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Blaster Afro Dance ORI Oruba gene And Recreation
archetypes-Style Brazilian

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Course Blog Welcome to Virtual-theoretical cap1

FIRST C URSO V IRTUAL

D S BOUT DE knock, OR RIXÁS
Written for Afro Root Diffusion

Afro Root Diffusion (digital publication on African culture) published this year that I wrote from the month of July 2010.

You can find it on this blog, in continuation of this post and from the menu bar is to the right of the page.

texts, brief and easy to understand, are thoughts, ideas, experiences with my students, and a deeper approach to the archetypes of the deities, which I consider vital tool for understanding not only technical dances, but the culture and philosophy of the Yoruba people.

I hope you enjoy the articles, we look forward comments and suggestions.

can visit the chapters entering the input file, in the right sidebar. The content will be extended month to month.

Denise Milani Por Fin

Orixás Dance: What are "The Xiré

By: Vivian Rodriguez Nohemi
Reproduction prohibited without mentioning
source.



Chapter 1:
1.1-What is an oryx?

imperative to clarify briefly what I mean by "Orixá", as many readers may not know it:
The Orixás are energies created by God (Olodumaré for the Yoruba) to help you manage your creation. It should clarify and emphasize that they are not gods (the Yoruba religion is monotheistic). According to narrate the myths, Olodumaré created the world and sent the Orixás to form, full of life and exercise control over its development.
Thus, they are truly living energies of nature to encourage the elements. There is a Orixá for each state of the elements of nature: earth, water, air, fire. As an example, is not it the land of the mountain that the mud of the swamp, therefore, these states are administered by different energies.
The Term "Orixá" could translated as "guardian of the head." This alludes to are those who are with us and protect our lives, simplifying, a concept similar to the Christian guardian angel. So, coming into this world, certain Orixás will perform just like the "watchdog." In Cuba they are called "saints" and his cult "Santeria). Many Orixás
is said to be 600 + 1 (Exu) but it is clear that the generic Orixá is wrong: the term designates only Orixá who are tasked to spread the life in the universe, which are generators of life, Orixás Fun fun (white) Oxalá for example. The others are called Ebor, and these are responsible for managing the creation. So would

400 Orixás funfun Ebora + Exu + 200 = 601

These energies are presented with human characteristics. However, myths and legends merely, in parables have the relationships you have with each different energies of nature and interaction with men. Also, some Orixás believed to have been people who lived and ruled the Yoruba people, capturing the heroic deeds Myths, the trials and tribulations in which these men showed their unusual character, being a reference not only to the Yoruba people and becoming divine ancestor.

Now if, rinsed briefly the concept of Orixá, we get into their dances.


1.2- Xiré: The Wheel of Orixás

A Celebration of the Orishas has a number of components or rituals among which stands out Xiré.
A casual visitor, unaware of the ritual will enter the terreiro or Ile (temple), then will be taken to Barracao (barracks) place where pass community celebrations and rituals. Are outside the Houses of the Orixás (a quarter each) to keep the settlements of the Orishas (Orixá representative elements of the ritual which is fixed by the energy of Orixá in particular for worship). And only have access to them the children of the house and kitchen, very important because that's where they prepare food offerings.
Within the hut, visitors will be surprised by the presence of a central pole in the middle of the vast hall. This post (Ari Aye) is basically representing broad mystical unity between heaven and earth. Also the three sacred drums (Rum, Rumpi and LE) to encourage the celebration and are run by people obviously also enshrined. (For this reason, no one can touch or run these tools except those specially consecrated people). There is also a Babalorixás (Orixás father) or Ialorixá (Mother of Orixás) commonly misnamed Mae Pae and, in general, the Sons of St, with different functions and positions, and thus with different titles. In this text we refer to them as IAOS (daughters) to be the common general name.
Once everything in order, each person in his place, the elements ready, visitors or workers comfortably installed on their benches or chairs, you can start the celebration. It begins with the Padé Exu (Padé: meeting) which is the ritual to call Orixá that by his mediation, the other Orixás listen to us, and besides, who cares that everything goes in peace and harmony without strife. Done

the Padé will start the conference Xiré or Orixás during which sang and danced at least 3 pray for each and during which the IAOS, will dance around the central pole (Ari Aye) to invoke the power of the Orishas.
The Xiré is the praise, the tribute due to each. A meditation governed by two essential components of African ritual: Dance and Song .
general rule, the order of worship to follow is from Orixás greater influence in our day to day, those most associated with the material aspects of human survival, even those with more functions related to the spiritual. This order can be changed according to certain events.
After the Xiré, attendees will share the ritual meal giving end the game.
is at the time when Orixás Xiré down to earth, called by the songs and dances, to come and support the body of their children. Each child who has mediumistic qualities has its own incorporation Orixá set, which can reach to bless everyone. This is not mandatory, as the tribute is made and there is no requirement that the Oryx is revealed.
defined in general terms what a Xiré, let us touch the portion that is outside the scope of our religious practice.


The Xiré to dance, dance consists of PATTERNS of each Orixá. PATTERN called to the different steps and choreography that are more or less stylized recreations of the dances performed in the xiré within religious or other field created entirely in the field of dance art.
gestures and symbols are the same, only that stylize and adapt to a more theatrical dance as though in the xiré religious people dance to the oryx, in our area usually danced as if we were the Oryx, adding the intention , strength, energy characteristic of each archetype.

We can say that:
1) The purpose is to communicate with the body, the characteristics of each archetype. (Patience, concentration, sugar, etc).
2) Moving from a state to another because each has different qualities and states and sometimes very conflicting, so within a very short time, I have to move from an attitude to a completely different body. (Eg, the fighter Oba, the sweetness of Oxum)
3) Incorporate voice dances and sing at the same time, which is an extra difficulty because it requires improving the quality aerobic. (We do this gradually, very little by little)

The most important thing
approach it as a meditation in motion, since successive dances are activated different energy centers while reliving the myths through dance, participate in psychological archetypes, finding more or less affinity with each other.
When Xiré is danced fluidly, without tension (this is not achieved at the beginning, but when he remembers it), is when we talk about meditation in motion: active meditation (when I think about the characteristics of each archetype and linking) or more passive when I ride alone rhythm and rid my mind.

Each archetype has something to say. Every myth, every story wisely summarizes the history of mankind and our own history. Therefore, it is an inexhaustible source of knowledge not only of the world but the people with whom we interact daily and especially ourselves.

Author: Viviana Nohemi Rodriguez - Sacred Dance Blaster Yorubas,
This work is created under Creative Commons Attribution-Noncommercial 2.5 Argentina.
Reproduction in whole or part, extraction and / or use of paragraphs without citing a single source and author.
For questions write to danzasafro@ymail.com
Sources: www.raizafro.com.ar ywww.danzarafro.com.ar

Hyundai Elantra Cooling Problems

Orixás Ch 2 - The Dance of the Earth Part1

By: Viviana NohémiRodriguez
dissemination prohibited without mentioning source



2.1 The Dance of the Earth Orixás:

"The earth does not belong to man, man belongs wing land.
All things are connected, as well as blood unites us all.
Man did not weave the web of life, is just one of its threads.
Whatever he does to the web, make it yourself. "

Chefe Seattle
Orixás's Dance in the arts, contains several points of collision, to be fundamental and essential to locate the work within the element that is responsible for: land-water-fire-ether. Orixás classification according to the element of nature that corresponds to the ABC is acting as the backbone of their dances and technical characteristics that identify them.

Earth Element, along with the water, are essential components of our planet, and the conjunction of the five elements is that life evolves and progresses. Science tells us - and the Myths I have the Orixás for millennia - that life arose in the Water. He fits the role of Earth to maintain, sustain and make it prosper. Therefore, the earth is so related to fertility in all primary cultures that fighting against an alleged "progress" that is destroying it, kept their rites of reparation and gratitude.

The Yorubas are no strangers to these traditions, in contrast, are fully aware that the elements in different states, are living energies that require attention, repair and conservation of its natural balance, so that the demonstrations t5odas of life, minerals, vegetables, animals and humans, are still housed and nourished by them.

Although it is a feminine element, the vast majority of Earth Orixás are male:

EXU: Land of the magic, the power of transformation.
Ogum: Land of progress, achievement, technology, wars.
Oxossi: The land that provides the elements for human subsistence.
Omolu: The land of the epidemics, diseases and cures.
OSSAIM: The land of medicinal leaves and liturgical.
OXUNMARE: the land of the movements and cycles.

Other Orixás earth element involved are:


EWA: Virgin Huntress, land of mysteries.
LOGUNEDÉ: Son of Oxum and Oxossi, a hunter who lives in the forest while hunting and eating other fish in the River. NANA
Buruku: fusion of land with water, wetlands that generate life and death shelter. OKO
: agriculture Orixá
Erinle: Hunter
Oduduwa: The civilizing hero who founded Ile Ife and myths attribute the creation of the earth.
IROKO: Orixá of the forest, protector of the trees. BABA
egum E-IYA MI OXORONGÁ: Orixás but not ancient, so we are just linked to land.

As we are talking about the dances of each Orixá delve into the different types of soil, its merger with water and fire elements and dances that manifest.

Note: Based on the book "Candomblé, a Panela do Segredo" Pai Cido of Oxum, since being Orixás concepts, I refer to authoritative words.

Author: Viviana Rodriguez Nohemi - Sacred Dance Blaster Yorubas,

This work is created under Creative Commons Attribution-Noncommercial 2.5 Argentina.
Reproduction in whole or part, extraction and / or use of paragraphs without citing a single source and author.
For questions write to danzasafro@ymail.com
Sources: www.raizafro.com.ar and www.danzarafro.com.ar

Vegetable Oil Lube Masterbat

Orixás Cap 2 - Dances of Earth-Part 2

By: Viviana Nohemí Rodriguez
dissemination prohibited without mentioning
source.


The Dance of the Earth Orixás
Part Two:

Mother's Movement Percussion

really never met anyone who was not attracted by the sound of a drum. Most people feel a force, momentum and excitement that are sometimes inexplicable. In particular I always enjoy when I witness people meet for the first time with a live drum and emotion is visible on their faces.

In the film "The Miracle of Candeal" 1, Carlinhos Brown (percussion Salvador de Bahia, Brazil) explained even group of children about the origins of percussion:


"Nature was responsible for creating percussion. And what is the real drums? When Mom and Dad have us begin to dream. Then we're making with the rhythm of the heart, with their beats. And the first bass sound we hear, what we do in the womb. And according to the rhythm of the mother, we became great drummers, because he puts the rhythm is the mother, the woman. "

That is the key to the mystery. Ever since the womb, before you see, we listen. So, music is considered the first art known to man and enjoy. The percussion in particular, we are thrilled and transported to a magical land which we consider supernatural and yet, we discover our natural side, primitive human. And inside the drum, the rhythms more primary emotions just wake us, are the rhythms of Earth.


who can dance can play

a dancer But not necessarily easier to learn to strike the pads. So the drummers, have an advantage that often, unknown. They al saber música tiene la interpretación del ritmo, la “oreja” como se dice vulgarmente, que les permite trasladar ese ritmo al cuerpo en el tiempo exacto. Algunos percusionistas me han comentado que al intentar tomar clases de danzas le han dicho que mejor se dedique a tocar, ya que no tenían condiciones para el baile”.Puede ser que no tengan la destreza física, pero eso gracias a dios se aprende, y se llama “Técnica”.

Los movimientos vinculados a la Tierra se centran básicamente sobre tres patas:

1) El arraigo de los pies al suelo. La planta se mantiene paralela al piso (mas adelante, we will dance as variants of each Orixá).
2) Earth's basic position is with legs spread to shoulder width or slightly more, semi-bent knees, the more you bend your knees, the posture will be more demanding and will make the muscles and joint work harder. Solar plexus just leaning toward the earth in a clear demonstration of connection, respect and veneration. Shoulders relaxed. Taking care to keep your head up your neck relaxed and aimed upward, looking for the connection to the sky for that lospies firmly on the ground, look heaven.
3) connection with the root chakra, located in the perineum between the anus and genitals. This energy center is just, that links us to the land, we focus on the here and now "is related to the amount of physical energy and the desire to live in physical reality. Your bloqueamiento cause reluctance and lack of vital force and other ills.

I had and I have students referred by psychologists and psychiatrists, yoga instructors, dancers from other disciplines who come especially to establish a stronger link with the earth element. The improvements are notable.
guessing that I will be paramount in the dances Africa, is the work release, order and plenifique movements linked to the land.
To achieve this, we must work hard and conscientiously. Many times, those who come to the African dances think everything is very strong, fast, violent. However
ground dances are quite calm, and there is a difference that need to be clear:

POWER IS NOT THE SAME SPEED.


So it's sort of chaotic movements, control the speed and power set.


And finally another rule Gold:


Never forget that silence has a place in the ritmo.Y that silence must be squeezed and valued. Moments are barely imperceptible movement that remade to be born again and managed.


If you do not hear the music of silence and respect your breaks, dance is hasty and chaotic. An uncontrollable force that leads to fatigue, away from the real goal: Learn to capture the energy, distributed ydosificarla for the sake of our physical and mental health.

References:


1 - Carlinhos Brown, percussionist, author of numerous issue and it is currently the most prolific author of Brazilian popular music. Born in Salvador Bahia, is the leader and creator of the project Candeal, leading education and liberation through art and the work to the residents of the neighborhood namesake.
2 - chakras: There are plenty of websites to read. I recommend easy and timely
link: http://www.mind-surf.net/drogas/chakras/chakras.htm


Author: Viviana Nohemi Rodriguez - Sacred Dance Blaster
Yorubas This work is created under Creative Commons Attribution-Noncommercial 2.5 Argentina.
prohibited its total or partial reproduction, extraction and / or use of paragraphs without citing a single source and author.
For questions write to danzasafro@ymail.com
Sources: www.raizafro.com.ar and www.danzasafro.com.ar

Arte Italica Vs. Match

dances Earth, Part 3

By: Vivian Rodriguez Nohemi

earth element features:

3DA part

work with this element is what gives us strength of body and mind. We focused on the here and now pursuing such practices as Tai Chi Chuan, for example. Its energy can become somewhat dense, heavy, volatile people friendly but unfavorable for depressed, listless, lacking in vitality.

In general, the work being done in African is more likely to work to get benefits such as heat, concentration, containment, taking special care to work from positive emotions to achieve energy order: Catch missing and dosing if excessive or chaotic. Personally
I always work with dirt, all kinds. First, in order to warm the body and gives vigor to heat resistance and strength. Second, to clear the mind and achieve focus and from there open the game to other energy alone or in combination.


The following table attempts to summarize the emotions that arise in this item and was built from known concepts of therapy and Eastern philosophies and believe it is useful to examine personally, how's our connection with Earth.

The following table attempts to summarize the emotions that arise in this item and was built from known concepts of therapy and Eastern philosophies I think it is useful to examine personally, how's our connection with Earth.


STRENGTHS APPEARANCE NEGATIVE

Construyendo of the form y holds. ; Ahogado, aplastic numb, retiene, repress, oppress y compresses

Soundness Pereza
Tolerancia                                                           Inactividad

Permanencia                                                      Materialismo
Paciencia                                                           Inflexibilidad
Firmness ; ; Suppression
Albergue                                                               Sadness
Heat Hold

Privacy
Reflection
Concentration
Containment

Earth in African dance is linked to the tasks of everyday life, war, birth and death. Play usual household tasks (crushing, planting, harvesting, etc) celebrate a birth, initiations etc.
Dances In Orixás specifically, are linked to the classification made in the previous release (see Deliverable 2 of the course) going from a younger Earth, vital and upright represented Exu, the oldest represented the archetype of Nana, who dances very slowly and with the solar plexus rather inclined towards the ground. Orixás worth noting that generally participate in more than one item, for example Exu is Earth and Fire and Land and Water Nana is mud because they are generated the first forms of life, the earth which is our body and we finally blanket.


The different archetypes of Earth:

Orixá Land Type:
Exú The Land of Magic
Ogum The land of progress and conquest
Oxossi The land of plenty
Ossaim The land of medicinal herbs
Omolu , The land of ailments and cure
Nana Rotten earth, generating life. Ancestral
, The land of traditions.


HISTORY:
A long and painful journey from Africa:

The dances of the African continent as sacred and profane, came to America because of slavery. On slave ships traveling men, women, children from different ethnic groups and tribes, so the dance made-like customs, religion, ancestor worship, meals, etc-were varied but in many ways similar. However, some groups prevail over others, and the customs and cultures merged and interacted, creating new manifestations of the same spirit that united in grief and displacement.
So we can say that the African dances came to America from the second half of the sixteenth century, with the first contingent of slaves. (Note: for know the groups that arrived please consult: http://afefe-iku.blogspot.com/2006/06/las-naciones-africanas-en-brasil.html

must nevertheless be clarify that the term "African dance" was coined in the 1970's, when the dances of the black continent were re-discovered in France thanks to the constant work of the "African Ballet" of Fodéba Keita, a native of Guinea. In North America, a little earlier, in 1934 through the work of Assadata Dafora, Sierra Leone. So
was as dances originating in Africa, transformed and recreated to contact with other techniques, modifying, adapted to the stage. We should also mention, as the Africans influenced the creation of dances like the Charleston, rock and roll and more modern jazz, break dance, hip hop, etc and here in our country, in the Tango.
To expand on this topic please see the link http://www.daamu.com/pdf/danza-africana.pdf


Links:
For various African nations who came to America go to:
http://afefe-iku.blogspot.com/2006/06/las-naciones-africanas-en-brasil.html
African Dance, written by Anie Nganou
http://www.daamu.com/pdf/danza-africana.pdf



Author: Viviana Nohemi Rodriguez - Sacred Dance Blaster Yorubas,
This work is created under Creative Commons Attribution-Noncommercial 2.5 Argentina.
Reproduction in whole or part, extraction and / or use of paragraphs without citing a single source and author.
For questions write to danzasafro@ymail.com

Gallbladder Removed Thrush

The technique

Nohemí Viviana Rodriguez,
to RaizAfro.com.ar


The technique in African Dance:

Part 1

As all kinds of dances, dances African origin is a technique that is proper and the difference from the others. The body must learn different postural patterns to which we are accustomed. This is not only delcuerpo movement, but also on the applied voltage and relaxation at the precise moment.
Each body part works alone or with the rest. Many movements are dissociated for example, between torso and extremities and can even make and follow different instruments in the rhythm that accompanies.
aerobic capacity should be optimized, improved both body work to follow basic health rules: no smoking, eating a balanced diet, sleep well, etc.. Also, it improves flexibility and muscle tone throughout the body, as each side has strong, precise movements that help to exercise all muscles, no supremacy of a particular muscle group.


A body part mereceespecial foot care are therefore to dance barefoot, the chances of injury incrementanlas ylesiones. Obviously cervical spine and also deserve special attention, as in all types of dances and sports.


Before starting the practice of these dances, and any other aerobic activity - there should be a physically fit, cardiac studies, and inform the teacher if you suffer from any chronic illness to be taken into account.
Generally when you first begin to venture into African dance does not control much of the extra energy (if any). So much force is used and comes to fatigue faster. For example, in the dances of deities, IANSA has a way of fast and demanding dance breathing level. the person moves, the heart races and ends up tired and drained of air. The secret to dance to its rhythm is nothing more and nothing less than the relaxation, obviously starting with a good physical fitness, I can dance with light and large movements, jumps, etc., Tirelessly, at the time to relax your body, what movements not only thins but maintains their breath for about the natural rate.


When the technique is not enough


is important to note that the Dance of Orixás specifically, the technique is not enough to achieve transmit delarquetipo danced psychology. Sometimes it also appeals to a job which is looking for experienced situations, ideas, fears, in short resources of our own life experience, which
help us "build" certain character. However, I think even more definitive that this resource is to see once in life, in flesh and blood, to dance to a orixá. Not in videos or movies. Close. Feeling your energy, experiencing their gestures, deciphering his intentions, respecting its mystery. With this comment, I do not mean to be a celebration of deities only to see their dances, but it presented a special opportunity, a invitation to be accepted into the greatest respect, may participate attentive.


Often the way to overcome shyness and hesitation, is feeling the same orixá. Not based on personal experiences, but drenched in their stories yapelando to a situation experienced by the orixá. Under his mask podemosmanifestar joy, anger, violence, the momentum that is within us, but work is just the "contemplation" of the Other that makes us more and more, I myself. For this reason I consider essential to thoroughly know, we run our own center, leave the mentelibre for them to talk through our body.


Freeing the body


Although the body sometimes reluctantly expressed, I think it is knowledge that will, in due time, the rest. Because knowledge is the basis of the understanding, and this in turn is the shaper of the movement, committed and common-union, with the oryx and the symbolism and meaning of their dances.
is striking how the mind grasps the body long before the directives, mechanical dynamics. Many times, we understand perfectly what we have to do with the body, but sparing shown to take action on the proposal. You have to give your time, be patient and contemplative. There is no point judging, judgmental, qualify.


While the dance is primarily a physical discipline should not miss the concept that Orixás dances are sacred dances. And so, I not only connect with my body but my subconscious. And here is where the teacher should not be judged or an opinion because the link is person-Rhythm-Archetype between these components and establishing the relationship, being who teaches a simple witness and facilitator of tools.


When my students see in the videos we filmed in some practices, it has happened that someone is taking account of a frown, an inappropriate smile, gesture or attitude of a body that does not fit the archetype of which we are working and there comes a Epa!. Why did that?. Perogeneralmente, without the obvious frozen on film, which are internalized by a bit, especially with those archetypes to which the individual is less related. People often express dissatisfaction with certain orixá, and without knowing why "they do not like nice." However, as you read their stories, understanding will and accepted by unlocking the heart and mind for the body, free from the shackles of prejudice, is expressed in freedom, beauty and above all, with greater harmony.


A good exercise is done among all a table to write the feelings and emotions that we feel, says each archetype. I have one done for me, though usually I try to be the group who come to some conclusions. Enclosed is a brief example, to be yourself who continue dissecting the personalities archetypal


ORIX REGION virtues associated


Exú Universal ; Cambio-Impulsividad-guile-duality-


I'll Ogum Impulsiveness - start-intent - destrezaefectividad-
; ; , fast-working-precision


Oxossi / Ode Ketu / Ketu ; Caution-Precisión-alert-concentrationist
atención-protección-infalibilidad-Sostene-seguridad-


Ossanha AORF , knowledge-concentration - cautelasabiduría- patience


Omolu / Xapana Mahi Mercy Health-Disease-punishment-anger-Auto -
punishment-pain-


Nana Ex Daomé Death-Life-justice-righteousness-disciplinary


Iroko / Tempo ; Serenity-ruthlessness Mahi-duplication-ancestry-


Oxumaré ; Mahi Duality - Drive-renewal-cycle-wealth-beauty-


Ewa Mahi Youth - candor, innocence mystery - guilt -

Oba
heard indifference - disappointment, loss-anger-chase-fight- maturity-fragility emotional fortress physically


Logunedé Iles-Duality haughtiness, arrogance-beauty-seguridadobjetividad


Oshun Ijesa / Osogbo Fertility and maternity-Vanity-Beauty -
; ; ostentación - wealth-


Yemanjá Egba Abeokuta y Maternidad - crianza-care-protección- ; ; ;  rectitud-disciplina-


Iansa,Oyá          Irá             Movimiento – Imprevisibilidad – Actividad –mutabilidad-


Xangó         Oyo y Kossó                       Justice - royalty - to-order-


Oxalá Ile Ife, Igbo and Paz-fon harmony - compassion - kindness, dignity


Author: Viviana Nohemi Rodriguez - Sacred Dance Blaster Yorubas
This work is created under Creative Commons Attribution-Noncommercial 2.5 Argentina.
prohibited to copy partially or totally, extraction and / or use of paragraphs without citing a single source and author.
For questions write to danzasafro@ymail.com
Sources: www.raizafro.com.ar and http://www.danzasafro.com.ar/





PART 2:


born technique or we build


The wonderful thing about these dances is that everyone can dance to, with the energy according to their age and structure physical, while respecting a particular way of standing with knees slightly bent, solar plexus, slightly tilted towards the ground, and a particularly nice hip movement and natural, without forcing a muscle unnecessarily, with the fluidity that comes once incorporated described the basic stance.
In Brazil, in Cuba in the Caribbean, the people involved dance workshops deities, they usually have prior knowledge of each Orixá, the archetype that represents their particular way of using space and body, which represents a major advantage compared to those who do not handle this information. There are bodily movements and attitudes were born "from within" unconscious and naturally. When they get to a class and know that Oxum is vain, Ogum implacable, Xango King and so forth. Know such as psychological archetypes and above all, know body attitudes accompanying each. (Who visited Salvador Bahia maybe went through the experience of observing someone just tell who accompanied him holy and, moreover, the data were correct!) is a knowledge acquired in a natural and everyday.


We have to learn, incorporate and make them ours to that end, be natural. In Argentina, most people just do not know who the Orixás, but you learn African Dance and is a technique that is proper. Teachers from other disciplines have come to ask me if African dance had a special technique. This leaves a lot to expose the ignorance of these dances as an artistic discipline and in my view, speaks clearly of a certain prejudice against African culture black.


choreographic patterns:


To facilitate the memorization of certain general patterns, I make my students do an exercise which, among all, we learn a lot: in a I own box slips with concrete actions, feelings, emotions and situations. Each takes a paper, reads it in secret and then there is the writing, dancing. So, they understand that is a source of inspiration for these dances and at the same time create for themselves, dance patterns that are then corrected and discussed as a group. The idea is that they develop some they may be able to create and have more tools at the time to improvise. For example, some guidelines to represent are:


everyday actions:
Washing clothes - sow - harvest on land - a tree harvesting - cutting reeds - etc


Observing nature:
am a reed shaken in the wind - water floods the beach - the water kisses the beach - so


Emotions:
I violent - was calm, I'll kill you! - I'm exuberant-etc.


mood:
Tristeza - euphoria - melancholy unease - joy - impulsivity, etc.


This exercise should represent not only writing but to define that rate is more consistent with what we should represent and calling the action within the elements earth, water, air, fire, ether but inspired by the deities.


In turn, I try to bring them to name the steps I teach them to remembering, the pattern back to mind faster, because the association-action name always calms anxiety and provides greater security.


choreographic patterns of the Orishas:


In general, the steps we practice, are recreations of what is really dance the orixá. Most employers are already long-established, however, always created new sequences, variations are introduced. However, I believe essential that the learner knows, what really corresponds to orixá, and is free recreation.


In my seminars, I divide the sequence of dances in different styles:


1 - The inadvertently,
2 - Then we add the expression and intention
3 - orixá imitation as closely as possible with the pure rhythm that belongs
4 - Improvisation and re-creating your own insurance.


While often use rhythms that do not belong to the body of the tradition of the deities, I believe that to avoid confusion, this should be made very clear and should be taught the traditional rhythms, as if working with deities, I do thoroughly.

recreate orixás is unacceptable, ignoring its rhythms.

I think if you use the technique and choreography of the deities themselves fairly free, it is best not to deities but elements of nature or psychological archetypes, as do dance orixás presupposes a clearer understanding of a particular culture, and if I do other African dances with a different origin and incorporate deities, made clear that it belongs and not to their dances.

Dancing is also to act:
The African features include everyone in almost everything. It is a participatory culture, where the sense of belonging is sovereign, but at the same time, the group does not absorb the individual crowded, but it gives you the opportunity to express their individuality by using and providing for the common good, their own values \u200b\u200band talents. If you think about it, in our society it is not so well, sometimes it requires more repairs than encouragement to speak out individually.


Thus, with respect to cultural events and by referring to the music and dance, we can say that


1) they assume different and diverse roles, subject to one's ability each person. So, who knows how to dance dance, who plays, plays, and who does not know any two things, clap your hands, or sing, etc.. Nobody is excluded, everyone can play a role in the scene.


2) The dancers and drummers incorporate theatrics, so the theater is also an essential component of dance and African rhythms.


3) The dancer and the drummers are not placed on a "stage" but that all actors and groups, remain at the same level, unlike what we're used to in America and Europe for example. This feature is admirable, as well, there is no division between actors and audience, and allowing more fluid interaction between them.


These three main points are generally followed and respected in America and also in classes and workshops. Who frequents African dance performances, preferably have noticed that the stage is not used, for example. The dancers also and percussionists are assuming different roles and interacting with each other and even with the audience.


Many times in the classroom, the problem that arises is the timidity of the participants. Incorporating the voice, gesture, action, takes time and work more durable than dance technique, especially when there are no previous knowledge of performance, which incidentally do not consider at all a requirement, but it depends largely on the "audacity" of the person.


always warn from the start, half jokingly but with a truth in it, who dances Africa not to feel beautiful and vain. Yes at times, but no general rule. I try to work also the absurd, the ridiculous to achieve disinhibition and spontaneity. Even if we consider that especially in the dances of deities, most of archetypes is classified as masculine, virile energy, vigor and can in no way be absent.


I will not further elaborated on the African performance, however, I recommend reading the article by sociologist Alejandro Frigerio, an author and scholar of essential reading and quite rightly been written on the subject. Nobody African dance incursions should ignore the writings of this CONICET researcher makes both decipher and bring African culture to America, to be recognized internationally as one of the most profound scholars of African American culture.


The link to the article is:
http://www.revistaquilombo.com.ar/documentos/frigerioperformancenegra.pdf


* Note: This essay is part of the book "Black Culture in the Southern Cone: Representations of the conflict. Alejandro Frigerio. Published by Editorial Universidad Católica Argentina.




The Internet is essential reading texts that help us better understand these dances. I recommend reading:


A Dança das Iabas of Rosamaría Barbara
http://www.lendas.orixas.nom.br/ebooks/002_adancadasaiabas.pdf


preliminary dances by Roger Bastide
http://witzky.org/vadinho/presentacion-del-candomble/


musica.Questioes sound and a sound anthropology. Tiago de Oliveira Pinto.
http://www.scielo.br/scielo.php?script=sci_arttext&pid=S0034-77012001000100007&lng=en&nrm=iso&tlng=pt