Direct Music Magazine: Profile Interview

Profile Interview for the August 2021 edition of the Chilean digital music magazine: Direct Music Magazine.

1.- Which is essentially your current activity in USA?

I’m a curator and producer based in New York City. As the Associate Director of Programming at City Parks Foundation, I am responsible for booking and curating music programs focusing on global and jazz performances for SummerStage and Charlie Parker Jazz Festival. I also organize and produce pre-show and ancillary activities, such as panels, film screenings and talks, that complement the festival’s lineup. 

SummerStage is NYC’s largest free outdoor performing arts festival. We annually present approximately 100 performances in Central Park and other 15 parks throughout the city during the summer months. With performances ranging from American pop, Latin, global music, dance, and more, SummerStage has been bringing renowned artists and rising stars from around the world to NYC for the past 35 years. 

Before City Parks Foundation, I worked at the Red Hot Organization and at Lincoln Center. I am proud to have brought historical performances to NYC over the last decade, such as Elza Soares, Mariza, Mayra Andrade, Alceu Valença, Nação Zumbi, as well as have supported many international artists in performing or making their debut across the US.

2.-Your roots are in South America but you work in United States.

How did this happen?

That is correct. However,  there was an important “inflection point” along the way: Africa. 

I was born and raised in Rio de Janeiro, Brazil. After graduating from Production Engineering in Rio, I was sent to Luanda, Angola, for a business project by my former employer, Accenture.

I spent six months in Luanda and had the opportunity to experience first hand some of the most amazing music I have ever heard. I immediately recognized the familiar rhythms and harmonic textures exported to Brazil centuries before with the Atlantic slave trade. Those six months and the experience I was exposed to helped me solidify the new path I wanted to follow in my career.

From there, I was accepted in a Master’s degree in Performing Arts Administration at NYU in 2010. On week two of the program I met the legendary Brazilian-American music producer Béco Dranoff, who opened important doors for me in NYC. After working as his production coordinator at the Red Hot Organization, I worked at Lincoln Center on two of their mainstay festivals before I finally landed at City Parks Foundation in 2012, where I have been since then.

2.- Generally speaking, there is an evident cultural gap in between South and North of this planet.

In some way, both cultures are present in you.

Do you think that this has been some kind of obstacle in your professional life or it has been a benefit in your professional vision?

Definitely both. I would say one of the biggest challenges is the cultural difference in work style and how business gets done. Fortunately, I had enough training and practice with Accenture and NYU so there wasn’t that much of a learning curve once I started working in the US. New York is a special place and very welcoming when it comes to international professionals. However, I must add that the music industry still has its challenges and a lot to improve when it comes to diversity and representation. 

I do see a benefit in being one of the few foreign born curators of a quintessential New York festival. I feel that I add a distinctive global lens to SummerStage's programming and narrative, while the festival continues to have a leading role in sharing voices of diverse cultures and communities from around the world.

3.- You do belong to a big organization with many other people and decision makers. Are you able to express your own personality and choices or there are “patterns” to follow and other opinions to deal with?

SummerStage is produced by City Parks Foundation, a private nonprofit organization dedicated to invigorating and transforming parks into dynamic, vibrant centers of urban life through sports, arts, community building and education programs for all New Yorkers.

There are a lot of stakeholders and decision makers in a festival as large as SummerStage, from team members, to partners, sponsors, funders, board of directors and so on. In a city as democratic as New York and a festival as accessible and true to the city’s identity as SummerStage, I feel privileged to have the opportunity to have my voice heard and opinions valued.

An interesting aspect about SummerStage is that it is a women-run festival, which has definitely been making my professional journey uplifting and reassuring. 

4.- What happened in your life and your job during this pandemic? Do you feel that this period has been only a hard moment to pass through or it was in some way a special moment that had some positive aspects?

On the personal side, I had my first daughter last year. It’s been a true silver lining to be able to spend so much time with her (while working from home).

In regards to work, SummerStage did a tremendous job in pivoting to the virtual world by launching our digital series SummerStage Anywhere, which presented more than 80 original digital performances in a year, all available for free worldwide. 

There was certainly a huge learning curve, but I am proud of what we were able to present and create. Sadly, my main area of programming, global music, was and continues to be deeply impacted by the pandemic, as artists’ mobility dropped significantly.

5.- Do you have a permanent relationship with Brazil or your life entirely in USA?

Tell us one thing that of that country you love and one that you do not like.

My family and many close friends live in Brazil, so yes, I have a permanent relationship. On the professional side, I am a member of the SIM São Paulo’s Consulting Committee, the largest music conference in Latin America. Being part of the committee has allowed me to stay up to date with the latest trends in Brazilian music as well as catch up with colleagues on best practices about the industry. In addition, I am constantly taking part, speaking on or serving as a juror at several Brazilian music meetings and conferences.

What I love the most about Brazil: its music and its people. One thing I do not like: the current administration and where the country is politically.

6.- Which kind of events and concerts you program in NYC? Jazz? Pop? World Music?

Do you remember one of the most special concerts that you programed along your carrier?

My programming focus is global music and jazz. It’s very hard to pick one special program, but having Elza Soares perform her “Mulher do Fim do Mundo” concert in Central Park with Liniker & the Caramelows opening was beyond epic.  

In terms of digital program, as someone passionate and an avid explorer of music from the lusophone countries, I was proud to put together a program in celebration of World Portuguese Language Day, “Saudades”, featuring original work from Paulo Flores, Ondjaki, Batida, and highlights from past performances I booked at SummerStage such as Dino D’Santiago, Selma Uamusse, Mariza, among others. 

Other than that, I would highlight an upcoming performance of the legendary Dom Salvador in Central Park on September 4th. The event will feature the US premiere of a documentary honoring the “godfather of Brazilian soul”, followed by a live performance of Dom Salvador and his sextet. The performance will be live-streamed on summerstageanywhere.org.

7.- Generally speaking, how do you see your activity and musical business in USA in 2022 and ahead?

Generally speaking, it is hard to predict with all the uncertainties we continue to face. I feel fortunate to have had the chance to continue employed and active while many of my colleagues have not. I know that people are craving to go back to live shows and to enjoy music outdoors. I’m optimistic and have hopes that in 2022, SummerStage will resemble more our “typical season” in terms of the number of shows and parks where we are at.