In 1966 she represented Brazil together with Paulinho da Viola, Elizeth Cardoso, and Elton Medeiros at the Black Arts Festival in Dakar and Senegal. In the same year she performed at the Cecília Meireles Hall (in Rio) José Maria Neves' Missa de São Benedito, for tamba (Hélcio Milito) and voice. Also in that year she recorded her first individual LP, Clementina de Jesus. Together with Pixinguinha and João da Baiana, she participated in the album Gente da Antiga, produced by Odeon in 1968. In the same year she also appeared on the LP Mudando de Conversa, a recording of the show of the same name, along with Ciro Monteiro and Nora Ney, produced at the Teatro Santa Rosa (Rio de Janeiro). In 1970 she had another LP released, Clementina Cadê Você?, edited by the Museu da Imagem e do Som (Sound and Image Museum, Rio de Janeiro), with corimás, jongos, modas, and sambas. In 1973 she had thrombosis, but five months later recorded the LP Marinheiro Só, which had songs by Paulinho da Viola and adaptations of popular songs like "Fui Pedir Às Almas Santas," "Atraca, Atraca," and "Incelença." In that year she also participated in Milton Nascimento's Milagre dos Peixes, recording "Escravo de Jó" (Milton Nascimento/Fernando Brant). In 1982 she was paid tribute by the Lins Imperial samba school, with the play Clementina -- Uma Rainha Negra. In the next year she recorded with Doca and Geraldo Filme the LP Canto dos Escravos, in which she interpreted slave songs from Minas Gerais collected by the researcher Aires da Mata Machado Filho. In 1985 she recorded Clementina e Convidados, which had her composition "Laçador" (co-written by Catoni). The album also had as guests Clara Nunes, João Bosco, Roberto Ribeiro, Martinho da Vila, Ivone Lara, Adoniram Barbosa, and Carlinhos Vergueiro. De Jesus also performed live with Nelson Cavaquinho in São Paulo, upstate Rio de Janeiro, and in Curitiba, Paraná. Her last live performance was in 1987 at the Teatro Carlos Gomes (Rio de Janeiro).
Pergunte Ao Joao
Clementina De Jesus Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
O samba mora no meu barracão
Pergunte ao João,
Ele sabe a morada
Ele sabe a picada
Para o meu barracão
Clementina De Jesus's song "Pergunte Ao João" is a tribute to her humble home on the hill, where the samba genre of music thrived. The lyrics convey a message of openness and willingness, as the artist invites anyone who wants to experience the beauty of samba to climb up the hill and join her in her barracão. The first line, "Quem quiser ver é só subir no morro," translates to "If you want to see (the samba), just climb up the hill." The second line, "O samba mora no meu barracão," means "The samba lives in my barracão," a term that refers to a small shack or hut.
The chorus is an invitation to meet João, who knows how to find Clementina's barracão. He knows the path and can guide visitors to the place where the samba is happening. The line "Ele sabe a picada" means "He knows the path." The artist has painted a vivid picture of her world, where samba lives in her humble home, and João is the one who opens her doors to other people who want to experience the joy and beauty of this music.
Line by Line Meaning
Quem quiser ver é só subir no morro
If you want to see the real samba, just climb the hill and come to my humble home.
O samba mora no meu barracão
Samba lives in my shanty, where I sing and dance with passion and soul.
Pergunte ao João,
Ask João, my trusted friend and guide, for he knows the way to my humble abode
Ele sabe a morada
João knows the address of my shanty, where I host my samba parties
Ele sabe a picada
He knows the path to my dwelling through the winding, steep alleys and the crowded streets.
Para o meu barracão
João can take you to my tiny shanty, where the samba never stops and the joy is contagious.
Contributed by Charlotte S. Suggest a correction in the comments below.