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    Body and Ancestry: A multicultural proposal for art-dance-education
    Body and Ancestry: A multicultural proposal for art-dance-education
    Body and Ancestry: A multicultural proposal for art-dance-education
    Ebook169 pages1 hour

    Body and Ancestry: A multicultural proposal for art-dance-education

    By Inaicyra Falcão Santos

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    About this ebook

    Within the boundaries of this work, the aim has been to draw up a proposal on dance-art education, seeking to recover aesthetic and mythical elements present in African-Brazilian tradition as a collective creation. The specific experience involves the theoretical and practical knowledge experienced in the mythical universe of the Batá drum among the Yoruba in Nigeria and their descendants in Brazil; then this experience led to the production of a poem and staging of “Ayán: Symbol of Fire,” the result of which offered the basis for a methodology in the unfolding of multicultural educational experience and the construction of individual identity.

    LanguageEnglish
    PublisherInaicyra Falcão Santos
    Release dateMar 14, 2017
    ISBN9781370978502
    Body and Ancestry: A multicultural proposal for art-dance-education
    Author

    Inaicyra Falcão Santos

    Inaicyra Falcão dos Santos was born in Salvador, Bahia, Brazil. She has a BA in dance from the Federal University at Bahia, a Masters in Theatre Arts from the University of Ibadan, Nigeria, a PhD in Education at the University of São Paulo and a Full Professor at the State University of Campinas/Unicamp. She has performed in various dance and theater companies in Brazil and abroad, and conducted studies and research at the universities of Obáfémi Awólòwó Ilé-Ifè, Nigeria, and the Laban Center for Movement and Dance in the UK. She has been a lecturer in the Department of Theatre Arts, University of Ibadan, and the Department of Corporal Arts at the State University of Campinas. She is an opera singer, and a researcher of African-Brazilian traditions as a reflection of the work of the dramatic artist and educator in contemporary society. She is associated with the Graduate Program of the Institute of Arts/Unicamp, and has participated in artistic and academic events in Brazil and other countries.

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      Book preview

      Body and Ancestry - Inaicyra Falcão Santos

      Inaicyra Falcão dos Santos

      Body and Ancestry:

      A multicultural proposal for art-dance-education

      Translated by H. Sabrina Gledhill

      Orí

      Origins

      Universal Forces

      Ancestral Forces

      To grandma

      Maria Bibiana do Espírito Santo (in memoriam)

      To my parents

      Edvaldina Falcão dos Santos (in memoriam)

      Deoscoredes Maximiliano dos Santos (in memoriam)

      Acknowledgments

      Rosana Costa Chrispim

      Roseli Fischmann

      Ilê Axipá Religious and Cultural Association

      Society for Studies of Cultures and Black Culture in Brazil – SECNEB

      And to everyone who has helped lay the foundations for this work along their own specific lines.

      img1.jpg

      Photo Roberto Berton

      Ayán, vibrant principle

      Ayán: Symbol of Fire

      Ayán

      Vibrant principle

      Wanders

      Iyó-orun, exó-orun.

      East, West

      Life and death,

      Intermittent meditation

      Believing

      Odu set

      Fate bound

      Entrails, mazes,

      Tasting tasks, entertainments

      Pouring out loves, disaffections

      Mindful

      Orixirixi

      Expelling latent desires

      The dynamic emerges

      Exú

      Interacts, intercedes,

      Ayán

      Stretching thick hide

      Reverberating, tanned

      Nourished, beaten

      Ayán

      Spasmodic

      Impetuous, intense

      Brief and dry

      Ayán

      Transcending, transfigured

      In the symbolic

      Foundations

      Of fire.

      cover.jpg

      Photo Roberto Berton

      Ayán transcendent, transfigured in the symbolic element of fire

      Contents

      Preface to the second edition

      Preface to the first edition

      Foreword

      Introduction

      Foundations for artistic experience

      Foundations for educational experience

      Developing a working hypothesis

      Creative process and dramatic staging. Ayán:Symbol of Fire

      Educational process

      Arriving at working hypotheses

      Methodological aspects

      The students who took part in the study

      Brief theoretical-methodological reflection on the research process

      Batá and artistic recreation

      Why Batá?

      Batá: ritual, life and art in African tradition

      General characteristics of the Batá universe

      Origin myth

      Organization of the Batá orchestra

      Batá learning process

      Specific characteristics of Batá dance

      Specific characteristics of social Batá dance

      Specific characteristics of ritual Batá dance

      The process of recreating the element of Batá in dramatic staging

      The ginga of the creative process

      Educational practice and the pursuit of knowledge in dance: tradition, awareness, aesthetics

      Technical exercises

      Creative exercises

      Dramatic staging

      Dance, life and education: relationships between internal processes and external actions

      Personal historyprocess, Bisa Bia, Bisa Bel and my story

      A tradition in my town

      Final Considerations

      Tradition and multiculturalism

      Recreation: limits and challenges. Dreams

      Conclusion

      Glossary

      Author’s notes

      Bibliography

      Preface to the second edition

      Roseli Fischmann*

      The second edition of Corpo e Ancestralidade: Uma proposta pluricultural de dança-arte-educação (Body and Ancestry: A Multicultural Proposal for Dance-Art-Education), by Inaicyra Falcão dos Santos, comes at an excellent time.

      This book originated from Inaicyra’s PhD dissertation, defended at the University of São Paulo (USP) School of Education in 1996. Since then, the trajectory of her original and singular creation has made history, both in the worlds of art and education.

      It is at the Unicamp Institute of the Arts that the artist’s work converges with that of an educator, by teaching artists and educators since the early 1990s to carry out her dance-art education proposal, applying and multiplying Inaicyra’s teachings throughout Brazil. At the same time, it is also at Unicamp that her career as a researcher has fostered new developments in innovative forms of expression in her pursuit of understanding and appreciation of African ancestry, of which she is a direct heir. While creating it, she has also included many others among its heirs through her academic activities.

      For Inaicyra, many accomplishments have followed the publication of the first edition of this book, both in her work at Unicamp and her artistic creations, since the two are intertwined. As a result, this second edition is just one of important feats such as the role the professor played as director of the Rituals and Languages Research Group in the Arts Culture and Society line of study in the Graduate Arts Program, creating and accrediting the course through the CAPES [the Brazilian Federal Agency for Support and Evaluation of Graduate Education]. This is a highly important move for academia because it involves an area that was still underdeveloped in Brazil, and its coordination by Inaicyra Falcão dos Santos offers the hallmark of her research into African Brazilian dance, giving due academic importance to the African contribution to world art at an internationally renowned institution.

      Inaicyra’s many artistic achievements have also marked the period that elapsed between the two editions, particularly the launch and re-issue of her CD Okan Awa – Cânticos da Tradição Yorubâ. The disk includes songs in honor of Mãe Senhora, Inaicyra’s late grandmother, just as beloved as Senhora’s son, Mestre Didi, Inaicyra’s father, a sculptor and Alapini – part of the celebrations of her centenary. Three generations of love and tradition are intertwined, demonstrating the inspiration for choosing to use in the methodology described herein the braid of people from Bisa Bia Bisa Bel, by Ana Maria Machado, which Inaicyra recreates and generously presents to us here.

      The historic importance of her artistic, theoretical and practical elaborations, which offer wide-ranging means of attaining full citizenship, is made particularly clear by the inclusion of her name among the references in Opinion no. 003/2004 of 10/03/2004, the basis for preparing National Education Board Resolution no. 1 of June 17, 2004, on Teaching African History, regulating Law no. 10,639/03.

      In fact, Inaicyra Falcão dos Santos is cited as exemplary, alongside historic names such as Zumbi, Lélia Gonzalez and Milton Santos at the national level, and Queen Nzinga, Martin Luther King and Steve Biko at the international level, among other blacks who have made an invaluable contribution to the history of Brazil and humanity. According to that opinion:

      The teaching of Afro-Brazilian history and culture will be done by various means, including different kinds of projects carried out during the school year with a view to disseminating and studying the part played by Africans and their descendants in episodes of Brazilian history, in the construction of the economic, social and cultural life of the nation, especially the role of blacks in different fields of knowledge, professional practice, technological and artistic creation, and social struggle.

      The introduction to the first edition, recalling Inaicyra’s mission, reads, Ayán, mother of many. May the prediction made at that time, fulfilled through the dissemination of Inaicyra’s name and work in the Brazilian schools, reaching teachers and students of all ages, be redoubled in new possibilities for Ayán throughout the world.

      Inaicyra, I wish you success, light and peace!

      May all the Forces and your Ancestors guide you and protect you – always.

      ____________________

      * Roseli Fischmann is a professor at the Graduate Program in Education at USP. She wrote the document for the cross-cutting theme of Multiculturalism at the PCNs, MEC (1997, 1998), is a past chair of the International Jury of the UNESCO Award for Education for Peace, Paris, and a Visiting Scholar at Harvard University. She is also currently a UNESCO Expert for the creation of the Global Coalition of Cities against Racism, Discrimination and All Forms of Intolerance.

      Preface to the first edition

      Ayán. After long reflection, I have concluded that I must begin this preface, which I am honoured to be writing, with the title of the poem that binds together the creative and creating proposal that Professor Dr. Inaicyra Falcão dos Santos presents in this book. Ayán: Symbol of Fire, of which the Batá drum is a symbol, is present in every page of this book: the vibrant principle that interacts, intercedes, as the author’s poem teaches us.

      Indeed, it is the need to create and recreate that inspires Inaicyra’s work, whether in the aesthetic aspect – dance, song – or in education. But is it possible to speak of education without thinking about creation?

      On the track of the myth of Lady Ayántoke, the sterile women Xangô makes fertile after hearing her play the Batá drum, we find the concept of professional drummers and the protection of their families. Lassoing the myth from on high and bringing it down to Brazilian soil, Inaicyra allows us to understand a peculiarity of the time in which the police persecuted followers of the religion of the Orixás: the drums were destroyed before the initiates were taken to jail.

      The constant interconnection – very much in the style of Ayán – of Nigeria and Brazil/Bahia, between past and present, sacred and secular, terreiro and theater, is what enriches the singular academic contribution of the artist and professor Inaicyra Falcão dos Santos. Because she is an artist, she can produce a radically creative and beautiful educational project. Because she is a teacher, she can produce an art project replete with human values and transcendence.

      However, it is Inaicyra’s significant multicultural experience that marks the intertwining of the artistic and educational project. If Batá is the guardian, in this metalinguistic proposal, it is ancestry that lights the way. That is the only possible way forward, indeed, for the daughter of Mestre Didi, Alàpiní, High Priest of the Egun (Ancestor) Cult, granddaughter of Mãe Senhora. Because she is so secure in her own identity, Inaicyra can travel the world, both along geographic and academic pathways, and teach them to anyone who wants to learn.

      Based on what she calls the inspiring seed of the methodological proposal of ethnologist Juana Elbein dos Santos, she proceeds, indeed, from the inside out. She can then equally make use of Krishnamurti, as well as Eliade, Marco Aurélio Luz, Joseph Campbell, Valerie Preston Dunlop and Malcolm X., let alone taking us, with the enchanted ways of a child, through the hands of Ana Maria Machado in her brilliantly sweet Bisa Bia, Bisa Bel. It is the discovery of multiple temporalities that are a necessary part of those who seek and re-create themselves as identities.

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