#Nolia is the bottom character

[ydteus]

Fake screenshots of Nolia and Elowen.

[cryptodictation]

'We had the feeling that Braslia was ours', recalls Nolia Ribeiro

For the poet, Braslia and she are equally escalophobic, stunned and spurred on (photo: Carlos Cezar Ceceu / Divulgao )

The poet Nolia Ribeiro It is the first character in the series that deals with the relationship between people who make art in Braslia and how they see the city. There will be weekly chats, full of affectionate memories and a lot of will in favor of brasiliense culture. “There was nothing to do in the city. So, we were under the block or the club near my court: SQS 109. As I got to know the artists, we started to occupy the spaces. We had the feeling that Braslia was ours. And it was! ”, Recalls Nolia, born in Recife and resident of the country's capital since 1972.

What is the visibility of poets in the cultural scene in Braslia?

It has excellent representatives. Some poets manage to stand out; others, unfairly, are little known. Carrying poetry is not simple, it requires persistence, because the public is small and very few buy our books, except for releases. Recently, due to the International Women's Day, I participated in the soiree Mulheres Porretas, at the Leo da Serra Cultural Space, alongside 12 poets, and listened to interesting poems. A month ago, there was a soiree against the feminist, at the Teatro dos Bancrios, in which the poets had the opportunity to recite their poems to a good number of people. So, if there were more spaces, for sure, we would have more visibility in the cultural scene of Brasilia.

How and when did you decide to publish your verses?

There are two distinct moments that I can highlight. The first was in 1982, when Paulo Tovar, an important poet of the Generation Mimegrafo and dear friend, convinced me to show my poems. Although unsure, I faced the challenge. I launched the Expectation at the Creativity Center, next to Galpozinho. Then I disappeared from the cultural scene and came back in 2009, with the Stunned, published by a publishing house in Braslia. I was experiencing the end of my marriage and I felt that this was the moment to get back to getting involved with the culture of Brasilia. Even though it was raining hard, the Café on 8th Street, where the launch was, was packed with dear friends. There were people I hadn't seen in years!

Each one has its Brasilia in memory, particular and affective stories. Is it the Brasilia you saw growing up? What memories do you have?

It was very different than today. There was nothing to do in the city. So, we were under the block or the club near my court: SQS 109. As I got to know the artists, we started to occupy the spaces. We had the feeling that Braslia was ours. And was! It was common to meet in our homes, with music and poetry (we don't even know they were soirees). I have several photos of those moments. We founded COPPO (Composers and Poets Cooperative), of which I was secretary, and we did three potico-musical performances, at Sesc, with a full house. Then came the music festivals, Concerto Cabeas, Gerao Mimegrafo and Liga Tripa, pieces and shows at Galpo and Galpozinho, until the artists from outside came to share the spotlight.

The first books were in mimegraphs, a fight to run around with copies under the arm offering to everyone. How did you circulate your works?

When I published my first book in 1982, although it was mimeographed, I opted for the more traditional mode of release. However, I remember well how my friends did to sell their books. Nicolas Behr, my boyfriend at the time, used to sell them at the door of the theaters and, before starting the show, he would go up on stage and literally launch the books to the audience. Vicente S was going to Beirut, with the book Your me, and asked at the tables “will you not take ‘Your me’ home? ”. Ster created the publishing house Semim. Each poet had his own way of circulating his poetry.

You and your poet friends faced difficult times in a capital where culture was a subversive word in the years of the dictatorship. Did you suffer any persecution for being a woman and a poet?

I was not known and, luckily, I did not suffer persecution, but I have friends and friends poets and musicians who were arrested or tortured. It was a time of great fear, when humor was used to conceal what was meant. To really understand the poems, the reader had to look for their lines.

After Legio Urbana recorded Axis Crossing, music by Nicolas Behr with Nonato Veras in his honor, you have become a national reference. The hit was already a hit with the folks at Liga Tripa. How to be muse of a generation?

a delight. It wasn't in my plans to become a muse, even more so to be known for it. I do not deny that it is very good to receive the affection of people, when they discover that I am Nolia of the song (initially sung by Liga Tripa), but I would like to point out that I am a poet, before becoming a muse. I usually recite my poems outside Braslia and I never used this device to publicize my work. This does not prevent me, at some point, from talking about the fact, if asked. I believe that I managed to reach the admiration of people only with my poetry. In So Paulo, I know Legio fans who, when they can, come to my presentations, talk and take pictures. I think it's super cool to meet them, as well as those who don't know this story and just show up to hear me recite.

What are your references? Do you adopt any creative or “inspirational” process?

My references are many. At all times, I read an author who influences me, but I can say that the poets of Geração Mimegrafo are a strong reference. My poems start from a word, from an image, from an event, from a memory, from an idea, from a book that I just read, from a film that I saw, from music that I heard, in short, they come from many places. I usually write a first verse, which will be reread (even aloud) and rewritten until it becomes a poem or not. If approved, I begin the process of adjusting words and trips to dictionaries and grammars.

You were with a wonderfully potent group, talk a little about these people and the contact with people of the light of Cassiano Nunes …

I feel privileged to have lived a time when poets and brilliant musicians wrote the history of the city. Cassiano Nunes was an inspiration to all of us. I studied letters at Universidade Braslia (UnB), but unfortunately, I was never his student. Like him, the city sheltered and shelters Chacal, Turiba, Chico Alvim, Anderson Braga Horta and many others. In a few I only became closer after I published the book Stunned and I got back together with the writers.

In this world of ignorance, fake news and hate, how does poetry, the potent gaze, fit in? Talking about love is something about weak, fragile people?

It has been very difficult to see that we have reached bottom, in terms of ignorance, truculence and hate. At that time, the potent gaze acts as a counterpoint. Art is our weapon against obscurantism. Through it, people can be given a more humanized and even more “womanized” look, because women have been struggling a lot to change this state of affairs. If it weren't for the music I listen to, the movies and plays I watch, the books I read, I would be much sadder. And now even more so with this threat from the coronavirus. I like to write love poems (and desire) and I don't think that talking about the subject is weak. To love I need courage. Love, among other things, prevents us from going out and hitting anyone who thinks differently from us. Love, empathy, respect and compassion are only for the strong.

In your books you carry a fluid, ancestral lightness – mixed with the gray weight of candango concrete. Like this amalgam?

I liked the way you see my poetry. In fact, I don't know how that amalgamation goes. The poem has its own path, it doesn't always go where I want. In Braslia, we live with concrete and green, power and freedom, joy and seriousness, silence and sound, and all of this appears in our artistic work, even if we don't want to. My four books often bring dense subjects, but I prefer to approach them with the fluid lightness you mentioned, in the construction of this amalgam.

What Braslia seduces you to write?

Female Brasilia: it has rounded shapes and seductive traps, in addition to the contradictions I mentioned earlier. I have lived here for more than 40 years and, therefore, it would be impossible not to take ideas from my poems out of this coexistence. The seduction you are referring to is also due to the fact that we are practically the same age and that we are equally scalephobic, frightened and frightened.

Axis Crossing

Our Lady of the Cerrado

Protector of pedestrians

That cross the

Axis at six o'clock in the afternoon

Make sure I arrive safe and sound

At Nolia's house

Non Non Non Nonon

margin

In the 1970s, this literary and libertarian movement circulated in the country's major urban centers. Away from the big publishers and the establishment, they started publishing mimeographed books and circulating them on the underground scene. It was poetry facing the system.

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