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Female Firsts: Chiquinha Gonzaga · Stuff Mom Never Told You

• 0:05
  Speaker 1: Hey, this is Annie and Samantha. I'm welcome to stuff
• 0:07
  Speaker 1: I've never told your production. iHeart radio.
• 0:18
  Speaker 2: And it's time for another edition of Female First, the
• 0:21
  Speaker 2: very first of twenty twenty six, which means we are
• 0:24
  Speaker 2: once again joined by the admirable, the amazing Eeves.
• 0:28
  Speaker 1: Welcome Eves.
• 0:29
  Speaker 3: Hello, thank you for the welcome, per usual.
• 0:33
  Speaker 2: Thank you for coming on per usual. You know we
• 0:36
  Speaker 2: always have to check Eves. What have you been up to?
• 0:39
  Speaker 3: How are you?
• 0:40
  Speaker 1: How has the new year been for you?
• 0:42
  Speaker 4: You know, the new year has been very calm. I
• 0:45
  Speaker 4: have been easing my way into the new year. I
• 0:47
  Speaker 4: really don't have much to report. I have been quite
• 0:50
  Speaker 4: a homebody lately, actually, which is pretty refreshing. I've been
• 0:57
  Speaker 4: practicing yoga in the morning's meditating, going for walks, and
• 1:01
  Speaker 4: going grocery shopping, and it's lovely.
• 1:05
  Speaker 5: I like grocery shopping. Is at it to the end of.
• 1:07
  Speaker 4: That, well, see, I don't actually like grocery shopping, but
• 1:10
  Speaker 4: I mean it's just a standard but it's it's just
• 1:14
  Speaker 4: a standard part of the day though. It's like it's
• 1:16
  Speaker 4: just road. It is routine, you know, And I grocery
• 1:20
  Speaker 4: shop a lot more here than I would in the
• 1:23
  Speaker 4: United States because I'm walking to the grocery store and
• 1:27
  Speaker 4: so I only get a small amount, and the fridge
• 1:31
  Speaker 4: isn't huge. I mean, it's it's just me anyway, So
• 1:34
  Speaker 4: but you know, I'm just I'm chilling. I don't really
• 1:37
  Speaker 4: have much report enjoying enjoying the weather. It's nice and
• 1:42
  Speaker 4: warm here and sunny, so jealous.
• 1:47
  Speaker 2: Yes, I was complaining about how, at least for Atlanta
• 1:50
  Speaker 2: is quite cold today.
• 1:52
  Speaker 5: Yes, like it's twenty six degrees and no snow. That's
• 1:55
  Speaker 5: what I don't I'm very sad about it. If it's going
• 1:57
  Speaker 5: to be dark and cold, at least give me a
• 1:58
  Speaker 5: little bit of snow. Yeah, none to be seen yet.
• 2:03
  Speaker 1: Yeah, yeah, fingers crossed. And we're like some of the
• 2:08
  Speaker 1: only people who are excited for snow.
• 2:12
  Speaker 5: Such an anomally though, that's why.
• 2:14
  Speaker 1: Yeah, only a couple of snows that all the time?
• 2:16
  Speaker 3: No, yeah, exactly.
• 2:18
  Speaker 4: There needs to be a nice balance, and I don't
• 2:20
  Speaker 4: have to go anywhere during it.
• 2:21
  Speaker 5: Yeah. Let me be at home, let me have food,
• 2:24
  Speaker 5: and let me have my electric blanket.
• 2:26
  Speaker 1: I'm good.
• 2:27
  Speaker 3: Yes, that sounds.
• 2:28
  Speaker 4: And a fireplace, don't forget if there's a fireplace evolved. Yeah,
• 2:32
  Speaker 4: that really makes my nice.
• 2:34
  Speaker 1: Yeah.
• 2:35
  Speaker 2: Yeah, a lot of jealousy already happening in this episode.
• 2:40
  Speaker 2: That does sound like a wonderful.
• 2:41
  Speaker 3: Chill new year.
• 2:43
  Speaker 2: Uh, I wish I could. Samantha and I've been talking
• 2:46
  Speaker 2: about I just don't feel like the new year has happens.
• 2:49
  Speaker 2: I'm also being chill about it, but not in a
• 2:51
  Speaker 2: nearly as healthy way as you are. I'm mostly like
• 2:56
  Speaker 2: trying to convince myself to go do something. He said,
• 3:01
  Speaker 2: it doesn't feel like a new year, not to me.
• 3:04
  Speaker 2: I was actually shocked today that just the way our
• 3:11
  Speaker 2: publishing calendar works, I was like, oh my gosh, it's
• 3:13
  Speaker 2: already time for that episode. Oh no, but yeah, it's
• 3:20
  Speaker 2: it feels kind of like a danger. It feels like
• 3:21
  Speaker 2: a dream or something.
• 3:23
  Speaker 3: You know what.
• 3:24
  Speaker 4: You're right about that, because before we got on this call,
• 3:27
  Speaker 4: I was thinking, I feel like I just talked to y'all,
• 3:30
  Speaker 4: and it took me a second to realize that this
• 3:33
  Speaker 4: was the first episode of the year. I was thinking
• 3:35
  Speaker 4: that we had already like we had already done an
• 3:38
  Speaker 4: episode this year. I was like, wait, no, this is January. Yeah,
• 3:44
  Speaker 4: so I kind of I'm with you there, It doesn't
• 3:47
  Speaker 4: to me. It was just I mean, this year's it's
• 3:51
  Speaker 4: just felt like a continuation of whatever was happening at
• 3:54
  Speaker 4: the end of last year, which is I guess true.
• 3:57
  Speaker 1: It's true. It is.
• 4:02
  Speaker 2: So. I know we've talked about this before about musical
• 4:07
  Speaker 2: abilities and talents and instruments abilities and talents. Was there
• 4:11
  Speaker 2: any songwriting and did any of you try to do
• 4:14
  Speaker 2: any of that when you were younger?
• 4:16
  Speaker 3: Oh, have we talked about this before? I don't know.
• 4:19
  Speaker 4: I know we've talked about instruments, but I don't know
• 4:21
  Speaker 4: if we talked about songwriting. I will embarrass myself again
• 4:26
  Speaker 4: if we did talk about it before and say that,
• 4:29
  Speaker 4: yes I did. I was one of those kids that
• 4:32
  Speaker 4: song wrote. And I actually have been thinking about lately
• 4:38
  Speaker 4: how much fun that was, because in the process of
• 4:42
  Speaker 4: working on the book that I'm working on, I have
• 4:45
  Speaker 4: been drawing inspiration from songwriting a lot. It's been really
• 4:48
  Speaker 4: helpful to me.
• 4:50
  Speaker 3: And I.
• 4:52
  Speaker 4: Was thinking about how I used to songwrite, but I
• 4:54
  Speaker 4: would write raps y'all.
• 4:58
  Speaker 3: There was a point in my.
• 4:59
  Speaker 4: Life where I was like, I you know, I don't
• 5:01
  Speaker 4: know how serious I was about being a rapper, but
• 5:04
  Speaker 4: I really enjoyed rapping and writing raps and it was
• 5:08
  Speaker 4: just fun to me. It was like it was always
• 5:11
  Speaker 4: pretty lighthearted and it was me and a friend of mine.
• 5:14
  Speaker 4: We had like our little duo. We would get together
• 5:17
  Speaker 4: and we would write raps. And I still I still
• 5:20
  Speaker 4: remember some of them. Don't ask me to rap it though,
• 5:22
  Speaker 4: don't do that. I'm not going to do it. But
• 5:25
  Speaker 4: I still remember them, and I still have the binder.
• 5:29
  Speaker 4: I still have the binder from like that has the wraps,
• 5:34
  Speaker 4: and it's somewhere in the garage, which I'm actually about
• 5:36
  Speaker 4: to clean out soon.
• 5:38
  Speaker 3: So maybe I will read some of them one day.
• 5:41
  Speaker 4: Maybe I'll divulge them on the Instagram story so it
• 5:43
  Speaker 4: can go away in twenty four hours.
• 5:47
  Speaker 5: Can we get a heads up so we don't miss
• 5:48
  Speaker 5: it because we're not often so we need to need
• 5:51
  Speaker 5: to know that it's coming.
• 5:53
  Speaker 4: I'll text you. I'd be like, all right, it's coming today,
• 5:56
  Speaker 4: don't live it. Debut alarms, I'm never going to see
• 6:02
  Speaker 4: this again.
• 6:03
  Speaker 5: I was one of those kids that loved to sing
• 6:06
  Speaker 5: and really thought that I had a career in singing.
• 6:08
  Speaker 5: By the way, I don't, but I sat I remember
• 6:11
  Speaker 5: my Dad's one of my dad's favorite memories, Like he
• 6:13
  Speaker 5: loves to share is. We would go sometimes with my
• 6:17
  Speaker 5: brothers fishing, which, by the way, they were really annoyed
• 6:20
  Speaker 5: by because I would sit on the bank with my
• 6:21
  Speaker 5: dad making up songs half Korean and half English, which
• 6:25
  Speaker 5: is hilarious because I can't remember the Korean. But my
• 6:28
  Speaker 5: dad was really into it. He said that he loved it.
• 6:30
  Speaker 5: There is some recordings of me singing yeah, I think they.
• 6:35
  Speaker 1: All burned, thank goodness all.
• 6:39
  Speaker 5: But yeah, I do remember like I did do that.
• 6:41
  Speaker 1: Growing up.
• 6:42
  Speaker 5: I really thought, like my group, my trio friends, we
• 6:46
  Speaker 5: were gonna be Wilson Phillips. I've talked about that many
• 6:49
  Speaker 5: a times, thinking that we got this. I did like
• 6:52
  Speaker 5: love singing enough, but then I try to translate my
• 6:55
  Speaker 5: poetry into song. That did not work out well. That
• 7:00
  Speaker 5: did not work out well, I will say that. But yeah,
• 7:03
  Speaker 5: I really had a moment of like I can do this.
• 7:05
  Speaker 5: When I was in the middle school, I played trombone
• 7:09
  Speaker 5: and being able to read music, I was like, I'm
• 7:11
  Speaker 5: going to use this. I did not.
• 7:15
  Speaker 4: Spoiler alert still time, I can't remember anything.
• 7:21
  Speaker 3: Annie, did you do this?
• 7:23
  Speaker 2: I did very briefly. I think longtime listeners of the
• 7:28
  Speaker 2: show No. I went through a huge emo phase and
• 7:31
  Speaker 2: I went through a huge Green Day phase, and they
• 7:35
  Speaker 2: used to have this thing where during the song long View,
• 7:38
  Speaker 2: they would pull up an audience member and have you
• 7:41
  Speaker 2: play on the guitar, and then they would give you
• 7:44
  Speaker 2: the guitar.
• 7:45
  Speaker 1: And it was my dream that they would choose.
• 7:48
  Speaker 2: Me, and then obviously they'd be like, she has so
• 7:50
  Speaker 2: much talent, we must So through this, I learned how
• 7:54
  Speaker 2: to play the guitar and very briefly joined a band
• 7:59
  Speaker 2: called Left Turn That's Right, and I did. I wrote
• 8:02
  Speaker 2: some songs for that, and one of them I still remember,
• 8:04
  Speaker 2: and it's kind of funny looking back, but it was
• 8:06
  Speaker 2: called I Don't Believe in Love, and I still remember
• 8:08
  Speaker 2: like it was so emo. It was like the most
• 8:11
  Speaker 2: emo lyrics. But I thought the guitar part I wrote
• 8:14
  Speaker 2: was pretty good. I think it was pretty good. But
• 8:17
  Speaker 2: then I got stage fright after one show and that
• 8:20
  Speaker 2: was the end of that, just one show.
• 8:24
  Speaker 4: Well, at least you knew early you didn't continue, you know,
• 8:27
  Speaker 4: forcing yourself to do a thing that made you.
• 8:30
  Speaker 1: I mean, I.
• 8:33
  Speaker 2: Did enjoy like the writing part, I think, but the
• 8:37
  Speaker 2: I never felt very confident in the performing part. I
• 8:40
  Speaker 2: couldn't even like I learned tabs so I didn't even know.
• 8:43
  Speaker 2: If you'd like asked me to play a d I'd
• 8:45
  Speaker 2: be like.
• 8:46
  Speaker 1: What numbers are that? Five and three?
• 8:47
  Speaker 4: What is that?
• 8:49
  Speaker 2: I feel very confident in it, and yet I still
• 8:52
  Speaker 2: have the guitar. My mom was like, do you want
• 8:54
  Speaker 2: to give it away? And I was like, maybe one
• 8:56
  Speaker 2: day I'll get back into it.
• 8:57
  Speaker 1: Moll.
• 8:59
  Speaker 4: Yeah, you know, you never know, You never know.
• 9:15
  Speaker 2: So that does bring us to who we're talking about today.
• 9:18
  Speaker 2: I'm very excited to hear more about the story. So
• 9:21
  Speaker 2: who did you bring for us Eves?
• 9:23
  Speaker 3: Today?
• 9:23
  Speaker 4: We are talking about shi Quinya Gonzaga. So she was
• 9:28
  Speaker 4: the first female composer in Brazil, the first female conductor
• 9:33
  Speaker 4: in Brazil, and the first female pianist to perform in
• 9:36
  Speaker 4: public in Brazil. And her story is she's really pioneering
• 9:42
  Speaker 4: in music in Brazil. So I'm excited to talk about
• 9:46
  Speaker 4: her today. Yes, and she did a lot, She did
• 9:51
  Speaker 4: quite a bit. So shall we get into her story.
• 9:54
  Speaker 3: Yeah.
• 9:55
  Speaker 4: She was born Francisca Edgewidges Nevis Gonzaga in Rio de
• 10:00
  Speaker 4: Janniro on October seventeenth, eighteen forty seven. So her name
• 10:05
  Speaker 4: was Francisca, but she went by Shakinya. So I'm just
• 10:08
  Speaker 4: gonna call her Shakinya for the rest of the episode,
• 10:11
  Speaker 4: even though I don't think she was going by that
• 10:13
  Speaker 4: quite yet in the beginning of her life, but for
• 10:15
  Speaker 4: the sake of consistency, that's what we'll go by. So
• 10:18
  Speaker 4: she was the third of nine children, and at the time,
• 10:23
  Speaker 4: most of the people who lived in Rio were enslaved.
• 10:28
  Speaker 4: Her mother was Josa Maria Neves Jalima and her father
• 10:33
  Speaker 4: was Jose Basileo Gonzaga, So her mother was of mixed
• 10:37
  Speaker 4: European and indigenous ancestry. She was the daughter of a
• 10:41
  Speaker 4: woman who was mixed race and enslaved, and her father
• 10:46
  Speaker 4: was a white military official and he was wealthy. So
• 10:50
  Speaker 4: you can already see how many different influences she's going
• 10:53
  Speaker 4: to have in her life from a social perspective. And
• 10:57
  Speaker 4: I don't really know much about what they taught talked
• 11:00
  Speaker 4: about in the home and how she felt about her
• 11:04
  Speaker 4: upbringing and that mix of environments and backgrounds, but it
• 11:11
  Speaker 4: is clear that when hi Qingya's mother had her, she
• 11:16
  Speaker 4: was trying to kind of hide her because it wasn't
• 11:21
  Speaker 4: it wasn't really it was looked down upon. You were
• 11:24
  Speaker 4: mixing race this way, you were mixing class this way.
• 11:27
  Speaker 4: That was taboo. But Shakinga's father did accept her and
• 11:32
  Speaker 4: took care of her. Her father, though he did try
• 11:36
  Speaker 4: to integrate her into upper class society. There was a
• 11:42
  Speaker 4: priest that taught her reading, writing, math, languages, and religion.
• 11:49
  Speaker 4: And there was a maestra named Elias Alvarez Lobo who
• 11:54
  Speaker 4: taught her music. So she didn't have a super extensive
• 11:58
  Speaker 4: throughout the course of her life have a super extensive
• 12:01
  Speaker 4: education specifically in music, but she did learn about music
• 12:07
  Speaker 4: early in her life and a little bit more later
• 12:09
  Speaker 4: to refine her techniques through study. But in Rio in
• 12:16
  Speaker 4: the mid eighteen hundreds, the piano had become this status symbol.
• 12:21
  Speaker 4: It was super ubiquitous. There were people who were in
• 12:25
  Speaker 4: middle class homes and who were in upper class homes
• 12:28
  Speaker 4: who had the piano, and people who didn't have the
• 12:31
  Speaker 4: piano might have aspired to have a piano, but it
• 12:35
  Speaker 4: was like it was an artifact in everyday life for
• 12:39
  Speaker 4: many of people, obviously not everybody. There was a lot
• 12:43
  Speaker 4: of mix of class and what people had access to
• 12:47
  Speaker 4: in the city, but music was a part of people's
• 12:50
  Speaker 4: lives and the piano was a big part of that music.
• 12:53
  Speaker 4: And Chiquinya's uncle and also he was her godfather. He
• 12:58
  Speaker 4: was a flutist, and she performed her first composition, Shepherd's Song,
• 13:03
  Speaker 4: when her uncle visited during Christmas in eighteen fifty eight,
• 13:07
  Speaker 4: and it was you know, talked about how the family
• 13:11
  Speaker 4: considered her a rebellious child. Not surprising as you'll go
• 13:16
  Speaker 4: forward to see, that's kind of a theme of the
• 13:18
  Speaker 4: rest of her life that she was hard to hold
• 13:21
  Speaker 4: on to, Like she seemed like she was pretty fiery,
• 13:25
  Speaker 4: but her dad arranged her marriage with going along with
• 13:30
  Speaker 4: people thinking she was this fiery character. You know, she
• 13:33
  Speaker 4: was considered rebellious. It seemed like it was a situation
• 13:37
  Speaker 4: where they were like, we need to get her under
• 13:40
  Speaker 4: control a little bit. And of course it was a
• 13:43
  Speaker 4: known way of doing that to you put somebody in
• 13:46
  Speaker 4: a marriage, and this is going to soften them, this
• 13:48
  Speaker 4: is going to control them, this is going to get
• 13:50
  Speaker 4: them in line, essentially, and that was the case with Shaqinya.
• 13:55
  Speaker 4: Her dad arranged her marriage with Jacinta Jabirol Duamerale. At
• 14:00
  Speaker 4: the time she was sixteen and he was twenty four
• 14:03
  Speaker 4: and he was in the army, and that wasn't unusual
• 14:07
  Speaker 4: that kind of age cap and it was like, you know,
• 14:09
  Speaker 4: we got to get them out, we got to get
• 14:11
  Speaker 4: them married. But her dad did get her a piano
• 14:15
  Speaker 4: as a wedding present, and Chiquinya and Jacinto had their
• 14:19
  Speaker 4: first child, Joe al Gualberto, in eighteen sixty four, but
• 14:25
  Speaker 4: they had marital issues. They did go on to have
• 14:28
  Speaker 4: their second child, Maria, in eighteen sixty five, but their
• 14:31
  Speaker 4: marriage wasn't going super well, and Jacinto ended up being
• 14:36
  Speaker 4: deployed when the Paraguay and War began. So this seems
• 14:42
  Speaker 4: really petty, but Jacinto brought Shaquinya along with him to Paraguay.
• 14:48
  Speaker 4: He got his ship. He was like, I'm going on
• 14:50
  Speaker 4: the ship. You're coming with me because I can't trust
• 14:54
  Speaker 4: you back home with that piano and all that music
• 14:57
  Speaker 4: stuff you got going on, so you're coming with me
• 14:59
  Speaker 4: to Paraguay. He wanted to keep her away from the piano.
• 15:03
  Speaker 4: She left that behind, but she did get a guitar
• 15:08
  Speaker 4: that she learned how to play. Speaking of guitar as
• 15:10
  Speaker 4: any and maybe you need to be whisked away to
• 15:15
  Speaker 4: some South American country. Fourcedlen ship for a certain amount
• 15:20
  Speaker 4: of time and you'll learn how to play your guitar.
• 15:23
  Speaker 1: I'm her a kindle light. Yeah, it just might work.
• 15:29
  Speaker 4: But so won the ship. She was playing the guitar
• 15:33
  Speaker 4: for people. She's playing it for enslaved people who are
• 15:36
  Speaker 4: on the ship. Jacinto was not happy with that either,
• 15:40
  Speaker 4: So I don't know what the lead up to this
• 15:43
  Speaker 4: was not fully clear on that, but he gave her
• 15:48
  Speaker 4: an ultimatum, it's either him or the music.
• 15:52
  Speaker 3: You can't have both. It's either one or the other.
• 15:55
  Speaker 4: And at the time, women they played piano like saying,
• 16:00
  Speaker 4: you know, people have pianos in their houses if they
• 16:02
  Speaker 4: could afford it, but they didn't really do that in public,
• 16:06
  Speaker 4: and they definitely didn't become professional musicians.
• 16:10
  Speaker 3: So it was.
• 16:12
  Speaker 4: Quite unusual, quite taboo for her to be doing this
• 16:15
  Speaker 4: in this way. And this is before she even got
• 16:18
  Speaker 4: fully into her professional career. So they started their separation,
• 16:23
  Speaker 4: planned to be divorced, and Shakinya went back home with
• 16:27
  Speaker 4: her son and j just Intel filed this divorced lawsuit
• 16:32
  Speaker 4: against her for abandonment of the home and adultery, and
• 16:37
  Speaker 4: they had another child, Ela to you and her family. Still,
• 16:43
  Speaker 4: though they had these children together, her family still condemned
• 16:47
  Speaker 4: her behavior. Her mother ended up raising Maria her child,
• 16:53
  Speaker 4: and her aunt raised Alloreu. But her family didn't like
• 16:59
  Speaker 4: what she had going on and they didn't support her.
• 17:02
  Speaker 4: It was a lot, you know, we got this divorce
• 17:04
  Speaker 4: going on, She's trying to play piano. We already thought
• 17:07
  Speaker 4: of her as this kind of rebellious kid. That's a lot.
• 17:12
  Speaker 4: Her family wasn't really supportive of her in that way.
• 17:15
  Speaker 4: They did help raise her children, though, so her mother
• 17:18
  Speaker 4: raised Maria and her aunt raised Ilariu, but her family
• 17:22
  Speaker 4: was pushing her away. She didn't have them to turn to.
• 17:25
  Speaker 4: She ended up turning to musicians, and she became friends
• 17:29
  Speaker 4: with this flutist named Joaquim Antonia da Silva Colado, and
• 17:34
  Speaker 4: she began playing piano with Colado's music ensemble. It was
• 17:38
  Speaker 4: a chiro ensemble, and chiro is a largely instrumental genre
• 17:43
  Speaker 4: of Brazilian music that brought influences, like so many things
• 17:47
  Speaker 4: did in Brazil, from African and European musical styles, and
• 17:53
  Speaker 4: chirol ensembles usually have like one solo instrument like a
• 17:57
  Speaker 4: flute or clarinet, a guitar in the cavaquino, which is
• 18:02
  Speaker 4: a small four string guitar, and so Shakinya became the
• 18:06
  Speaker 4: first female performer to play publicly in Brazil. Her son
• 18:12
  Speaker 4: also joined the ensemble when he was twelve to play clarinet,
• 18:16
  Speaker 4: and at the same time Shakinya was earning money traveling
• 18:20
  Speaker 4: and teaching. She was teaching piano. She was also teaching voice, geography, history,
• 18:26
  Speaker 4: Portuguese and French. And she ended up finding love again
• 18:31
  Speaker 4: and got into a relationship with engineer Joel Thought she said,
• 18:35
  Speaker 4: Jukar Havalu Junior. And they moved to the state of
• 18:40
  Speaker 4: Mina Jerais and when he got a job on the
• 18:43
  Speaker 4: he had got a job on the railroad and that's
• 18:45
  Speaker 4: why they went there, and not long after that, once
• 18:48
  Speaker 4: that job was over, they went back to Rio, but
• 18:52
  Speaker 4: society was still looking down on their relationship. They did
• 18:56
  Speaker 4: have a child though, and her name was Elisa, but
• 19:01
  Speaker 4: their relationships soon ended as well. Around eighteen seventy five
• 19:06
  Speaker 4: or eighteen seventy six, Shakinya left with her son when
• 19:12
  Speaker 4: it seems like there was some sort of cheating situation perhaps,
• 19:17
  Speaker 4: but whatever way, whatever happened, she left her daughter, Elisa
• 19:22
  Speaker 4: behind with her father and soon the divorce went through.
• 19:28
  Speaker 4: She was condemned to perpetual separation from her husband just
• 19:33
  Speaker 4: into and the divorce was official, so she went on
• 19:37
  Speaker 4: with her life. She played music at pastry shops cabarets,
• 19:43
  Speaker 4: and she had a big song. In eighteen seventy seven,
• 19:47
  Speaker 4: she composed this polka song called Atrienta, which means attractive,
• 19:54
  Speaker 4: and she created it during a jam session, and in
• 19:58
  Speaker 4: eighteen seventy seven, fifteen editions of that composition were published.
• 20:03
  Speaker 4: And still though she was like at this she was
• 20:06
  Speaker 4: perceived as kind of this wild child and audacious with
• 20:10
  Speaker 4: all of her provocative song titles and all of these
• 20:15
  Speaker 4: artsy crowds and boisterous environments that she hung out in,
• 20:19
  Speaker 4: and also was described she had this singular manner of
• 20:23
  Speaker 4: dress that was kind of against the grain at the time.
• 20:26
  Speaker 3: So over the years.
• 20:29
  Speaker 4: After eighteen seventy seven, and she was composing more music,
• 20:33
  Speaker 4: she started to become more known for her work as
• 20:38
  Speaker 4: a conductor in review theater, and she ended up debuting
• 20:44
  Speaker 4: as the first female theatrical composer in Brazil on January seventeenth,
• 20:49
  Speaker 4: eighteen eighty five, with the operetta A corchi najosa, and
• 20:54
  Speaker 4: that was by Palyyari Hiberiro And in eighteen ninety five,
• 20:59
  Speaker 4: she wrote gaoush corsia ja ka, which means cowboy cut
• 21:03
  Speaker 4: the jackfruit, and that song was featured in musical reviews,
• 21:07
  Speaker 4: but it really ended up getting a lot more attention
• 21:10
  Speaker 4: later in nineteen fourteen when Hikina and her friend nair
• 21:14
  Speaker 4: Je Tefe performed it on piano and guitar at this
• 21:18
  Speaker 4: like upity function that they were at, So it seemed
• 21:22
  Speaker 4: to have gainsteam after that. I guess unusual or more
• 21:27
  Speaker 4: out of context environment for performing the song. So as
• 21:34
  Speaker 4: musical theater was becoming more popular, she wrote songs and
• 21:37
  Speaker 4: lyrics for musical plays, and between eighteen ninety seven and
• 21:42
  Speaker 4: eighteen ninety nine she composed the first written carnival march
• 21:47
  Speaker 4: of abrey Alis, which means make way. So you know,
• 21:53
  Speaker 4: imagine this within its context where crowds of people were
• 21:57
  Speaker 4: assembling in a parade, they were creating this rhythm and
• 22:02
  Speaker 4: then they were asking people to make way so they
• 22:04
  Speaker 4: could get through. And this is the idea where this
• 22:08
  Speaker 4: that this song came out of. Her song was based
• 22:11
  Speaker 4: on this action of making way during the carnival, and
• 22:17
  Speaker 4: her song kicked off this tradition of carnival marches. So
• 22:22
  Speaker 4: they have Shaquinya Gonzaga to thank for that. That's really,
• 22:26
  Speaker 4: you know, influential in all the song around Carnival that
• 22:29
  Speaker 4: came after. So around eighteen ninety nine, Chaquinya met a
• 22:35
  Speaker 4: Portuguese musician named Joe al By Cista Fernandez Laji, Yes,
• 22:40
  Speaker 4: another Joao, same as her ex and son. She met
• 22:48
  Speaker 4: him in this male only club for music enthusiasts that
• 22:52
  Speaker 4: she was an honorary member of. Not so sure how
• 22:56
  Speaker 4: she got into that either. But the big difference from
• 23:00
  Speaker 4: this in previous relationships, even though his name was also Joel,
• 23:03
  Speaker 4: was that he was a lot younger than she was,
• 23:07
  Speaker 4: thirty six years younger. He was sixteen and she was
• 23:12
  Speaker 4: fifty two. Yeah, yeah, huge difference. And previously the age
• 23:18
  Speaker 4: gaps weren't that similar. So I think the relationship she
• 23:22
  Speaker 4: was in previously to this was about I think he
• 23:24
  Speaker 4: was three years her senior, and as we talked about
• 23:27
  Speaker 4: in the beginning, it was about like a sixteen to
• 23:29
  Speaker 4: twenty four, which is a little bit more normal for
• 23:31
  Speaker 4: the time, but this was a really big gap. But
• 23:36
  Speaker 4: they got into a relationship. And what makes this even
• 23:40
  Speaker 4: what makes this even more odd and questionable, is that
• 23:46
  Speaker 4: she said that he was her son, because apparently she
• 23:50
  Speaker 4: didn't want to deal with the backlash of being in
• 23:53
  Speaker 4: such an age gap relationship in public. But now they
• 23:58
  Speaker 4: did stay together until she died, which was quite it
• 24:05
  Speaker 4: was many years later, so that is a really questionable
• 24:13
  Speaker 4: part of her history for sure. So Shaquina sold sheet
• 24:19
  Speaker 4: music door to door to raise funds for the Liberation Confederation,
• 24:24
  Speaker 4: and she used that money from the sale of her
• 24:27
  Speaker 4: music to help enslave people a lot of the time.
• 24:31
  Speaker 4: So in this case, she bought the freedom of an
• 24:34
  Speaker 4: enslaved musician. And she also spent time in Portugal, and
• 24:42
  Speaker 4: there was a couple of times documented at least that
• 24:46
  Speaker 4: she was over there in a time that was a
• 24:48
  Speaker 4: longer period of a few years that she seemed to
• 24:50
  Speaker 4: be over in Europe. But in nineteen two, when she
• 24:54
  Speaker 4: was in Europe, she found publications of her music under
• 24:58
  Speaker 4: other people's names. So when she got back to Brazil,
• 25:02
  Speaker 4: she was like, what's up with that. She got back
• 25:04
  Speaker 4: to Brazil, she did some further digging. She found out
• 25:07
  Speaker 4: that she had a student who had a husband, and
• 25:11
  Speaker 4: that husband she was also friends with him, and he
• 25:16
  Speaker 4: had published her music without her approval. So it ended
• 25:22
  Speaker 4: up that years later she ended up co founding this
• 25:25
  Speaker 4: association for theatrical authors. It was called the Brazilian Society
• 25:29
  Speaker 4: of Theatrical Authors or SBAT, and that you know, she
• 25:36
  Speaker 4: was already invested in this kind of copyright cause, but
• 25:41
  Speaker 4: it was later on that she co founded along with
• 25:43
  Speaker 4: other people. I think I believe it was nineteen seventeen
• 25:47
  Speaker 4: that organization that was an extension of the work and
• 25:52
  Speaker 4: the advocacy that she was already doing. But in nineteen
• 25:56
  Speaker 4: thirty three, when she was eighty five years old, she
• 26:00
  Speaker 4: posed her last piece. It was for the Operetta Maria,
• 26:04
  Speaker 4: and she composed over the course of her life many
• 26:07
  Speaker 4: many pieces across many genres, including the shuro which we
• 26:11
  Speaker 4: talked about earlier, the march, tango, polka, watts, avaneras, and
• 26:18
  Speaker 4: other genres as well. And by the end of her life,
• 26:23
  Speaker 4: her family did, along with many other people, recognize her
• 26:28
  Speaker 4: as this great musician, and her children seem to be
• 26:30
  Speaker 4: supportive of her, even though she wasn't as active of
• 26:35
  Speaker 4: a parent in their lives. But she died on February
• 26:39
  Speaker 4: twenty eighth, nineteen thirty five, in Rio, when she was
• 26:42
  Speaker 4: eighty seven years old, and in two thousand and five,
• 26:48
  Speaker 4: through an agreement with the SBAT that Brazilian Society of
• 26:52
  Speaker 4: Theatrical Authors, the Morea Salis Institute took over her archive,
• 26:57
  Speaker 4: and in that archive there are more than a musical scores, photos, letters,
• 27:04
  Speaker 4: newspaper clips and lots of other material that is available
• 27:09
  Speaker 4: about her life. And there were two pianists who also
• 27:14
  Speaker 4: established the Shaquina Gonzaga digital archive. Their names were alis
• 27:19
  Speaker 4: Chandre Diaz and Andre Braga.
• 27:23
  Speaker 3: So a lot all.
• 27:25
  Speaker 4: Of the sheet music from her collection that's online. You
• 27:27
  Speaker 4: can find it. And if you want to listen to
• 27:30
  Speaker 4: her music, the music that she composed, you can also
• 27:34
  Speaker 4: go on YouTube and listen to some of that music.
• 27:36
  Speaker 4: So it's available for everyone to hear and also in
• 27:40
  Speaker 4: pop music of today from Brazil in carnival marches. Is
• 27:48
  Speaker 4: her legacy, her influence.
• 28:01
  Speaker 2: Like I said, she really did so much and clearly
• 28:04
  Speaker 2: has this lasting impact. I'm glad you can still hear
• 28:07
  Speaker 2: the music and read the music. That's something I've been
• 28:12
  Speaker 2: curious about too, when we were talking about our music
• 28:15
  Speaker 2: writing abilities are not is that it is really cool
• 28:18
  Speaker 2: to read the sheet music. It feels like you're kind
• 28:21
  Speaker 2: of reading a different language. Yea and hearing it in
• 28:24
  Speaker 2: your head, and so I do recommend listeners go check
• 28:27
  Speaker 2: all that out. And it's really interesting her story of
• 28:31
  Speaker 2: just this rebellied rebelliousness that you pointed out Eves, where
• 28:34
  Speaker 2: she was like.
• 28:36
  Speaker 1: No, I'm going to do I'm going to do this thing.
• 28:40
  Speaker 1: I can't believe her husband would be like it's me
• 28:43
  Speaker 1: or the music like music good? Why?
• 28:46
  Speaker 4: Yeah? And I think there's definitely a lot lost. And
• 28:51
  Speaker 4: in the fact that I can't read Portuguese, there is
• 28:58
  Speaker 4: a biography of hers that is written in Portuguese. So
• 29:01
  Speaker 4: if you can read Portuguese, and if you're I mean
• 29:05
  Speaker 4: everyone you know it can benefit from understanding her history.
• 29:08
  Speaker 4: But if you know Portuguese, I'm sure that'll be at
• 29:11
  Speaker 4: a great boon to you in the discovery of her story.
• 29:16
  Speaker 4: But I'm happy that there is still an archive of
• 29:21
  Speaker 4: hers that can be dug through. And apparently her partner
• 29:27
  Speaker 4: at the end of her life was largely responsible for
• 29:32
  Speaker 4: the collection and the preservation and the distribution of her
• 29:37
  Speaker 4: work after she died and is the reason why a
• 29:42
  Speaker 4: lot of it is available to go through today. But
• 29:45
  Speaker 4: also those people who are working on the digital archive
• 29:48
  Speaker 4: are still are also integrol in us being able to
• 29:53
  Speaker 4: learn more about her.
• 29:54
  Speaker 2: Yes, and it's always important to shout out those people
• 29:58
  Speaker 2: because a lot of the stuff we do we couldn't
• 30:01
  Speaker 2: do without them focusing on, Yeah, that stuff very specifically. Yes,
• 30:08
  Speaker 2: shout out to them always.
• 30:11
  Speaker 4: Yes, thank you and thank you to the multi linguals.
• 30:13
  Speaker 4: I'm working on it, y'all. Just I'm working on it.
• 30:18
  Speaker 1: Language.
• 30:19
  Speaker 4: I've been working on Spanish for forever, but now that
• 30:22
  Speaker 4: I'm here in South Africa, I would really like to
• 30:24
  Speaker 4: learn Elsa. I'm gonna work on I'm working on the clicks. Okay,
• 30:29
  Speaker 4: I got a lot to work on. But yeah, and
• 30:33
  Speaker 4: there are others on the list too. I do still
• 30:36
  Speaker 4: want to learn Mandarin, but that might that'll that'll be
• 30:39
  Speaker 4: down the line.
• 30:41
  Speaker 5: Any could work together.
• 30:44
  Speaker 1: You've got to help me out, Annie, Uh, I can
• 30:50
  Speaker 1: help you out, but you know.
• 30:54
  Speaker 2: It's a difficult, difficult one. You can get the tones. Yeah.
• 31:00
  Speaker 2: They would always correct me, and I'm like, it sounds
• 31:02
  Speaker 2: the same, and I know they were right.
• 31:05
  Speaker 1: They were correct, but to me, I was like, it's
• 31:07
  Speaker 1: the same.
• 31:09
  Speaker 3: Yeah.
• 31:10
  Speaker 1: It was the writing that actually killed me though more
• 31:12
  Speaker 1: than anything. Oh yeah, yeah, I could do that. I
• 31:17
  Speaker 1: can't help you with that one. Right away, I tell you.
• 31:22
  Speaker 4: Yeah, I don't know if I would fully get there.
• 31:25
  Speaker 4: I think writing, I don't know. Maybe reading, Yeah, reading
• 31:29
  Speaker 4: I could do, but the writing there's a like order
• 31:32
  Speaker 4: you go.
• 31:32
  Speaker 2: And even though to me it was mind blowing, people
• 31:38
  Speaker 2: could always tell you didn't do this in the right order,
• 31:40
  Speaker 2: and I was like, oh okay, yeah, yes, yes, yes yes.
• 31:48
  Speaker 2: Well as always, thank you to you Ease for doing
• 31:53
  Speaker 2: this research and for being here. We always love catching
• 31:57
  Speaker 2: up with you and hearing these stories. Where can the
• 32:00
  Speaker 2: good listeners find you?
• 32:02
  Speaker 4: Y'all can find me if you go directly to my website,
• 32:05
  Speaker 4: which is Eves jeffcot dot com. That's spelled y V
• 32:09
  Speaker 4: E s j E F F C O A t
• 32:11
  Speaker 4: dot com. You can follow the threads from there and
• 32:16
  Speaker 4: get to all of the other things the other places
• 32:18
  Speaker 4: I'm at. But if you want to go directly to Instagram,
• 32:21
  Speaker 4: I'm at not apologizing. I'm also here on Sminty, on
• 32:25
  Speaker 4: many many other episodes of Female First talking about people
• 32:29
  Speaker 4: in history.
• 32:31
  Speaker 2: Yes, so go check all of that out if you
• 32:35
  Speaker 2: haven't already, listeners, and if you would like to contact us,
• 32:39
  Speaker 2: you can you can email us at Hello at stuff.
• 32:41
  Speaker 1: I'll never told you dot com.
• 32:42
  Speaker 2: You can find us on Blue Sky at mom Stuff
• 32:44
  Speaker 2: podcast or on Instagram and TikTok at stuff I Never
• 32:46
  Speaker 2: Told You First on YouTube. We have new merchandise dot
• 32:49
  Speaker 2: com Heuro and we have a book you can get
• 32:51
  Speaker 2: wherever you get your books. Thanks as always too, our supers, Christina,
• 32:54
  Speaker 2: our executive produce, My Andro, contributor Joey, Thank you and
• 32:57
  Speaker 2: thanks to you for listening Stuff I Never Told You, Quection,
• 32:59
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• 33:01
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• 33:02
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