Author: kamaurashid

Reflexões de Salvador: Monday, August 11

Dique do Tororó
On Monday, we visited three locations–a central theme of the first two was the Orixa tradition in Brazil.

The first trip was to the Dique do Tororó features statues of various Orixas including Iansã, Nanã, Ogum, Oxalá, Oxossi, Oxum, Xangô, Iemanjá; in addition to, Ewá, Logun-Edé, Ossain, Oxumaré. This lake was a very inspiring site as it represents the inscription of African knowledges on the spatial environment. This was a constant element of being in Salvador–the seemingly ubiquitous visual representations of Africanness, especially as exemplified by the Orixas.

Further, given that they represent divine forces, elements of nature, social archetypes, and ethical values and practices–the various representations of the Orixas serve as a potent reminder of how people conceive of and celebrate the sacred in their day-to-day lives. Further, they illustrate how African spirituality functions as an anchor of personal and collective identity, as well as how the concepts and values that the Orixa exemplify possess enduring relevance and meaning in the lives of millions of people both in Brazil and around the world.

Museu Afro-Brasileiro-UFBA
Our second trip was to the Afro-Brazilian Museum contained exhibits on Afro-Brazilian spiritual traditions. It included clothes, paraphernalia, furniture, and various objects associated with the rituals and traditions of Candomblé. There were also items present from Nigeria, Benin, Senegal, and other parts of Africa that demonstrated the depth of continuity between Africa and Brazil.

A highlight of this museum was a collection of works by two artists depicting the orixas. One was a collection of carvings by artist Manoel Do Bomfim which, aesthetically, brings to mind art from the Edo Kingdom of Benin. The other collection was a piece titled “Mural dos Orixás” by Carybé (born Julio Paride Bernabó). It featured 27 panels displaying Orixás from both Yoruba (Ioruba) and Ewe-Fon (Jeje) traditions. It was visually striking in its interpolation of materials–wood, metal, shells, and so on. Further, its use of color produced highly evocative pieces that conveyed motion and energy, capturing the profound beauty and complexity of Candomblé.

Associação de Capoeira Angola Navio Negreiro (ACANNE)
That night I ventured out to my first Capoeira class, which was at the Associação de Capoeira Angola Navio Negreiro run by Mestre Renê Bitencourt, a student of Mestre Paulo dos Anjos, who was a student of Mestre Canjiquinha.

Mestre Renê teaches Capoeira Angola as a mindful, ancestral practice. He constantly emphasizes the importance of listening and observing–listeninig to the music and observing the other practitioner with whom one is playing. His emphasis on listening is analogous to something that my teacher, Mestre Preto Velho says, “Stay in time of the motion within the space of the jogo.” In this way, Mestre Renê taught the need to stay focused on what was happening in the jogo, while also reacting accordingly to the other Capoeirista’s actions. In the context of class he also talked about safety and being “calma” (calm) during one’s practice, and I would add, throughout one’s life.

In terms of physicality, Mestre Renê’s class demonstrated that Capoeira Angola is not easier than other styles of Capoeira. While it places less emphasis on acrobatic movement, it is no less demanding in terms of the dexterity, agility, balance, and strength that it requires. Thus, the movements were physically and mentally demanding. Also, like all Angola styles, his was a grounded form of Capoeira wherein we spent most of our time on the floor and a good amount of that time inverted. Further, his approach to teaching emphasized the dynamic and interactive corporeality of Capoeira–the dynamic exchange of movement and intention inherent in the jogo, the game of Capoeira.

Lastly, the energy of the class was phenomenal. In the roda, Mestre Renê demonstrated that Capoeira is about warriorhood–about facing the challenges of life and living head on. Also, the atmosphere of the class, the community which pervaded the group was palpable. This also reflects the point that one enters into the practice of Capoeira via physical movement, but movement should not be perceived as the totality of the art. It is a practice focused on preparing one to experience life itself.

Reflexões de Salvador: Sunday, August 10, 2025

Our third museum trip was on Sunday to the Cidade da Música da Bahia. This museum featured exhibits that celebrated the music of Salvador, and especially from Afro-Brazilians across the city’s various neighborhoods.

Salvador’s culturally rich neighborhoods were a central feature. Different video stations played documentary footage of key performers from various parts of the city. These artists’ work was discussed in the context of broader historical dynamics–shaping Salvador in recent history.

The group Ilê Aiyê was a central feature–as their music, in its artistically rich celebration of Afro-Brazilian culture, highlighted the ways in which African traditions, those from centuries past and those which are being (re)discovered and reintegrated, have left an indelible impact on local artists.

Additionally, various forms of traditional instruments were featured. Patrons had the opportunity to play some of these instruments. Further, a member of the museum staff gave a dynamic presentation on these instruments along with a storytelling demonstration.

Capoeira is a means for a fuller realization of ourselves

We approach Capoeira as a tool of ancestral remembrance–a ritual that reminds of the struggles of our ancestors. We find in its physicality a comportment that is dynamic and creative–a combative genius that lends itself to a game that is both wonderful and challenging, and a fight that is unpredictable and powerful. Capoeira is a means for a fuller realization of ourselves, that is, it teaches us a way of being present in the world that draws on the strength of our ancestors, applying this ancient wisdom to the challenges that we face today.

Reflexões de Salvador: Saturday, August 9, 2025

Museu Nacional da Cultura Afro-brasileira.
We set out on Saturday to visit our second museum, the Museu Nacional da Cultura Afro-brasileira. This was an excellent trip that featured art from Projeto Afro–an exhibit that focuses on works from various Afro-Brazilian visual artists. The pieces were very moving and included works in multiple mediums–paintings, sculptures, and audio-visual performance. Themes of history, resistance, exclusion, colonization and decolonization, and societal progression and regression were all explored.

Some particularly compelling works that I saw were sculptures by Rubem Valentim and Mestre Didi and paintings by Guilhermina Augusti, Massuelen Cristina, and Moisés Patricio. These pieces explored African and Afro-Brazilian spirituality, aesthetics, as well as histories of racialized subordination and resistance.

The other major exhibit titled, “Òná Írín: Caminho de Ferro” was a collection of sculptures by Nádia Taquary that explored various themes related to Ogum, the Orixa of iron, warriorhood, technology, and the forging of the path. It featured various visually striking works including a statue of Mami Wata and an oríkì (a praise poem) to Ogum.

Memorial das Baianas
We also visited the Memorial das Baianas, a small museum located in Pelourinho near the Elevador Lacerda. This museum focused on the role of Afro-Brazilian women within their cultural traditions. Exhibits explored the history of Black women going back to the era of enslavement, their roles as keepers of tradition, in addition to their labor and economic impact. Further, there were beautiful representations of traditional clothing from across time that were also displayed.

Reflexões de Salvador: Friday, August 8, 2025

On Thursday, August 7, 2025, my wife and I arrived in Salvador, Bahia. I went there to study Afro-Brazilian history and culture generally and to augment my knowledge of Capoeira specifically. While I had been to Brazil prior to this trip, this was my first trip to Bahia and my wife’s first trip to Brazil.

Our agenda was, over the next seven days, to visit several museums and cultural sites. Additionally, I hoped to have the opportunity to visit the academies of several mestres to deepen my knowledge of the movement, music, philosophy, and history of Capoeira.

Friday, August 8, 2025

Casa das Histórias de Salvador
Our first museum excursion in Salvador was to the Casa das Histórias de Salvador to see an exhibit on the Malê Revolt. The museum contained exhibits on the history of Salvador, from colonial times to now. Herein, the history of Afro-Brazilians in shaping the city and its culture were indelible.

One of the highlights of the museum was a film on the Orixá tradition, specifically the various religious festivals that take place in Salvador. This film was colorful and celebratory, highlighting the female orixá and their significance to life and community.

The top floor contained the exhibit about the Malê Revolt, a rebellion that was staged in Salvador in 1835, and was initiated, primarily, by muslims who were members of the Hausa ethnic group. In some ways, the exhibit was as much about the history of the revolt as it was a space for artists to reflect on the meaning and symbolism of the revolt itself. Historical events provide ways to examine key cultural themes and ideas, particularly those which are illuminated by the incident itself. To this end, there was a timeline of the revolt, along with other elements about its historical impact, (some of which were shared in other parts of the museum). However, most of the pieces were creative interpretations of Afro-Brazilian resistance and resilience.

There was also some brief discussion about the role of Islam during the revolt. This included references to the use of talismans containing Quranic verses, the use of Arabic script in the rebels’ communications, and so forth.

Overall, the exhibit was a good reminder of the intimate relationship between oppression and revolt–that the former almost always engenders the latter. Further, it demonstrated the ways in which African people sought to adapt their cultural knowledges to resist European domination. Lastly, it expressed the unfinished nature of this and many other struggles focused on the redemption of the African world.

Monumento Arena da Capoeira
As we were riding in an Uber the day before, we happened to notice a very large collection of sculptures situated around a large sphere representing Capoeira. Thus, after visiting the Mercado Modelo on Friday, we paid a visit to this space–which is just across from the market.

Completed in 2024, the Monumento Arena da Capoeira is a large spherical object encircled by statues of eight Capoeira masters: Mestre Besouro, Mestre Bimba, Mestre Caicara, Mestre Canjinquinha, Mestre Gato Preto, Mestre Noronha, Mestre Pastinha, and Mestre Waldemar. At its center is an elevated, circular platform featuring statues of two additional masters, Mestre Aberre and Mestre Totonho, playing Capoeira. It is a beautiful monument and a fitting homage to the legacy of these great teachers.

Malcolm X’s Unfinished Work

On this day, February 21, in 1965 Malcolm X was assassinated. He was a man who reflected a world encompassing vision. He was concerned not just the plight of Africans/Blacks in the United States and our right to sovereignty and self-determination but also was an ardent critic of colonialism and its denial of these same rights to the global south.

In many ways, his death proved futile as a means of suppressing his vision. The Black Freedom Movement became considerably more radical after his death, as various formations focused on core positions of his, such as territorial sovereignty, cultural reclamation, and revolutionary struggle–all of which were outgrowths of his lifelong commitment to Black nationalism. Further, and largely due to his influence, the vectors of Black consciousness were irrevocably changed, which is evident by the continued interest in his legacy and ideas over the decades since his death.

It should be noted that Malcolm was not an advocate of superficial notions of change, the kind that were fashionable in his day and again in ours. He was an ardent critic of those who would pose tokenism and assimilation as solutions to the global problems that our people face. These are, in his view, simply forms of surrender. He recognized that power was the answer to our problem–power over our collective destiny as an African world.

The struggle that he was engaged in is on-going. His work remains unfinished.

Kuumba

“Take what you do best and do it for your people.”
-Dr. John Henrik Clarke

The best of ourselves should always be used to uplift our people. The sixth day of Kwanzaa focuses on the principle of Kuumba (Creativity), which encourages us “To do always as much as we can, in the way we can, in order to leave our community more beautiful and beneficial than we inherited it.” This principle reminds us of the importance of using our talents, skills, and intellect to improve the condition of our community, recognizing, as the Ewe proverb says, that “Your goodness is not for yourself but for others.”