Last week, Brazilians and admirers of Brazilian culture were struck by a mix of indignation and disbelief upon learning that Milton Nascimento, one of the greatest icons of world music, was prevented from sitting in the section reserved for Grammy 2025 nominees. The 82-year-old artist, who was nominated alongside Esperanza Spalding in the Best Jazz Vocal Album category, was not given a guaranteed seat in the area designated for nominees. According to Milton\u2019s team, the justification given by the event\u2019s organizers was that \u201conly the artists they wanted in the video\u201d would be seated at the tables.<\/p>\n
The disrespect becomes even more blatant when we recall that Milton Nascimento was already honored with a Grammy in 1998, winning Best Global Music Album for Nascimento<\/em>, released the previous year. The album features remarkable compositions such as E Agora, Rapaz?<\/em>, Rouxinol<\/em>, and Levantados do Ch\u00e3o<\/em>, the latter featuring Chico Buarque.<\/p>\n This year’s awards ceremony, which should have been a celebration of Bituca\u2019s talent and legacy, instead became a symbol of the recurring devaluation of non-U.S. artists, particularly those from the Global South.<\/p>\n Djamila Ribeiro made a point of addressing the incident, both in her weekly column in Folha de S. Paulo<\/em> and on her Instagram profile. The Brazilian philosopher highlighted the disrespectful way Milton Nascimento was treated, reflecting on the roots of the international lack of recognition for this great Brazilian musician. “There are moments when silence is not just omission, but complicity,”<\/em> she wrote in Folha<\/em>, emphasizing that the artist\u2019s exclusion “was not just an unspeakable act of disrespect toward him, but an attack on culture, history, and the dignity of a people who consider him one of their greatest treasures.”<\/em><\/p>\n Djamila also pointed out the lack of support from the U.S. artistic community, contrasting it with the actions of Esperanza Spalding, who publicly expressed her dissatisfaction with what had happened.<\/p>\n According to her, this behavior reveals the fragile bonds of recognition between Black artists from the United States and Brazil. During the ceremony, in a solitary act, Esperanza Spalding held up a sign with Milton\u2019s face on it and publicly lamented her colleague\u2019s exclusion.<\/p>\n On her Instagram profile, Djamila also drew a parallel between the reverence for elders in Candombl\u00e9 and the way Milton should have been received. “In the Afro-Brazilian religious tradition of Candombl\u00e9, when an elder\u2014a figure ancestralized in life\u2014visits another\u2019s home, they are received with the highest honor. If the Grammys truly valued musical excellence, they would have rolled out the red carpet for him, escorted him to the stage, and honored him with the respect he deserves”<\/em> she stated.<\/p>\n The relationship between Djamila Ribeiro and Milton Nascimento is not new. She has always expressed deep admiration for the artist, recognizing not only his musical brilliance but also his history of resistance and struggle. In 2020, in a New Year’s post, Djamila wrote:<\/p>\n “Today I wrote a message to my friend Milton Nascimento, called him on his birthday, and planned to call him later today. I love Milton as I love the sea. A year that begins with his blessing promises prosperity.”<\/em><\/p>\n Her reverence for the artist reflects a connection of recognition and affection, as both share not only a fight against racism but also a deep respect for Brazilian cultural roots. Bituca has always been a singer of resistance, an artist whose voice echoed during the dictatorship, inspiring movements for freedom and social justice.<\/p>\n As Djamila recalled in her Folha<\/em> column, it was Milton who, in the face of military dictatorship brutality, composed anthems of resistance such as Cora\u00e7\u00e3o de Estudante<\/em>, which became a symbol of the Diretas J\u00e1<\/em> movement. It was also he who, alongside L\u00f4 Borges and Beto Guedes, created Clube da Esquina<\/em>, a musical movement that broke boundaries and revolutionized the global music scene. He who, in the final concert of his career, filled Mineir\u00e3o Stadium, bringing together thousands of fans from different generations for an unforgettable farewell.<\/p>\n Thus, as Djamila pointed out: “It is time to wake up from this colonial mindset of treating American artists as deities and recognize the true giants.”<\/em><\/p>\n On March 20, Brazil will have the opportunity to honor its musical genius with the premiere of the documentary Milton e o Clube da Esquina<\/em>. Additionally, Milton will be the honoree of the Portela samba school during Rio\u2019s Carnival.<\/p>\n What the Grammys tried to erase, we will make eternal. Bituca!<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" Last week, Brazilians and admirers of Brazilian culture were struck by a mix of indignation and disbelief upon learning that Milton Nascimento, one of the greatest icons of world music, was prevented from sitting in the section reserved for Grammy 2025 nominees. The 82-year-old artist, who was nominated alongside Esperanza Spalding in the Best Jazz […]<\/p>\n","protected":false},"author":1,"featured_media":2503,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false},"categories":[],"tags":[455,461,267,451,450,454,460,287,459,237],"acf":[],"yoast_head":"\nA Longstanding Friendship<\/strong><\/h3>\n