🕊️ O HINO UNIVERSAL DA PAZ (The Universal Hymn of Peace)

🗺️ The Global Connection and the Legacy of Porto Alegre

In December 2002, Porto Alegre was becoming the epicenter of global humanitarian and pacifist thought, about to host the 3rd World Social Forum. It was in this scenario of collective effervescence and the search for new paths that the O Hino Universal da Paz (The Universal Hymn of Peace) was born. More than an isolated composition, the work was registered under the banner of Public Domain (Domínio Público) to break geographic and institutional barriers, offering the musicians of the planet a free platform for artistic cooperation and union.

🌌 The Channeling: The Awakening of the Lyrics

The birth of the hymn did not come from a political commission or a strategic plan. On a morning in November 2002 — exactly one month before the launch of the official Manifesto and the beginning of the studio marathon — Gendozen woke up with an immense creative urgency, needing to immediately record what was coming very quickly to his mind. Still in bed and half asleep, he asked for just a pen and a notebook and began to transcribe extensive lyrics, whose words only stopped flowing when the message was completely finished.

Initially, the artist believed he was facing a simple poem. However, the next day, a strong insight revealed the true nature of that writing: it was a hymn. At that moment, he did not yet know that the 3rd World Social Forum would be held in Porto Alegre. It was only after a day or two that Gendozen realized that the work had been manifested exactly for that global meeting of activists and pacifists.

🎛️ A Technological Feat in the Pioneer Digital Era

With the fate of the work traced, a true race against time began: the artist had just over a month to make the arrangements, create the innovative form and model, recruit the musicians, and record the work. This challenge clashed with the severe technological limitations of the year 2003. At a time when the digital audio computer was still a novelty on the market and had minimal processing capabilities compared to today's, making a recording of that magnitude directly in a purely digital system was considered an almost impossible technical feat.

To erect the complex sound wall of the pilot version of the hymn, innovative audio engineering for the period was operated:

🔹 The Avant-Garde of Computers

Although digital tape recorders (ADAT) were the precursors and the common industry standard of that period, the project did without them, being recorded and processed entirely inside the computer.

🔹 More than 150 Audio Channels

The absurd achievement of managing and mixing more than 150 simultaneous recording channels was reached. That immense digital architecture totally challenged the RAM memory and processing limits of the machines of the time.

Porto Alegre, Rio Grande do Sul, Brazil, South America, Earth, December 4, 2002.

O HINO UNIVERSAL DA PAZ (THE UNIVERSAL HYMN OF PEACE) is a model (gabarito) that serves to guide other musicians so that they can create future versions of the same hymn. It is structured through a correspondence between the song's lyrics and its respective Region.

The central objective is to bring peoples closer through the harmony generated by music, creating an exchange that goes beyond the barriers imposed by political (borders, flags, continents), social, religious, racial, sexual, or economic differences.

⚙️ THE MODEL

When creating a new version of the Hymn, the musical arrangement must keep the original lyrics (which may be translated). It may keep or recreate the melodies. The arranger must choose a musical style that represents each region and will have the difficult task of moving from one region to another fluidly and without truncating the music.

When someone hears a hymn made in a distant place, they will know exactly how the people there see it and vice versa.

🗺️ The Mandatory and Immutable Regions

🔹 Local Regions (How the arranger sees the place where he lives):

• Local Primitiva (Primitive Local): Represents the oldest inhabitants and ancestral culture (Indians, Pygmies, Aborigines).
• Local Atual (Current Local): Portrays contemporary culture.
• Nacional (National): Synthesizes the author's view of his country.
• Guideline: Choose styles and rhythms that represent his place of origin.

🔹 Continental Regions (The arranger's view of the planet):

• South America
• Central America
• North America
• Europe
• Middle East
• Asia
• Africa
• Oceania
• Guideline: Choose rhythms that represent the arranger's view of the continents.

🔹 Universal Regions (How the arranger sees the universe):

• Global: The unified representation of planet Earth as a single home.
• Refrão (Chorus): The attunement with the Universe itself.
• Guideline: They must show how the arranger sees the Earth and the Universe.

🎼 PRACTICAL EXAMPLE

The following table demonstrates the model of the hymn and the choices that Gendozen made in his 2002 pilot version.

📻 December 2002: First Chords and Connections

12/04/2002
The journey comes to life in the studio. Soprano Anabel Alzaibar enters the booth and records her participation for the Europe Region.

12/06 to 12/08/2002
Gendozen travels to Uruguay (Termas de Dayman) with the goal of recharging his energies for the immense technical marathon that was to come.

12/10/2002
The movement of the peripheries connects to the project. Nitro G. brings the first arrangements and the Hip-hop base to the studio.

12/11/2002
Edu Natureza records a striking texture in the first round of the Chorus. On the same day, Maria Luiza Benites intones her voice in the South America Region, records the indigenous drums for the Primitive Region, and performs a Shamanic ritual of energetic cleansing in the studio, balancing the recording environment.

12/12/2002
Diversity expands. The Grupo Brasil Andino records the flutes (Queñas and Samponhas) and the Charango to represent South America. Produto Nacional confirms its studio session and Juarez, from Coral CECUNE, picks up the sheet music to begin rehearsals for the Africa Region. Grupo Status schedules its voices.

12/13/2002
Produto Nacional enters the studio and records the base of the Central America Region (Drums, Trumpets, Flugelhorn, Guitar, and Voice). César Dorfman leaves his fingerprints on the keys of the classic Korg 01w synthesizer in the Chorus. Luis Carlos Borges shows up at the studio, but, due to a misunderstanding, leaves his accordion at home. Believing he would only record voices, he promised to return the following week.

12/16/2002
Tenor Gilberto Chaves records, forming an imposing duo with Anabel Alzaibar in the Europe Region. Grupo Status shows up in full force and records its vocal arrangements in the Chorus.

12/17/2002
Paulo Romeu (Odomodê) brings the pulse of Africa with the Djembé (Senegal) and Malaio (South Africa) drums. Carlinhos Santos schedules his national percussions to make a bed for Geraldo Flach's piano. Surprise: rapper Baze, from the group Da Guedes, drops by the studio and throws his rhymes into the Hip-hop of the Global Region.

12/18/2002
Coral Municipal de Alvorada confirms its presence. The studio boils with complex collages in the Hip-hop and in the Oceania Region. The historic mark of 50 simultaneous recorded channels is surpassed.

12/20/2002
Nei Santos (Charuto) brings the Cuban sauce for the National Region. A bold collage is created in the Oceania Region: an experimental fusion between the Didgeridoo (Aboriginal flute), urban noises collected from a film shown at Largo Glênio Peres, and the characteristic shouts of the vegetable vendors of the Mercado Público de Porto Alegre.

12/24/2002
On Christmas Eve, big confirmations and schedules are closed for the immediate resumption of work: Bebeto Alves, Luis Carlos Borges, Jorge Cidade, Isnard, Ângela Jobim, Ivone Pacheco, and Renato Borghetti guarantee their presence.

12/26/2002
The studio reopens at maximum power. Bebeto Alves records his voices in the Chorus. Carlinhos Santos and Luis Carlos Borges record their parts in the National Region and the Current Local Region, respectively. Glênio Fagundes confirms his voice.

12/27/2002
Jorge Cidade and Isnard record their last lines, closing with a golden key the participation of Produto Nacional in Central America. The acclaimed Ângela Jobim records her voice in the National Region.

12/28/2002
The gaucho tradition is present: Glênio Fagundes records his striking voice in the Milonga, consolidating the Current Local Region.

🎙️ January 2003: The Mosaic is Consolidated and the Final Victory

01/02/2003
The year begins imposingly. The Coral do CECUNE (Ecumenical Center for Black Culture) fills the studio with more than 20 voices to erect the Africa Region. Solon Fishbone distills his virtuoso guitar, giving a new face to North America, while Márcio Ibanez adds the swing of the cavaquinho in the National part.

01/03/2003
Richard Emunds enters the studio and records his contributions.

01/05/2003
MC Flor do Guetto adds the backing vocals in the Hip-hop block. Fernando de Marília (guitar and voice) and Zé Blanco (transverse flute) stitch the mystical atmosphere of the Middle East. Geraldo Muller operates a rich and versatile percussion: he records washboard in the Blues of North America, as well as tambourines in the National Region and the Middle East.

01/06/2003
Girozinho records the sauce of the tamborim in the National part. Telmo Martins enters the booth and multiplies his voice for the second Chorus, while Nicolau Richter intones the classical melodies of his violin in the Europe Region.

01/07/2003
The legendary guitarist Luis Vagner helps swing the bossa nova in the National Region. Renato Borghetti enters the studio and completes a memorable duo of bagpipes alongside Luis Carlos Borges, serving as the base for the voice of Glênio Fagundes. Luis André (Conductor of the CECUNE choir) takes over the piano in the Africa Region, and Nina Fola enriches the African rhythms with the weight of her drums and percussions.

01/08/2003
Frank Solari starts recording his virtuoso guitars for the Chorus directly in his private studio. Mário Marmontel blows his flute in the National Region, Ivone Pacheco creates the jazzy climate in the North America Blues, and Fernando do Ó adds the sauce of the cuíca in the National part.

01/09/2003
The weight of gaucho Rap imposes itself: Base, Xis, and Deeley (Da Guedes) show up at the studio and "kill it" with their rhymes. Soprano Norma Hummes shines with her lyrical singing in the Asia Region, and master Giba Giba brings the ancestral weight of the Sopapo to the National Region.

01/10/2003
Gendozen makes an ethnic immersion and travels to the house of the Indian woman Gârén (whose name means SUN AND EARTH in the KAIGANG language), where they organically record the sacred voices for the Primitive Local Region.

01/11/2003
Two great references, Gelson Oliveira and Nelson Coelho de Castro, record their voices in the first Chorus. On the same day, community recordings open: 26 people from the community show up to let their voices loose in the choir. To close the day, Ernesto Fagundes dictates the rhythm by playing his bombo leguero in the Milonga of the Current Local Region.

01/12/2003
10 more singers record the chorus. The final mix is scheduled for the 18th, and the team prepares a link with behind-the-scenes photos. Tagori takes over the lead vocals and sings the Blues that illustrates the North America Region. James Liberato shows up next and draws the bass lines of the same track.

01/13/2003
The final stretch gains massive traction. More than 30 people share the microphones in the Chorus. Guitarist Frank Solari delivers the CD with his recorded solos, now integrating the Oceania Region, and Gil Soul, renowned Bahian singer and percussionist, adds his voices in the Current Local Region.

01/14/2003
Jorge Foques breaks language barriers and records the iconic phrase "Eis o século da paz" in Japanese for the Asia Region. The studio officially closes the recording sessions. The immense wall of more than 150 channels begins to be balanced, requiring a Herculean mixing job to equalize the monumental sound mass of voices and instruments. On the same day, a general invitation is made: Rede Globo schedules a national coverage report inside the studio (Rua Aurélio Porto, 143 - Partenon) with all the participating musicians.

01/15/2003
Soprano Norma Hummes returns to the studio early in the morning to redo and detail her melodic lines in the Asia Region, ensuring technical perfection.

01/16/2003 (The Victory)
The clock marks exactly 10:30 PM. After an epic and uninterrupted journey of engineering and human union, the CD Master is officially ready and finalized. The next step is to run the 300 physical copies that will be distributed to give international resonance to the project within the framework of the World Social Forum. The joy is collective and historic.

The recording of the O Hino Universal da Paz (The Universal Hymn of Peace) represented an unprecedented community and independent mobilization in the South of the country, voluntarily uniting about 250 direct and indirect participants under the conducting and general direction of Gendozen.

🎙️ Soloists, Instrumentalists, and Featured Performers

Lyrics A: Alexandre Franco Nunes, Alexandre Ricoi (Da Guedes), Álvaro Vilaverde, André Nascimento, Andréa Simão, Ângela Jobim, Ângela dos Santos, Ângelo Foreste, Anabel Alzaibar, Andy Linno (Bandeira Preta), Antonio Carlos Pires, Arlete Rybu.

Lyrics B: Bebeto Alves, Beleza, Bianca Fachel, Bibiana Ferle Scarrone, Bruna C. Moraes.

Lyrics C: Camila Paes, Carla Fernandes, Carla Knijnik, Carlinhos Santos, Carlos Azevedo (vegetable vendor), Caroline S. Guimarães, César Dorfman, Claudio Amaro, Cinthia Biazus Camboim, Corine Ungaretti, Costa Lima, Cristiane Pedroso Antunes.

Lyrics D: Daniel Torres, Danni D. K., Darlon Antonio Arruda, Deco Lopes, Diva Camino Feltes, Dulcimarta Lino (Jazzler).

Lyrics E: Edi, Edson Walter, Edson Vieira, Edu Natureza, Elder Franco Nunes, Eliane Beatriz N. Fraga, Eliane S. Guimarães, Eneida Angelin Costa, Ernesto Fagundes.

Lyrics F: Fabian, Fabinha, Fabinho, Fabiano Mesquita Padão, Fernanda Fraga Diskin, Fernando de Marília, Fernando do Ó, Frank Solari.

Lyrics G: Gabriel (Expresso Tchê), Gârén (Etnia Kaigang), Gendozen, Geraldo Muller, Geraldo Silva, Gelson Oliveira, Giba Giba, Gil Soul (Bahiano), Gilberto Chaves, Gilberto Costa, Girozinho, Glênio Fagundes, Glorinha, Glória.

Lyrics H-I-J: Hilário, Isnard Prates, Ita, Itóka, Ivone Pacheco, James Liberato, João Antônio, Jorge Cidade, Jorge Foques.

Lyrics L: Letiere Longarai (Anjos Quase Infernais), Licinha, Liliane, Liselote F. Scarrone, Lúdi, Luis André, Luis Carlos Borges, Luis Vagner, Luiza Caspary.

Lyrics M: MC Flor do Guetto, Magrão, Marcello Andrade (Trilhos Urbanos), Márcia Caspary, Márcio Ibanez (Grupo Gana), Maria Luiza Benites, Maria Lúcia, Mariana Fraga Diskin (Produto Nacional), Marisa Ansolin, Mário Barros, Mário Marmontel, Marta H. Biazus Camboim, Mateus Dalponte, Matias Fröalich, Miriam Campos, Miriam Deniz Machado, Mônica Tomasi.

Lyrics N-O-P: Nelson Coelho de Castro, Neyde Ducatti, Nei Santos (Charuto), Nicolau Richter, Nina Fola, Nitro G., Norma Hummes, Paulo Dionísio, Paulo Romeu (Odomodê).

Lyrics R-S-T-V-Z: Renato Borghetti, Renato, Richard Emunds, Roberto Garcia (Anjos Quase Infernais), Rodrigo Rodrigues (Arawak), Romina, Rosana Antunes, Sílvia Karppss, Solange T. C. V. de Freitas, Solon Fishbone, Stephanie Fraga Diskin, Suzana Albracht, Suzana, Tagori, Telmo Martins, Teodora Martins, Thaís Rosa, Valéria Bueno, Vera Fabanelli, Victor Hugo, Zé Blanco, Zé Caradípia.

🎼 Collectives, Bands, and Integrated Groups

🔹 Da Guedes (Members: Alexandre Base, Dj. Deelay, Alexandre Ricoi)
🔹 Produto Nacional
🔹 Grupo Brasil Andino (Former group Sykuris)
🔹 Grupo Status
🔹 Anjos Quase Infernais
🔹 Bandeira Preta / Jazzler / Arawak / Trilhos Urbanos

🏛️ Cooperative Choir Formations

🔹 Coral da OSPA
🔹 Coral da UFRGS
🔹 Coral do CECUNE (Ecumenical Center for Black Culture - More than 20 voices)
🔹 Coral do SECCOI
🔹 Coral Vivace / Coral Cientec / Coral Municipal de Alvorada

🛠️ Production Team, Backstage, and Technical Support

🔹 General Direction and Conception: Gendozen
🔹 Musical Research: Ricardo Barão
🔹 Audio Operation and Engineering: Luis C. J. Alves
🔹 Operational Audio Support: Elis (Radioativa Produtora de Áudio - Agenda de Músicos)
🔹 Press and Promotion: Sílvia Abreu, Eneida A. Costa
🔹 Articulation and Cultural Relations: Jorge Herrmann (Contact and bridge with the Kaigang community)
🔹 International Translations: Jaime Ungaretti (Portuguese-English), Ella Moskovics de Milner (Portuguese-Spanish)
🔹 Production and Logistics Assistance: Magda Nachtigall (Production Assistant), Cândida Fabrini (Transport)
🔹 Institutional and Moral Support: Paulo Zornitta

🕊️ The Legacy in Time

Originally presented during the framework of the 2003 World Social Forum, the hymn masterfully fulfilled its role of moving and uniting international delegations. Decades after its historic physical recording, the work was rescued directly from its original archives. In 2021, the work underwent a complete digitization process, being made available in its entirety on all global streaming platforms, ensuring that the message of peace and Gendozen's impressive technical execution remain accessible to new generations.