Tag: culture

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: 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.

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.

Jacob H. Carruthers and the Restoration of an African Worldview: Finding Our Way through the Desert

Finding Our Way Through the Desert: Jacob H. Carruthers and the Restoration of an African Worldview offers a critical examination of the ideas and work of Carruthers, a key architect of the African-centered paradigm and a major contributor to its application to the study of Nile Valley culture and civilization. Herein, Kamau Rashid explicates some of Carruthers’s principal contributions, the theoretical and practical implications of his work, and how Carruthers’s work is situated in the stream of Black intellectual genealogy. Essential to this book are Carruthers’s concerns about the vital importance of Black intellectuals in the illumination of new visions of future possibility for African people. The centrality of African history and culture as resources in the transformation of consciousness and ultimately the revitalization of an African worldview were key elements in Carruthers’s conceptualization of two interrelated imperatives—the re-Africanization of Black consciousness and the transformation of reality. Composed of three parts, this book discusses various themes including Black education, disciplinary knowledge and knowledge construction, indigenous African cosmologies, African deep thought, institutional formation, revolutionary struggle, history and historiography to explore the implications of Carruthers’s thinking to the ongoing malaise of African people globally.

Order here: https://rowman.com/ISBN/9781793608505/Jacob-H-Carruthers-and-the-Restoration-of-an-African-Worldview-Finding-Our-Way-through-the-Desert

Spirituality and revolution

There is an imperative for social change that is articulated in the spiritual systems of many African cultures. The demands for honesty, righteous character, service to one’s community, frugality and restraint, reciprocity, discernment, and sacrifice are not merely matters of personal, spiritual cultivation. Nor are they born of a lack of concern for the physical world that we inhabit. These are commitments that require a parallel commitment to self-transformation and the revisioning of the world.

For instance, to be mAa xrw (true of voice) in a world awash in the currency of lies can be costly. But this is a necessary disposition if isft (wrong-doing) is to be appropriately understood and corrected. To strive towards the practice of mdw nTr (divine speech) is not only a matter of seeking to build bridges between the kmtwy (African/Black people) of the present world and the deep thought of their ancestors. mdw nTr, as a body of living practice, requires that the world be refashioned wherein alienation is not an inevitable outcome of the human condition.

There are other, innumerable examples, but I submit to you that only WE can save us, and that our culture is one of the most underutilized assets in this struggle.

To be African is the revolutionary act of our time

One sees movements of re-indigenization occurring all over the world. Herein groups seek to reclaim cultural and historical knowledge lost as a consequence of colonization. These movements rest upon a foundation of clarity about who they are and who their ancestors were. In fact the effectiveness of such movements rely upon both the coherence of their cultural orientations and the institutional capacity (i.e., power) that they can effect to sustain and expand this endeavor.

Due to a variety of factors, internal and external, some of us (African/Black people) are often bereft of such clarity. The resulting cultural mis-orientation does not simply produce a multiplicity of perspectives, but ultimately results in confusion, which denies us the necessary unity that can be marshaled into augmenting our structural capacity (i.e., power).

The historical subjugation of our ancestors and the resulting cultural suppression which was employed as an instrument control has left lasting fissures in our identity. Further, the imposition of an alien worldview, whether through language, religion, social organization, and so forth effectively orients many of us to seek our identity within the strictures of the Eurasian paradigms that surround us, rather than outside of them. Herein, our African ancestry is regarded with shame, ambivalence, and for the truly lost, denial and rejection. As such there are those who would contrive all manner of fantastic tales that would make us everything and anything but African. The denialist propensity for myth-making is reflected in the Swahili proverb which states “Habari ya uwongo ina ncha saba.” This is translated as “A false story has seven endings.” This means that a lie, because of its avoidance of the true, must endlessly morph to sustain itself in the face of the truth. The beauty of historical truth is that it requires no such fabrication. An Akan proverb states “Nokware mu nni abra,” which translates as “There is no fraud in truth.” This is because it rests upon a foundation of surety.

There is little power that can be derived from our forays along contrived paths. These may have an ephemeral effect for some, but the falsehoods and mis-orientation that undergirds them undermines the necessary unity needed for us to transform our condition the world over. To be African is not only an acknowledgement of our ancestral identity, it is also a political assertion of connection to our ancestors and our resolve to restore that which has been taken from us. The embrace re-Africanization enables us to draw upon the vast wisdom and knowledge of our ancestors, wherein their strengths become our own, and become instruments that we can use to heal and empower ourselves in the present.

Mama Marimba Ani says that “To be African is the revolutionary act of our time.” She maintains that such an identity tells us not only who we are, but how we must exist, and what we must do. She recognizes that the foundational clarity of our ancestral identity necessarily orients us towards certain political objectives including the transformation of our minds, our communities, our societies, and–ultimately–the world, because to truly be African in the most expansive sense of social possibility requires the nullification of those forces inimical to Africa and African people. There is no other identity that orients our people, both towards such an expansive vision as well as to our peoplehood as its highest form of expression.

The decadence of consumer culture on a warming planet

Popular media seeks to focus our attention on an innumerable number of unimportant things. You would hardly think that, as a consequence of resource scarcity and climate change, that the very survival of our species is imperiled.

Consumer capitalism is a maladaptive system. Sadly we will continue to confront this reality as the chasm between real imperatives and manufactured concerns widens.