Brazilian Body Percussion: Connections between music and language through oral delivery approaches
On March 22nd, I delivered a presentation titled “Brazilian Body Percussion: Connections between Music and Language Through Oral Delivery Approaches” at the 28th Annual Hispanic and Lusophone Studies Symposium held at Ohio State University.
In this presentation, I aimed to demonstrate the efficacy of teaching music through movement and language, employing English phrases to facilitate the process. I initially presented the phrase “Pediu pra para, PAROU,” a widely recognized samba phrase that elicited immediate recognition from the Brazilian audience.
The presentation commenced with “O Passo, de Ciavatta” to warm up the audience and establish a common rhythmic pulse. Subsequently, I introduced the selected rhythms, including the Surdo, Shaker, and Agogô patterns. While I intended to incorporate the Tamborim pattern, its inclusion exceeded the allocated 15-minute time frame. The patterns are provided in the presentation for reference.
Ultimately, all participants had the opportunity to engage in music creation. This presentation underscored the potential of non-traditional notation-centric approaches to music education and suggested alternative forms of academic presentation.
Presentation recording on YouTube: https://youtu.be/192dIxf4Ix4?si=gMUV0-TqOOs2-SAL
Below is the Abstract:
Body percussion is a dynamic and versatile tool that has been embraced by various cultures around the world and is widely integrated into many forms of artistic expression. In Brazil, it holds a particularly significant place, not only as a means of engaging audiences in live music performances but also as a subject of academic interest among music educators. Brazilian musicians and performers often specialize in body percussion, exploring its potential as both an art form and an educational resource. One of the most prominent groups that exemplifies this practice is Barbatuques, a music group that has gained international recognition for its innovative use of body percussion to create complex rhythms and songs.
In Brazil, the transmission of musical knowledge often relies heavily on oral traditions, especially when teaching diverse rhythms. A common and highly effective strategy in educational settings is the use of phrases, words, or onomatopoeic sounds to represent specific rhythmic patterns. This approach, known as "oral mnemonics," allows musicians to internalize and reproduce rhythms without relying on written notation. While this method fosters creativity and adaptability, it also leads to variations in performance, as each musician interprets and expresses the rhythms in their own unique way. This diversity is celebrated as a reflection of Brazil's rich cultural tapestry, where music is not rigidly standardized but instead thrives on individuality and improvisation.
This presentation aims to bridge the worlds of Brazilian rhythmic traditions and body percussion, offering participants a hands-on experience of how culture can be shared and preserved. By combining the oral teaching methods of Brazilian rhythms with the physicality of body percussion, the session will highlight not only the "what" of a culture—its rhythms, patterns, and sounds—but also the "how"—the ways in which these elements are transmitted, adapted, and experienced. Through this interactive approach, participants will gain a deeper understanding of how music can serve as a living, responsive expression of cultural identity, fostering both respect for tradition and space for innovation. This practical exploration will demonstrate how body percussion can be a powerful tool for cultural exchange, education, and artistic creativity.
References:
O Passo: O_PASSO_Apostila_de_Curso.pdf
Oficina de Percussão Corporal: Oficina de Percussão Corporal - Projeto de Música São Tiago.pdf
