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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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I paraded in Carnival in both Havana and Salvador. The Cuban carnival was fascinating to me having studied Brazilian carnival. It was much more contained, and on a very different scale to Rio carnival - as was carnival in Salvador. I loved this bloco and enjoyed seeing the dances I had been studying feature in modern day movement. https://www.youtube.com/watch?v=a9uXIkuY8qg How were the classes different to the UK? In the UK, classes are normally taught with one teacher using recorded music. In Brazil and Cuba, there were always at least three live musicians in every class, making it a very direct experience and relationship with the drum. In Brazil, in the traditional Afro Brazilian classes, we were often set up at the beginning of the class into ‘families’ which was a group we were assigned and would stay with for the entirety of the class. This system is similar to the UK, where we will sometimes travel across the space, but the difference was in the sense of community created by specifying your ‘family’. In Cuba, the traditional Orisha classes we would also travel across the space in groups. I would always try to be close to Cuban dancers who I knew practiced Orisha dances professionally. In both Brazil and Cuba we were often taught songs using the Yoruba language and expected to sing these throughout the class. There was a very genuine connection to Spirituality during class. The drums, the direct link to religion naturally in the culture and in the content means that the energy present in the room is high and the community spirit moving across the space singing and dancing is strong. It would be very hard not to get caught up in it and the emotions of each different Orisha god.

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Conclusions Sir Ken Robinson, who has written extensively about the role of creativity in education, has not only been a strong advocate of teaching children to dance – he’s suggested children and young people should be able to dance every day as part of their education. He talks about ‘Educating the world within, as well as the world without’. My visit to Brazil helped me understand how to make this possible. In both Brazil and Cuba dance is considered to be a key part of social and cultural identity and there is a thriving tradition of capoeira, salsa and samba across the country. Dance does not have the same cultural significance in English life though. Its unique potential to offer physical and mental health benefits to participants, as well as the opportunity to engender a sense of community through a collective experience, is somewhat overlooked. Dance is a creative physical activity requiring the combined application of both mind and body. Everyone can do it, regardless of age or ability. It offers a means of self-expression through physical movement but is also, very often, an intrinsically social activity requiring people to collaborate for a common purpose. Whilst in Brazil, I was struck by the global reach of dance and the strong connections between Graham technique and ‘contraction’ in both Cuban and Brazilian dance. Discussing this with Denilson, my teacher in Brazil, led to reflection on the importance of alignment of the mind, the pelvis and the spine, and the centre and the earth in these dances. This in turn led to an appreciation of how Afro-Brazilian and Cuban dance have evolved from ancient dance traditions, which mirror the development of human life. As an Embryo the spine forms first, and from here, the limbs and then the heart and other organs. This has clarified my thinking about how I will further develop my own technique, class and choreography. Body-mind centering techniques (In Cuban contemporary everything moves outwards from the centre and in Orixas the contraction is the central focus) are at the core of my movement. I am impressed both by the strength that is derived from working from the centre and the energizing impact it has on the dancer’s movement. The force and intention of each Orisha is so different but all come from this powerful gathering of energy at the centre. When we dance from this point we are able to expand to a much greater extent. We are able to move from the eyes through to ears, fingertips, back of head. We become goddess-like, take on Orisha personas, and so have greater presence on stage.

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Since my experiences in Brazil and Cuba, I realise that I have held back when dancing in England. This is partly due to my own cultural inhibitions but also related to a lack of confidence in my knowledge of the movement. By letting go of this focus on ‘the world without’ and focusing on ‘the world within’ I have improved my own performance and so my choreography. Martha Graham is said to have once said to her students, 'I am arrogant but I know it. A bit of arrogance is okay’. These opportunities have made me realise that it is good to be great, to expand, to be unique, to be proud of accomplishments. I have learnt to let go of any restricting beliefs, and be in the moment when I dance. As a result I am taking great strides forward in my personal development as dancer, as a choreographer and as a leader of others. I passionately want to pass this on to young people. I experienced some wonderful and powerful imagery in my classes in Brazil: A soft wave, a dark cave into which you retreat when frightened. I recognized the power of storytelling in creating dance imagery and movement. In both Cuba and Brazil it is almost a sin to be out of time. I have always had a great connection to music and have keen sense of awareness of the contribution this brings to dance performance in the UK. The live music in both countries was liberating. I have since been inspired to introduce live music into my dance and have worked in collaboration with musicians in the UK in June and July. Since my return, I have created a dance class that combines my knowledge of breaking, Graham and yoga, with Afro-Brazilian and Afro-Cuban dance. The opportunity to train in these styles has allowed me to produce this program very genuinely and authentically. The time I had between the two trips allowed me to digest the full impact of two very different experiences and fashion a class which seamlessly interweaves these styles. I am also able to talk with confidence about all the cultural and technical elements within my class and the physical and emotional benefits of this inspirational dance style. I want to take this new dance class into schools and into the wider community.

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My recent work, ‘Ladylike’, focuses on Cuban dances of the Orisha and rumba along with breaking and rocking from New York. I am hoping to take this show on tour in the spring and have a first showing in London in October. My work ‘Ajé’ uses Afro-Brazilian movement and capoeira with contemporary dance. I would not have been able to make such unique work without this unforgettable opportunity. Implementation & dissemination Teaching in schools: Upon my return to the UK, I have created a Schools package, which includes a Powerpoint presentation, worksheets and video footage as well as detailed break down of the Orishas/Orixás. I have set up an effective Orixás project including a theatre show called Ajé. The piece has been reworked on students and performed in the Chelsea Theatre in London. http://youtu.be/MGkS8iJb5G8 I have distributed this information to schools in London and Yorkshire and taught in both regions. A teaching system for Ella Mesma Company: I have developed a teaching methodology and philosophy for my company- Ella Mesma Company. The class uses Contemporary and Yoga with Afro Brazilian and Afro Cuban, to help dancers to move their body moving as languidly and fluidly as they can. It is a fun, energetic earthy and grounded class full of body undulations, floorwork, contractions and release. Choreography: I choreographed the Commisao da Frente (Front Commission) for the London School of Samba this year under the theme Oxumare, the rainbow and the dances of the Orixás. I used the skills I gained in Brazil and Cuba along with Contemporary Dance to create a high-impact dance performance, whilst also passing on my knowledge of the dance techniques and the history. Productions with Ella Mesma Company: I have used elements from Afro-Cuban and Afro-Brazilian to enhance my and the technique within my Company, and developed the stories behind my theatrical work. I have reworked Ajé and developed new work Ladylike - an hour-long piece using Afro-Cuban dance, which will premiere at Sadler’s Wells in June 2017. http://ellamesma.co.uk/productions-ladylike Mentoring: I have offered mentoring support through Roots of Rumba and to company members as well as through Global Grooves. I am also able to promote Afro Latin dances, and the true roots of Salsa and Samba in the

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UK through my own performance work, education projects, blog, and Roots of Rumba event. I have begun offering dramaturgical support for Roots of Rumba artists to help enrich the scene long term. I would also like to see these styles performed to the professional level of Cuba and Brazil and one day set up a Contemporary Latin dance school in the UK. I will continue my own research and combine this with further travel and a possible PhD.

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Appendices Full trip itinerary Cuba Havana: 30th July - 20th August. ENA - Cuban Contemporary and Afro Cuban Centre for Training and. Visited other Afro Cuban performance groups to learn more about how they run their companies. Brazil: Jan 17th 1st March (Salvador da Bahia) Funceb Dance school for intensive training in Afro Brazilian & research into how this is used with Contemporary Dance in Brazil. Research into how the school incorporates ‘The Elements’ and the spiritual practice in their teaching ethos. Also attending Candomble ceremonies to understand more about Orixás. Cuba Blog

http://ellamesma.co.uk/blog/second-blog-post-here Brazil Diary Day 1 Paco Gomes Orixás class: Studying Nana - the earth mother who is upset with the world and humans for their maltreatment of mother nature. Also Omolu -who is said to be unattractive - the story in this class is that he was attacked by crabs- and he is fighting back at the way he is treated, saying 'you can bully me, but I can see, hear, think, do'. Vania Orixa class: Studying Oya who represents the butterfly (my quote of the year). She represents birth, death and change. She lives intensely. This class was to live drums and the atmosphere was just beautiful. Night time - I fear the zombies come out - I have been given so many warnings so decided to have a chilled and quiet dinner and bed. Quiet was not possible being on a main street

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of Pelourinho! Day 2 Jaguaracy’s Orixás Class: 9 am - 1pm. This included a singing class and a dance section. He is 'reinterpreting' the Orixás and even used some 'Krump' Silvestre Orixa class Noise of my home is difficult- I am needing to wear ear plugs the whole time Day 3 Stretch-Alongamento class with Leda Orixás Class with Denilson Owalufemi: We began singing and studying the Yoruba language. He broke down each orixaina in a simple way and gave detailed links between Cuba and Brazil Meeting: Bale Foclorico organized to take class in three weeks time. Silvestre Orixás Class: Luciane: We studied Xango (I was excited at the links to Chango from Cuba!) There was one step so similar to chachalocafou (Chango in Cuba) but with lots of distinctions too. I am realising I would love to do a PhD in this. Today I felt quite emotional connecting samba and the dances of the Orixás. I began to wonder if the real reasons I fell for Samba at the beginning of my career was to do with the earthy footwork and this innate human movement and calling from the drums. I watched an incredible Afro Brazilian Performance Day 4 Alongamento class with Leda Orixás Class with Denilson Bale foclorico meeting two with my letter from Jean Salomao Silvestre Orixás Class Day 5 Alongamento Class: Leda Orixa Class: Denilson: I felt really moved by Denilson's theory about capoeira and the body. He said that we can see the body as symmetrical in that we have two heads - the top half- where the arms, brain and mouth are. The bottom half where the legs, intestines and anus are. He said we should respect, live and think more spiritually about the bottom half as it is a sacred place. He said they are of equal importance and gave importance to the rotation and to our balance in being upside down sometimes. He made connections to the Orixás and Graham technique. We began with very contemporary exercises to work on contraction. Whilst doing a Cat and

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cow yoga type exercise, Denilson noticed my scoliosis and clicked it mid class! Which probably made me feel a bit emotional. As the very Graham class continued he began linking Graham to Brazilian and African dance. I felt really uplifted by this. Graham has always been my favourite Contemporary style so I was thrilled to hear there were connections to Orixa movement. I was so excited about the connections. It confirmed my intuition in my choices dance styles that are connected across continents. When we began to look at Orixa technique we focused on Iansa, Ogum and Xango. Orixa Class: Paco Gomes: We learnt material for Nana, Oya, Oxum, Ogum, Oxossi, Xango I also did an interview for Pia- a wonderful woman who was in Brazil shooting for a documentary around the world. Previously she had been in Nigeria where she visited the Oxum river. She asked me and another dancer about our personal connection to Orixás. Tomorrow I will take part in an Orixa ceremony. There is just an unbelievable amount of energy in Salvador. It is a non-stop city. I will sleep through the party ready for tomorrow. Day 6 I had a very interesting Orixa reading before heading to my Carnival rehearsal. I also practised and revised everything I had learnt so far. Day 9 Alongamento Class: Leda Orixa Class: Paco Gomes: This was my favourite class of the day focusing on the male Orixa Orixa Class: Denilson Day 10 Today I had an injury not from dance but from wearing flipflops on the hills! I am covered in mosquito bites and have an allergic reaction. This morning’s class with Jaguaracy covered Omolu, Nana, Xango & Oxum And then I was invited to an Ensaio to parade in carnival with an Afro Brazilian Bloco, though on my way they called to say it was cancelled. Instead I went to watch a local dance show where we were asked to pay our entry with tins of food. The most memorable shows included a Samba piece based on Iansa, an all male cast of around 20 which seemed to be about city life and a topless duet about Iansa and Oxum using contemporary dance and Afro Brazilian. Day 11 Today in Denilson’s Orixa class I started to understand the Yoruba language and connect the songs to their meanings for each Orixa. Then we studied the dance of Yemanya. He said on Friday we will start learning Oxala (Obatala in Cuba). I am really looking forward to that. The second Orixa class was with Vera, and we studied Ossain, a deity I don’t know much about and who doesn’t feature in Cuba as far as I know. This evening I watched the show of Bale Foclorico who I will train with in a few weeks. They

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showcased many Orixás including Omolu, Ogun, Iemanya, Oxossi. They also showcased Maractu with some incredible tricks, and Capoeira. This got me quite excited about my training in Capoeira, planned at the end of my trip as my own personal investment and research. Then finally they showcased Samba de Roda, which was exciting for me as I found a class today which I will take on Friday. I feel like things are starting to make sense here. Today there was a bateria playing in the street, and as I swayed to the music, I realized I am starting to dance Bahia style. My go to movements to these rhythms are helping me to make sense of all the training. I also met a percussionist today, who was giving me some lessons. It is so crazy here and so full on. I also discovered an amazing vegetarian food today called Abara. It is a food like Acaraje, which is often linked to the Orixa, but can be made vegetarian and is baked rather than fried in Dende oil. It is so delicious! Day 14 Today there were a lot of rehearsals for the Carnival. It was so noisy walking back from rehearsals, and I heard a Samba rhythm coming from one building so I went to have a look. And there I found a beautiful Samba de roda! Today I did a private with Denilson and was able to ask him loads of questions. He says so much which rings true to me. I have arranged to have tomorrow focusing in particular on the rhythms and dances. I think Denilson has an amazing intelligence and understanding of the body and mind connection. He helped me to see the connection to contemporary dance and the Orixás. We talked a lot about the history of Orixás and he told me about Katherine Dunham’s visits to Salvador. She was an important influence in the scene because she set up a company with her husband here in Bahia, and began to train in the Orixás in the 70s. Of course, the Orixás have been here since the beginning of time but she began to 'formulate' what she was learning into a technique. Maybe this is why there are links to Graham here? I wonder if this is similar with Cuba and Cuban Contemporary that is certainly a mixture of Afro Cuban and Graham technique. Today I also tried Silvestre technique. I discovered that this style is not for me. It is a beautiful contemporary style but I don’t feel it is a part of my journey. I also took a class with Vera where we covered every Orixa. Day 15 Today was the last Orixa class at Funceb. I took another private with Denilson. Today we broke down the movements and made more links to Graham, Horton and Limon techniques, and connecting these exercises and Orixás exercises which Denilson uses. I finally was able to ask about the shoulder isolations which had been confusing me as there doesn’t seem to be a set way or technique as there is in Cuba and from what I could tell there was much less movement of the solar plexus. Next I took Denilson’s last class, and then a class with Paco Gomes. At the Samba de Roda class I realised I have learnt lots of the style already, but it was great to formulate all of this. Finally this evening I went to a barber’s to shave the sides of my head as I was over heating. And there I ended up meeting the ex director and choreographer of Bale Foclorico! I love how small the world is because it turns out he is the father of a friend of mine based in London. Finally I watched some live Samba in my very noisy street!

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Day 16

Today I was filming all day-dancing Oxum with the wonderful Pia who is out here also doing research. We went to a very famous sacred beach in the Candomble religion, and filmed there and in the water with assistance from Nem Brito, a famous choreographer here in Bahia. Day 17 Today I went to visit the Orixás do Dique a lake with sculptures of all the Orixa on it. I then went to the Igreja do Bomfim, a Christian church which has borrowed many Candomble symbols. Our Lord of Bonfim is associated with Oxala, the father of Orixa and creator of humankind. When I came back I went to watch some of the Carnival celebrations. Day 18 Today I took another private with Denilson this time in a beautiful area of Bahia at the studio next door to his home. Again I was able to ask many questions, and we trained Ogun, Oxossi, Oxumare, Oxum, Iemanja, Iansa, Oxala along with his partner. I feel much more confident in my understanding and I will be returning with a strong foundation. In the evening I went to watch Ile Aye, an Afro Bloco who have been quite political in their parades and reportedly only allow black or mixed race people to perform with them. Day 19 Today I paraded in the Carnival! It was incredible! By coincidence, the leader of our Bloco was called Denilson! The parade was very long and we were dressed in yellow and white (my two favourite colours). We paraded around the whole of Pelourinho, using all of the movements of the Orixás! It was an incredible finale - a dream come true!. I was even interviewed for the television! Day 20 Today was Frustrating. Alongamento: I got up early to take Leda’s class but hen I arrived no

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one was there. She was running late so we finally took the class and then invited me to join another class. As I had organized to start my Bale Foclorico training, I turned it down. I ran to the Bale Foclorico building and waited a long time. Eventually I was told it was cancelled as it was carnival. Finally I went home to prepare for a scheduled rehearsal at the parade. It is quite hard for me to understand everything in Portuguese on the phone, and every time I was given directions to get there I struggled. I kept texting to have the address written down so I could look up how to get there but each text resulted in another call! Finally I was told the rehearsal was in fact cancelled due to carnival! So instead, I went down to Funceb. I began putting together a new class using everything I had learnt both in Cuba and here in Brazil. It was a really productive end to an exasperating day! Day 21 Today there have been many more carnival cancellations! The security explained to me that ‘After carnival no one has energy’ I was hoping to go to Bale Foclorico then an Orixás with Nem Brito and percussion, but instead I ended up staying in revising, creating and writing ready for tomorrow. Day 26 After a third day with no Bale Foclorico, I decided to take a trip outside of Salvador. It was great. I have been doing quite a bit of self training over everything and realising how much I have learnt. I have really enjoyed making a new company class, which is a mixture of everything I was doing already and these new influences. It includes a section on the hips and free improvisation. I have a feeling that this class is very important in finding a free and natural way to move and am starting to wonder if the whole world and ways of moving are connected - for example the healing quailities of Gaga, the strength in the Centre, the links to Graham and Afro Cubana and Afro Brazilian. Today I came back and took a wonderful class with Nem Brito on the dances of the Orixás focusing on Ogum. I also had a percussion class with Bira Santos, who I discovered is a friend of my friends John and Marica. They are a couple now based in Scotland, who I helped to communicate when they met many years ago. John was not yet able to speak Portuguese. Day 27 Today I had my second Orixa reading. It was very different to my first and felt much more right to me. I will take a cleansing with this Mae de Santos the day I fly to Rio for the end of my trip. Day 28 This morning I took a class with Leda. It was another Alongamento class. I am starting to feel very strong and supple from this class. It is wonderful to be warm already when class starts! I also took a private with Denilson continuing to discuss the links to Graham and Horton, and this time also looking at the modern day dances of Brazil and how the Orixás feature in these. In the evening I visited Terreiro: the celebrations went on for over 4 hours in a beautiful building. It was wonderful to see all the Orixás in elaborate

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costumes and to be a part of this very special ceremony and celebration of Xango. Day 29 Sadly today there were more cancellations. Bale Foclorico, and a private I had set up with Nem Brito in Samba C. Some say it is linked to Oxossi in the Candomble religion. I met with Denilson to ask him lots of my own inner questions about race, and racism in Brazil with regards to the traveller. Is it a new form of colonisation? Despite the cancellations, I have learnt so so much, and I had an amazing trip. I know I will come back again, as my story here is not quite finished, and I know the Orixás will continue to feature in my journey. I am so interested in the links and importance in the religion to listening to our intuition, to our spirit guides, and to the importance of the drums. On this trip, I have learnt so much about myself, the power of my intuition, and the importance of putting all of me, and all of my emotions into my movement. I love dancing the Orixás, because each one can reflect different sides to my personality and tell different versions of me. I have grown so much in confidence over the time here as I realize how much I have learnt, and as I realize that I know so much about this. At the same time I am excited to continue to learn.

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Footnotes Why Orixa? I first found out about the Orixás aged 7. I recently moved out of my house and did a massive clear out. I found one of my first school projects, which was about the Caribbean. I had written about different carnivals, foods and religions including Santeria in Cuba. Again during my A Levels studying Spanish, I did further research into Santeria, but it wasn't until 2004 in Brazil that I first learnt about the dances of the Orixa and experienced it first hand. I began my dance training with Salsa and had been dancing Salsa, and a little Rumba around two years by 2004. Samba was my new love, and I had been training for around a year when I travelled with a good friend to Brazil for two months. I studied Samba in Rio, and we attended our first Candomble ceremony in Salvador where I also visited the Igreja do Bomfim when my mum was ill in the UK. I travelled back to Salvador in 2005 as part of a project with the ABC Trust and Circo Picolino. This was where I first learnt the specific dances of the Orixa and was given the part of Oxum in a Circus performance. When I returned I set up a Samba group called Samba D'Oxum In 2006 I stayed for 3 months in Rio and learnt more about the goddess Oxum. Upon my return I changed the name of the Company to Element Arts and designed a logo which made reference to the different characteristics of Earth, Air, Fire and Water. All the pieces I made with the company would focus on a specific Orixa or element. In 2011 I visited Cuba for the first time and began my journey studying the dances of the Orishas, which I continued in the UK with my teacher Miguel Gonzalez. In 2012 I worked with Global Grooves in Manchester as a group leader on their Journey of the Orixás carnival project and it was here I began to realise how much more I wanted to learn about the dances of Cuba and Brazil. Classes in London were limited, but I nonetheless realised that this was where I wanted to shift my focus. I first began to create different versions of a piece based on the different Orixás between 2012 and 2014. This took various forms from an Afro-Brazilian House piece to a contemporary dance version commissioned by Billingham Festival. In 2015 I decided to develop the Orixa piece and was successful in getting Arts Council funding to research and develop my ideas. I officially identified my contemporary work as Ella Mesma Company and we created the 20 minute piece performing at The Place, Circomedia, Yorkshire Dance and The Chelsea Theatre. The History The ancestry of the indigenous people of Brazil is known to date back at least 8,000 years. There are as many as 2000 different tribes including Jiquabu tribes and speakers of the Tupi-Guarini language. Many were semi nomadic tribes and hunted, fished and

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gathered. Europeans invaded Brazil at the opening of the 16th century. There is some dispute over who was 'first', but in April 1500, Brazil was claimed for Portugal by Pedro Álvares Cabral. Miscegenation of the population began right away. Diseases from the West also wiped out tens of thousands of indigenous people as did murder and slavery. The Portuguese ruled from the 16th to the early 19th century with invasions from the Dutch and French. The Portuguese began to impose Christianity on the indigenous people, believing they would be 'saved'. The biggest export during 'colonisation' was a tree that traders and colonists called pau-Brasil, which was nearly wiped out as a result of overexploitation. Others were coffee, sugar, rubber and gold. Starting in the 16th century, sugarcane grown along the northeast coast (Brazil's Nordeste) became the base of Brazilian economy and society. Slave labor was the driving force behind the growth of the sugar economy in Brazil. Invaders began to import millions of slaves from Africa. Mortality rates were very high. Brazil imported more African slaves than any other country. 4.9 million slaves from Africa came to Brazil, most forced to embark at West Central African ports, especially in Luanda (present-day Angola), and Congo, Nigeria. In the 1690s slaves started being imported from Central Africa and the Mina coast to mining camps in enormous numbers. Cattle ranching and foodstuff production proliferated after the population growth, both of which relied heavily on slave labor. 1.7 million slaves were imported to Brazil from Africa from 1700 to 1800, and the rise of coffee in the 1830s meant further expansion of the slave trade. Although the average African slave lived to only be twenty-three years old due to terrible work conditions, this was still about four years longer than Indigenous slaves, which was a big contribution to high price of African slaves. By 1819 the population of Brazil was 3.6 million, and at least one third were African slaves. By 1825 the figure may have been as high as 56%. There were relatively few large revolts in Brazil for much of the 16th, 17th, and 18th centuries, most likely because running away into the expansive interior presented an attractive alternative to the dangers of revolt. In the years after the Haitian Revolution, ideals of liberty and freedom had spread to Brazil. In Rio de Janeiro in 1805, "soldiers of African descent wore medallion portraits of the emperor Dessalines." Jean-Jacques Dessalines was one of the African leaders of the Haitian Revolution that inspired blacks throughout the world to fight for their rights as humans to live and die free. After the defeat of the French in Haiti, demand for sugar continued to increase and without

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the consistent production of sugar in Haiti the world turned to Brazil as the next largest exporter. African slaves continued to be imported and were concentrated in the north eastern region of Bahia. African slaves recently brought to Brazil were less likely to accept their condition and eventually were able to create coalitions with the purpose of overthrowing their masters. From 1807 to 1835, these groups instigated numerous slave revolts in Bahia. In Brazil, escaped slaves formed quilombos- the most famous being Quilombo dos Palmares. Here escaped slaves, army deserters, ‘mulattos’, and indigenous flocked to participate in an underground society. Quilombos reflected the people’s will and soon the governing and social bodies of Palamares mirrored Central African political models. From 1605 to 1694, Palmares grew and attracted thousands from across Brazil. Though Palmares was eventually defeated and its inhabitants dispersed among the country, the formative period allowed for continuation of African traditions and helped create a distinct African culture in Brazil. The mixture of African religions that survived throughout slavery and Catholicism includes Candomblé. In Bahia, statues of African gods called Orishas pay homage to the unique African presence in the nation’s largest Afro-Brazilian state. Not only are these Orishas direct links to their past ancestry, but also reminders to the cultures the Brazilian people come from. Candomblé and the Orishas serve as an ever present reminder that African slaves were brought to Brazil. Though their lives were different in Brazil, their culture has been preserved and evolved to a unique practice in Brazil. Brazil was the last country in the Western world to abolish slavery. By the time it was abolished, in 1888, an estimated four million slaves had been imported from Africa to Brazil, 40% of the total number of slaves brought to the Americas. Obtaining freedom was not a guarantee of escape from poverty or from many aspects of slave life. Frequently legal freedom did not come with a change in occupation for the ex-slave. However, there was increased opportunity for both sexes to become involved in wage earning. Women ex-slaves largely dominated market places selling food and goods in urban areas like Salvador, while a significant percent of African-born men freed from slavery became employed as skilled artisans, including work as sculptors, carpenters, and jewelers. It was during Brazil’s military dictatorship, defined by many as Brazil’s darkest period, when a group called Ilê Aiyê came together to protest black exclusion within the majority black state of Bahia. There had been a series of protests at the beginning of the 1970s that raised awareness for black unification but they were met with severe suppression. Prior to 1974, Carnival was exclusive, and Afro-Bahians would leave their houses with only religious figurines to celebrate Carnival. Though under increased scrutiny attributed to the military dictatorship, Ilê Aiyê succeeded in creating a black only bloco, that manifested the ideals of the Brazilian Black Movement. Their purpose was to unite the Afro-Brazilians affected by the oppressive government, and politically organize so that there could be lasting change among their community.

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Ilê Aiyê's success has continued ever since and their numbers have grown into the thousands. Today, the black only bloco continues to exclude others because of their skin color. They do this by advertising exclusive parties and benefits for members. Combined with the influence of Olodum in Salvador, musical protest and representation as a product of slavery and black consciousness has slowly grown into a more powerful force. Musical representation of problems and issues have long been part of Brazil's history, and Ilê Aiyê and Olodum both produce creative ways to remain relevant and popular. Since the 1990s, despite the increasing public attention given to slavery through national and international initiatives like UNESCO’s Slave Route Project, Brazil has mounted very few initiatives commemorating and memorializing slavery and the Atlantic slave trade. In the last decade Brazil has begun engaging in several initiatives underscoring its slave past and the importance of African heritage. Gradually, all over the country, statues celebrating Zumbi, the leader of Palmares were unveiled. Capital cities like Rio de Janeiro and even Porto Alegre created permanent markers commemorating heritage sites of slavery and the Atlantic slave trade. One of Brazil's most severe problems today is its highly unequal distribution of wealth and income. By the 1990s, more than one out of four Brazilians continued to survive on less than one dollar a day. Though much progress has been made since abolition, unequal representation in all levels of society perpetuates ongoing racial prejudice. Most obvious are the stark contrasts between white and black Brazilians in media, education, government, and private business. Brazil continues to grow and succeed economically, yet its poorest regions and neighborhood slums (favelas), occupied by majority Afro-Brazilians, are shunned and forgotten.[57] Large developments within cities displace poor Afro-Brazilians and the government relocates them conveniently to the periphery of the city. It has been argued that most Afro-Brazilians live as second-class citizens, working in service industries that perpetuate their relative poorness while their white counterparts are afforded opportunities through education and work because of their skin color. In 2012, Brazil passed an affirmative action law in an attempt to directly fight the legacy of slavery. Through it Brazilian policy makers have forced state universities, regarded very highly because it is free and of high quality, to have a certain quota of Afro-Brazilians. The percentage of Afro-Brazilians to be admitted, as high as 30% in some states, has caused some social discontent, that some argue furthers racial tensions. It is argued that these high quotas are needed because of the unequal opportunities available to Afro-Brazilians. In 2012 Brazil’s Supreme Court unanimously held the law constitutional. Such legislation should see improved overall quality of life, greater opportunities, and better political representation for Afro-Brazilians but the issue of slavery and its legacy may forever be felt in all facets of Brazilian life. https://vimeo.com/168836090