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segunda-feira, 27 de março de 2017

Museum in Africa has not yet opened and is already one of the most talked about in 2017. --- Museu em África ainda não abriu e já é um dos mais falados de 2017.

A Waterfront Partners With Jochen Zeitz To Create Africa’s First Major Museum Of Contemporary Art 

V&A Waterfront and Jochen Zeitz have announced a unique partnership to create a major new cultural institution that will focus on collecting, preserving, researching, and exhibiting cutting edge contemporary art from Africa and its Diaspora. The museum will be named Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) in honour of the renowned Zeitz Collection, which will form the museum’s founding collection.


Zeitz MOCAA, a new not-for-profit institution, will be housed in the historic Grain Silo at the V&A Waterfront, with the V&A committing over R500-million to the development required for the establishment of the Museum. Built in 1921, and at 57m tall, the Grain Silo remains an icon of the Cape Town skyline. This investment will further the development of art in Africa and acknowledges the important cultural and financial contribution the visual arts sector makes.

Considered by many to be the leading collection of contemporary art from Africa and its Diaspora, Jochen Zeitz will commit his collection, underwrite the running costs of the Museum and provide a substantial acquisition budget to allow the Museum to acquire new important artworks over time to remain on the edge of contemporary cultural production.

As the most visited site in Africa, with over 24 million visitors annually, the V&A Waterfront is the perfect venue to share the cultural artifacts and ideas of Africa with the world.

V&A Waterfront CEO David Green said: “Given the history and socio-economic role the V&A Waterfront plays in South Africa and the sheer number of visits we achieve annually, we felt this gift to the nation, where commerce meets culture, was entirely appropriate and will correctly continue to position the Waterfront as a social nexus for all Capetonians, South Africans and international visitors who take joy in celebrating culture.”

Zeitz MOCAA will comprise over 9,500 square meters (102,000 square feet) placing it among leading contemporary art museums worldwide. Zeitz MOCAA will be spread over nine floors, of which 6,000 square meters (65,000 square feet) will be dedicated to exhibition space. Through an entire floor dedicated to education, the museum will develop a new art-loving, museum-going audience.

Zeitz MOCAA is set to welcome its first visitors in September 2017. Until the extensive renovations to the Silo complex are complete, selections from the Zeitz Collection will be presented at Zeitz MOCAA Pavilion, a museum-quality temporary exhibition space also at the V&A Waterfront. The inaugural exhibition which opens at Zeitz MOCAA Pavilion will present the work of Swazi artist Nandipha Mntambo.

The recently released independent Economic Impact study done on the V&A Waterfront clearly shows the impact the V&A Waterfront has had on the City, the Province and the country. Zeitz MOCAA will now bring another dimension—a cultural facility of global significance that provides both an intellectual and cultural focus point.

David Green continued: “This is a unique public/private partnership in South Africa that will additionally breathe life into the Silo district and act as a drawcard to a venture that is non-commercial in nature and is designed specifically for the enjoyment of all the continent’s citizens.”

Jochen Zeitz said: “Over the last two decades, Africa has played an important role in both my professional and private life. My collection has been strategically built over many years specifically with the goal to create an internationally relevant public contemporary art museum in Africa. After considering many cities across Africa, I am excited to partner with the V&A Waterfront in Cape Town. It is an iconic location in an iconic city, and will be situated in a historic landmark building. This will make my collection accessible to a local, national, continental and international audience.”

The new Executive Director and Chief Curator of Zeitz MOCAA will be Mark Coetzee, who has earned an international reputation and track record for directing cultural institutions that define best practice. Examples of these are the “Miami Model” with the Rubell Collection and a new ground-breaking corporate responsibility model through PUMAVision.

Coetzee has relocated to South Africa after a 25 year international career to lead Zeitz MOCAA. Mark Coetzee said: “Zeitz MOCAA will constitute a re-imagining of a museum within an African context: celebrate Africa preserving its own cultural legacy, writing its own history and defining itself on its own terms. The vision of the V&A Waterfront and Jochen Zeitz will have major impact for the visual art world and for Cape Town.”

The height of the Grain Silo and its strong silhouette gives it a character that has set it apart as an unusual structure within the V&A Waterfront. The reuse of the structure to house Zeitz MOCAA combines ingenuity, resourcefulness and beauty in a way that will be unique for Africa and give greater respect to the work displayed.

Zeitz MOCAA forms part of a master plan for the Silo district that includes mixed-use developments of residential, commercial, leisure and hotel property with the transformed Grain Silo as the central focus of a public plaza.







Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.

Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.






--br
Museu em África ainda não abriu e já é um dos mais falados de 2017.

Zeitz Museum of Contemporary Art Africa

Zeitz Museum, Zeitz e, sobretudo, MoCAA. É desta forma que este museu localizado na Cidade do Cabo, na África do Sul, passará a ser designado no mundo da arte.

Os responsáveis não têm receio de que seja confundido com o MoMa, em Nova Iorque, bem pelo contrário. Fazem mesmo questão de colocar-se no mesmo patamar do museu norte-americano, apesar de a geografia africana estar quase sempre afastada do mundo da arte, pelo menos a este nível.

A abertura do Zeitz MOCAA está prevista para 22 de setembro. Também terá um hotel de charme: The Silo Hotel.

Não se tratará «apenas» da maior galeria de arte africana contemporânea, mas também de uma das mais completas coleções da atualidade. E um dos mais significativos trabalhos arquitetónicas dos últimos tempos. A coleção (com obras posteriores a 2000) pertence a Jochen Zeitz, antigo CEO da marca desportiva Puma, já o projeto cabe ao arquiteto Thomas Heatherwick, que recuperou o Silo Builing, um dos edifícios mais icónicos do continente.

endereço:
V&A Waterfront, Silo District, S Arm Road, Waterfront, Cape Town, 8001, África do Sul


Culture - Candomblé in Brazil. - A city built by slaves is an example of harmony between religions. video 12:00 min. --- Cultura - Candomblé no Brasil. - Cidade construída por escravos é exemplo de harmonia entre religiões.

Cachoeira / Bahia / Brazil, was one of the most prosperous cities in the interior of the Northeast.

And from the suffering in the slave quarters came a religious confraternity.


A hundred-year-old iron bridge connects two of the oldest cities in Brazil: São Felix on one side, Cachoeira on the other. In the place, the sea mixes with the sweet water of the Paraguaçu. It is as if the river were an arm of the Bay of All Saints.


Through that maritime corridor passed much of the agricultural production of the interior. The port of Cachoeira was the connection that shortened the way between the sertão and the capital of Bahia.


"Everything that was produced in the backlands of Bahia, herbs, leather, flour, tobacco, and other products, including the gold produced in Minas Gerais, were brought by means of tropeiros to Cachoeira and from here they went on boats to the port of Salvador. Here was a zone of cultural effervescence. The very architectural configuration of the city says that it was a rich city, "explains the historian Luiz Claudio Dias.

So rich that it was overtaken by the Historical Patrimony. It won the title of National Monument, but not for that the city preserves a life of abundance.

Until the mid-20th century, Cachoeira was one of the most prosperous cities in the interior of the Northeast. It attracted traders from all over Brazil and barons from the agribusiness of that era. The streets, of townhouses and mansions, were built with the money of sugar production and the labor of enslaved Negroes.

That region of the Recôncavo Baiano was one of the pioneers in Brazil in the purchase of African blacks for forced labor.

The Vitoria mill was one of the largest in Bahia. The mill stood out in sugar production until 1950. Today it is a ruined house on the banks of the Paraguaçu.

According to Professor Fábio Batista, a researcher at the federal university, there were more than 40,000 slaves in the mills in the region.

"The Recôncavo Baiano, undoubtedly, is the cradle of this form of exploitation of slave labor," he explains.

And because the relations with the bosses were tense, the labor regime was of few rights and much punishment. In the most violent, the slave was tied in a trunk known as pillory.

And from the suffering in the senzalas came a religious brotherhood: the Brotherhood of the Good Death, a devotion of almost 200 years. In the Catholic Church, women pray to Our Lady, and in the terreiros they pay homage to the orixás, the gods of Candomblé.

At the time of slavery, blacks were forbidden to worship their African deities. Therefore, they have sought similarities with the orixds in the Catholic saints. And so, the syncretism began to manifest itself in the terreiros of Bahia.

And it is in the Catholic Church that the Brotherhood of the Good Death makes one of the most traditional celebrations of Candomblé. The procession runs through the streets of Cachoeira with the image of Our Lady. This is how every year the women of the Good Death thank the liberation of the slaves. In front of the cortege, the priest and the mothers of saints arm in arm, giving an example of respect for differences.

In the land of all saints, this is the spirit of Catholics and followers of Candomblé. Whether in the temples or the waters of the bay.



fonte: @edisonmariotti #edisonmariotti

Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.

Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.





--br
Cultura - Candomblé no Brasil. - Cidade construída por escravos é exemplo de harmonia entre religiões.

Cachoeira/BA era uma das cidades mais prósperas do interior do Nordeste.
E do sofrimento nas senzalas surgiu uma confraria religiosa.

Uma centenária ponte de ferro liga duas das mais antigas cidades do Brasil: São Félix de um lado, Cachoeira do outro. No local, o mar se mistura com as águas doces do Paraguaçu. É como se o rio fosse um braço da Baía de Todos-os-Santos.

Por aquele corredor marítimo passava grande parte da produção agrícola do interior. O porto de Cachoeira era a conexão que encurtava o caminho entre o sertão e a capital baiana.

“Tudo aquilo que era produzido no sertão baiano, ervas, couro, farinha, tabaco e outros produtos, inclusive o ouro produzido nas Minas Gerais, eram trazidos por meio de tropeiros para Cachoeira e daqui seguiam em embarcações para o porto de Salvador. Aqui era uma zona de efervescência cultural. A própria configuração arquitetônica da cidade diz que era uma cidade rica”, explica o historiador Luiz Claudio Dias.

Tão rica que foi tombada pelo Patrimônio Histórico. Ganhou o título de Monumento Nacional, mas nem por isso a cidade conserva uma vida de fartura. 
Até metade do século 20, Cachoeira era uma das cidades mais prósperas do interior do Nordeste. Atraía comerciantes de todo o Brasil e barões da agroindústria daquela época. As ruas, de sobrados e casarões, foram construídas com o dinheiro da produção de açúcar e a mão de obra de negros escravizados.

Aquela região do Recôncavo Baiano foi uma das pioneiras no Brasil na compra de negros africanos para trabalhos forçados.

O engenho Vitória era um dos maiores da Bahia. O engenho se destacava na produção de açúcar até 1950. Hoje é um casarão em ruínas nas margens do Paraguaçu.

Segundo o professor Fábio Batista, pesquisador da universidade federal, eram mais de 40 mil escravos nos engenhos da região.
“O Recôncavo Baiano, sem dúvida, é o berço dessa forma de exploração do trabalho escravo", explica.

E como eram tensas as relações com os patrões, o regime de trabalho era de poucos direitos e muito castigo. No mais violento, o escravo era amarrado num tronco conhecido como pelourinho.

E do sofrimento nas senzalas surgiu uma confraria religiosa: a Irmandade da Boa Morte, uma devoção de quase 200 anos. Na Igreja Católica, mulheres rezam para Nossa Senhora, e nos terreiros homenageiam os orixás, os deuses do Candomblé.

No tempo da escravidão, os negros eram proibidos de cultuar suas divindades africanas. Por isso, eles foram buscar nos santos católicos semelhanças com os orixás. E, assim, o sincretismo começou a se manifestar nos terreiros da Bahia.

E é na Igreja Católica que a Irmandade da Boa Morte faz uma das festas mais tradicionais do Candomblé. A procissão percorre as ruas de Cachoeira com a imagem de Nossa Senhora. É assim que todo ano as mulheres da Boa Morte agradecem a libertação dos escravos. Na frente do cortejo, o padre e as mães de santo de braços dados, dando exemplo de respeito às diferenças.

Na terra de todos os santos, este é o espírito de católicos e seguidores do Candomblé. Seja nos templos ou nas águas da baía.

video 12 min.