Buhr: ‘Brazil’s ignorance about Brazil’ – 07/30/2022 – Mônica Bergamo

Singer, songwriter, actress, novelist, illustrator and percussionist, Karina Buhr lives her own multiverse in the midst of all her versions. The first of them appeared in her childhood, in Salvador in 1980, when she saw her mother and grandfather playing the piano, her grandmother singing in church and groups like Banda Reflexu’s and Bandamel occupying radio stations.

In the following decade, the musical verve unfolded in passages through blocks of afoxé, the maracatus Piaba de Ouro and Estrela Brilhante and in groups such as Comadre Fulozinha and Mundo Livre S/A, in the capital of Pernambuco, where he started to live. It was in one of her performances that, by chance, Karina received an invitation to do theater. Your emissary? Playwright Zé Celso, from Teatro Oficina.

Accompanied by a friend, she left Recife for São Paulo and embarked on “Bacchae”, a play inspired by the Greek tragedy of Euripides, without knowing what she would do. “We arrived at the Airport Workshop, both with our suitcases, in the middle of the play’s long rehearsal”, she recalls.

“We didn’t even take off our sneakers because we were so tense. There are photos [desse dia], and it’s hilarious: the bacchae are all naked, wonderful, and Isa and I in sneakers, fully dressed”, he says, laughing. “We learned there by doing. All.”

Since the early 2000s, Karina Buhr has released four albums, toured the world, won and competed for awards —one of them, alongside Gal Costa and Marisa Monte—, published a book of poetry, acted in the feature “Meu Nome É Bagdá” and, this month, he released his first novel, “Mainá” (published by However).

The work takes the name of the protagonist of the plot, a child seer who is crossed by stories of oral tradition, strings and kingdoms. Myna was first conceived when Karina Buhr was just 15 years old, then as a character for a play.

“It’s a timeless fiction story, it doesn’t necessarily take place now, before or after, it can be at any time. But it turns out that in any fiction we use elements of reality. It uses people’s lives, uses the lives of neighbors. life changes.”

“Is it over there [a história] it had the same characters that it still has today, but it had little text and lots of scenarios. The idea for the book came from Andréa Del Fuego”, he says, citing the writer with whom he took classes during the Covid-19 pandemic. “I had never done a creative writing workshop, I was terrified of that name. I’ve always been more of a crazy writer.”

“There’s a thing of constancy, of you writing more, of thinking, of putting the post-its on the wall. There was a change of key in writing, of sharpening more. [seu primeiro livro, de poesias] was more spat.”

The writing classes and the book idea emerged as a kind of relief in the midst of the health crisis. “I spent two years really confined, it was very difficult. With very little work and very little motivation to create something, I was totally unwilling, just sad. Living through a lot of grief, like all of us. But this writing of ‘Mainá’ caught me. I managed to exist.”

Also coming from the lack of incentives for the cultural sector, Karina publicly expressed her discontent in January of this year. “I wanted to receive invitations to play, even if it was for me to deny it due to the pandemic. I haven’t received an invitation since 2020”, she wrote on her Twitter profile. “Have I failed, finished everything? [sic]”, he said. The publication accumulated about 4,500 likes.

“It’s not crying, there are a lot of people in this situation, it’s outburst, really sadness, for me and everyone who is out of work. Everyone has to, above all, pretend that everything is fine, because contractors and brands don’t like people sad,” he wrote.

“It was a dissatisfaction, actually, beyond the ‘ah, I’m not receiving invitations'”, he explains to the column. “It’s a sadness that you see, again, another master of standard-bearer of a wonderful block needing to crowdfund to pay for medical treatment.”

“This I saw the entire pandemic and it’s still happening now. Every week you have to crowdfund a person who knows everything about a certain thing and doesn’t have the money to take care of themselves when they’re old. It’s a feeling of sadness, of abandonment” , says.

After the outburst, with the advancement of vaccination and the resumption of festivals and concert halls, Karina was finally able to return to the stage. “Each show is amazing to do, it always has been. But now there’s this feeling of, ‘Jeez, we still work on this, we can still do this,'” she says. “It’s been so long without doing it that the body gets used to it too. It’s a thing for the body to settle down. It’s been wonderful.”

At 48 years old, Karina Buhr says she doesn’t know if she lives in Recife, where her family lives, or in the capital of São Paulo. “I think there are more clothes of mine here than there again,” she says, who has been talking to the column via video from the state of Pernambuco.

The artist recalls the period in which she was “discovered” by the Southeast, in 2010, with the release of her first album, “Eu Menti Pra Você”. “It was seen as my beginning, because there is this colonizing thing that São Paulo still has to ‘discover’. It was as if I had started there, I gave interviews as the initiator of the ‘new scene’. Guys, I was a new scene in 1994”, says, between laughs.

“‘He arrived in the big city, he made a rock and roll’. But I wasn’t there in the countryside, calm, and I came to the chaos of São Paulo. I came from one chaos to another chaos. There was a lot of this thing of ‘ah, you released this record pretty crazy now, before you were doing something very calm.’ No, I’ve always been nervous,” she continues, laughing.

“There is still a great deal of ignorance in Brazil about Brazil itself. If I’m going to talk about things here in Pernambuco, it’s difficult to speak naturally. I’ll have to explain first because most people won’t know. There’s even a stereotype about Maracatu.”

For now, she says she plans a new album — but says that she still doesn’t have a recording date because she wants to enjoy her moment as a writer with the release of “Mainá”. And she counts on her horizon the desire to dedicate herself more to cinema as an actress.

“It made me want to do more, to explore more and understand this language”, she says of her experience as Micheline in “Meu Nome É Bagdá”, by Caru Alves de Souza.

“Cinema is more regulated, but it’s very quiet”, he explains, in comparison with his experience with the theater. “There’s a time to eat, there’s a time to stop. There’s a day scheduled! [risos] Maybe, if it rains, schedule it for another day, but I found it very peaceful. Theater, especially at Oficina, is something that has no time to end: neither the play nor the rehearsal or anything”, he continues, laughing.

When questioned about this year’s election, she rejects the possibility of Jair Bolsonaro’s (PL) re-election. “For him to have stayed this far is a very absurd thing. It was a very big dismantling of many things. The first step is, of course, for him to leave [da Presidência] so there’s a lot of work ahead. It’s a lot of destruction on every level.”

“I think the solution is, increasingly, for everyone to look to the sides, because the solution is collective. It’s even a lesson that we could have learned from the pandemic and didn’t. And it’s not that it has to be cohesive, because the collective is really different. It’s dealing with differences.”

About Hrishikesh Bhardwaj

Tv specialist. Falls down a lot. Typical troublemaker. Hipster-friendly advocate. Food fan.

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