High anti-SARS-CoV-2 antibody seroconversion rates before the second wave in Manaus, Brazil, and the protective effect of social behaviour measures: results from the prospective DETECTCoV-19 cohort

Background: The city of Manaus, Brazil, has seen two collapses of the health system due to the COVID-19 pandemic. We report anti-SARS-CoV-2 nucleocapsid IgG antibody seroconversion rates and associated risk factors in Manaus residents before the second wave of the epidemic in Brazil. Methods: A convenience sample of adult (aged ≥18 years) residents of Manaus was recruited through online and university website advertising into the DETECTCoV-19 study cohort. The current analysis of seroconversion included a subgroup of DETECTCoV-19 participants who had at least two serum sample collections separated by at least 4 weeks between Aug 19 and Oct 2, 2020 (visit 1), and Oct 19 and Nov 27, 2020 (visit 2). Those who reported (or had no data on) having a COVID-19 diagnosis before visit 1, and who were positive for anti-SARS-CoV-2 nucleocapsid IgG antibodies at visit 1 were excluded. Using an in-house ELISA, the reactivity index (RI; calculated as the optical density ratio of the sample to the negative control) for serum anti-SARS-CoV-2 nucleocapsid IgG antibodies was measured at both visits. We calculated the incidence of seroconversion (defined as RI values ≤1·5 at visit 1 and ≥1·5 at visit 2, and a ratio >2 between the visit 2 and visit 1 RI values) during the study period, as well as incidence rate ratios (IRRs) through cluster-corrected and adjusted Poisson regression models to analyse associations between seroconversion and variables related to sociodemographic characteristics, health access, comorbidities, COVID-19 exposure, protective behaviours, and symptoms. Findings: 2496 DETECTCoV-19 cohort participants returned for a follow-up visit between Oct 19 and Nov 27, 2020, of whom 204 reported having COVID-19 before the first visit and 24 had no data regarding previous disease status. 559 participants were seropositive for anti-SARS-CoV-2 nucleocapsid IgG antibodies at baseline. Of the remaining 1709 participants who were seronegative at baseline, 71 did not meet the criteria for seroconversion and were excluded from the analyses. Among the remaining 1638 participants who were seronegative at baseline, 214 showed seroconversion at visit 2. The seroconversion incidence was 13·06% (95% CI 11·52–14·79) overall and 6·78% (5·61–8·10) for symptomatic seroconversion, over a median follow-up period of 57 days (IQR 54–61). 48·1% of seroconversion events were estimated to be asymptomatic. The sample had higher proportions of affluent and higher-educated people than those reported for the Manaus city population. In the fully adjusted and corrected model, risk factors for seroconversion before visit 2 were having a COVID-19 case in the household (IRR 1·49 [95% CI 1·21–1·83]), not wearing a mask during contact with a person with COVID-19 (1·25 [1·09–1·45]), relaxation of physical distancing (1·31 [1·05–1·64]), and having flu-like symptoms (1·79 [1·23–2·59]) or a COVID-19 diagnosis (3·57 [2·27–5·63]) between the first and second visits, whereas working remotely was associated with lower incidence (0·74 [0·56–0·97]). Interpretation: An intense infection transmission period preceded the second wave of COVID-19 in Manaus. Several modifiable behaviours increased the risk of seroconversion, including non-compliance with non-pharmaceutical interventions measures such as not wearing a mask during contact, relaxation of protective measures, and non-remote working. Increased testing in high-transmission areas is needed to provide timely information about ongoing transmission and aid appropriate implementation of transmission mitigation measures. Funding: Ministry of Education, Brazil; Fundação de Amparo à Pesquisa do Estado do Amazonas; Pan American Health Organization (PAHO)/WHO.World Health OrganizationRevisión por pare

Quadruple défi pour les artistes femmes, immigrantes et allophones : le cas du premier Sarau das MinasMontréal

Cet article porte sur le processus de création du premier Sarau das Minas Montréal : une soirée de sororité artistique qui s’est déroulée le 8 mars 2020. Il s’agit d’un événement artistique conçu, dirigé et réalisé par une équipe de femmes, immigrantes et allophones. Cet événement est ancré, d’une part, dans une démarche féministe empirique inductive visant la construction d’une scène sûre pour des artistes femmes immigrantes et allophones. D’autre part, il s’inspire de l’analyse préliminaire des données de ma recherche de doctorat sur les musicien·nes immigrant·es oeuvrant sur le marché de la « musique du monde » à Montréal. La construction d’une scène sûre pour ces femmes implique l’aménagement d’un espace dans lequel elles sont avant tout reconnues et appréciées en tant qu’artistes. En outre, l’analyse des données recueillies montre que le fait d’être à la fois artiste, femme, immigrante et allophone s’impose comme un quadruple défi. En s’inspirant de la notion d’« espace sûr », ce projet événementiel cherchait des réponses pragmatiques à deux problèmes vécus par les artistes femmes immigrantes allophones : leur sous-représentation dans le milieu artistique professionnel québécois et la langue en tant qu’obstacle à leur l’inclusion. Le Sarau résulte ainsi du travail collectif et de la volonté d’un groupe de femmes artistes, immigrantes et allophones entreprenant une démarche d’émancipation vis-à-vis leur propre invisibilité.This article focuses on the process of creating the first “Sarau das Minas Montreal: An Evening of Artistic Sisterhood” which took place on March 8, 2020. It is an artistic event conceived, directed and realized by a team of immigrant allophone women. The process of creating this event is rooted, on the one hand, in the empirical feminist approach of building a safe stage for allophone immigrant women artists, and on the other hand, in the preliminary analysis of data from my doctoral research on immigrant musicians working in “world music” in Montreal. First, the construction of a safe stage for these women involves the creation of a space in which they are first recognized and appreciated not as women, but as artists. Secondly, the analysis of the data shows that being an artist, a woman, an immigrant and an allophone at the same time imposes itself as a quadruple challenge. Inspired by the notion of safe space, this event project sought pragmatic responses to two problems experienced by immigrant, allophone women artists: the under-representation of these artists in the professional Quebec artistic milieu and language as a barrier to their inclusion. Le Sarau is the result of the collective work and will of a group of immigrant allophone women artists undertaking a process of emancipation from their own invisibility

Fame, vocation and gender: two barzilian musicians

O presente trabalho trata da trajetória de duas musicistas brasileiras: Helza Camêu (1903-1995), pianista, compositora e musicóloga, e Joanídia Sodré (1903-1975), pianista, regente e ex-diretora da Escola Nacional de Música (atualmente Escola de Música da Universidade Federal do Rio de Janeiro) cujas carreiras tiveram início, respectivamente, em 1923 e 1927 no cenário musical do Rio de Janeiro. A construção da trajetória destas artistas visa a uma reflexão acerca de como as convenções de gênero estão imbricadas no processo social de construção de uma vocação musical neste período. Trata-se de compreender a vocação como um fato social, isto é, como um conjunto de práticas e representações sociais constituidoras da experiência do artista. A análise da trajetória de Helza Camêu e de Joanídia Sodré constitui um modo privilegiado para compreender de que maneira, na busca pela profissão de artista, estas duas mulheres criaram novos valores e sentidos que lhes permitiram transitar entre profissões masculinas e femininas.The present study concerns the trajectory of two Brazilian musicians: Helza Camêu (1903-1995), pianist, composer and musicologist, and Joanídia Sodré (1903-1975), pianist, conductor and former director of the National School of Music (currently, the School of Music of the Federal University of Rio de Janeiro). Their career began in 1923 and 1927, respectively, in the music scene of Rio de Janeiro. The construction of the trajectory of the above mentioned artists aims at conducting a careful thought about how gender conventions are closely linked in the social process of the construction of a musical vocation during that period. It is about to understand vocation as a social fact, that is, as a set of practices and social representations that shapes the artists experience. The analysis of the trajectory of Helza Camêu and of Joanídia Sodré constitutes a privileged way to understand how those two female artists, in search for the artist profession, created new values and meanings that allowed them to make their way through male and female profession

Fame, vocation and gender: two barzilian musicians

O presente trabalho trata da trajetória de duas musicistas brasileiras: Helza Camêu (1903-1995), pianista, compositora e musicóloga, e Joanídia Sodré (1903-1975), pianista, regente e ex-diretora da Escola Nacional de Música (atualmente Escola de Música da Universidade Federal do Rio de Janeiro) cujas carreiras tiveram início, respectivamente, em 1923 e 1927 no cenário musical do Rio de Janeiro. A construção da trajetória destas artistas visa a uma reflexão acerca de como as convenções de gênero estão imbricadas no processo social de construção de uma vocação musical neste período. Trata-se de compreender a vocação como um fato social, isto é, como um conjunto de práticas e representações sociais constituidoras da experiência do artista. A análise da trajetória de Helza Camêu e de Joanídia Sodré constitui um modo privilegiado para compreender de que maneira, na busca pela profissão de artista, estas duas mulheres criaram novos valores e sentidos que lhes permitiram transitar entre profissões masculinas e femininas.The present study concerns the trajectory of two Brazilian musicians: Helza Camêu (1903-1995), pianist, composer and musicologist, and Joanídia Sodré (1903-1975), pianist, conductor and former director of the National School of Music (currently, the School of Music of the Federal University of Rio de Janeiro). Their career began in 1923 and 1927, respectively, in the music scene of Rio de Janeiro. The construction of the trajectory of the above mentioned artists aims at conducting a careful thought about how gender conventions are closely linked in the social process of the construction of a musical vocation during that period. It is about to understand vocation as a social fact, that is, as a set of practices and social representations that shapes the artists experience. The analysis of the trajectory of Helza Camêu and of Joanídia Sodré constitutes a privileged way to understand how those two female artists, in search for the artist profession, created new values and meanings that allowed them to make their way through male and female profession

Helza Camêu (1903-1995) e Joanídia Sodré (1903-1975): a construção “feminina” de carreiras “masculinas” no universo musical erudito brasileiro

Neste artigo pretendo mostrar como duas musicistas brasileiras: Helza Camêu (1903-1995) e Joanídia Sodré (1903-1975)[1] tornaram-se compositora e maestrina, respectivamente, nos anos 1930, no Rio de Janeiro. Quais configurações sociais viabilizaram o acesso dessas mulheres à composição e à regência, até então, duas atividades restritas aos homens? Embora tenham começado a carreira como pianista nos anos de 1920 no Rio de Janeiro, elas não prosseguiram como concertista, então um espaço de consagração feminina, basta mencionar as duas principais pianistas brasileiras Guiomar Novaes (1894-1979) e Magdalena Tagliaferro (1893-1986) que concomitantemente construíam uma carreira internacional[2]. Joanídia estreou como maestrina em 1930, sendo provavelmente a primeira mulher a realizar o feito de reger uma orquestra sinfônica no Teatro Municipal. Helza, por sua vez, estreou como compositora em 1934, tendo sido talvez uma das poucas, senão a única mulher a ser laureada (1936 e 1943) em concursos de composição da época. [1] Este artigo se apoia na dissertação de mestrado atualmente publicada em livro (Carvalho, 2012) cuja pesquisa foi realizada nos arquivos pessoais de Helza Camêu e Joanídia Sodré depositados no Rio de Janeiro, respectivamente, na Fundação Biblioteca Nacional, Divisão de Música e Arquivo Sonoro (DIMAS) e na Biblioteca Alberto Nepomuceno, da Escola de Música da Universidade Federal do Rio de Janeiro.  Também foram coletados materiais no Museu da Imagem e do Som do Rio de Janeiro, na sessão de Periódicos da Fundação Biblioteca Nacional e na Academia Brasileira de Música. Outros materiais foram obtidos junto a Dona Julieta Machado e à professora Luciana Dutra. [2] Ainda hoje, Guiomar e Magda são consideradas entre os maiores intérpretes pianistas do século XX