Researching Afro Cuban and Afro Brazilian dance The Cuban Contemporary School in Cuba ...

26 Pages·2016·0.33 MB·English

by  Element Arts

Researching Afro Cuban and Afro Brazilian dance

The Cuban Contemporary School in Cuba & Funceb Escola De
Danca in Brazil

Report by Ella Mesma
Ella Mesma Company
Winston Churchill Fellow 2015

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List of contents

Glossary Page 3-4

Biography Page 5

Project Summary Page 6-8

Findings Page 9-11

Conclusions Page 11-15

Appendices Page 15-22

Footnotes Page 23-26
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Glossary

Yoruba: The Yoruba are an African tribes people, but Yoruba is also a language, culture,
religion, belief system and way of life. Yoruba has influenced many varied practices across
America and the Caribbean including Santeria (Cuba), Candomble and Candomble
Ketu (Brazil), Trinidad Orisha, Umbanda (Brazil).
Practitioners of Yoruba religions believe that a good and successful life depends on proper
alignment and knowledge of one's ori.

Ori: The head, but in spiritual matters a portion of the soul determining personal destiny and
success.

Candomble: The word Candomblé means ritual dancing or gathering in honor of god.
Candomble is the evolution of Yoruba practices in Brazil.

Santeria: The Cuban equivalent of Candomble or practice of Orisha worship.

Orixás as spelt in Brazil or Orishas from Cuba are gods of African origin. There are a total
of 401 in Yoruba mythology. Each represents manifestations of the Supreme God/ the All
Father.
Many Orishas have left traceable impact across the world as a result of slavery and colonisation.
Each Orisha has individual attributes and skills connected to natural phenomena and
associated with specific rituals. Each also has their own colour, personality, rhythm,
offerings and dance.

Some of the Orishas mentioned:

Xango/Chango: This Orisha represents masculinity, fertility and strength. In both
Cuba and Brazil, his colour is red and his element is fire. He represents lightning.

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Iansa/Oya is a female warrior who represents the element of air. She is headstrong
and fiery. In Cuba she wears all the colours of the rainbow. In Brazil she wears red
and is represented by the butterfly.

Oxum/Ochun represents femininity, sexuality and fertility. In both Cuba and Brazil
her colours are Yellow and gold. Ochun represents the fresh or sweet waters. She
has a mirror and is vain, and beautiful. Those wishing to conceive pray to her.

Iemanja/Yemanya represents the sea. She is the mother Orisha and her colour is
blue

Oxossi/Ochosi Ochosi is the hunter. His colour is green and he represents the
Earth.

Ogum/Ogun is the warrior brother of Oxossi. His element is metal. In Brazil his
colour is Blue and in Cuba green and purple. He fights for justice.

Omolu/Babalu-Aye: This deity covers himself entirely in sackcloth and raffia. Some
stories say he is blindingly beautiful and a light shines from him; others say he is
disformed or disfigured from disease. He is a healer.

Oxala/Obatala: Obatala is father of all the Orisha. He is older and wiser. His colour
is white.

Nana: Nana (Brazil) is the grandmother. She wears purple. Her element is Earth.
She tries to heal the environment from all the wrong doing of humankind. She is a
protector.

Ossain: Ossain (Brazil) the herbalist and healer dresses in green.

Oxumare: Oxumare is half man half woman. He can take the form of a snake and
has come to represent gay pride.

Samba de Roda: The original form of Samba from Salvador danced in a circle, often
all in White with big skirts.

Samba Caboclo: A dance and practice from the Indigenous people of Brazil, also a
part of Candomble

Bloco: Carnival parade group

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Biography

I am a choreographer and director of Ella Mesma Company (2011), a Latin Hip Hop Dance
Theatre Company that have been described as ‘stunning,’ ‘provocative’ and ‘unabashedly
emotional’ (The Guardian).

I trained at Laban from 2007-2009, and then The London School of Contemporary Dance
where I graduated with a postgraduate diploma in 2011. I also break (breakdance) training
with Rokafella (NYC) and Renegade (UK). First and foremost, I have danced Afro Latin
styles and Salsa and Samba since 2000 and am passionate about seeing real high-level
Latin Dance in the Theatre in the UK. I also have a politics and sociology from Leeds
University.

I established Latin dance company (Element Arts), in Leeds in 2005. I began producing
Roots of Rumba (an annual Latin Dance Theatre Festival which gives Latin dance artists a
platform for their work) at Richmix in London in 2013. Latin dance accolades include
Passista (First soloist) in Rio carnival 2006, Rainha Da Bateria for London School of Samba
2008 & The Channel 4 Comedy Gala 2016. I am also love teaching and have been
commissioned to create work and run workshops across the UK and internationally.

In 2013 I was selected as a future Dance Leader for the ABLE leadership program, and in
2015, I was awarded a Bench fellowship. I am currently Associate Dance Artist Dance City
in Newcastle.

I have worked internationally as a performer touring with Russell Maliphant Company,
Southpaw Company, the Olympics Opening Ceremony, Wendy Houston’s ‘Stupid Women’,
and Warsan Shire’s (as featured in Beyonce’s ‘Lemonade’) ‘The Ugly Daughter’ to name a
few.

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Executive Summary

My travels to Cuba and Brazil served a number of purposes: I was able to refresh,
consolidate and enhance my dance skills; improve my knowledge of the Orixàs/Orishas;
experience the culture and dances first hand and strengthen my confidence and credibility
as a dancer, mentor and choreographer.

My research focused on the influences and connections between Brazil and Cuban dances
of the Orishas/Orixàs. This enabled me to explore how to further incorporate these
techniques into my own contemporary dance practice for teaching and performance in the
UK.

The investigation of Latin Dance features in the theatre in Brazil and Cuba has also enabled
me to develop my role as a dramaturge for Roots of Rumba and strengthen my mentoring
capabilities with emerging Latin Dance theatre artists in the UK.

Major outcomes in headlines

Improved knowledge and skills in Afro Cuban & Afro Brazilian traditional dance
Improved confidence and credibility
Greater understanding of connections between Brazilian and Cuban dances of the
Orishas/Orixàs
Discovered links between the above and Graham and Contemporary techniques. This is
possible PHD research project.
Produced new and original classes combining contemporary, Afro-Cuban and Afro-
Brazilian dance both for schools and professionals.
Further development of my theatrical work including Roots of Rumba.
Strengthened mentoring abilities.
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Improved cultural understanding, having had the opportunity to ask questions and
conduct interviews in country
Improved research skills
Formulated moral questions around responsibility, cultural appropriation and the correct
passing on of this work.
The importance of Africa in this work.

Description of the project

I travelled to Brazil and Cuba to research and study Afro Brazilian and Cuban dances and
the dances of the Orixàs/Orishas, as well as how these styles feature and complement
Contemporary Dance theatre and classes.

I took dance courses, classes, paraded in carnivals, watched shows and conducted
interviews in Cuba (Havana) and Brazil (Salvador). This was a unique professional
development and research opportunity to develop my current and future work with Ella
Mesma Company, Element Arts and Roots of Rumba.

Aims, objectives & purpose of project & approach

I embarked on this journey to learn more about Afro Cuban & Brazilian traditional dances. A
common perception in the UK is that Latin dance is a ‘popular’ or ‘street’ dance and
performances tend to be full of fake smiles and sequins, which can fail to demonstrate the
beauty, history and finesse of these dance techniques rooted in Africa.

I wanted to educate myself in order to disseminate Latin dance Theatre in the UK
with my platform Roots of Rumba.

The number of Latin events in the UK for the general public is fairly small, often only
represented in bars and clubs rather than on stage. For the large minority of people in the
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UK of Latino heritage, this public celebration of their art and culture is hugely significant as it
is also rare. I am passionate about passing the historic knowledge and philosophy I gain on
to my students, as well as the technical skills.

This is my motivation for pushing the boundaries and exploring Contemporary and Latin as
a medium for performance theatre and a teaching style. Just as we have seen Hip Hop
theatre develop in recent years I would like to see the same for Latin Dance. The high level
of interest in the events I am creating suggest the UK both needs and is ready for this type
of work

I believe to truly understand and respect a culture you must experience it first hand. It is
essential to immerse yourself in the experience. This trip was significant in enabling me to
consolidate the skills I need to choreograph works using the Orixás/Orishas and associated
dance styles, and to teach and pass on these styles to my Company, to other dance
professionals, to students in schools and to the wider community.

My long-term mission is to raise the profile of traditional Latin and Afro Latin dance and the
roots of Salsa and Samba in the UK so that eventually we will see many more
Contemporary Latin Companies, and more Latin dance Theatre on the main stage.

Element Arts Company, which I created in 2006 started with Salsa and Samba shows and
workshops. I wanted to develop the company further and extend the repertoire to include
Afro-Cuban and Afro-Brazilian dance. Roots of Rumba - my platform for Brazilian, Cuban
and Latin dance theatre aims to drive the Latin Scene in the UK. The Ella Mesma Company
established in 2011 is a Latin Dance Theatre Company focused on developing
contemporary Latin dance for the theatre.

Methods report video blog
This video was filmed in Brazil as a commemoration of some of my experiences training in
Salvador da Bahia. It includes videos from class and my audio diary, which has also been
recorded as a written diary later in the report.
https://www.youtube.com/watch?v=mLMUBHezB-A

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Findings

The organisations offered dance workshops, the opportunity to studying the Yoruba
language, as well as singing & Music classes.

Index of organisations
Funceb: http://www.fundacaocultural.ba.gov.br/
Associação Artistica e Cultural Diáspora - Diáspora Art Center:
https://www.facebook.com/pages/Associação-Artistica-e-Cultural-Diáspora-Diáspora-Art-
CenterBloco Kizumba http://www.guiadaboa.com.br/17556-bloco-kizumba-
2017/details.htmlEspaço Cronopios: https://www.facebook.com/cronoarte
Capoeira Mojuba (at the end of my trip), Guarantingueta:
La Ena: Cuba Danza: http://dccuba.com/
Obini Bata: http://www.drumming.co.za/obinibata.htmChevere Dance Company
Habana Danza: http://www.facebook.com/domingo.pau.5

The Teachers:
Funceb
At Funceb I was able to devise my own program of dance classes including Orixás classes
with Jaguaracy Santos Mojegbe, Denilson Olawufemi, Contemporary using Afro Brasilian
with Paco Gomes and the Silvestre school including Vera Passos and Rosangela Silvestre.

Particularly poignant for me was studying the work of Denilson Owalufemi, looking at the
body as a spiritual vessel and his research into the gut as a sacred centre and another
'brain' giving equal importance to the rotation, and the contraction or head and tail
connection. I also found his ideas in about the connections to the Orixás and Graham
technique very enlightening. These insights, gained in country through opportunities to ask
questions, conduct interviews and learn about the cultural influences were invaluable.

Associação Artistica e Cultural Diáspora
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Nem Brito’s classes were very direct and to the point. In his small centre, he held drumming
classes and dance classes on the Orixa, Samba de Roda and Samba Caboclo. He used a
Contemporary warm up followed by his unique teaching approach, which meant we travelled
across the space in lines.

Espaço Cronopios
Leda Maria Ornelas taught Afro Brazilian and Alongamento in this beautiful space in Santo
Antonio- Salvador. Her classes featured live drums and often would fuse Contemporary and
Afro Brazilian styles.

La Ena
In the mornings we had Cuban Contemporary Class with Yoerlis Brunet. In the afternoons
we would study Afro Cuban and the dances of the Orishas. The Cuban techniques seem to
me to have more complicated rhythms often dancing to the off-beat. I would like to further
research into whether this is the case or if it is because Brazilian rhythms fit more naturally
on my body

Chevere Dance Company
I attended rehearsals with Chevere Dance Company picking up lots of knowledge at each
rehearsal, even though they treated me like one of the team. I also studied further with
Yohan Corioso, who taught me Rumba, and helped me understand the more complicated
rhythms like Sha Sha Elo ke Fou.

Habana Danza
I loved the classes of Domingo Pau in Cuba, where I felt the depth of his knowledge and
love for his art in each expression. Domingo had a huge team of dancers, including his
daughter Luanda Pau who has an incredible eye for corrections, and a very detailed natural
rhythm. We worked with live musicians always. Domingo is dedicated and passionate about
teaching the dances of Orishas in line format.

Carnaval
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