Afro-Uruguayan culture in the educational system }
"Firstly, would like to introduce myself. I teach Elementary Music Education, practicing in the free and secular public school and my association with this project originated last six years through the African-American teacher Julia Menezes, who perceiving my restlessness I head to the ECMA "Escuela de Candombe" tied at the time the African World Cultural Center, School of Candombe today kultural-URUGUAY triangulation. After an interview with Prof. Sergio Ortuño began attending as a student. Since then everything has been very fruitful, giving me the opportunity to pass this "concern" to my colleagues, rising instances (albeit sporadic) in the Music School No. 265 "Virgilio Scaravelli" and the N ° 310 "Hugo Balzo."
Well, once I made my presentation I would like to discuss concerns that led me to become more involved. Educators who are linked for many years to music, do not get tired to ask questions and develop projects, which sometimes are answered immediately and sometimes not. One of them ... Why the presence of African culture and substantive representation "Candombe" remains "semi-hidden" in School? ... You say ... you know, you mentioned and even sing several letters Candombe, but is not considered to date, incorporating the practice of the Drum, Dance, Choreography of Candombe in a formal forum. This invisibility in the formal means of education is what wakes me curiosity, if we recall that some years ago Candombe has been recently declared National Heritage and Intangible Heritage of Humanity, I have reached the time to revalue.
all know the tradition of the last day of the school year, attending school sixth year. We danced the "National Pericón" which is included in the school protocol.
ask me ... have you seen?
is not very common, found in the dates as marcantes for the life of a child, attend a closing party with a drum corps, dance and songs (which have the same content on Identity and Homeland) . Ignoring the African heritage in the Rio de la Plata which is closely linked to our identity (???).
who have had the experience of living for a time the country was saved in memory certain perfumes and unmistakable sound.
In winter, the scent of roasted peanut cart or caramelized. In summer the smell of roasted half tank or jasmine. But there is an unmistakable and unique sound that is present throughout the year and in almost all districts of Montevideo (and increasingly within the country), the drum corps. We call this identity ... and I ask again ... Why is this expression remains the on the outside campus? ... For what academicisms! would move to be included as an option of learner artistic expression?.
Argentine music professor Augusto Perez Guarnieri's proposal for Music Education highlighted in his book "Africa in the classroom" that African culture has characteristics peculiar to it, make it unique, different, special. Their music is "community" and "functional" is part of life itself. Encourages "participation" and "social integration".
I think school is the place of excellence where Candombe must be present as native expression of this country. I believe that every child has the right to experience it from a deeper look human, rich, to escape the carnival cliché.
would have many things to talk about the strengths of the practice of Candombe (looking as a whole its polyrhythms, dance, melody and musical form) but ... I'll just focus on these strengths mentioned in both pedagogical and social . Both attitudinal, procedural, and in the cognitive.
School as part of this partnership reflects all the social problems we are facing. A look the system shows a "poverty of language", "loss of creativity and expression" where the social interaction of the school is in decline compared to the strong influence uniformantes by the media, which often reports ridicule, discrimination , intolerance, individualism ... well, the opposite of what we as educators must encourage: tolerance, communication, respect, etc.
Candombe, in particular musicality through the rope drums, is the ultimate tool that gives us the opportunity to highlight the importance of interpersonal relationships to a bailout of the sense of community.
not be joining such a line of drums, if I hear another drum, I can develop and provide a creative touch, if not consider the "pattern" or "phrasing" of the other drum records, I can not move ahead without "internalize" the pulse that despite the differences, it is common to all, "the key." Proponent of that energy circulating in the orchestra of drums (Look here, which is similar to the positive values \u200b\u200bof life)!
I also wish to emphasize that proclaims hundreds of times in the methodological procedures insisting on allowing the "experience" antecedent to the theoretical as the correct way to follow.
I think it is possible to develop the project with authorities and would receive his support, but it would not be sufficient unless it is integrated into this at the real actors and generators of Candombe, Afro-Uruguayans musicians, and it would not be possible without their respetásemos methodology own musical and cultural transmission.
I dare to conclude, to name a few phrases of a colleague, Professor of Music Gustavo Reyna. When the student is required to maintain the key, is like telling supérate constantly. Pay attention, concentrate, means "do not miss the opportunity that gives you life." Listen to what the other is playing exactly, listen to others and respect differences. "
Music
Prof. Paper Susan Cazaux
