RELEASEA collective creation by TREME TERRA inspired on the orishas mythology, composed by choreographies and music that dialogue with this universe and build pictures of the African diaspora and its influences over other cultures found on the metropolis. The point is not to recreate on the stage the traditional terreiro as it is on its sacred rituals, but to make a reinterpretation of this manifestation, a kaleidoscope of the Afro-Brazilian culture, the orishas mythology, its chants and movements. TERREIRO URBANO features QUINTETO ABANÃ as a special guest, enriching the musical repertoire with lyric chants and classical music arrangements that dialogue with the rhythmic musicality of TREME TERRA drums. This language fusion creates new sounds, new compositions and rescues public domain songs from popular manifestations from the traditional terreiros. TERREIRO URBANO is based on the symbolic representation of a xire (a traditional rite from the candomble religion, a sequence of dances and chants that hails all the orishas, starting on eshu and ending on oshala), a comtemporary reinterpretation of this rite that aims to get a privileged way to express and communicate the body and sound languages dialoguing with some urban elements.Li

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The music has an essential role on the development of the script, a thread that permeates all the scenes, linking every choreography and depicturing each one of the orishas worshiped in Brazil. Authoral and public domain songs and arrangements relate directly to each one of the dance moves, at times as a figurant, at times with a leading role on the development of the story.

The spectacle sound tracks are mainly percussive, produced by suites of instruments playing bassy, mid and high tones, rhythms recovered from Brazilian folk manifestations, traditional orisha-specific beats overlaid by melodic, harmonic and eletronic instruments building peculiar contemporary arrangements blending the traditional terreiros music with modern urban music and classical music.

The orishas rhythms include ijexá, congo, barra-vento, alujá, batá, ilú, adarrun among others. Willing to investigate the traditional terreiro on its urban context, the music includes Brazilian songs, some of them sang on the Yorubá dialect, and others concerning political and social issues, building authoral tracks played on traditional drums (conga drums, agogô, shekere, adjá, berimbau and bass drums), instruments made out of junk (metal drums, conduits, metal plates and bottles), conventional music instruments (flute, violoncello, acoustic guitar and violin) and eletronic instruments (keyboard and pedal) that dialogue with lyric and folk chants.

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Founded in 2006 at Morro Do Querosene — a neighborhood in São Paulo known for its strong cultural tradition of block parties and capoeira circles — TREME TERRA has since then been working for the acknowledgment and spread of the Afro-Brazilian culture. At its headquarters, now located at Rio Pequeno, a neighborhood on São Paulo’s outskirts, the group offers free artistic formation workshops for young people from the local community. From the participants of these activities it’s created a music and dance company: an artistic production site, a democratic socio-cultural exchange enviroment.

The groups’s artistic production is much founded on the fusion of the traditional folk culture rhythms (songs from Brazilian manifestations with African and indigenous matrix) and urban musical rhythms playing along with dance moves inspired on the orishas mythology, depicturing sounds and images of the African diaspora and its influences over the other cultural aspects found on São Paulo metropolis. Using recycled material, metal drums, conduits and scrap, TREME TERRA develops a sound research of peculiar tones extracted from objects generated by the city added to conventional acoustic music instruments (bass drums, congas, berimbaus, acoustic guitar, bass guitar, among other) composing afrocontemporary tracks based on regional rhythms (ijexá, congo, barra-vento, samba reggae, jongo, soli, baô) mixed with funk, hip-hop etc.

In 2010, the group gathered its research and produced its first authoral piece called Cultura de Resistência (Culture of Resistance): a multimidia album composed by 16 authoral and public domain songs that featured some proeminent Brazilian guest artists such as Nasi, Gaspar Z’África Brasil, Dinho Nascimento, Toninho Carrasqueira and Caxeiras do Divino da Família Menezes. The album also features a 16 minutes documentary (DVD) that discusses the survival of the traditional popular culture against the mass consumer market. All the songs as well as the documentary are freely avaliable for listen, watch and download on the website: www.culturaderesistencia.org.br.

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Ballerinas:

Musicians:

General and musical direction:

Choreographic direction:

Vocal direction:

Scenery design:

Costume design:

Lighting design:

Sound engineer:

Production:

Communication:

Body preparation:

Body preparation assistant:

Musical preparation:

Percussion workshops:

Afro-Brazilian dance workshops:

Ana Landim, Bruna Braga, Bruna Maria, Lígia Nicácio, Jaciara Ferreira, Mariana Franco and Tainá Mendes

Adonai Agni, Cassio Martins, Daniel Laino, Douglas Lima, Eduardo Jazzman, Giovani Di Ganzá, Hercules Laino, João Nascimento, Juliana Carvalho, Junior Santiago, Luciano Virgilio, Negravat and Renato Antunes

João Nascimento

Mestre Pitanga

Negravat

Julio Dojcsar

Lígia Nicácio and Vana Marcondes

Wagner Marzolla

Cauê Alves

Alexandre Alves, Adonai Agni and Daniel Laino

Allan dos Reis e Ronaldo Alves

Mestre Pitanga

Lígia Nicácio

Giovani Di Ganzá, João Nascimento e Pixú Flores

Daniel Laino, Hércules Laino e Juliana Carvalho

Bruna Braga

CONCEPTION, CHOREOGRAPHY AND MUSIC: COLLECTIVE CREATION by TREME TERRA Special guest: QUINTETO ABANÃ

CREDITS

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