Ana Lucia Oliveira is a mentor in the ASC’s Martin Hames Arts Mentoring Program and a Research Associate at UAB.

If you think Brazilian Classical Music, you think Heitor Villa-Lobos. However, Villa-Lobos was not always known and appreciated like he is today, nor did he care about it! Not many people could see in his compositions (and there is a lot of them!) a very intelligent, talented, intense and unique musician. Villa-Lobos was a lovely rebel. He once said he made music simply because he could not live without music. Villa-Lobos was exposed throughout his life to both classical and popular styles of music. His music education started at home (he learned to play the cello with his dad) but he also attended traditional classical music school (which he quit without graduating). In addition, Villa-Lobos was also always involved with and fascinated by the music that came from the people, from the streets, from all corners of Brazil. He traveled extensively throughout Brazil and abroad. He deeply appreciated and tried to bring into his music all the diversity and musicality Brazil always had. One of Brazil’s hallmarks has always been how ethnically rich its music is. Villa-Lobos made a mark to himself from his ability to not just add popular themes to classical music (like others had already done before him) but how he was able to incorporate ethnic music (popular instruments, and popular music styles) into classical compositions by making something truly unique. The quest for finding what was the true identity of Brazilian classical music and rejecting the idea of just following the norm (what was thought and heard in Europe at the time, and what Villa-Lobos considered as lacking imagination and creativity) was actually a quest shared by many Brazilian artists at that time in many areas such as literature, poetry, visual arts and music. This rebellious quest to finding and expressing the true national identity in the arts became an official movement during the “Semana de Arte Moderna” (Week of Modern Art) meeting in Sao Paulo in 1922.

Probably the most famous of Villa-Lobos compositions are Bachianas Brasileiras. In this series, Villa-Lobos was inspired by the resemblance he found between the music of Bach and ethnic music from the Northeast of Brazil. In Bachianas # 2 Tocata (O Trenzinho Caipira), you can see Villa-Lobos true talent shine as he uses the orchestra instruments to mimic the sounds of a train. My favorite, however, is the Bachianas Brasileiras # 5 Aria (Cantinela). I am not sure how to explain it, since I do not know much about Bach, but this piece of music feels to me like a truly classical piece that is so familiar and appeals so much to me as a Brazilian (maybe it speaks straight to my Northeastern Brazilian DNA!). For more information on Villa-Lobos you can visit The Villa-Lobos Museum web page at www.museuvillalobos.org.br (versions in Portuguese, English and Spanish).

It is not a mere coincidence to have conductor Gil Jardim and Branford Marsalis in concert playing Villa-Lobos. Jardim is a Doctor conductor, a university professor, who is also in true contact with the classical and the popular aspects of music. He considers himself as very fond of “Third Stream” musicians (those that can translate and transpose both ethnic and classical music into a third music language: the “Third Stream”; more or less like Villa-Lobos himself, but pretty much without the nationalist approach to it). Marsalis is a musician also very much in tune with popular and classical styles of music, best known as an extremely talented jazz musician. Jazz the style of music that is truly American (nationalist) and also with some degree of improvisation (freedom) and that inspired Darius Milhaud (also in the program) to incorporate Jazz elements into classical compositions. I think Villa-Lobos would definitely say “Sim” (yes) and be very happy with this ensemble!

Birmingham is the last stop of 40 days (28 concerts) of the Brazilian Philarmonia and Marsalis playing Villa Lobos (a celebration of 50 years of Villa-Lobos death). So come with and open mind, a kind heart, true love of good music and talent, and be ready for an evening to be remembered for the years to come.

I’m fascinated by Martial Arts and Asian culture, so when I found out the Alys Stephens Center would present Jungua: Descendants of the Dragon this season, I knew I had to see it! The family-friendly show will feature some amazing sights – from Kung Fu moves and weaponry, to acrobatics and contortion. Jungua is similar in style to what you find in a Cirque du Soleil performance, but this show highlights thousands of years of Chinese tradition and culture.

Below is a promotional video for Jungua and below that is an interview with the show’s creator, Mark Edwards McGuire.  You can catch Jungua: Descendants of the Dragon at the ASC on Saturday, November 1 @ 8 p.m. and Sunday, November 2 @ 3 p.m.

Q: How did JUNGUA come about?

MM: It began with (producer) Yan Yan Zhao’s idea to do a Shaolin kungfu show. I really like what the monks do, but it was too narrow of a focus for me. My inspiration was to combine the masculinity of kungfu with the feminine grace and beauty of female contortionists and acrobats. It opened up a world of possibilities.

Q: What is the concept behind the show?

MM: To create a microcosm of traditional Chinese culture and presents it to in a way that is exciting and accessible to western audiences. I wanted to create a great evening of entertainment based on authentic Chinese culture, but without cultural barriers.

Q: What do you mean by “cultural barriers?”

MM: Western audiences have no frame of reference for “Chinese style” acting, storytelling, music and dance. The style has been ingrained in Chinese audiences from birth, and they can appreciate it on a level which we never could. For us, it’s like watching a foreign film without subtitles. It quickly becomes tedious when you don’t understand the “language”.

Q: How do you get around that?

MM: You translate. It is kind of like the artists are “speaking” their native Chinese, but it is being translated for the audience. I see myself as the translator. I want the audience to feel disoriented at first, as if they are in a strange land. Then, as the evening progresses, my job is to help them to gain more and more understanding about that place and its inhabitants. So the cultural aspect is paramount, but at the same time the show has to be dynamic, interesting, and highly entertaining.

Q: Does the show have a storyline?

MM: There is no narrative. We want each member of the audience to think and feel for themselves, to take away their own personal impressions, emotions and discoveries. Our approach is to enlighten and entertain without explanations. Some scenes which are short vignettes, while some are more poetic and still others are like living paintings. I took a lot of inspiration from Chinese history, art, myths, religions, and philosophies, but everything is open to interpretation by the audience. From a creative perspective, the underlying inspiration was the Asian concept of “Yin and Yang” - the opposing forces which create balance in the universe. I wanted to take the audience into a world where beauty and danger live side by side, and you’re never sure which one you will get.

Q: How would you sum up JUNGUA?

MM: More than anything, JUNGUA is a celebration of life and human potential. We can live vicariously through these amazing artists whether they are creating great joy and beauty, or looking fear in the eye and redefining the boundaries of human limitations. Then we can each leave the theater with a smile on our face feeling enlightened, energized and somehow optimistic. For me, that’s what great entertainment is all about.”

Last month we ran an e-news contest asking readers to tell us about their “Most Memorable Live Concert Experience.” I’ve been at the ASC for almost 10 years now and have also worked for the ASO and City Stages. A good portion of my adult life has been spent seeing shows (or at least traveling to shows or working shows). I’ve even flown to NYC in a night just to see Neil Young, and then flown back – twice! So, as you can imagine, I’ve had some pretty memorable concert moments. Last month, I had my most memorable to date and wanted to share it with my fellow music lovers…

I have watched The Last Waltz two dozen times and have always been a huge fan of Levon Helm and the Band. It’s been my dream for a while to catch one of his famous Midnight Rambles in upstate New York, but have never been able to make it happen. So when I saw he was coming to the Ryman in Nashville, I was elated. Heading to the Ryman, my husband and I were griping about why the show was a 7 p.m. start time, when the standard is 8 p.m. We soon found out! After taking our seats, the crew came out and said that there was a documentary being produced on Levon’s life and that the concert footage from this night’s show would be used in the film. Soon the cameras started rolling out and the audience was asked to stand and applaud, to an empty stage, pretending as if we had just seen the most amazing live show ever. Silly, yet fun! Little did we know, the surprises were just beginning. Levon and his band, including his daughter Amy and legendary Dylan guitarist Larry Campbell, began the show with one of my all-time favorites, “Ophelia.” Helm glided into the next number saying he was bringing out an old friend and introduced old time blues man Little Sammy Davis. After their song, Helm pulled another stunner and introduced Alison Krauss and Robert Plant! We were seated so close to Plant, I could see ever line on his face! The crowd loved their version of Leadbelly’s “In the Pines.” Next, he brought out (my hero) Sam Bush and Buddy Miller who stayed on stage and played with the band for the rest of the show. The hits kept coming with Helm bringing Sheryl Crow up from the audience where she was seated and performing a chill bump-inducing version of “Evangeline.” After Crow, John Hiatt (who’s here at the ASC on Oct. 10 & 11) took the stage, along with Steve Earle, Delbert McClinton, and a bevy of other Nashville musicians. It was great to see these artists sharing the stage with one of their musical idols. It was obvious that everyone on the stage and in the audience owed a huge musical debt to Helm and were only to happy to show him how appreciative they were. The show closed with a group rendition of “The Weight” and “Forever Young.” Classic.

This is what live music is all about. It’s why I drive to Nashville on a “school” night to see a show. It’s why I work long hours for very little money. It’s why my well-loved iPod will never replace sitting in an audience waiting for a performer to walk on stage. It’s why I love music! And, it’s why if I get lucky enough to meet John Hiatt after the show this weekend, I’m going to tell him “thanks” for being part of such an amazing night of music.