My relationship with music began very early—even before my interest in China—at the age of 12 or 13, with my first guitar lessons. The guidance of a family friend, Mr. Maurício, was fundamental in deepening my instrumental knowledge during my adolescence.

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At 18, following his suggestion, I enrolled in the Villa-Lobos Music School in Rio de Janeiro. There, I studied music theory and specialized in the electric guitar, with an emphasis on improvisation under the tutelage of Professor Marcelo Araújo. His influence stemmed from jazz and instrumental experimentation. Although my initial references included bands like Pink Floyd, Marcelo's ability to incorporate popular beats into jazz opened my ears to a vast range of styles.

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Another pillar in this maturation process was Professor Mauro Wermelinger, a student of the legendary Hermeto Pascoal. He taught me to listen to any style as raw material to expand my musical perception. With him, music revealed itself as language, conversation, and pure sonic expression without prejudice.

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Around the year 2000, already experienced with bands formed with friends, I moved to Petrópolis and started playing small gigs. In 2003, at the Raul de Leoni Cultural Center, I was invited by Fred Justen to serve as musical director for the Vem Que Tem Theater Company (now Satura Companhia de Teatro), initiating a collaboration that lasts to this day.

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In 2005, I conceived and organized the show 'Yandê,' a project featuring musicians from Petrópolis that explored Brazilian and Latin rhythms with electric guitar solos. 'Yandê' sought to translate—intuitively—a concern with ethnic issues and cultural diversity, themes that would later become central to my academic research in anthropology. The success of 'Yandê' led us to perform throughout Petrópolis and Rio de Janeiro. However, my father's passing in 2010 profoundly impacted my musical journey, keeping me away from the stage for a few years, despite a brief return with the band Fixxer (2011-2012).

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Parallel to this, I maintained a consolidated career in video editing and digital animation, which led me to UERJ in 2015 for a Bachelor's degree in Social Sciences, focusing on the important Visual Anthropology Core (INARRA). Video, with its social impact and image as a narrative tool, opened a new academic path.

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This academic journey, however, did not erase my other worlds: China and Taoism internally, and music with the guitar externally. On the contrary, UERJ expanded the dialogues between ethnicity, performance, and audiovisuals—already present in works like 'Yandê.' All these dimensions were organically interconnected within me.

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In recent years, I resumed my collaboration with the Satura Companhia de Teatro, serving as musical director for the play 'Jorge, o Santo Guerreiro' (2021-2025). At the same time, my university studies merged with my interest in China, culminating in my ongoing doctoral research. Today, I realize that image and sound—the timbres born of different social textures—have always fascinated me: from the rhythmic guitar to the very name 'Yandê,' which 'spoke' of ethnicity through rhythm.

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For me, music has always had color, and the image has always come with sound. My anthropological studies naturally converged with performance, art, and audiovisual media, while China—once a personal interest—became the axis that ties all these points together. Thus, music remains an essential part of my trajectory, intertwined with theater, audiovisuals, and anthropological research, enriching my perspective on human behavior in all its manifestations.