Module 3- Music and Movement as a context

Title: Capoeira Brazil
Origin: Brazil
Performers: Grupo Engenho da Bahia
Instruments: Berimbaus, Pandeiro, Agogo, Recoreco and Atabaque.

In certain cultures, the music created is intended to tell a story, reflect on a statement or idea, as well as have some sort of interaction. The interaction involved can be between the players and listeners, between the individual performers and other ensemble members, as well as the movement and dance to music itself. Additionally, the environment and setting can play a vital role in how music is created or “performed”. The specific context described in our text involves: audience-performer interaction, intra-ensemble interaction, and music and movement. Through these various contexts, we are able to understand and reflect on the ways in which music can be intertwined within various global cultures. I decided to specifically focus in on the context of music and movement this week by analyzing the Brazilian art of Capoeira.

In many cultures throughout the world, music and movement are fairly synonymous activities. From the ballets of Romantic Period France to the traditional dances of ancient India, humans have always been enticed to move their bodies to musical sounds.  While the previous examples were created for the purposes of celebration and general merriment, the tumultuous environment of slavery in Brazil led to the development of the practice of Capoeira.  Brazilian Capoeira is known as “a blurred genre that can be best described as a game or martial art with music, a form of dance with vocal and instrumental accompaniment. “(Wade, 2013, pg.154) In a modern setting the tone of capoeira has taken on that of a “game” in which the music is integral in setting the scene.  “The musicians create the atmosphere within which the game comes to life; they make the game possible, and the game, in turn, gives meaning to music.” (Wade, 2013 pg. 154-155).  In the video selection for this week you can see the ensemble working together both instrumentally as well as with the call and response featured in the vocals (intra ensemble interaction), in addition to the ensemble co-creating the capoeira with the dancers/ martial artist (music and movement).  In this specific example the ensemble consists of berimbaus, pandeiro, agogo, recoreco and atabaque.

Additionally, this practice was born out of the slaves of the times’ efforts to break free from their masters.  Capoeira is “a martial art developed by slaves to aid in rebellions and escapes, but that it had to be disguised as a dance to fool the masters.” (Wade, 2013, pg. 48) One can draw parallels between Brazilian slaves using their Capoeira to elude their captors, and African Americans using such songs to escape such as “follow the drinking gourd”, which metaphorically speaks about following the big dipper in an effort to seek freedom. Much in the same way, capoeira was used to help show them the way to freedom in Brazil, African American slaves used songs to communicate the way to freedom as well.

Reference:

Wade, B. (2013). Thinking Musically: New York, Oxford University Press