About Johnathan Batista dos Santos

In reflecting upon the inspirations for my art, I find it essential to trace a path through the myriad influences that have shaped my creative vision. This journey encompasses social and cultural issues, personal experiences, and the broad spectrum of human emotions, all intertwining to inform my artistic endeavours.

My initial philosophical inquiry, which continues to provoke deep contemplation, revolves around the role of art within the working class and the apparent dominance of "high art" as a concern primarily of the upper echelons of society. This leads to a pressing question: why is aesthetic appreciation so inextricably linked with political and socio-economic dimensions?

From a young age, I encountered a poignant experience that epitomizes this inquiry. While watching the news with my father, a factory worker, I learned of the death of A.C. Jobim, a luminary in Brazilian music. The news dedicated substantial time to this event, prompting me to ask my father about this influential musician. His dismissive response, "It was some guy who wrote music for rich people," struck me profoundly, highlighting the cultural divide in the perception of art.

My upbringing in a suburban, working-class city on the outskirts of São Paulo, Brazil, further shaped my artistic sensibilities. My early engagement with music was deeply rooted in my family's involvement with a particular religious group, which eventually led me to spend my early twenties in a cult. This unique background fostered a curiosity about the relationship between music and social identity, compelling me to explore various musical styles.

This exploration aligns with art's historical trajectory, as Walter Benjamin articulated in his seminal essay, "The Work of Art in the Age of Mechanical Reproduction." Benjamin observes:

> "Originally the contextual integration of art in tradition found its expression in the cult. We know that the earliest art works originated in the service of a ritual—first the magical, then the religious kind. It is significant that the existence of the work of art with reference to its aura is never entirely separated from its ritual function."

My disillusionment with religious dogma paralleled my deepening engagement with art, prompting me to scrutinize the intersections of aesthetic experience and social class. This scrutiny has profoundly influenced my artistic practice, compelling me to reflect on the complexities of our world.

Thus, my art serves not merely as a personal expression but as a lens through which to examine and challenge societal norms. I am committed to harnessing my creativity to ignite conversations and foster positive change, endeavouring to bridge the gap between disparate social realities and highlight artistic experience's universal resonance.

In reflecting upon the inspirations for my art, I find it essential to trace a path through the myriad influences that have shaped my creative vision. This journey encompasses social and cultural issues, personal experiences, and the broad spectrum of human emotions, all intertwining to inform my artistic endeavours.

My initial philosophical inquiry, which continues to provoke deep contemplation, revolves around the role of art within the working class and the apparent dominance of "high art" as a concern primarily of the upper echelons of society. This leads to a pressing question: why is aesthetic appreciation so inextricably linked with political and socio-economic dimensions?

From a young age, I encountered a poignant experience that epitomizes this inquiry. While watching the news with my father, a factory worker, I learned of the death of A.C. Jobim, a luminary in Brazilian music. The news dedicated substantial time to this event, prompting me to ask my father about this influential musician. His dismissive response, "It was some guy who wrote music for rich people," struck me profoundly, highlighting the cultural divide in the perception of art.

My upbringing in a suburban, working-class city on the outskirts of São Paulo, Brazil, further shaped my artistic sensibilities. My early engagement with music was deeply rooted in my family's involvement with a particular religious group, which eventually led me to spend my early twenties in a cult. This unique background fostered a curiosity about the relationship between music and social identity, compelling me to explore various musical styles.

This exploration aligns with art's historical trajectory, as Walter Benjamin articulated in his seminal essay, "The Work of Art in the Age of Mechanical Reproduction." Benjamin observes:

> "Originally the contextual integration of art in tradition found its expression in the cult. We know that the earliest art works originated in the service of a ritual—first the magical, then the religious kind. It is significant that the existence of the work of art with reference to its aura is never entirely separated from its ritual function."

My disillusionment with religious dogma paralleled my deepening engagement with art, prompting me to scrutinize the intersections of aesthetic experience and social class. This scrutiny has profoundly influenced my artistic practice, compelling me to reflect on the complexities of our world.

Thus, my art serves not merely as a personal expression but as a lens through which to examine and challenge societal norms. I am committed to harnessing my creativity to ignite conversations and foster positive change, endeavouring to bridge the gap between disparate social realities and highlight artistic experience's universal resonance.

The aesthetic implications of my work as a socially engaged artist are manifold, rooted in a commitment to creating art that emerges from genuine engagement with non-artists and in upholding the ethics of treating these collaborators not as mere props but as agents imbued with creative force. This approach resonates with a broader philosophical inquiry into the role of art within society and its capacity to effectuate social change.

In adhering to the principles of socially engaged art, I challenge the traditional dichotomy between artist and audience, creator and subject. My artistic practice is predicated on the belief that true art cannot exist in isolation from the societal context in which it is produced. It must, therefore, engage directly with the lived experiences of individuals, particularly those marginalized or overlooked by mainstream narratives. This engagement is not a superficial inclusion but a profound collaboration that respects and harnesses the inherent creativity of all participants.

Creating such art necessitates a departure from the notion of the artist as an isolated genius and moves towards a more communal and participatory model. This shift is not merely procedural but deeply aesthetic, as it transforms the very nature of the artistic product. Art born from engagement with non-artists is imbued with a richness and authenticity that can only arise from the genuine exchange of ideas, experiences, and perspectives. This collaborative process challenges the hegemony of "high art" by democratizing artistic production and validating diverse forms of creative expression.

Moreover, the ethical dimension of socially engaged art is paramount. It is incumbent upon the artist to ensure that collaborators are not instrumentalized as mere means to an artistic end but are recognized as co-creators with agency and creative potential. This ethical stance reflects a broader commitment to social justice and equality, which must underpin all artistic endeavours that engage with societal issues.

In socially engaged art, the aesthetic object is not a commodity to be consumed but a dynamic process that fosters critical reflection and collective action. The artist's role, then, is not to dictate but to facilitate and create spaces where new forms of knowledge and understanding can emerge through collaborative effort.

In this vein, my work seeks to transcend the boundaries of the traditional art world to create works that reflect and respond to the social realities from which they arise. The aesthetic value of such work is intrinsically linked to its ethical and political dimensions, challenging viewers to reconsider their own positions within the social fabric and to envision new possibilities for communal life.

Thus, the aesthetics of my socially engaged art are deeply intertwined with its ethical imperatives. By fostering genuine collaboration and honouring the creative agency of all participants, I strive to create art that is not only beautiful but also just and transformative. This commitment to socially engaged art is a testament to the belief that art, at its best, is a powerful vehicle for social change, capable of illuminating and addressing the most pressing issues of our time.

### My Work as a Composer

As a composer, I endeavour to bridge the chasm between "high culture" and popular art forms, positing that art for art's sake remains a viable and necessary pursuit even for the working class. This ambition is rooted in a fundamental challenge to the dominant paradigms of cultural hierarchy, rejecting the notion that only bourgeois art can attain universal significance. Instead, I seek to validate the aesthetic and intellectual richness of popular art forms, arguing that they, too, are capable of profound expression and critical engagement.

My musical work interrogates the relationship between form and popular culture, mainly through the rapid juxtaposition of sound blocks and intricate rhythmic structures. These elements reflect the repetitive struggles inherent to working-class life, yet I consciously eschew the post-minimalist, non-dialectical approach to repetition. The latter, I contend, often succumbs to a form of aesthetic stasis that mirrors the vacuity of the culture industry—a concept critically examined by Theodor Adorno. While I concur with Adorno's critique of the culture industry as a mechanism for capitalist self-legitimation, propagating empty and formulaic art forms, I diverge from his dismissal of popular art as inherently inferior to "serious" art.

In my compositions, I draw inspiration from various sources: contemporary art music, folk traditions, popular styles, and even kitsch art. This eclecticism is not a superficial pastiche but a deliberate strategy to explore the rich interplay of different musical idioms and their socio-cultural implications. By merging these varied influences, I aim to create music that is at once reflective of and responsive to the complexities of contemporary life.

The rapid changes in sound blocks within my compositions are not merely a technical device but a reflection of working-class existence's fragmented and tumultuous nature. These abrupt shifts challenge the listener, disrupting any sense of complacency and demanding active engagement. Similarly, my rhythmic structures mirror the repetitive, often monotonous labour that characterizes much of working-class life. Yet, they also imbue this repetition with a sense of vitality and dynamism, transforming it into a site of aesthetic and political potential.

This approach starkly contrasts the post-minimalist traditions and its embrace of repetition, which I perceive as lacking the critical tension necessary for a genuinely dialectical art form. Instead of reinforcing the status quo, my use of repetition seeks to subvert it, highlighting the contradictions and struggles inherent in the lived experiences of the working class. Through this method, I strive to create formally rigorous and socially resonant music.

Therefore, my compositions are not confined to the rarefied spaces of high culture but seek to resonate with a broader audience, challenging and enriching their perceptions of art and society.

By drawing from a broad spectrum of musical traditions and styles, I endeavour to craft inclusive and dialogical music that recognizes the creative potential of all cultural forms. This high and popular culture synthesis is not an act of dilution but of amplification, revealing the inherent complexity and richness. My work as a composer is thus a testament to the belief that art, in all its diverse manifestations, possesses the power to illuminate, critique, and transform our collective reality.