 deu um concerto memorável no Anfiteatro ao Ar Livre da Gulbenkian, no âmbito do Próximo Futuro, basta clicar aqui.

 

 



publicado por Próximo Futuro às 09:00
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Terça-feira, 25 de Outubro de 2011

 

 

The UNESCO – Aschberg Bursaries for Artists Programme has the pleasure to announce the 2012 call for applications. The Programme promotes the mobility of young artists through art residencies abroad.

This call is open to creative writers, musicians and visual artists between 25 and 35 years old.

 

To consult the list of bursaries available for 2012 please visit our website at www.unesco.org/culture/aschberg.

You will find direct links to institutions and instructions on the application procedures and necessary dates.

 

+ info: UNESCO – Aschberg, Cities and Creativity 

Section
Division of Thematic Programmes for Diversity, Development and Dialogue

Email
aschberg@unesco.org

Website
www.unesco.org/culture/aschberg   

 



publicado por Próximo Futuro às 09:00
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Segunda-feira, 17 de Outubro de 2011

 

 

It is a country where every other youngster wants to be a rap or hip-hop star. And for those who make it in Nigeria these days, the rewards can be greater – and certainly more international – than ever.

Take singer-songwriter D'banj. Kanye West just did, signing him up for his GOOD (Getting Out Our Dreams) music label. Then there is Wizkid, recently named best African act at the Mobo awards in Glasgow.

 

All this has come in a year in which Trace Urban, a French-owned international music TV network, has begun broadcasting in Nigeria.

D'banj is living the new Nigerian Dream – superstardom beyond what anyone could have imagined in the late 1990s when Kennis Music, a local record label, took the first steps towards a revival of mainstream Nigerian music culture.

As D'banj steps on stage in a stadium in Lagos in a sparkling black shirt and blue trousers, the large space transforms into one huge mass of excitement, with kicking, screaming, shoving and frenzied mobile phone recording. He stops then throws both hands in the air in a salute.

 

 



publicado por Próximo Futuro às 09:00
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sobre
Próximo Futuro é um programa Gulbenkian de Cultura Contemporânea dedicado em particular, mas não exclusivamente, à investigação e criação na Europa, na América Latina e Caraíbas e em África.
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