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João Donato
Instrumentalist, singer and composer |
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The Festival Cinema Brasil creates a link between Japan and Brazil, between their cinema, their art and their culture. There are a lot of things from Brazil to be discovered and this event is a means to do so. Therefore, I’m honored to be a part of this festival with this short documentary Nasci para Bailar – João Donato ao vivo em Havana directed by Tetê Moraes.
Read João Donato's interview |
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| The Festival Cinema Brasil was my first contact with Japan. To interact with a country with such a different culture is intriguing. It is as if we were on a date with nothing–no common cultural references– but our common sense, which means it‘s hard to get beyond the superficial. I believe this festival can contribute (and is already contributing) a lot to bringing closer these two nations that are so different yet have so much in common. It is also important from an artistic and commercial point of view. We can speak to the huge Asian market. It is as if, every year, during the festival, we are celebrating immigration–a two-way expressway that brings Brazil and Japan closer together. |
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Ângelo Ishi
Journalist, sociologist and professor of Musashi University, in Tokyo |
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As I always say during my classes and lectures, in Japan, the only kind of Brazilian films that succeed in getting a theatrical release in Japan are films about poverty, violence and crime.
Central Station showed illiteracy, among other negative traits. In City of God, the slum was a character in itself. And why was the only Brazilian documentary shown in Japan Bus 174, which was about a bus hijacking in Rio de Janeiro? This is clearly exploitation of misery.
Having said that, I admit that City of God was a landmark in Brazilian cinema, both in a positive and a negative sense. One of my students said the film turned her off traveling to Brazil. She was afraid, even though she knew the film was fiction. On the other hand, manyf students said they were impressed because they didn’t know Brazilian directors could make such thrilling, stylish films. A film of high quality can be an excellent means of introducing a country, no matter what its theme and its imagery.
One of the many admirable qualities of the Festival Cinema Brasil is that it presents the Japanese audience with a window into the diversity of Brazilian people and culture, while exploring universal themes.
The festival is certainly contributing to the Japanese discovery of excellent Brazilian cinema. The current “Korean culture craze” had its beginning in Korean cinema crossing over to Japan. In the same way, I hope Brazilian cinema will provoke a similar interest in Brazilian culture. |
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Just as all Japanese films do not depict the serene world of director Yasujiro Ozu, there is more to Brazilian film than the world of samba, as powerful as it is. Brazilian cinema is a diverse area, and key to enjoying it is having no prejudices–or, at least, to put aside one’s prejudices and watch a Brazilian film before making a judgment.
Many believe that cinema is the world’s common language. As one of many Japanese film directors, I hope to meet directors who make films that show us Brazil as it is now and to talk to them and share their experiences. My best wishes to this Festival Cinema Brasil. I hope it continues to see much success and popularity. |
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Masahiko Nagasawa
Filmmaker (Movies: Yoru no Pikuniku, 13 Kaidan, Koko ni Iru Koto among others)
http://www.bookcafe.jp/ |
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Ryuji Kagami
Astrologer |
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The city, the wild, Christianity, magic
Ardently do body and soul melt together
Brazil, the country where sorcery intersects,
Giving birth to vision after vision
That melt one day of our lives into the next
So, dive in.
Experiences that will melt the soul await.
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Interview |
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João Donato is one of the greatest Brazilian musicians with a worldwide reputation. He has played with some of the world’s greatest artists, recorded a number of albums, composed hundreds of songs and made countless musical arrangements. He is now preparing a concert with the Moscow Philharmonic Orchestra, while working on two new albums. Despite his busy life, Donato, 74 (he celebrated his birthday in Tokyo on Aug. 17th) is a man who likes his tranquility. His calm and down-to-earth quality are impressive.
But this instrumentalist, singer fand composer is by no means lacking in energy. He is always undertaking new projects and collaborations. João Donato exhales music – for him a simple chat may turn into a new song.
Donato, who loves Japan and Cuban music, is taking part in the Festival Cinema Brasil 2008 with a short documentary (Nasci para Bailar – João Donato ao vivo em Havana, directed by Tetê Moraes), which shows his trip Cuba.
During his short visit to Japan in August, he calmly talked to the reporters of the Festival Cinema Brasil. The following are excerpts from the interview:
What is your relationship with Japan?
João Donato: I came to Japan about seven times, for tourism and also for concerts. The first time was through an invitation by Sergio Mendes for an event in Osaka, the World Fair Expo 1970. I fell in love with the people and the country, especially after I saw the cherry blossoms and the temples. Many Japanese became my friends – one of them, Ogawa, is like a brother for me.
| The second time I came here was after he invited me to visit the country. I stayed for one month in Shinjuku, the sound of which reminds me of Tijuca (Rio de Janeiro). At that time, I met singer Lisa Ono and I was surprised to find out that she knew many of my songs. I myself didn’t remember some of them. I only met her again when she was preparing her seventh album. She wanted to record one of my songs. I took some of them to her to choose and, as a joke, I told her that this would be a great idea: “Lisa Ono sings João Donato”. She took it seriously, changed the project and recorded a whole album (Minha Saudade – 1995) of my songs. Because of that, I came to Japan once more for a tour that took in many prefectures. |
Is Japan an inspiration for your songs?
Donato: Japan inspires me a lot while creating. The peace at the temples is wonderful. I remember that when I came here to visit, there were temples everywhere we went. I visited a lot of different temples. I even started taking them for granted (laugh). But it's a place where you feel fine. You can hear the wind rustling the leaves of the trees. Silence is the great music of the temples.
Besides Japan, you also have a strong relationship with Cuba. Why do you like Cuban music so much?
Donato: When I went to the United States, in 1959, because of the difficulties I had playing my music in Brazil – it was considered too avant-garde for that time; I was considered out of tune or whatever (laugh) – I found out that what I was looking for wasn’t there. I went to the U.S. to learn jazz, but I was disappointed because it was not a rhythm you could find everywhere and not everybody could play it. I was told to look for the Latin orchestras, because that’s where the great jazz musicians were playing. Then I went to Cuba and fell in love with the local music.
What are your plans?
Donato: I am currently recording two albums. One of them is now going through mixing sessions. The album, still untitled, was recorded with a percussion trio and is scheduled to be released next year in Japan. The other one is a tribute to the 50 years of bossa nova.
Would you like to send a message to your Japanese fans?
Donato: The important thing is to do everything with joy and pleasure. I always wanted to know why the Japanese liked me so much – they wanted to hug and carry me. They said that it was because my music made them happy. That's why I think I’m an accomplished musician, because that is the main purpose of a composer. And it should be the purpose of any profession. That's why it is important to do everything with pleasure. |
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