Marking
Time

Fueling what Carlinhos Brown has called "an elegant revolution", music artists like Neguinho do Samba are institutionalizing programs which transform the lives of marginalized Afro Brazilians in Salvador, Bahia. The leaders and sponsors of this movement include many notables in Brazilian music. Carlinhos Brown himself organized an effort which resulted in construction of the Pracatum school for disadvantaged children in Candeal ghetto. This followed his earlier work to establish in Candeal a world class performing facility for Timbalada, and to provide financial assistance for residents to revitalize their community through exterior home improvements.

Neguinho's work, which includes collaborations with Paul Simon and Michael Jackson as mestre of Olodum, culminated in release of Banda Feminina's first CD, A Mulher Gera o Mundo little more than a year ago (See "Stirring up Heat" by Kirsten Weinoldt, Brazzil, April 1998). Since that time Neguinho (Antônio Luiz Alves de Souza), Cultural Director Vivian Carline de Jesus Queirós and mestrina Adriana Portela have continued unabated in their efforts to nurture the growth of a full fledged program to serve the needs of girls at their facility in Pelourinho. Following an informal "reunion" of sorts with our old friend Neguinho, Danielle Valim (a resident of Salvador) and I conducted an exhaustive interview with Vivian.

Brazzil—How many girls are currently involved in the project?

Vivian—Eighty to ninety at this time; but it varies as girls come and go. Eighteen perform in the banda feminina.

Brazzil—What, specifically, is your job with Projeto Didá?

Vivian—Neguinho calls me the Cultural Director. I coordinate instruction according to the philosophy of the school. This evolved from the fact that at first Neguinho was formulating ideas (for the project) only in his head. I began to document them in an amateur way; but it was the only way to progress. Over time I began to assume more responsibility for documenting and helping to implement Neguinho's ideas.

Brazzil—Have you ever received an education preparing you for this kind of work?

Vivian—No. I began with Neguinho at age sixteen. I didn't know anything about this kind of work and only learned through experience. I was continually asking Neguinho about his ideas, to give them form. I was always asking him, "What are you trying to do? What materials do we need?" We learned together by trial and error. We'd make a mistake one day and correct it the next. Finally, we began to develop a methodology for working with the girls. We started to involve them in things other than music that Neguinho realized were so important for them. We began to conduct group-counseling sessions. We invited doctors to counsel and direct them, to address health and sex issues. People began to come from foreign countries to introduce the girls to the lives of women in other places.

Brazzil—But the original focus was the music?

Vivian—Yes. The girls were first attracted by the tambor, the percussion. But once they were here we worked to transform their lives. We're constantly struggling to educate with the limited knowledge and resources available to us. For example, I myself discovered in a magazine article that March 8 is the International Day of Women—a very important date for us. We're always seeking to profit from such chance discoveries to teach and extend the minds of these girls. I stumbled into working with culture because I had an innate interest in it. I never planned to do this. Like all the girls here I came only to learn how to play.

Brazzil—So you met Neguinho through Didá?

Vivian—No. I knew him when Didá only existed in his mind. One day he mentioned the idea casually. It didn't take form until 1993, although it had been growing in Neguinho's mind for ten years. Before 1993 Neguinho didn't have any significant financial support or support within the community. Following his participation as Mestre for Olodum with Paul Simon (Rhythm of the Saints) he acquired this (the Didá) building in Pelourinho, which provided a place for music rehearsals. So he started to talk to people. He spoke with Adriana, who was very interested, and with my mother.

But I was very skeptical. I thought to myself "this man is crazy, I won't participate because I'll only embarrass myself". I thought for a long time before deciding to go. Even then I only intended to participate as a musician, and I still play today. I didn't have any clear sense of what Neguinho was planning. If I'd known that it was not only to be a banda, that there was something bigger behind it, maybe I wouldn't have hesitated. So I came with Adriana and a few other girls, some of whom are still here today, just to learn how to play.

But Neguinho's ideas were much more extensive. He wasn't only thinking about the music. "Don't be with those people!" he would admonish us when we thought to surround ourselves with friends involved in questionable activities. "Where are you going?" he would ask sometimes, adding "It's too late for you to be out!". Neguinho was like a father. We began to become interested in what he really wanted of us.

Then one night he described his ideas for the project to Adriana and me. He talked about Didá being many things, a school to study flamenco dance, music chords and battery percussion. We began to realize that he didn't want only a banda, he wanted a school and he wanted to instill responsibility. Once a girl was here they were required to be on time, attend regularly, pay attention at rehearsals, etc.

Brazzil—But there must have been some rough moments at first.

Vivian—Neguinho had started the process to have Didá recognized as a legal entity. When he talked about wanting to make Didá a place where women can truly learn and grow, people used to tell him things like "Give it up Neguinho!", "The girls will become pregnant because men only see them as good for sex., "This will become a terrible problem for you", and "I can' help you because it won't work".

Brazzil—How did Neguinho identify candidates for the program?

Vivian—The first girls were those he already knew from earlier attempts to form a banda. They'd had some rehearsals, but nothing that lasted for very long. But from these experiences he knew that some of them would have the courage to persevere, so he contacted them again. And he contacted other girls who only knew how to dance because being able to play instruments is not a requirement for participation. Every girl coming to Didá has a place here. The image of the banda and the girls in the program are only a reflection of those already here; so only girls from similar backgrounds are attracted.

An upper-class girl who has the best of everything wouldn't be attracted to Didá. We reflect the simplicity of our roots; and it isn't appealing to girls who prefer shopping malls and rock music. I'm not saying this can't be changed, because we accept everybody. Some girls come with more abilities, or skills, than the others. Some have been with us from the beginning, and some have only recently arrived and are just beginning to learn. But everybody is equally important to us.

Brazzil—Are you talking more about the project now than the band?

Vivian—Yes. Many women from wealthy districts want to participate with blocos at Carnaval time, but they're fearful of having to be with such a group everyday. They're only looking to have fun. But when Didá performs in poorer districts, like Liberdade, we have 500 girls whose hearts are beating very fast looking at us because we're a reflection of their own image. They identify with us. Pelourinho isn't a residential district anymore, so most of the girls come from distant poor districts like Liberdade, Plataforma, Mata Escura, Sussuarana and Cabula. It often takes the girls more than an hour to get here. But they're the target population for our program.

Brazzil—Didá is also working with children now. How did that come about?

Vivian—When Neguinho started this thing of forming a "banda feminina" he focused on working with older girls; but he always wanted to work with the children. To Neguinho it's fundamental because children are the foundation for our future. It's a very long and beautiful story because when he started gathering children they were only thieves and drug users, or the sons and daughters of thieves and drug users and prostitutes. They'd all have had a tragic destiny if nobody had done anything. Once they heard the rhythms of Samba Reggae, they wanted to play. But in order to participate the children had to commit to not be using needles and drugs, to not be stealing and to not allow anyone else to steal. Neguinho also required the fathers and mothers to be their guardians. The children could only participate if a father or mother would be there to take care of them.

Brazzil—So when did the children's program begin?

Vivian—In June of 1998 (a couple of months after the CD was released). He named the program Sodomo, a Yoruba word meaning "to raise a child as if that child were our own". It's been wonderful, but we've only been able to initiate 70% to 80% of what we visualized. The girls and boys receive classes in theatre, song, capoeira, dance and flamenco dance. We meet monthly with the parents to assess the children's progress. These children aren't always from the same families as the girls in the banda feminina, but they come from the same places, often very distant places. Some wash car windows at intersections, or sell ice cream, just to have the money for bus fare to and from our facility. We're able to provide some transportation vouchers, but not enough for every day.

Brazzil—You talk about parental involvement, but this must be very difficult. Neguinho has indicated that the program sometimes has to work almost as hard to reform the parents as the children, because so many of these children come from difficult situations.

Vivian—Yes. Our idea is to make a tripod of the child, the family and the (public) school. The place we've had the least success with is the school. For now we're asking the mothers to come to Didá so we can work with them to discover what help their children need in school. The children bring their homework exercises to Didá for review and receive assistance with their efforts. It's really frustrating because in the end it doesn't matter if the parents are doing their job and we're doing our job but the school isn't doing anything.

Brazzil—Can you elaborate on the overall efforts of Didá?

Vivian— Well, Didá is a music school. Our courses are open to anyone; men, women & children without distinction. But we're best known for the banda feminina, which was the foundation for everything that has followed. It's our most important program because so much attention is focused on this group; it's how we're known to the world. And we really believe that women generate the world, so working with the banda we're assuring a good foundation that will ease our future burden to be working with these children.

Besides the music school, the banda and Sodomo, we have a Carnaval bloco, Mulher Gera o Mundo (which, like their CD of the same name, means women generate the world). Our annual Carnaval theme always honors great women in history and focuses on themes related to women's issues. Each year, 2000 women participate in our Carnaval group, which I believe is the only female bloco in Brazil. There are other projects that we've not been able to initiate but have begun to plan for and promote. These include the pediatrics and gynecologist clinics, and a clinic for a general practitioner.

The space we need is in an adjoining building that Neguinho has lent to the government. If we can renegotiate to recover this building we'll be able to progress more quickly. We already have partitions and professionals who are willing to volunteer time and services.

Another project we envision is a music research center. It was Neguinho who gave birth to samba reggae, and samba reggae has already inspired many other rhythms because Neguinho never stops creating. He's always developing something new. Our research center would study the evolution of the rhythms he creates. It would also be a place where talented new musicians with limited financial support could record their work, so that other new ideas and movements may be generated.

Brazzil—What about changing technologies? All the music of Bahia seems to have its roots in the rhythms of African drums, but Didá is more than music. Can your projects have the impact you anticipate without looking forward too?

Vivian—We're trying to establish an Information Management Center. We know that computers would allow the children and the girls to develop another marketable skill, which can improve their lives. Our desire is to offer a well-rounded foundation in the arts so they can learn how to dance, how to paint, how to sing, etc.; but also to learn some marketable skills. Our approach is always evolving. And technology is important for the banda too because we want to score our music on computers. It would make our jobs much easier.

Brazzil—But the medical facilities, the research institute and the information management center are all projects, which are not yet being developed. Is this because these projects are of lesser priority?

Vivian—The primary reason is that we haven't been able to generate enough financial support for them. Right now the school is struggling because we have such limited funds to pay our teachers and maintain the building. Those things we do have we have because we project a "wooden face". We can't afford to worry about being too ashamed to ask for help. A wooden face never gets red, even when thinking of things that could make one feel too ashamed to ask for money, or help, to obtain.

We're not going to give up, and we're not going to have only the Didá banda. We're planning to have other bandas because Didá is to us "like a child that will live by itself", not always connected to the project. We plan to have other children like Didá. The girls of Didá have a full agenda and they hope that it will become more full as time passes, creating a need for other bandas here in Bahia, which will provide opportunities for other youth.

Brazzil—Your first CD is impressive. Will there be a second?

Vivian—We were working with BMG records, but the contract has expired. We're trying to record a second CD independently because we've learned that having to be dependent on a record company is very difficult for a new group. We would, for instance, much rather record fewer songs of higher quality. We don't want to record hundreds of songs that nobody will respect or care about. We want to have more artistic control.

Brazzil—How much of the CD was the work of Neguinho?

Vivian—Almost all of the music and lyrics were written by Neguinho, and Neguinho was co-producer. But the original agreement with the recording company was for Neguinho to be the sole producer. We've discovered through this experience that we have only limited knowledge and power to control our destiny with the major recording companies. The other producer for the CD was Alfredo Moura, another musician who works with Neguinho from time to time.

Brazzil—Why wasn't the CD better publicized?

Vivian—The publicity we expected never materialized. We discovered that the quality of our music is no assurance that our songs will play on the radio. On the week that the CD was launched our songs did play a few times, but there was little support from the record company. Salvador is a melting pot of music and the competition is great. You have to pay to have your songs played on the radio, and it's very expensive.

You have to be able to provide a car or a television for the radio station to offer in a promotional lottery. It's an inclusive business and if you don't pay then your songs won't play, even if they're the best. Caetano Veloso is the best composer, songwriter, performer and poet in the Brazilian music industry today. He (and Gilberto Gil) created the Tropicália movement. But when he was starting out he didn't have the money and they didn't play his music.

Brazzil—Is there a connection between Caetano and Didá?

Vivian—Caetano is a godfather to Didá. He discovered our work in 1996. Prior to that time he was not familiar with us but because he knew and respected Neguinho's work he was willing to listen to our music. Caetano immediately fell in love with Didá and invited us to work with him on the soundtrack of the movie Tieta, based on the romance novel Tieta do Agreste by Jorge Amado. The leading actress was Sonia Braga. It was the most fantastic experience of our lives. Caetano sang with us at Carnaval time for two years following release of the CD and never asked for compensation. His wife Paula is also a fantastic person. She has the business sense to accomplish things.

Brazzil —As cultural coordinator which aspects do you deal with? African? Brazilian?

Vivian—We focus especially on the African woman; the history of women, history in general and significant women in history. I myself don't teach, I learn. We're trying to discover, for example, the contributions of women in Bahian history, and we also study folklore. We try to preserve and enhance the value of our cultural manifestations. We emphasize important cultural dates and musical personalities. We want the children to know about these things because so many of them arrive here thinking they're blond or Indian. Fathers and mothers often emphasize the fact that they may have non-African blood, and many work to hide their African heritage. We want to make them aware of their real roots and to be proud of their African heritage.

Brazzil—What are projeto Didá's greatest needs at this time?

Vivian—We need study materials for children, and "school tables" with attached chairs. We need uniforms for capoeira classes and dance classes, and videotapes. We have one small video camera. The dance room needs a mirror. We need clothes for Flamenco dance, castanets and a dancing bar (for the wall). We need CD and tape players, skirts and computers. The only computer we had has broken. We need many of the basic things like paper and notebooks.

Brazzil—Are you able to feed the children?

Vivian—The city government provides some food so the children may eat here before or after attending public school. At nights we're able to provide a soup for dinner. This was a great worry for us at one time but it isn't now, at least not for the moment.

Brazzil—Are you able to recruit teachers?

Vivian—Teachers are a great need, and are very difficult for us to find because they receive so little money to work here. Currently we pay them from a small stipend, which we require from the few students who have any resources. These students aren't part of the project, but our classes are open to anyone who wishes to attend for music or dance. But even many of these students can't afford to pay. We won't deny anyone who wants to study here but has no money. The stipend for instructors is supplemented with the proceeds of instruments Neguinho sells, from a course he gives, and from royalties to music he's written. So we stumble along like cripples. Finding the money to pay teachers is the one worry that most keeps us awake at night because the teachers work most directly with our children. And they need to be paid.

Brazzil—What about volunteer help?

Vivian—Many people have come to help us, but most don't stay very long. It's difficult for other people to feel as committed as we are, or to give as much as we demand of ourselves. Our concern is for the girls and children, we want everything to be made in a clear way. By and large it's the core staff of three who manage the project. Many pass through the project with us and we thank them very much. But they don't stay.

Brazzil—Will the portion of the project, which has been implemented, continue to grow?

Vivian—We hope so. Sodomo has not been fully implemented. We need transportation to go to the schools of the children and bring them here. We need transportation to get them home late at night. Neguinho wanted to get a bus from the United States where they're less expensive, but import taxes made the purchase impossible. He tried for a long time to figure out how to ship a bus, but we still need one. We often work with students until 8 PM, but some of the students don't arrive home until 9:30. It's very late and we're very concerned for these children. Did they arrive safely? What happened to them when they arrived home?

We want to be able to bring them here and deliver them back to their families. We also want to be able to bring the mothers of the children here. We'd like to make a dance class and a banda with them to take them out of their difficult lives and introduce them to more of the world. We believe it's important to enter into the lives of the girls of the banda and the children.

We want to expand our existing programs to attract more children. We have only 40 children at this time. Ok; they make the noise of 80 children (laughs). But they're fewer than what we've planned for. We want to touch more lives. We want to continue to focus on addressing the needs of the marginalized and preparing them for a better future.

Phillip Wagner is a resident of Indiana in the United States who first traveled to Brazil to instruct process management for EDS, with whom he has been employed for 23 years. Phillip is also, a free-lance photo-journalist whose credits include coverage of the Israeli-PLO accords, the film industry, travel to Mexico and Brazil, and the Brazilian music industry. A previous credit includes "Meet the Girls from Rio", following interviews with Marisa Monte and Zélia Duncan, in Indiana's most widely circulated entertainment publication Novo Newsweekly. Danielle Valim resides in the Pituba district of Salvador and, like Phillip, harbors a special interest in the works of programs in Brazil which help people to help themselves. Phillip and Danielle are engaged to be married. Phillip's e-mail and web-site addresses are:
pwagner@iei.net
http://www.iei.net/~pwagner/gooddeeds/index.html
http://www.iei.net/~pwagner/brazilhome.htm  

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