Tag: Africa

Reflexões de Salvador: Wednesday, August 13, 2025

Wednesday, August 13, 2025


Forte da Capoeira
On Wednesday, our final day in Salvador, we returned to the Forte da Capoeira for a private lesson with Mestre Boca Rica. As before, he shared with me stories about his accomplishments as a mestre. He also welcomed several visitors who were visiting the fort.

He and I spent about an hour working on music. We started with the berimbau, then moved to the pandeiro, and finally to the atabaque. He taught me several variations of familiar toques (rhythms) on the berimbau (Toque de Angola and São Bento Grande). He also shared some insights about the version of the toque Cavalaria that was taught by Mestre Pastinha, in addition to its social and historical context.

On the pandeiro, he showed me a way of manipulating the head of it to produce a dynamic, vibratory sound. He also showed me some interesting and beautiful Samba rhythms on the pandeiro. We ended with the atabaque, where again, he gave me some insights on how to improve my playing.

I expressed my sincere thanks to Mestre Boca Rica. His willingness to share his knowledge, his openness, and kindness truly inspired me.

As we prepared to leave the fort, it started to rain. The delay gave me time to remember the Ogun shrine, whereupon I went and left an offering of several coins.

Espaço Cultural da Barroquinha: Exposição fixa Orixás da Bahia
Our last museum-going experience was to the Espaço Cultural da Barroquinha, which featured an exhibition titled, “Exposição fixa Orixás da Bahia.” This exhibit featured statues of various orishas and other objects central to Candomble which were created by the sculptor Alecy Azevedo. The statues were built on the scale of a normal person, adorned in the regalia befitting them, and placed in naturalistic poses. Consequently, each exuded a certain presence that was very discernible. Further, the organization of the space featured two rows of Orixas, one on each side of the narrow chamber with Oxala seated at the far end of the room. This arrangement made the exhibit feel all the more immersive.

Outdoors, just outside of the facility was a shrine to Oxum. It featured a fountain with a representation of Oxum placed above it. Oxum’s colors were displayed, contributing to the calm yet vibrant atmosphere of the setting.

It was a wonderful space and a visually striking homage to this powerful and venerable tradition.

Overall this trip was profoundly moving. It provided so many rich insights into various aspects of Afro-Brazilian history and culture. Salvador is a truly magical place, a city that exudes the beautiful spirit of Africa and its people.

Reflexões de Salvador: Tuesday, August 12, 2025

Forte da Capoeira
Tuesday’s theme turned out to be Capoeira and began with a visit to the Forte da Capoeira/Forte Santo Antônio.This site is an old fort that has been repurposed into a training space for various Capoeira academies, as well as the location of an exhibit that honors the legacies of Mestres Joao Pequeno and Joao Grande. The exhibit features classic photographs of the two masters playing Capoeira against one another. It also showed several instances of them wielding knives during a certain type of game in Capoeira.

The fort also features a magnificent representation of Ogun that one sees upon entering. Further, it contains a shrine dedicated to him where various visitors left coins as offerings.

Several mestres had spaces in the forte including Mestres Boca Rica, Bola Sete, Curió, Moraes, and Nenel. While there I visited the academies of Mestres Boca Rica and Mestre Curió (the only two open at the time). Each of these mestres’ academies were like museums. The walls of the Mestre Boca Rica’s academy were covered with posters, articles, awards, pictures, and other symbols of his many years in Capoeira. The walls Mestre Curió’s academy featured various representations of Afro-Brazilian religious traditions, Capoeira, and his decades long presence in the art, in addition to two shrines.

I spent a great deal of time visiting with Mestre Boca Rica, as he shared a great deal with me about his life in Capoeira including his travels, awards, various published works featuring him, and the masters that he’s produced. He took great pride in having produced many masters, considering them as a part of his legacy. He expressed his concern about the distortion of Capoeira’s history–particularly among Capoeiristas in the United States–with people denying its African origins. Further, he expressed his commitment to the maintenance of the art’s tradition and authenticity.

He and I also played some Capoeira music and sang songs together. I was so impressed by his generosity with his knowledge and his skill with the instruments, that I asked if I could return the next day to train with him on the various instruments one-on-one. To which he agreed.

Fundação Mestre Bimba
The final activity of the day was a visit to the academy of Mestre Nenel, son of Mestre Bimba and founder of the Função Mestre Bimba and the group Filhos de Bimba. His academy is located in Pelourinha in a small, but dynamic training space.

I arrived to find Mestre Nenel working on making instruments. I greeted him while I waited for class to start. I was soon joined by over a dozen other visitors, most of whom were from other Capoeira groups in the US, who had also come for class.

Class was taught by two of the mestre’s professors, who, due to the size of the group, divided the class into two groups and taught each group one at a time, with one group taking the floor after another. Their method of teaching was exceedingly efficient and made very effective use of the limited space. The highlight of the class however were the two-person drills, which focused on the application of various takedowns to different types of attacks. Despite my nineteen years in Capoeira, this phase of the class was the most interesting and also challenging. Finally, the class ended with a lively and energetic roda.

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.

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.

Celebrating the Kemetic New Year: On cycles and rituals

I am very happy to have been able to attend the mswt ra wpt rnpt today. We met on the shore of Lake Michigan to the sound drumming and the glimmering of the sun just beyond the horizon. It was a beautiful occasion that served to remind me of some central values that informed the lives of our ancestors.

For them, time was cyclical. They viewed these cycles as, not merely temporal phenomena, but as expressions of the orderlies of the universe. These cycles, often represented by their celebrations of the new year, served to reinforce core social values and behaviors, particularly those which were so central to the maintenance of community and the nation. This is exemplified by the importance of agricultural festivals in many parts of Africa. Further, the new year symbolized the renewal of the bonds between humanity and nature, which in the ancestral paradigm, was the clearest manifestation of the divine.

Personally however, these cycles held further significance. They served as reminders of the unfinished nature of our being, that is, our continued journey through life and the possibilities within us to transform ourselves, to be the exemplars of good speech and good character, of the importance of striving to both discover and fulfill our purpose in the world. Herein, the celestial, terrestrial, social, and intra-personal were all conjoined within a coterminous cycle of being and transformation.

Lastly, today was a good reminder of the importance of rituals. Rituals serve as anchors of meaning which delineate critical junctures in the unfolding of time. They provide us the opportunity to focus our energy and intention. They also enable us to affirm the ideals which we seek to concretize in the world.

Inoculation against mis-orientation

At the heart of the problem is our fractured sense of cultural identity. Many of us see ourselves as Black, unmoored from any kind of ancestral foundation.

Afro-Brazilians emphasize their ancestral inheritance from the Kongo, Yorùbá, and to a lesser extent Gbe-speaking peoples. Haitians note their connection to Kongo and, again, Gbe-speaking peoples. Even in this country, there were times where our connections to Kongo, Igbo, and Mande-speaking peoples were quite salient.

I think that such a sense of ancestral identity is quite valuable as a means of anchoring oneself. It enables us to see ourselves as (A) Africans/Blacks in the US, (B) whose culture and traditions rests upon the foundation of many African ethnicities, (C) which are themselves emergent from a continuum of African historicity stretching back millennia. Such a grounding should be sufficient to inoculate us against the kind of cultural and historical mis-orientaiton which is ever-fashionable amongst some of us.