Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor’s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.On a blustery English summer evening, the tropical heat of South America’s largest nation filled London’s Barbican Centre with a double bill of Afro-Brazilian music: both Ilê Aiyê and Margareth Menezes are from Salvador, Bahia, in Brazil’s north-east. Ilê Aiyê originally took shape as a carnival block — the name given to bands who, mixing Brazilian rhythms with chants, mobilise crowds on the streets — and their seven male percussionists took the stage beating out furious samba rhythms. They were soon joined by male and female vocalists, then two female dancers began gliding across the stage. Dressed in golden robes, Ilê Aiyê performed with such uplifting energy that the Barbican’s formal concert hall was transformed into a street party, the largely Brazilian audience joyously dancing throughout the venue. Founded in 1974, the ensemble initially called their block Poder Negro (Black Power), which brought problems with Salvador’s predominantly white police force. They then became Ilê Aiyê — one meaning in Yoruba is “our earth” — and focused on empowering Black Brazilians, not just through song and dance but by emphasising self-worth and African heritage. This determination to honour both the ancestors and their community shone through as Ilê Aiyê’s dynamic blend of hard polyrhythms and supple, sweet voices proved exciting and intoxicating — here was a taste of Bahia’s carnival fervour. After the interval, Margareth Menezes took the stage backed by a drummer, two percussionists, guitar, bass and keyboards. The singer appeared unconcerned about matching the wild party spirit that had ignited the evening, her powerful voice and majestic presence ensuring the audience sat and listened — at least initially. Menezes broke through in Brazil in the 1980s and came close to winning international fame in 1989 when a song of hers appeared on the soundtrack of Wild Orchid, a trashy Mickey Rourke sexploitation film. Island Records issued a Menezes compilation and US and European club DJs embraced Menezes’ axé sound, axé being a Salvadorean fusion of Afro-Brazilian rhythms and other musical genres.Crossover success did not follow, Menezes instead enjoying a long, successful career at home. She is now minister of culture in Brazil’s government (the tropicalista singer Gilberto Gil occupied this position in President Lula’s previous government). Menezes’ music is built on samba rhythms but draws on myriad influences — one song had a jazz-funk flavour reminiscent of Level 42, while another employed a U2-ish guitar motif. Looking resplendent in a flowing black and white robe, she sang her hits, several of which had the audience joining in, while slowly turning up the rhythmic heat.This well-paced performance ensured Menezes also got the audience up and dancing. Finishing on a high, she welcomed Ilê Aiyê back for a showstopping samba celebration as the ensemble partied across the stage. ★★★★☆barbican.org.uk
