United in favor of celebrating and having fun with the pagoda hits of the 90s, the quartet from Minas Gerais Samba de Colher wants to show a new look at the genre, still very much associated with the masculine. With a unique and feminist interpretation, they are preparing to release an EP with the singles “Pagar pra Ver” and “Acabou”. The material was recorded at Beco JF, the same concert hall that was the stage for recording the video production of the EP, which will be released later.
The quartet is completed by cavaquinist Alessandra Crispin and percussionists Isabella Queiroz and Mariana Assis, all responsible for the vocals. The visual EP, with the same name as the first single, will seek to present female voices on a reception and party platform.
Created in 2018, the quartet quickly began to stand out in the music scene of their hometown, Juiz de Fora, in the Zona da Mata region of Minas Gerais. The following year, they presented the musical show Donas da Roda to tell and contextualize the story of women who are a reference for samba and pagode. These references, mixed with different arrangements that united the musicality of each member, now result in the project’s authorial debut EP.
The EP “Samba de Colher” is the result of a project approved by the MURILO MENDES CULTURAL PROGRAM (PCMM) – from the Municipality of Juiz de Fora, managed by the Alfredo Ferreira Lage Cultural Foundation – Funalfa. Check out the interview!
Inspired by the pagode of the 90s, in this first release by the group, you chose to present a more feminist tone in the music. How did the idea of making this new bet on the genre come about?
We realized that the pagoda was part of our lives, each one in its own way! We were already passionate pagodeiras! Then came the question about not being accessible to us women the professional insertion in the gender, commercially dominated by men. So we set up our band and our corporate structure, all coordinated by ourselves. Our main bet today is on our own way of talking about the world with our songs. Our lyrics no longer bring the woman as a passive being in the male narrative, but the woman as the protagonist of her own story.
Currently, the world is increasingly looking for diversity, and in the case of gender, equality, both representative and rights. How has the reception been for this project of yours and how was the process of working on it?
We realize that those who seek greater involvement with diversity also want to consume products that are truly representative. They want to see on their own screen people who look more like themselves, not like the standards imposed by the system. With that, we managed to reach many women, black and LGBTQIAN+ people, and of course, the general public, who end up being delighted with our change of stage and with our songs. Our intention is, from our music and who we are, to unite and bring equality and respect to people who still suffer from any kind of prejudice in society.
As previously mentioned, until then, the pagoda was still strongly associated with the masculine. In your opinion, would we still have a lot to change for this art to represent all genders, both female and LGBTQIAN+?
Everything is a process and how that process unfolds. From a marketing point of view, we believe that today, those who are outside the standard (the prevailing standard, which is the male), have to make a lot of effort to appear in the market. It’s not just a question of having talent and being good or bad, but about investments and business management.
We had the opportunity to sign up for an announcement to encourage municipal culture*, which allowed us to record this material and share it with you all today. But it wouldn’t be easy for us, as independent artists and entrepreneurs, to get such funding to generate a product as great as our EP. From a social point of view, we realized that this audience (mainly LGBTQIAN+) already has a natural connection with the pagoda (they sing all the songs, get emotional…), however, these people lacked concerts in places that allowed them to be themselves. themselves, kissing their crush and everything else… Without the judgment in their eyes that an environment that is more biased towards a sexist protagonism brings them.
For the future, we have the hope that the more women and LGBTQIAN+ appear and strengthen this story, the easier it will be to walk this path and obtain that long-awaited return from artists, at least having more dignified working conditions. And also, we hope that the market in general sees and gives more opportunities to the artistic work of this incredible and powerful group that exists in the music scene.
*MURILO MENDES CULTURAL PROGRAM (PCMM) – run by the Juiz de Fora City Hall, managed by the Alfredo Ferreira Lage Cultural Foundation – Funalfa.
Regarding the song “Pagar pra ver”, which is precisely the one that has been worked on, an observation that was made by you is that the female audience and the LGBTQIAN+ ended up making your shows a place for flirting. In this case, what is your opinion like when you realize that since they are criminalized so much by society, these audiences really needed to find a specific place as a refuge to be able to feel good?
We are sad that we still live in a society that criminalizes other forms of love, but on the other hand, we are flattered to be able to contribute and be a “breather” for these people who accompany and support our work. There is nothing more rewarding than looking at our audience and seeing “all kinds of people” and the best: feeling at home and being able to be who you are.
Regarding the launch, you are also already planning the release of the visual EP and which, like the audio EP, will have the objective of presenting female voices on a welcoming and party platform. Regarding the emphasis given to feminism in the fight for equality, I would like to know in your opinion, why does machismo still exist in the world and if one day, we will still be able to eradicate it?
Machismo and patriarchy still impose social rules. Obviously, those closest to this privileged stereotype receive the greatest opportunities and are able to access everything more easily. We are part of the movement to combat inequalities. It is very rewarding when we feel that women, the LGBTQIAN+ community, men (who are allied with minority struggles), feel that we are representing their struggles. Culture and education together do have the ability to transform our future. Eradicating sexism involves raising human awareness of its privileges, involves more effective public policy intervention and requires an educational approach to the equality guidelines that we want for society.
In 2019, you performed “Donas da Roda”, a musical show that told and contextualized the story of women who were references for samba. What was the meaning of the project in your career?
This project (Donas da Roda) made us reconnect with the feminine essence of samba and pagode, which has always been present since the wheels in Aunt Ciata’s backyard. This theme and idea have always been in our midst, but still without a form… Until then (2019), we had already been in the band for more or less a year, and our repertoire was based on this 90s pagode cut, on what worked best in this environment entertainment (Exaltasamba, Molejo, Travessos, SPC…).
We wanted to go a little outside the norm and go to the theater to present another type of show and along with that, this theme: let’s tell the story and sing their songs – Dona Ivone Lara, Jovelina Pérola Negra, Clementina de Jesus, Martinália, Leci Brandão , Alcione, Clara Nunes, Beth Carvalho, among others. For us, it was a great learning experience to be in contact with the life and work of these strong women, who did so much for samba/pagode. We are the continuation of this story and we are very honored to be able to sing, compose and play an instrument today thanks to the resistance and strength of our ancestors.
Speaking a little about the musical context of the group, including this greater openness to new audiences in relation to musical genres: how would you define what Samba de Colher is today?
Samba de Colher is a unique construction that has the essence of pagode, collectivity, art, culture and female empowerment. From the beginning, we always put our identity in the song arrangements, even in the reinterpretations of songs already established in the market. From the launch of our first authorial EP – “Pagar pra Ver”, we will finally be able to present to the world in the form of music, who we are and what message we want to convey. Samba de Colher is the mixture of these four members with completely different backgrounds and backgrounds, which came together and spread with something in common: THE PAGODE.
Follow Samba de Colher on Instagram (Mariana Assis, Isabella Queiroz, Alessandra Crispin e Tami)