Persecution of artists, murder of social leaders, art as a form of protest. The themes are the same as in Brazil today, but Jamaica, Jamaica, shown at Sesc 24 de Maio, points to a common history in Latin America for many decades, which has music as an aggregating and contesting element.

An exhibition about Jamaica, in downtown São Paulo, makes perfect sense, one of the most plural places in the city, which lives in the confusion of migrants and immigrants from all corners of the planet, who often dispute their songs with evangelical preaching.

After all, music is really one of the most relevant cultural expressions in Latin American countries and Jamaica, in this sense, could be the capital of the region, due to the amount of rhythms, starting with reggae, and icons, with Bob Marley as its most striking figure.

Jamaica, Jamaica, however, it's not just an exhibition about music, even if the best experience is with headphones _each visitor can plug theirs in different parts of the route, or even receive one for free.

The exhibition, conceived by the Cité de la musique – Philharmonie de Paris, produced and carried out by Sesc São Paulo, reveals the entire cultural environment that allowed the emergence of artists such as Marley, Peter Tosh, Marcus Garvey, The Skatalites and The Wailers, among others. , and the creation of rhythms such as Ska, Soundsystem and Dancehall.

There are many people who criticize the hermeticism of contemporary art, and often with good reason. Jamaica, Jamaica is a great example of how an exhibition can talk about current production from its context, showing how art can be, after all, a strategy for the representation of culture itself and a way of transforming the violent everyday into a place of possible coexistence. . At the present time, nothing seems to be necessary anymore.

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