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A Dance of Resistance from Recife, Brazil: Carnivalesque Improvisation in Frevo
Abstract
Frevo is an energetic dance from Recife, the capital of Brazil’s northeastern state of Pernambuco. Frevo is a dance of resistance because it narrates complex notions of identity that contribute to social empowerment through strategic processes of liberation for marginalized groups. The carnivalesque dance originates from the Brazilian martial art of capoeira and it participates in the kinesthetic disruption of power hierarchies as it is performed during carnival’s crowded, unpredictable, and often violent streets. Through this ethnographic research, I consider how frevo practitioners engage in cultural resistance using a practice that I call “carnivalesque improvisation.” Such strategies of resistance are transmitted through distinct teaching methods, allowing dancers to engage in improvisational processes of self-liberation.
... The city is characterized by deep social inequalities: while it has the 13 th GDP of Brazil (Borba, 2022), more than 50% of its population is considered low-income (Santana, Medeiros, & Monken, 2022). On the other side, Recife is a cradle of a popular culture of nationally established rhythms, such as Frevo (Spanos, 2019) and Manguebeat (Mendonça, 2019). Most music videos belonging to this genre, which derive from the outskirts of the aforementioned city, present favelas both in their settings and lyrics (Bento, 2021a;Gericó, Souza, & Pereira, 2020). ...
Music production accounts for spreading ideologies since music genres are intrinsically linked to political discourses. bregafunk is a music genre that fulfills this role in the music scene of Recife, Brazil. The genre’s video production portrays the city’s favelas as places of sociability and affection, as well as of ambition for better social and economic conditions. Based on the Foucauldian theory, favelas are an emblematic example of resistance. Thus, this study is guided by the following research question: how does the production of bregafunk music videos evidence favelas’ resistance? Foucauldian discourse analysis was applied to 777 bregafunk music videos posted on Youtube between September 2012 and September 2020. Results have evidenced a discursive formation showing higher favela representativeness in society. This discursive formation is characterized by the appreciation of favelas and their citizens’ efforts to empower minorities. These findings have evidenced favelas’ resistance by representing political identities inserted in this social space. This process reveals a specific and alternative ethos challenging the status quo by supporting political discourses with acts against those considered socially normal.
... Dance, for its performative nature, is a "seductive way of embodying national or regional identities" (Neveu Kringelbach 2013, 10). Many dance studies have revealed that, when dance concerns one's or others' identities, it is a particularly salient vehicle to politically demonstrate such identities (Neveu Kringelbach and Skinner 2012;Royce 2002;Wulff 2008;Weir 2017;Spanos 2019). North American native communities, for instance, revive the traditional dance rituals to mark their distinct identities (Aplin 2009;Kelley 2012) or to protest for political rights (Harkin 1997;Weir 2017). ...
This article discusses the role of colonial oppression in creating conflicting perspectives in the reproduction of dance as Indigenous cultural heritage. The debate on kahiko, the ancient Hawaiian dance, of which practice was severely controlled and then revived through the cultural renaissance, demonstrates that the radical deprivation of the practice has created multiple understandings of the dance among different practitioners. Of primary importance in these respects is the intergenerational divide within the dance community, manifest in the critical perspective of the post-renaissance variant of kahiko, which highlights the “continuity” of the practice through the colonial rupture.
... Although munganga has similar negative connotations in general, in frevo specifically it is a sought-after practice that highlights a dancer's kinesthetic intelligence, technical artistry, and cultural preparedness. Having munganga means embodying the subversive power of frevo to empower social negotiation and disrupt power hierarchies related to race, class, and gender (Spanos 2019). More than anything, munganga reflects the philosophy that anyone can dance frevo, whenever and wherever. ...
The term “dances of resistance” refers to dances around the world that are involved in strategic processes of liberation, activism, or racial, social, or ethnic identity formation for marginalized populations. This chapter discusses how dance is a valuable source of power for the socially excluded and how dancers implement various kinesthetic strategies of resistance through movement. The author presents frevo, a carnival dance from the northeastern Brazilian state of Pernambuco, as a case study for understanding how dance can provide a means of social inclusion. This dance narrates, through both sound and movement, complex notions of identity that contribute to socioeconomic empowerment and the valuation of popular culture. The chapter considers how popular dances empower subaltern communities at the intersections of gender, sexuality, race, class, and ability: How does dance archive social memory and provide a platform for political participation? How are strategies of resistance used and reinterpreted in the context of various, sometimes competing artistic and political agendas? How do dancers build inclusive communities that allow individuals to represent themselves so that their voices are heard and their bodies are visible?
Resumo A produção musical é responsável pela veiculação de ideologias, uma vez que gêneros se encontram intrinsicamente atrelados a discursos políticos. Na cena musical recifense, o bregafunk cumpre esse papel, retratando, em sua produção de videoclipes, a periferia como um espaço de sociabilidades e afetividades, bem como de ambição por melhores condições sociais e econômicas. Com base na teoria foucaultiana, consideramos a favela um exemplo emblemático de resistência. Com base nisso, a presente investigação se orienta pela seguinte questão de pesquisa: como a produção de videoclipes de bregafunk evidencia uma resistência da favela? Para tal, realizamos uma Análise de Discurso Foucaultiana de 777 videoclipes de bregafunk postados no Youtube entre setembro de 2012 e setembro de 2020. Os resultados evidenciam uma formação discursiva que alude a uma maior representação da favela na sociedade. Por um lado, essa formação discursiva é caracterizada pela busca de empoderamento de minorias e pelo próprio cidadão da periferia; e, por outro, pela valorização da favela. Esses achados evidenciam uma resistência da favela por meio da representação de identidades políticas circunscritas nesse espaço social. Esse processo revela um ethos particular, que, ao ser alternativo e resistente ao status quo, revela uma sublevação, ao sustentar discursos políticos a partir de atos de contra conduta ao que costuma ser considerado socialmente normal.
How can we create more inclusive spaces in the field of dance?
This book presents a framework for dance practitioners and researchers working in diverse dance cultures to navigate academia and the professional dance field. The framework is based on the idea of "cultural confluences," conjuring up an image of bodies of water meeting and flowing into and past one another, migrating through what the authors refer to as the mainstream and non-mainstream. These streams are fluid categories that are associated with power, privilege, and the ability (or inability) to absorb other cultural forms in shared dance spaces. In reflective interludes and dialogues, Emoghene and Spanos consider the effects of migration on their own individual experiences in dance to understand what it means to carry culture through the body in various spaces. Through an analysis of language, aesthetic values, spaces, creative processes, and archival research practices, the book offers a collaborative model for communicating the value that marginalized dance communities bring to the field.
This book will be of great interest to students, scholars, and arts administrators in dance.
This essay is a reflection on my experience in Pernambuco in 2018 studying regional popular dances, including frevo, capoeira, cavalo marinho and maracatu rural. My research focused on how these dances are “dances of resistance” that demonstrate strategies for decolonization of the mind and the body – both the individual body and the collective body of a community. As a white woman from the United States, I had experiences that prompted me to reflect on how embodied knowledge is constructed and on what decolonial pedagogies and indigenous epistemologies can teach us about how marginalized groups produce theory through bodily practices. In this essay, I focus specifically on one teacher, Fábio Soares da Silva, who instilled respect and empathy in his students through steps and stories from his community in the town of Condado in the Zona da Mata, in the rural interior of Pernambuco. I consider the importance of verbal and non-verbal language in dance transmission and how to navigate the physical and mental challenges that accompany new cultural encounters.
Capoeira is an Afro-Brazilian bodily discipline that has now become a global phenomenon. In 2014 the cultural significance of capoeira was recognized on the world stage when it was awarded the special protected status of an ‘Intangible Cultural Heritage of Humanity’ by the United Nations Educational, Scientific and Cultural Organisation. In the application to this organisation, and in wider advertising material and practitioner literature, capoeira is celebrated as a practice that promotes social cohesion, inclusivity, integration, racial equality and resistance to all forms of oppression. This paper seeks to problematize this inclusive discourse, exploring the extent to which it is both supported and contradicted in the gendered discourses and practices of specific capoeira groups in Europe. Drawing upon ethnographic data, produced through two sets of ethnographic research and the researchers’ 24 years of combined experience as capoeira players, this paper documents the complex and contradictory contexts in which discourses and practices of gender inclusivity are at once promoted and undermined.
The spectacular popularity of Riverdance in 1994, in Ireland and abroad, prompted critical reflection on notions of cultural authenticity, ethnicity, and identity. The attention focused on step dance led to increased discussions of national characteristics. This essay argues that the perceptions of Irish step dance, at first local, then nationalized and globally exported, reflect larger issues of relevance to the Irish state. Although these perceptions have influenced the development of Irish step dance locally, nationally, and globally, the dance practices themselves have assisted in molding and maintaining these same perceptions. I will illustrate how the commodification of Irish step dance practice, particularly during the past five years, has acted as a major catalyst for the emergence of marginal dance practices and has reenergized the Irish step dance tradition. Throughout this essay, I use the expression “marginal dance practice” to contrast with competition dance culture, which I interpret as the mainstream, accepted canon.
Although no one grand theory of globalization exists, considerable thinking on the subject has emerged over the past several decades among theorists from both the humanities and the social sciences. The term “globalization” appeared in the mid-1980s to replace others such as “internationalization” and “transnationalization” as a description for our ever shrinking world and the perceived process of “cultural homogenization on a global scale” (Hoogvelt 1997, 114; King 1991, viii). Different paradigms exist in the literature and, for the most part, they fall within two areas: international relations and world-system-theory.
Fields in Motion: Ethnography in the Worlds of Dance examines the deeper meanings and resonances of artistic dance in contemporary culture. The book comprises four sections: methods and methodologies, autoethnography, pedagogies and creative processes, and choreographies as cultural and spiritual representations. The contributors bring an insiders insight to their accounts of the nature and function of these artistic practices, giving voice to dancers, dance teachers, creators, programmers, spectators, students, and scholars. International and intergenerational, this collection of groundbreaking scholarly research points to a new direction for both dance studies and dance anthropology. Traditionally the exclusive domain of aesthetic philosophers, the art of dance is here reframed as cultural practice, and its significance is revealed through a chorus of voices from practitioners and insider ethnographers.
A richly researched historical and cultural study of capoeira, the Brazilian martial art/dance that is spreading around the world.
This book examines folk music and dance revival movements in Russia, exploring why this folk culture has come to represent Russia, how it has been approached and produced, and why memory and tradition, in these particular forms, have taken on particular significance in different periods. Above all it shows how folk "tradition" in Russia is an artificial cultural construct, which is periodically reinvented, and it demonstrates in particular how the "folk revival" has played a key role in strengthening Russian national consciousness in the post-Soviet period.
L'A. examine les aspects sociohistoriques et symboliques de deux danses rituelles telles qu'il a pu en faire l'analyse ethnographique en Grande-Bretagne dans les annees 1970 et 1980 : la danse des cornes (de rennes) - Horn Dance - a Abbots Bromley (Staffordshire), et la danse de la noix de coco - Coconut Dance - a Bacup (Lancashire). Revenant notamment sur la question de la tension entre historicite et memoire culturelle, il centre son propos sur les acteurs d'une tradition authentique : du point de vue de l'identite sociale et du lieu, en ce qui concerne la Horn Dance, du point de vue de l'histoire locale en tant que pratique incorporee, en ce qui concerne la Coconut Dance. Il montre comment ces ceremonies de danses s'inscrivent dans les processus locaux de distinction, ou le statut et l'identite s'expriment a travers un capital symbolique et des pratiques incorporees, mettant en lumiere le pouvoir du performatif et la pertinence recurrente d'un passe mythique dans la vie contemporaine.
continues to be based on a master-disciple (one-on-one) system. During lessons students follow the teacher's every movement through visual, kinesthetic, tactile, oral/aural means of transmission.2 Though research on the oral transmission of music has been strong through the history of ethnomusicology, few in-depth investigations of how students learn to dance and navigate within the musical soundscape exist. This paper focuses on one mode of teaching: oral transmission. I supply case studies from my fieldwork in Tokyo at the central Tachibana dance school where headmasters (iemoto, "headmaster") Tachibana Yoshie and (soke "original or previous headmaster") Tachibana Hiroyo teach.3 I have studied nihon buyo since the age of four. Throughout this article I include my personal experiences observing and taking lessons in an attempt to provide readers with a glimpse of the intimate, physical nature of the transmission process. The Japanese performing arts remain fully integrated in their artistic disciplines-a combined expressivity of music, literary narrative, visual arts (costume, props, scenery), and movement. Sonic and visual artistry must be completely coordinated for the expressive richness of the dance narrative to come alive. How do dancers learn to move with, or inside, a musical structure? In many cases dancers become part of the musical landscape, by producing elements of the soundworld in which they dance (claps, stamps, or vocal parts, for example). Through an examination of the oral transmission of dance, this article unravels the process of how dancers learn to comprehend their path through the complexity of nihon buyo musical sounds. I offer musical transcriptions and case studies of lessons as examples of specific teaching techniques used to teach music and dance. Oral instructions during nihon buyo lessons impart a wide range of directions to a student, both general and specific: fundamental dance movements, choreography, narrative story line, emotional content, and music. Comprehending the dance, from basic movements and choreography to musical and emotional considerations, is a complex coordination. I found that teachers' articulations in lessons form a metalanguage, a unique dance instructional language reflecting a varied and deeply complex matrix of information. This "dance speak" is comprised of a fragmented, yet completely fluid combination of the musical vocal line, instrumental vocables, emotive exclamations, and instructive speech. A closer inspection of the oral transmission process reveals that the metalanguage created during
This article focuses on the collective memory within the Brazilian Northeast of three iconic figures, a renowned bandit, a miracle-working priest and a famous singer, identifying and analyzing the attributes that account for their status as regional heroes. It suggests that these attributes form a counter-narrative that casts them as champions of the powerless and victims of injustice, themes that resonate among and reflect the lived experience of the northeast’s masses. This element of resistance later served as a regional counter-narrative to a dominant national history that derogated the Northeast.
IntroductionEmbodiment and Dance EthnographyObservation-driven DescriptionsParticipation-driven DescriptionsConclusion
"Danielle Goldman's contribution to the theory and history of improvisation in dance is rich, beautiful and extraordinary. In her careful, rigorously imaginative analysis of the discipline of choreography in real time, Goldman both compels and allows us to become initiates in the mysteries of flight and preparation. She studies the massive volitional resources that one unleashes in giving oneself over to being unleashed. It is customary to say of such a text that it is 'long-awaited' or 'much anticipated'; because of Goldman's work we now know something about the potenza, the kinetic explosion, those terms carry. Reader, get ready to move and be moved." ---Fred Moten, Duke University "In this careful, intelligent, and theoretically rigorous book, Danielle Goldman attends to the 'tight spaces' within which improvised dance explores both its limitations and its capacity to press back against them. While doing this, Goldman also allows herself---and us---to be moved by dance itself. The poignant conclusion, evoking specific moments of embodied elegance, vulnerability, and courage, asks the reader: 'Does it make you feel like dancing?' Whether taken literally or figuratively, I can't imagine any other response to this beautiful book." ---Barbara Browning, New York University "This book will become the single most important reflection on the question of improvisation, a question which has become foundational to dance itself. The achievement of I Want to Be Ready lies not simply in its mastery of the relevant literature within dance, but in its capacity to engage dance in a deep and abiding dialogue with other expressive forms, to think improvisation through myriad sites and a rich vein of cultural diversity, and to join improvisation in dance with its manifestations in life so as to consider what constitutes dance's own politics." ---Randy Martin, Tisch School of Arts at New York University I Want To Be Ready draws on original archival research, careful readings of individual performances, and a thorough knowledge of dance scholarship to offer an understanding of the "freedom" of improvisational dance. While scholars often celebrate the freedom of improvised performances, they are generally focusing on freedom from formal constraints. Drawing on the work of Michel Foucault and Houston Baker, among others, Danielle Goldman argues that this negative idea of freedom elides improvisation's greatest power. Far from representing an escape from the necessities of genre, gender, class, and race, the most skillful improvisations negotiate an ever shifting landscape of constraints. This work will appeal to those interested in dance history and criticism and also interdisciplinary audiences in the fields of American and cultural studies. Danielle Goldman is Assistant Professor of Dance at The New School and a professional dancer in New York City, where she recently has danced for DD Dorvillier and Beth Gill. Cover art: Still from Ghostcatching, 1999, by Bill T. Jones, Paul Kaiser, and Shelley Eshkar. Image courtesy of Kaiser/Eshkar.
Around the globe, dances that originate in village, temple, and court rituals have been adapted and transformed to carry secular meanings and serve new national purposes. In stage performances, dance competitions, and festivals worldwide, dance has become an emblem of ethnicity and an index of national identity. But what are the âbackstageâ stories of those dances chosen to bear such meanings, and what have been the consequences for their communities of origin? In Dance and the Nation, Susan A. Reed brings to light the complexities of aesthetic politics in a multi-faceted exploration and analysis of Kandyan dance in Sri Lanka. As the national dance of Sri Lanka, Kandyan dance is identified with the majority Sinhala ethnic group and heavily supported by the state. Derived from the kohomba kankariya—an elaborate village ritual performed by men of the hereditary drummer caste—the dance was adopted by the state as a symbol of traditional Sinhala culture in the post-independence period. When state officials introduced the dance into the school curriculum, it was opened to individuals of all castes, and high-caste women have emerged as prominent teachers and performers. Reedâs evocative account traces the history and consequences of this transition from ritual to stage, situating the dance in relation to postcolonial nationalism and ethnic politics and emphasizing the voices and perspectives of the hereditary dancers and of women performers. Although Kandyan dance is related to other south Asian dance forms, it is unique, distinguished by an elegant, energetic style, and lively displays of acrobatics and agility. The companion DVD includes unparalleled footage of this vibrant dance in ritual, stage, and training contexts, and features the most esteemed performers of the Kandyan region.
Examines the threats to Latin American cultural identity in a global marketplace. Traditions not quite past and modernity not yet wholly present make a curious hybrid of Latin American culture. In this thought-provoking book, a leading Mexican intellectual explores the theoretical and practical challenges presented by such a hybrid state. In particular, Nestor Garcia Canclini questions whether Latin America can move toward democracy and compete in a global marketplace without giving in to temptations of elitism or losing its cultural identity. Garcia Canclini moves with ease from the ideas of Habermas, Bourdieu, Gramsci, and Foucault to economic analysis, from appraisals of the intercultural tensions in cultural phenomena ranging from exchanges between Octavio Paz and Jorge Luis Borges to Chicano film and border art, comic strips and grafitti. Central to Hybrid Cultures is the notion that social formation does not necessarily run from ancient to modern, or from inferior to superior. Garcia Canclini illustrates how, in an attempt to modernize and still remain culturally pure, Latin American nations have often legitimated existing inequalities. The remedy he proposes combines anthropological and sociological methods to build an autonomous culture that can survive in the transnational market. Theoretically innovative, Hybrid Cultures at once clarifies and advances the development of democratic institutions in Latin America. Nestor Garcia Canclini is director of the Program of Studies on Urban Culture at the Universidad Autonoma Metropolitana in Mexico City. The Spanish-language edition of Hybrid Cultures won the 1992 Premio Iberoamericano. Christopher L. Chiappari is a doctoral candidate in the Department of Anthropology, and Silvia L. Lopez in the Department of Cultural Studies and Comparative Literature, both at the University of Minnesota.
This groundbreaking collection combines ethnographic and historic strategies to reveal how dance plays crucial cultural roles in various regions of the world, including Tonga, Java, Bosnia-Herzegovina, New Mexico, India, Korea, Macedonia, and England. The essays find a balance between past and present and examine how dance and bodily practices are core identity and cultural creators. Reaching beyond the typically Eurocentric view of dance, Dancing from Past to Present opens a world of debate over the role dance plays in forming and expressing cultural identities around the world.
Based on eighteen months of intensive participant-observation, Ring of Liberation offers both an in-depth description of capoeiraâa complex Afro-Brazilian martial art that combines feats of great strength and athleticism with music and poetryâand a pioneering synthetic approach to the analysis of complex cultural performance. Capoeira originated in early slave culture and is practiced widely today by urban Brazilians and others. At once game, sport, mock combat, and ritualized performance, it involves two players who dance and "battle" within a ring of musicians and singers. Stunning physical performances combine with music and poetry in a form as expressive in movement as it is in word. J. Lowell Lewis explores the convergence of form and content in capoeira. The many components and characteristics of this elaborate black art formâfor example, competing genre frameworks and the necessary fusion of multiple modes of expressionâdemand, Lewis feels, to be given "body" as well as "voice." In response, he uses Peircean semiotics and recent work in discourse and performance theory to map the connections between physical, musical, and linguistic play in capoeira and to reflect on the general relations between semiotic systems and the creation and recording of cultural meaning.
Folk and ethnic dance revival movements can be defined as "any dance tradition in which the participants are actively conscious of a connection with past performances". Dance revival movements can be subdivided into "national", "recreational", "spectacular", "spiritual", and other orientations, depending on the motivations of the participants. The Ukrainian dance movement in Canada had a national orientation from 1925 to about 1960, and has shifted to a more spectacular orientation since that time. The orientation of the revival movement has important ramifications for the values and priorities of the community, the decisions they make, and the forms of the dances. Thinking about revival orientations may reveal interesting patterns cross-culturally.
This quote comes from Otávio Bastos's frevo cinquentão class promotion on his Facebook page
This quote comes from Otávio Bastos's frevo cinquentão class promotion on his Facebook
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