“When Children take the initiative and dance becomes more than heritage"

“WHEN CHILDREN TAKE THE INITIATIVE AND DANCE BECOMES MORE THAN HERITAGE”

Collecting, integrating and learning from dance transmission experiences with children of Auvergne, France and the Pacific coast, Colombia

CHOREOMUNDUS International Master in Dance Knowledge, Practice and Heritage

DIANA GUTIÉRREZ

2015

ABSTRACT This research analyses two cases of using and transmitting dance heritage giving a prominent role to the children’s perspective: the École de musique associative Les Brayauds in Auvergne, France and Barrio Brisas del Cauca in Cali, Colombia. An experimental methodological approach was proposed to allow the children to be the teachers of their own dance heritage. My claim is that encouraging children to teach and perform their dance heritage facilitates the (re) creation of dance forms and generates key changes in the social dynamics of the transmission process. By making visible and integrating the findings of both ethnographic experiences, the research gives insights about the potential that children could have for triggering social transformations through dance. Finally, the researcher proposes a preliminary idea on how to apply these findings in a project that gives children a protagonist role by using their dance heritage to initiate processes of cultural and personal reparation of conflict areas in Colombia.

KEY WORDS: Children’s dance transmission, dance heritage, healing benefits of dance, cultural reparation.

WORD COUNT:

21.998

ACKNOWLEDGMENTS To my beloved son Manuel, The greatest master, inspiration and guide of my personal and professional path.

To my patient husband Fernando, Who has suspended his personal interests to support and share my dream while being the most incredible, loving and generous father and partner.

To my dear family, Who, despite the great distance, has trusted, encouraged, and supported all my decisions with great joy and optimism.

To my Choreomundus family: Jeremy, Signa, Anna and Olia, Whose personal stories and friendship are incredible gifts that transformed me in unimaginable ways.

To my supervisor and mentor Georgiana Wierre-Gore, Whose support and great talent for looking the big picture of my work in detail always pushed and challenged me to go beyond my comfort zone and to take an extra step in the research.

To my mentor Egil Bakka, Whose support, words and dedication were crucial and revealing to my work.

To the École the Musique Associative Les Brayauds, Whose inspiring work, dedication and support motivated and helped me in my path.

To all my Choreomundus colleagues, teachers and staff, For supporting, nourishing and making unforgettable this path. For sharing their precious stories, talents and time, and for making my family and I feel like home.

I could not be more grateful. I found my vocation.

And in the end, dance always comes back.

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TABLE OF CONTENTS 1. Personal background for the research ................................................................................ 4 2. Literature review and filling some gaps ............................................................................. 6 3. Building an experimental methodological approach ........................................................ 15 a) École de musique associative Les Brayauds, Auvergne, France (March-July 2014) .. 15 b) Fieldwork in the Pacific Coast, Colombia (June 2014) ............................................... 16 1. General description of a dance heritage model ................................................................ 20 2. The structure of the teaching situation ............................................................................. 24 3. Detailed movement and body expression analysis ........................................................... 26 a) Adults teaching children............................................................................................... 26 b) Children dance amongst themselves ............................................................................ 26 c) When children dance during the breaks ....................................................................... 28 d) Intercultural experience................................................................................................ 29 e) When children teach their dance heritage .................................................................... 31 4. What children teach us about (re) creating new forms and triggering changes in the social dynamics of the transmission process? ................................................................................ 33 1. General description of a dance heritage model ................................................................ 36 2. The structure of the teaching situation ............................................................................. 41 3. Detailed movement and body expression analysis ........................................................... 42 a) When adults teach children .......................................................................................... 42 b) When children dance amongst themselves .................................................................. 43 c) When children teach their dance heritage .................................................................... 46 4. What do children teach us about (re) creating new forms and triggering changes in the social dynamics of the transmission process? ...................................................................... 48 1. General findings of the methodology ............................................................................... 50 2. Integrating inspiring concepts of both fieldwork experiences ......................................... 53 3. Discussing findings and further projections ..................................................................... 54

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V. CONCLUSIONS ................................................................................................................. 59 1. Why nodes of Heritage? ................................................................................................... 61 2. The “Seeds of Heritage” Festival ..................................................................................... 62 EPILOGUE: THE “SEEDS OF HERITAGE COLOMBIA” PROJECT ................................ 63 BIBLIOGRAPHY .................................................................................................................... 68 APPENDICES .......................................................................................................................... 74

LIST OF FIGURES Fig 1. : Chaîne des Puys. Mountain range in France.................................................................. 6 Fig 2: Localisation of Auvergne in France................................................................................. 6 Fig 3: Map of the Colombian Pacific region. ........................................................................... 11 Fig 4: Weekend les enfants. Le Gamounet, St-Bonnet-près-Riom, France. May 2014 ........... 16 Fig 5:Collaborative dance lessons with children in a Rural Community in Pianguitas-Bocana, Pacific Coast, Colombia. June 2014......................................................................................... 17 Fig 6: Dancing and interacting in teaching situations with children in the fieldwork experiences with the École the musique associative Les Brayauds, Auvergne, France and Barrio Brisas del Cauca, Cali, Colombia. ................................................................................ 19 Fig 7: Couple of children of the École de Musique associative Les Brayauds, learning and dancing the Currulao, a Colombian traditional couple dance. Le Gamounet, St-Bonnet-prèsRiom, France. April, 2014 ....................................................................................................... 30

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I. Introduction and research background

1. Personal background for the research When I reflect upon my motivation for joining Choreomundus International Master in Dance Knowledge, Practice and Heritage, I think about enhancing my understanding of the potential of dance as a means to foster processes of cultural and personal reparation in Colombia.

An anthropologist that does fieldwork in my country Colombia faces a plethora of challenges.

Inhabitants of territories that are rich in natural resources are being forced to leave their lands, either by the pressure of armed groups or by big “development industrial” projects that benefit a minor population of local, national and international governments and multinationals. Rural communities coexist with left-right armed groups, local governments, and displaced people of rural and urban areas of different ethnic and social groups; the territorial, political, economic and social boundaries are always blurry and continuously changing. In the midst of these shifting spaces one encounters landscapes of terror, and multiple, chaotic and contradictory stories. People’s memories recall painful experiences of living in a country torn by civil war for more than 60 years, memories imprinted in people’s minds and bodies, memories that emerge from violent embodied-experiences.

In this context, it is likely that people do not want to reproduce their past, but know it to give sense of what happened in order to rebuild the present and project the future. Dance has a 4

fundamental role in this process; in words of the Afro Colombian dance community group, Sankofa: “Dancing in the midst of daily uncertainty and marginalization, dancing to living, living to dance, to respond, to propose, as a path and rooting, as a point of vanishing and encountering” 1 How is it possible to talk about Heritage in a context where the majority of the population do not want to reproduce their past? Can enabling children take the dance initiative and “perform their heritage” be used as a framework for (re)creating dance forms and for triggering social changes in Colombia? By using and making visible these understandings of heritage, movement, collective action and heritage, I believe we can help in this process. I am interested in the potential of dance as a both a means and goal unto itself in the cultural reparation in Colombia, not simply from the academic perspective, but as a subject with a social and political stake in the process. I intend to use this reflexivity and to be aware of the importance of displaying with clarity the multiplicity of voices that are present in the text by being transparent about “who says what.”

My personal quest has motivated me to explore two different cases of using and transmitting dance heritage with the École de musique associative Les Brayauds in Auvergne, France and Barrio Brisas del Cauca in Cali, Colombia, giving a prominent role to the children’s perspective. An experimental methodological approach was proposed to allow the children to be the teachers of their own dance heritage. The aim is to give a wider understanding of the two main questions guiding the research: What do children teach [us] when they learn dances from adults and use their knowledge to (re) create new forms and trigger transformations during the transmission of the dance? And, is possible to integrate the findings of both experiences, and use the potential that children might have for triggering changes into future research and applied projects?

Keeping this in mind, I will depart from a condensed narrative of my personal experience to build a multi-layered narrative; a web where different actors, stories, circumstances, resources and dialogues coexist and affect each other. Hopefully, by the end of the text, the reader will

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Sankofa means to go “back ot the roots”. More than a word, is an African philosophy that proposes to know the past as condition to understand the present and sizing the future. The cultural corporation has a space dedicated to the formation and creation of dance that aims to differentiate, visualize and position the Afro/Colombian culture.

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be able to have more insights about how the research integrates and opens new paths that have the potential to guide future projects.

2. Literature review and filling some gaps The topic of the research, models of using and transmitting dance heritage to children, is a combination of two fields where very little has been written: dance heritage among children and pedagogical aspects of teaching dance heritage to children. A literature review of the different models of using and transmitting dance heritage in Auvergne, France and in the Pacific Coast, Colombia, revealed interested connections and gaps that motivated me to build an initial and flexible methodological approach for the research. In the following chapters, the findings of the methodology and the ethnographic experiences revealed interesting conceptual and methodological discussions that complement the introductory discussions.

In the context of France, the information disclosed and known about models of using and transmitting dance heritage is generally approached from governmental, institutional or academic perspectives, which commonly touches superficially, or completely excludes children’s point of view. From a geographic point of view, Auvergne is an isolated volcanic mountain chain called Massif-central, which concentrates and disperses the population, mainly rural, to different villages making difficult the contact with other regions.

Fig 1. : Chaîne des Puys. Mountain range in France Fig 2: Localisation of Auvergne in France. 2 2

Source: http://www.baptemedelair.fr and http://www.luventicus.org/

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This situation favoured the creation and consolidation of strong regional cultural practices.

‘Richness and originality of cultural traditions were explained, here as much as over there, by geographic isolation, the difficulty of relations with the outside world and the few opportunities offered to penetration of modernizing currents’ (Guilcher, 2009: 119) 3. On the other hand, the nature of the soil favours pastures and animal farming, creating a socio economic structure that benefits a small percentage of the population who owns the majority of the land. The climate is harsh with long winters of prolonged snow cover highlighting the isolation in some places, but also was the cause for migration, later boosted by the apparition of the railroad in 1860: What gives Auvergne its originality is the extreme mobility of a large part of its population. Mobility within the country itself, on the one hand, migration, on the other hand; a migration that, in history, has experienced various destinations, two of these destinations are prime objectives: the Iberian Peninsula first, then Paris.

(Guilcher, 2009: 120) 4 Historians believe that it is possible that these encounters with Spanish and Parisian culture had a strong influence on the Les Bourrées dancing style. It is believed that the Spanish dancers were primarily men, which led to a prominent role in the repertoire and other dance elements such as: ‘rhythms in three, port de bras to the shoulders height, dancers placed in couples face-to-face or by four in square, escape and pursuit paths, lateral backwards and forward movements, diagonal crossings’ (Guilcher, 2009: 121) 5.

In the second half of the nineteenth century, migration to Paris became both systematic and massive. Among its main causes were the demand for labour in 1840, and the opening of the railroad, Rodez-Paris. The immigrant population from Auvergne presents different characteristics: they conserve their distinction from the Parisian population, and they see their migration as a temporary state; having organized and unique solidarity among themselves.

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‘La richesse et l’originalité des traditions culturelles s’expliquaient, ici comme là-bas, par l’isolement géographique, la difficulté de relations avec le monde extérieur et le peu de chances offertes à la pénétration de courants modernisateurs’.

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‘Ce qui fait alors l`originalité de l’Auvergne, c’est l’extrême mobilité d’une grande partie de sa population.

Mobilité à l’intérieur du pays lui-même, d’une part, migration, d’autre part; une migration qui, au cours de l’histoire, a connu des destinations diverses, deux de ces destinations constituent des objectifs privilégiés: la péninsule ibérique d’abord, Paris ensuite.’

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‘Rythmes à trois temps, port des bras élevés à hauteur des épaules, danseurs disposes en couples face-à-face ou par quatre en carré, trajets de fuite et de poursuite, va-et-vient latéraux, croisements en diagonal’.

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Furthermore, they are no longer a peasant society of Auvergne; they have adapted to their new context, and their costumes, language and needs have evolved. The economic and social success of the immigrants is reflected in their renovated cultural practices. ‘A decisive institution in this regard was the bal-musette. [...] The Parisian ball-musette, which expanded (and survived onto the twentieth century), is, together with a link with le pays, a place for sharing’ (Guilcher, 2009: 122 ) 6.

The exchanges promoted in les bal-mussettes had important consequences for the dance.

Among them, they become repositories of the Auvergnat dances. These bals work as a unifying environment that standardized different repertoires and styles from different origins.

However, the contact with the Parisian repertories of that period introduced new elements into the dance: ‘introduction of waltzed paths into the bourrée, cotillion processions with progression of the first couple in the [Bourrée] Montagnarde, concentric circles, braids and large chain in the Tournijaira or the Crossada, etc’ (Guilcher, 2009: 122) 7.

In relation to the above, one could argue that La Bourrée d’Auvergne is a clear example of how a solidary and traditional society in a different context can develop strategies that enables the promotion of their own dance styles as well as the introduction of new forms and styles of dance. However, during the industrial society, La Bourrée d’Auvergne was danced and preserved in a different context than the one where it was created, had many implications on its means of transmission.

Several authors (Guilcher, 2009; Marrus, 1976; Neal and Dineur, 1991; Nilsson, 1991) have explained the informal character of transmitting dance heritage in traditional contexts. In the case of Les Bourrées d’Auvergne, the learning of the dance occurred informally by imitation, impregnation, and osmosis from the younger to the older generations, rather than an explicit preoccupation for transmitting and teaching.

Communicated by habit and example more than by written direction, dancing was at the mercy of popular memory. Forms did not depend on recorded instruction for their continuity, and might be altered in passing from generation to generation. In a society dancing was an important part of 6

‘Une institution décisive à cet égard va être le bal-musette. […] Le bal-musette parisien, qui va s’étendre (et survivre jusque dans le XX siècle) est, en même temps qu’un lien avec le pays, un lieu d’échanges’.

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‘Introduction des trajets valsés dans la bourrée, cortèges de cotillion avec progression du premier couple dans la Montagnarde, cercles concentriques, paniers et grande chaîne dans la Tournijaira ou la Crossada, etc’.

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social live it was a direct expression of popular consciousness, not mediated by those who had the power.

(Marrus, 1976: 2) These forms of transmission enable the younger to learn not only the dance style from one person but from every person’s, and the context of choosing a preferred style as well as contributing with their own. What children incorporate is not the detailed, technical or analysed steps but an approximate and inexact general idea. However, according to ethnologist and traditional dance researcher in France, Jean Michael Guilcher (2009), this particular way of transmission also made it vulnerable to foreign influences. ‘As soon as other viruses from elsewhere proposed an alternative to this contagion and young people felt like doing something different to the dance of the elder, they stopped learning particularly easily, since no one had ever forced them to do it’ (Guilcher, 2009: 45) 8.

Guilcher (2009) explains that concerned with preserving traditional dances, the industrial society introduced new ways of transmission that were different from the informal processes that were originally used. He explains that this “revival” way of transmitting the dances can be problematic: the conformity to the instructors’ lesson is an individual and non-traditional model, which leads to uniformity and dogmatism; it also implies enforcing into traditional dance, the use of tools, analyses, and contexts that belong to a different logic that is not related to the everyday life in which it was originally danced.

To propose traditional dance to children is making it an infantile activity. To teach it at school is making it a classroom subject. To transmit it in a summer camp is making it a leisure discipline. In none of these contexts dance is constitutive of the everyday life of adults.

(Guilcher, 2009: 197) 9 Accordingly the revival of traditional dances implies the institutionalisation of children’s dance education, which leads to a decontextualized knowledge that is measured, controlled, and forced, ignoring their subjective experience of the dance. ‘Children, in tradition, only had

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‘Du jour où d’autres virus, venus d’ailleurs, ont proposé une alternative à cette contagion, du jour où les jeunes ont eu envie d’autre chose que de la danse des vieux, ils ont cessé d’apprendre d’autant plus facilement, que personne ne les y avait jamais contraints’

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‘Proposer la danse traditionnelle à des enfants, c’est en faire une activité enfantine. L’enseigner à l’école, c’est en faire une matière scolaire. La transmettre en stage, c’est en faire une discipline de loisir. Dans aucun de ces contextes la danse n’est plus constitutive de la vie quotidienne des adultes.’

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access to it [traditional dance] when integrating to the world of adults, which is no longer the case. In contrast, children have long cultivated a repertoire that responds enough to their needs to be glad with it’ (Guilcher, 2009: 198) 10 . My research will argue that the institutionalisation of children’s dance education does not necessarily lead to its unification, and that the use of proper and collaborative methodologies allows the repertories of adults and children’s to coexist, and in some cases, can even have a positive effect in each other’s practice.

On the other hand, the information disclosed and known about the models of using and transmitting dance heritage in Colombia is generally approached from governmental, institutional or academic perspectives that are not only scarce but also “do not circulate”.

The absence of reflections produced in Latin America and the Caribbean shows the biggest problem of this region of the world regarding their art, scientific and theoretical productions: they do not circulate. Any contemporary possibility of "decolonisation" necessarily involves knowledge of what is made and thought in Latin America and the Caribbean. A challenge for public institutions is to facilitate publication, circulation and appropriation of these doings, knowledges and thoughts.

(Dirección de Artes Ministerio de Cultura, 2008:9) 11 In the case of the traditional dances of the Pacific Coast, studies are commonly made by ethnomusicologists and folklorists, and the practice and transmission have not been rigorously studied or documented. From the geographic point of view, the Pacific Coast of Colombia (‘Región del Pacífico, Colombia’, 2014) is located on the western part of the country, bordering the Pacific Ocean, from which it takes its name. It is considered one of the most biodiverse and humid regions on the plane, and is a region with a vast ecological, hydrographic, mining and forestry wealth. It is also the primary region of the Afro-Colombian culture, as well as numerous American Indian cultures.

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‘Les enfants, dans la tradition, n’y ont jamais eu accès, sauf à s’intégrer au monde des adultes, ce qui n’est plus le cas. En revanche, les enfants ont longtemps cultivé des répertoires enfantins qui répondaient suffisamment a leurs besoins pour qu’ils s’en soient contentés’.

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‘Ausencia de mención a las reflexiones producidas en América Latina y el Caribe evidencia el mayor problema de esta región del mundo en lo que a sus producciones artísticas, científicas y teóricas se refiere: no circulan. Cualquier posibilidad contemporánea de “descolonización” pasa necesariamente por el conocimiento de lo que en América Latina y el Caribe se hace y se piensa. Un reto para las instituciones públicas es propiciar la publicación, circulación y apropiación de estos haceres, conocimientos y pensamientos’.

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Cali

Fig 3: Map of the Colombian Pacific region . 12

Colombian folklorist Ocampo Javier Lopez (Londoño, 1985), explains that this region of the country hosts the highest percentage and population of African descendants in Colombia.

Historically, it has been subjected to an intense exploitation of gold, silver and platinum, and in the seventeenth century it became the area with the highest gold production in the world (40% worldwide). In the eighteenth and nineteenth centuries, a black colonization movement along the Pacific Coast took place, developing a very representative culture in the region with a majority black population, and a minority of Spanish and indigenous peoples.

A general approach in several academic and institutional studies, (Blasco, 2000; Londoño, 1985; Dirección de Artes Ministerio de Cultura, 2008; Ministerio de Educación Nacional República de Colombia, 2014) indicates that traditional dances of the Pacific Coast of Colombia are representative of the African heritage of slaves brought during the colonial period for mining around the rivers. The cultural heritage is manifested in the practice with cheerful and explosive attitudes, as well as deep sadness and satire (Londoño, 1985: 80).

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Source: aupec.univalle.edu.co

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According to Colombian folklorist, dancer, and researcher Alberto Londoño (1985), dances of the South-Central area of the Pacific Coast are characterized by a rhythmic essence that is based on a dancing pattern, the Currulao, which is a couple dance of a ritual nature and with a love thematic. The movements of the dancers are agile and vigorous, while maintaining their aesthetic harmony and beauty. The choreography is based on small circles that form an eightshape. The man tries to seduce the woman by surrounding her with courtship, foot taping, flexions and fanning and clapping of his handkerchief, while the woman stays serene to the pretentions of her companion (Londoño, 1985: 79).

Regarding transmission of the Currulao, academic information is almost non-existent. The transmission of Colombian traditional dances in general is addressed in Dirección de Artes Ministerio de Cultura (2008). In this text, researchers agree that it is not possible to transmit traditional dances unless they are linked with the bodies and particular dance practices that emerged in different social and environmental contexts.

This implies the appearance in the texts of a sort of ecological perspective of dance, which highlights the dangers of a "one-way pedagogy", framed in vertical spaces in which knowledge descends from "master" to "alumni" from the top to down, and ignores the knowledge of the "alumni".

(Dirección de Artes Ministerio de Cultura, 2008:7) 13 My research takes in consideration the previous arguments and seeks to develop conceptual and methodological strategies that highlight children’s knowledge, taking in consideration their personal abilities and limitations as well as the particular context from which the practice emerges.

In the field of children’s dance studies, various members of Dance and the Child International (daCi) (Anttila, 2007; Bond and Stinson, 2000; Bond, 2000; Hanna, 1983; Stinson, 1997; Teck, 1995), an organization devoted to promotion of dance and the child on a global scale, have explained the benefits of researching dance from the child’s point of view.

Dance educator, Kathy Bond (2000), explains that the fundamental role of joy characteristic in children’s dances, motivates action, imagination, connects people and builds community in 13

‘Esto implica que en los textos aparece algo así como una perspectiva ecológica de la danza, que pone en evidencia los peligros de una “pedagogía unidireccional”, aquella que enmarca en espacios verticales, en los que el conocimiento desciende del “maestro” a los “alumnos” de arriba hacia abajo, y que da la espalda a los conocimientos de los “alumnos”.

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a different way. ‘In collaboration with children, perhaps we can reaffirm without shame the ancient role of dance in the amelioration of human suffering through joy and optimism’ (Bond, 2000: 12). Even though a children’s point of view can explain and teach about relationships based on optimism, anthropologist and dance educator, Judith Lynne Hanna (1983), explains that children are not only sweetness, joy and light: they also experience fear, anger and sexuality. Being aware of these complexities allows for one to not become overly romantic and perhaps, making visible these tensions may provide important clues for a better understanding of children’s relationships built through dance.

In relation to pedagogical aspects of teaching children, some researchers and educators (Bond and Stinson, 2000; Cahill, 2003; Duque, 2013; Herman-Kinney and Verschaeve, 2003; Mohan, 2004; Musolf, 2003; Prus, 2003; Reynolds and Herman-Kinney, 2003; Sandstrom and Fine, 2003) are looking at education from a different angle and legitimising alternative types of learning that give children a more prominent role in collaborative and interactive processes of building knowledge. ‘It often seems that educators view children as incomplete adults, in need of education and training to make them mature as well as civilised. This may be that the ideas and opinions of children are rarely found in research literature, even in education’ (Bond and Stinson, 2000: 52). Literature theorist Terry Eagleton observes that ‘children make the best theorist’ (Bond and Stinson, 2000: 34 see also Hook 1994).

In this approach, different authors (Bond and Stinson, 2000; Hanna, 1983; Neal and Dineur, 1991; Nieminen, 1999; Nilsson, 1991; Teck, 1995) have explained alternative teaching methods that give children a more prominent role. Dance educators Nelson Neal and Jeanne Dineur (1991) mention the importance of having good sensible teachers that are capable of motivating children. Researcher and dance educator Katherine Teck (1995) explains how the teacher can play a less vertical role as a mediator: she evokes group choreography from the students, to the point where she calls herself “the negotiator” in the process of decisionmaking during the creation of a new dance. Furthermore, in this field, some dance teachers have developed different methods to teach foreign children with a different cultural background: ‘teaching a class of children who did not speak English, he communicated entirely in movement and led the young dancers through respectful symbolism, creative experiment, and exuberant group leaping’ (Teck, 1995: 18). Different methods with emphasis to non-verbal and collaborative communication and participation such as use of videos and technology, creative symbolism, and imitation are used for this purpose.

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Moreover, it is important for research to describe and problematize the particularities of teaching children in different environments and with different range of ages. The rigorous interdisciplinary and edited work The anthropology of learning in childhood (2010), as well as the online interdisciplinary and activist project “Schooling the world” (2014), give insights to think about how children learn according to their own social, ecological and cultural contexts. In the first work, the authors give six principles to guide the anthropological perspectives on children’s learning.

These perspectives suggest that learning in childhood occurs through participation in socially meaningful contexts over extended period of immaturity. It is organised by culturally specific ideas about desirable learning outcomes and effective means to achieve them, as well as children’s individual abilities and motivations and their responses to ecological conditions. Children actively pursue learning in the present in order to be productive participants in their current everyday environments and over time to become fully functional adult members of their community.

(Lancy et al., 2010: 7) Relating these perspectives to my own material was extremely useful. First, in both contexts, the group of children was heterogeneous in age and, therefore, the participation in socially meaningful contexts was not associated with a fixed age range. Rather, it seems to be an extended period of time that enables them to engage actively in their particular environments and over time to become functional adults of their community. Second, it is also evident how in each group the teaching situation is organised by culturally specific ideas and uses specific methodologies to obtain outcomes. ‘In many nonindustrial societies, gender is typically a powerful mediator of what children are expected to learn. Morality and character are often important socialization targets’ (Lancy et al., 2014: 5).

Some conceptual and methodological guides used in children dance studies that are helpful not only for the child`s benefit but also for dance education have been mentioned. ‘Children experience need for educators to take them seriously as we grapple with political issues in educations’ (Bond and Stinson, 2000: 78). The previous theoretical and methodological discussion highlights the benefits of using dance heritage among children and pedagogical aspects of teaching children. These findings motivated me to develop an experimental methodological approach that enables me to describe the different visions and uses that teachers and students give to their dance heritage, giving a prominent role to the children’s perspective.

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3. Building an experimental methodological approach Judith Lynne Hanna (1983) explains that ‘not only do adults pass on the cultural heritage, but children also create their own dances with they pass on to each other even to adults’ (Hanna, 1983:223). Inspired by this premise, I decided to build a methodological approach that could allow the children to teach their own dance heritage. As a point of departure, this strategy has been very useful in the development of my research. During the fieldwork, it allowed for a different type of interaction with the children, different uses of roles -students and teachers-, and a positive and motivated environment for developing the research. In most of the cases children were happy to participate, ask and answer questions and reflect on their own experience.

During the first semester of 2014, I was living in France and started doing my fieldwork with children of the École de musique associative Les Brayauds, an association devoted to the promotion and safeguarding of traditional cultural heritage in Auvergne. During the summer I had the chance to travel back to Colombia, and decided to pursue a complementary line of fieldwork to explore some questions that emerged during my experience in France. It is important to clarify that the conditions, the amount of time, my role as a researcher and the methodologies implemented in each country were not equal but complementary. These particularities as well as the generalizations will be clearly explained in the following chapters presented the description and findings in each ethnographic experience. a) École de musique associative Les Brayauds, Auvergne, France (March-July 2014) First, it is important to mention that in France, my role as a researcher is as a complete outsider; I do not have previous knowledge of the language, or the context or the dance.

Nonetheless, I started my fieldwork in March 2014.

I contacted the music teachers of the association, who allowed me to participate as an observer and to document some of their activities with a group of children ranged between 7 and 14 years old. They helped me as translators and opened a space for me to develop a workshop.

As an observer I participated in and documented different monthly social dance events called bals. I also documented and participated as a student in a Les Bourrées d´Auvergne workshop taught by two adults to children that took place during a special weekend of dancing activities for children.

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Fig 4: Weekend les enfants. Le Gamounet, St-Bonnet-près-Riom, France. May 2014

Finally, in July I was able to participate and document some activities in Les Volcaniques, an intensive week of workshops of Les Bourrées d´Auvergne. I was not able to pursue some of the activities I had in mind because only a few children participated in the festival, therefore, I focused my attention on the adult dance classes. I participated and documented two groups of students: advanced and beginners, and in each group there were two teachers and groups of twenty to thirty students. I was able to document six different classes, each one two hours in duration. I participated and documented some moments of the bals that took place during the evening, and interviewed one of the teachers and three students, which provided me with important insights and information to complement the data collected. b) Fieldwork in the Pacific Coast, Colombia (June 2014) In June I conducted fieldwork in Colombia in three different environments where the transmission of traditional dances of the Colombian Pacific took place: in Pinguitas-Bocana, a rural community in the Pacific Coast; in a school of Vereda el Carmelo, a rural town close to the city of Cali; and in Barrio Brisas del Cauca, a neighbourhood in a suburb of Cali, one of the most important and largest cities of Colombia near the Pacific Coast.

It is important to mention that the limited time frame forced me to clearly prepare my schedule and objectives. Beforehand, I contacted a community leader with vast experience in cultural projects and with many contacts in the region. At the beginning she was uncertain about helping me because the precarious material conditions, and the difficult access to some of the rural communities in this region. It was clear that she was cautious to avoid any 16

possible misunderstandings. However after several conversations and explanations of the objectives of the research, we came to an agreement: I would help her document and promote the cultural richness of Pianguitas-Bocana, a rural community in the Pacific Coast where she is working, to seek resources to build a school of traditional music and dance; in return, she would introduce me to an excellent teacher of traditional music and dance. The teacher agreed to my attending some of his dance classes in different environments and with children of different ages as an observer, and as a student of the children. We worked specifically with three different groups of children in three different settings.

The first group is located in Pianguitas-Bocana, a rural community that lives in an isolated environment on the Pacific Coast. The ages of the children varied between 5 and 16 years old.

Within this community, we participated in two workshops of teaching and learning traditional dances of the Colombian Pacific. In both cases, it was the first time the children had formal lessons of their dance heritage. They did children’s games, played and sang songs, and learned different dances. After their lessons, accompanied by live music, they taught me what they had learned and remembered. At the end we had an informal group conversation about their experience.

Fig 5: Collaborative dance lessons with children in a Rural Community in Pianguitas-Bocana, Pacific Coast, Colombia. June 2014

The second group are ninth-grade students at a school located in the Vereda el Carmelo, a small rural town close to the city of Cali. The ages varied between 14 and 15 years old. On this occasion, the teacher, helped by another female teacher, taught different styles of traditional dances of the Colombian Pacific to the group of students. Although they had previous knowledge of the dance and wore traditional outfits that belonged to the school, they 17

had never had formal lessons of these dances. At the end of the lessons we had an informal group interview talking about the experience.

The final group of children live in Barrio las Brisas in Cali, a marginal neighbourhood of Cali. The ages varied between 3 and 13 years old. On this occasion, they had a prior experience with the teacher learning traditional music of the Pacific. With them we had a more informal workshop; they played and sang traditional music, played some games and were taught different traditional dances of the Pacific. After the lessons, we had a long session of the children dancing with each other and teaching me what they had learned.

Furthermore, I was introduced to a group of traditional musicians and dancers that the teacher organised. They performed different music and dances from their repertoire and I was able to document how adults dance with adults, as well as to witness an informal dance class taught by adults to other adults. I was given the opportunity to carry out and document informal interviews with three traditional music and dance teachers.

One common feature in both contexts was the fact that I was able to organise a space were children could teach me their traditional dances. This implies a political and epistemological position in the process of building knowledge: embodied, collaborative and interactive teaching situations between the children and the researcher.

Parallel to the activities described, after each teaching situation, I did semi-structured interviews with the children of each group to talk and reflect about the previous experience. In each context, the whole process of the fieldwork was visually documented in order to collect, analyse and compare the processes of transmission. With the material collected, I made a short video clip of both ethnographic experiences, available online 14:

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Abstract fieldwork Diana T. Gutiérrez / Choreomundus. Available at : https://www.youtube.com/watch?v=mJjJjvRS9Wg

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Embodying and interacting in teaching situations

Fig 6: Dancing and interacting in teaching situations with children in the fieldwork experiences with the École the musique associative Les Brayauds, Auvergne, France and Barrio Brisas del Cauca, Cali, Colombia.

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II. The case of École de musique associative Les Brayauds, Auvergne, France

1. General description of a dance heritage model Les Brayauds- CDMDT6 is an association dedicated to live-practice and promotion of the rural heritage of Auvergne through research, training and practice of dance, music and singing. The École de musique associative Les Brayauds is a fundamental keystone of the association that uses a holistic model of heritage seeking: As part of a critical balance between the student and his trainer, we are committed to convey some idea of intangible heritage rooted in our territory and to give tools for mastery and practice. Because the learning child or the adult is constantly confronted in his daily lives with the signs of his cultural heritage, enabling his sensitivity to learn to recognize the signs of our civilisation, giving him the keys to understanding the world, is naturally to teach him to speak, read, write and count but also to watch, to listen, to feel, to know the architectures, the landscapes, the art and cultural objects ‘... so he builds himself and considers himself progressively an actor of this heritage.

It is only then that he will evolve with pleasure and responsibility in his environment

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and will open himself to the world and to the other’ (Les Brayauds-CDMDT63, 2011) 15.

Dance educator and administrative vice-president of the association Les Brayauds Eric Champion (2014) explains that the aim of Les Bourrées d’Auvergne, is to develop an interaction between dancers that allows improvisation and communication with each other, regardless of the gender or age of the dancers. An aesthetically pleasant dance is valued by a rapid and balanced interaction.

Two people. There is no leader. But it is one who proposes something to the other. The other accepts and follows. It’s an interaction, a very rapid interaction. Very very fast. There are people who have the habit of proposing. Others who have the habit of receiving. And there are people who balance between themselves.

(Champion, 2014) 16 The subtext of the pedagogical vision, as well as my personal observations and ethnographic experience, highlights a model of understanding and using heritage to educate holistic citizens and human beings. Children are not given formal or regular dance lessons; instead they have the possibility to be immersed in an environment that encourages them to learn by themselves. Adults, more than teachers, are facilitators that guide and provide them with different sets of tools, such as: music, dance, paints and crafts, gastronomy, gardening, nature walks and treasure hunts, ethnographic, artistic, and visual workshops, that ultimately and successfully motivate children -at their own rhythm and pace- to be curious and actively engage with their own live heritage.

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Dans le cadre d’un équilibre essentiel entre l'élève et son formateur, nous avons à coeur de transmettre une certaine idée d'un patrimoine immatériel ancré dans notre terrritoire et de donner les outils de sa conquête et de sa pratique. Parce que l’enfant ou l’adulte apprenant est en permanence confronté dans sa vie quotidienne aux signes de son héritage culturel, permettre à sa sensibilité d'apprendre à reconnaitre les manifestations de notre civilisation, lui donner les clés de la compréhension du monde, c’est lui apprendre à parler, à lire, à écrire, à compter certes mais aussi à regarder, à écouter, à sentir, à connaître les architectures, les paysages, les objets artistiques et culturels… pour qu’il se construise et s’estime progressivement acteur de cet héritage. Alors seulement, il évoluera avec plaisir et responsabilité dans son environnement et pourra s’ouvrir au monde et à l’autre. Available at: http://brayauds.free.fr/formation.php5 16

‘Deux personnes. Pas de leader. Mais une qui propose quelque chose à l’autre. L’autre accepte et poursuit. C’est une interaction, une interaction très rapide. Très, très rapide. Il y a des personnes qui ont l’habitude de proposer. D’autres ont l’habitude de recevoir. Et il y a des personnes qui s’équilibrent entre eux’.

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Anthropologist Maurice Bloch (1991) complements this idea, explaining how much of our knowledge is non-linguistic, and how different elements can involve implicit networks of meaning which are formed in the experiences of the external world. In addition, under certain circumstances, ‘this non-linguistic knowledge can be rendered into language and thus take the form of explicit discourse, but changing its character in the process’ (Bloch, 1991:186). Relating this approach to the process of learning dance, every aspect of the dancer’s life – such as the historical and cultural context and the personal experience of the body, including its practices, anatomic and physiological knowledge – works as a tool box that provides the dancer new readings and interpretations of the dance as well as new knowledge of other fields.

Champion (2014) explains that the aim of teaching La Bourrée to children is through ludic and playful methodologies and tools that enable them to work in trajectories, connections and relationship between two persons regardless their gender. He states that, in traditional contexts, children have the ability to learn by themselves by watching, imitating and being immersed in the environment and culture of the dance.

They [The children] don’t have the cultural background. But this cultural background, this baggage is not always an advantage: it can also be a handicap. With children we work in a different way: we approach, we go towards, but we are not necessarily into La Bourrée. We are going to work for example in: the trajectories, the connection, the relationship between two, dancing something else.

In a ludic, playful way (…) In the traditional way we didn’t teach the children; they learnt by themselves: by watching, by imitating.

They were in immersion.

(Champion, 2014) 17 In relation to the above, the children and students of the École de musique associative Les Brayauds, agree on the value of learning by themselves in social events like the bals: observing their parents, adults or other children, and then practising. Regarding the teaching methodologies, their vision complements and contradicts that of the 17

Ils n’ont pas le contexte culturel. Mais ce contexte culturel, ce bagage, n’est pas toujours un avantage : il peut être un handicap. Avec les enfants on travaille d’une manière différente : on s’approche, on va vers, mais on n’est pas nécessairement dans La Bourée. Nous allons travailler, par example, dans : les trajectoires, la connexion, la relation entre deux, en dansant quelque chose d’autre.

D’une manière ludique (…) Dans la voie traditionnelle, on n’apprend pas aux enfants ; ils apprenaient par eux-mêmes : en observant, en imitant. Ils étaient en immersion.

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adults. The latter avoid teaching steps arguing that it requires a process of interiorisation to do it right and then achieving the final outcome of improvising. For the children, on the contrary, the improvisation is not the outcome but a tool that enables them to learn, teach and enjoy better the steps and movements of the dance.

‘We can teach someone a step (…) we can improvise a little bit. You can teach someone to dance a step by improvising.’ (Personal communication with children Les Brayauds, Interviewing children process of learning La Bourrée, 2014) 18 On the other hand and due to the musical training/education of the children, when asking them if they think there is a connection between the workshops of dance and process of learning music, the interviewees highlight the importance of learning dance for their interpretation of the music: ‘Yes. Instead of doing separated notes, we learn phrasing and things like that. It is different playing a piece and knowing how to dance it: knowing that you can also dance it changes it’ (Personal communication with children Les Brayauds, Interview 10, 2014) 19. Thorough dance they become more aware of the importance of doing phrasing instead of fixed notes, which enables improvisation.

The above highlights the different uses and visions that adults and children give to their dance heritage. I will now move forward from the discourse to the practice of a teaching situation to complement the presented information.

Egil Bakka´s work in ‘Folk dance in the schools’ (Translated by Bakka, 2014), explains how intrinsic values in folk dance can be used in teaching children at school using simple and joyful strategies.

In my view, we should still, as far as possible, focus on and try to maintain the most important qualities, and let that guide the work.

Then it is a main point to use folk dance in simple ways, without high ambitions in the direction of large, sophisticated methodologies, top skills or deep knowledge.

(Bakka, 2014:3) 18

Nous apprenons un pas à quelqu’un (…) et nous improvisons un peu. On peut apprendre un pas à quelqu’un en improvisant.

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Oui, au lieu de faire des notes séparées, on apprend du phrasé et des choses comme ça. C’est different de jouer une pièce et savoir la danser : savoir qu’on peut aussi la danser la change.

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His work and personal communication made visible that I needed to focus my attention on the teaching situation where adults teach children using simple and clear methodologies. Due to the vision of Les Brayauds of not giving special attention to formal dance teaching lessons, this was not so evident. Curiously the only clear teaching situation spotted during these five months of fieldwork (March-July 2014), occurred as a result of an initiative of the children. It took place during the Weekend les enfants, an annual event dedicated to the immersion of local heritage using different workshops and activities for the children, and it will be described later in detail.

2. The structure of the teaching situation The general structure of the teaching situations (See annex 1) was organised and divided according to the following segments: 1) presentation of the dance lesson; 2) introduction: warm up, singing and dancing games; 3) dance sequences, and; 4) breaks: singing and dancing games among children. This segmentation reveals interesting insights about how adults transmit their knowledge, as well as interesting movements and expressions outcomes form the children. Comparing the segmentation of the teaching situation with five other examples identified during the fieldwork in France and Colombia important information was revealed. Two examples with the École de musique in the association Les Brayauds, Auvergne, France: an informal lesson within the Bal de l'ecole de musique, a social event, and in an organised dance lesson during the Weekend les enfants. The other examples were four different and organised dance lessons taught by the same teacher in different contexts in the Pacific Coast, Colombia: Days 1 and 2 in the rural community of Pianguitas, the school at Vereda El Carmelo, and the Barrio Brisas del Cauca, Cali, Colombia - see annex 8.

First, it is important to mention that, due to the fact that children already knew the teacher, there was no need for a presentation or introduction using dancing and singing games of the dance lesson. It is possible that this disclosed a previous process of interaction between students and teacher and, therefore, a likely common knowledge and intrinsic trust between the participants. It is interesting to note that in the case of the informal lesson that took place in the social event, Bal de l'ecole de 24

musique (with the same group of French students and teachers), the teachers used singing and dancing games but not as part of the teaching session, but as a parallel ludic activity that integrated children with adults (mostly parents, relatives and teachers).

In relation to the dance sequence, it is important to highlight that, in all the lessons, the first direction in each new sequence was given while the teacher danced together with the students. Also, it was noted that the structure of the teaching methodology within each section shared the same basic order in all the dance lessons: 1) directions and teacher dancing together with the students, 2) repetitions and variations of the same movement or sequence, and 3) children dancing with each other.

In the specific teaching situation of Weekend les enfants, every sequence had a middle section for questions and corrections among children and teachers, without a direct physical contact to change body postures or uses of space. In the other cases, the teachers did not give any corrections at all. In contrast, the number of repetitions and duration of the sequences were very different between the lessons. In the Weekend les enfants at Les Brayauds, the duration of the sequences was not controlled and was relatively long. Finally, it is important to mention that there were no repetitions within each sequence. One could argue that, in this case, unlike the other witnessed teaching situations, the teachers did not have the need to repeat instructions because there was a long previous learning process with the same teacher and group of children: this condition could make the transmission process easier and faster. Nonetheless, it is interesting that, in the case of the informal lesson at the Bal’École de musique associative Les Brayauds (with the same group of French students and teachers), repetitions of the sequences were carried out. I realised that on this occasion the children were learning together with other adults. Therefore, it is plausible to say that the teachers used different methodological strategies when they taught only children than when they taught children and adults together.

Below, each of these sections will be analysed in detail using the following criteria: 1) instructions by the teacher: direct instructions, mimics, metaphors, corrections, or others; 2) use of space; 3) body movement and postures, and; 4) body expressions: being bored, being tempted to interact with other children, being tempted to improvise and take risks, being absent-minded, expressing joy, fun, pleasure and motivation.

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Special attention will be given in connecting these criteria to the aim of teaching couple dances to children.

3. Detailed movement and body expression analysis a) Adults teaching children In a detailed movement and body expression analysis of the teaching situation (See annex 2) complementary and interesting information was revealed while using two different strategies to teach the Bourrée 3 temps dance style.

In the first situation, teachers, children and I were dancing in a great circle facing each other, moving together in two directions; first they were sliding both feet in a counterclockwise direction and then, while changing the direction moving–clockwise- each dancer also started to spin around himself in a counter-clockwise direction but within the collective structure of the circle. The sequence was repeated for more than 3 minutes and, around the middle of the sequence, different children started turning in different directions, breaking the homogenous structure of the circle. b) Children dance amongst themselves The great circle was divided in two smaller circles, the children and I were dancing together while the teachers were walking around the circles, giving occasional instructions and showing some movements but staying outside the circle. The movement sequence was basically the same but, in this occasion, while moving in a clockwise direction, some children made variations of the simple sliding step and started adding steps in their own musical time, stepping harder or exaggerating their arms and upper body movements and gestures. Occasionally, some children got dizzy and stopped moving, breaking the homogenous structure of the circle, but quickly returned to their original positions within their group. Although children danced more freely at their own rhythm and pace and their movements were clearly different, dancers were paying more attention to the others’ movements, getting closer to each other.

The above information suggests that when repeating the same movement sequence but changing one variable -removing the adult-teachers from the circular and 26

collective space -, notable changes in the movement and expressions of the dancers seemed to emerge. In the first case, that is, teachers, children and me dancing in a great circle, after a couple of repetitions, the tendency of the children was to start breaking the collective structure of the circle into individual spaces where each dancer was able to move and improvise in different directions. In the second case, that is, when children are dancing among themselves, the opposite occurred: the children quickly started doing individual variations by exaggerating movements and gestures but, after some time, the tendency was to pay more attention to each other’s movements and to get closer, giving a prominent role to the collective structure.

In relation to the above, the interdisciplinary and edited work “The anthropology of learning in childhood” (2010) explains the potential that learning from peers has for developing a sense of cooperation among the children.

In settings where children spend a lot of time with same-age peers, they learn how to manage their equal status. In many collectivistic societies, children are expected to display a high degree of sensitivity, cooperation, compliance, and self-control in interactions with peers, relatively low autonomy and competitiveness, higher mental sensitivity, and compliance in social interaction.

(Lancy et al., 2010: 193) This opens a window towards the core of the research: what happens when children have a space for learning from each other and, furthermore, for teaching their own dance heritage? I now introduce the findings of paying close attention to what children in the École the musique associative Les Brayauds teach us.

Moreover, in personal communications, Egil Bakka suggested that I could pay attention to the breaks between the teaching periods and, in this way, I could describe and analyse how children dance and sing by themselves without directions. I became aware of the importance of these particular moments within the teaching situation and started thinking about possible strategies of connecting them with the previous and posterior moments. In other words I wondered what triggered in children the need to interact and dance freely with other children, and, furthermore, how these interactions could possibly change the practice afterwards in the teaching situation with the adult teacher.

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c) When children dance during the breaks During a break of the dance lesson in Weekend les enfants, an adult and a young boy danced together La Bourrée à 3 temps (See annex 2), while all the other participants were spread all over the room. The dancers moved counter-clockwise in a circle, facing each other and conserving the distance of a semi-circle.

They were doing the same basic foot pattern as when teachers and children were dancing together, in two directions: first they slid both feet in a counter-clockwise direction, and then, while changing the direction to clockwise, each dancer also started to spin around himself in a counter-clockwise direction maintaining his/her place in the circle. On this occasion, the step patterns were clearly more ornamented and dynamic than in the great circle. The young boy appeared to be very engaged and slowly started to do more and more difficult variations than the ones performed in the great circle. Occasionally, two other boys joined them in a more cheerful and playing mood, crossing forward and backward in the middle of the circle. When they finished, other children and adults started clapping and cheering the children showing their respect and admiration.

Later in the same afternoon, during another break, the group of teachers and adults did a large fire and, doing a great circle grabbing each other’s hands, they started to sing and dance around it (See annex 2). While singing and dancing, all the participants moved in a clockwise direction doing a basic step pattern: three steps to the left, and one step to the right for a very long time (45 repetitions). On this occasion, children and teachers were very engaged and motivated, singing, laughing and dancing together. Although the steps and movement were not identical (different uses of times, directions and quality of movements), there was a clear collective unity that was highlighted by the singing and cheering at the end of the song.

Interestingly, during the breaks where children seemed to be more actively engaged, they interacted and learnt with adults through their own initiative. This led me to argue that the case of Les Brayauds is a rare and positive example of understanding children not as passive recipients of their cultural heritage.

Learning and socialization are often studied in ways that despite children as passive in these processes, as recipients of culture rather than as contributing and vital forces in both individual and cultural 28

development. Rarely do we see the child’s own perspective taken into account… a more child-centered approach would describe the full scope of children’s learning and socialization. Important questions include what children choose to learn in the myriad socialization efforts presented to them by adults and cultural institutions, and how children themselves, both individually and with other children, shape these learning and socialization experiences to meet their own needs and goals and, thereby, change culture.

(Lancy et al., 2010: 51) In this case, not only were children active and vital forces of their own heritage but, when informally-mirroring what they had learnt, they chose to engage peers and also adults, in reciprocal, creative, and inclusive ways. Furthermore, when organising an experimental situation where children were given the space to participate in an intercultural formal workshop of learning and teaching Currulao and Les Bourrées d’Auvergne, interesting situations and new revealing insights emerged. d) Intercultural experience With the help of a male colleague, we taught El Currulao, a traditional courtship couple dance from the Pacific Coast of Colombia to the French children. They were very motivated to learn a traditional dance from a very different cultural context. The dance is characterized by choreographic role movements separated by gender and, although improvisation is encouraged within certain moments of the dance, there are many restrictions like: the absence of physical contact during the dance and the lack of interaction with the same gender or with very different ages. An aesthetically “beautiful” dance is considered to have harmonic, controlled and slow movements of the entire body. The activity was done using traditional music and costumes and was documented in video.

Afterwards, we spoke about the dance experience and had time to reflect upon the particularities of the two dissimilar styles. The children were particularly keen on the differences in gender interactions and were interested in the associations with natural elements such as rivers, wind and animals in the practice of the dance.

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Fig 7: Couple of children of the École de Musique associative Les Brayauds, learning and dancing the Currulao, a Colombian traditional couple dance. Le Gamounet, St-Bonnet-près-Riom, France.

April, 2014

It was a little bit weird because it is not the same relationship. I have danced with other boys in groups. But it is not the same because there are boys and girls [...] we do dance sometimes between boys and girls, with boys and boys and girls and girls. But it was not the same! [...] When we learnt Currulao it was a little bit like a theatre: each one had a role and you had to do a specific thing. Everybody had to learn what they have to do. The main difference is that in La Bourrée you can dance it with whoever you want. In the Colombian dance the boys have a role and the girls also. And then you really feel that you are with the boy. In La Bourrée you didn’t get that feeling.

(Children École de Musique associative Les Brayauds, 2014) 20 This experience allowed the children to meet and embody a different couple dance tradition. The specific understanding and aesthetical values of couple dances in each context are very different and cultural specific. According to the work of Andrée Grau (2011) and Tomie Hahn (2007), the transmission process of a culturally specific 20

C’était un peu bizarre puisque ce n’est pas la même relation. J’ai déjà dansé avec des garçons en groupes. Mais c’est pas la même chose car il y a des garçons et des filles […] On danse parfois des garçons et des filles, des garçons avec des garçons et des filles avec des filles. Mais c’est different ! […] Quand on a appris le Currulao, c’était un peu comme du théâtre : chaqu’un avait un rôle et tu devais jouer une certaine chose. Tout le monde a appris ce qu’ils devaient faire. La différence est que dans la Bourrée tu peux danser avec qui tu veux. Dans la danse colombienne, les garçons avaient un rôle et les filles aussi. Et alors tu sens vraiment que tu est avec un garçon. Dans la Bourrée tu n’a pas cette sensation.

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dance can reveal the deep connections that exist between gender practice, aesthetic priorities and cultural values.

My earlier question – How are aesthetic values passed down? – is a difficult one to observe. Students are not sat down and taught the aesthetics of nihon buyo, but rather gain an understanding of such sensibility through practice and embodiment of the traditionthrough observing dance in the studio and at performances, and through discussion during lessons.

(Hahn, 2007: 51) The encounter with the “other” triggered important reflections about learning different dances, but also about their “own” understanding of their dances in relation to their context: children are aware and have a clear understanding of the aesthetical and cultural values of their dance traditions. After learning El Currulao, the children were more confident to teach La Bourrée to my colleague and me. e) When children teach their dance heritage The lesson took place in a large room where the social dance monthly events -balsare held. The dancers (the children and me) were in the middle of the room doing a great circle, while some adults and other children were sitting or standing around the dancers near the walls. The musicians, also children, were located behind the dancers, in the scaffolding were they usually played during the social events. The camera was in the front of the dancers giving a wider perspective of the lessons. In this general setting the lesson unfolded as follows (See annex 3) The first teaching initiative was taken by a group of four girls who showed and explained us the Bourrée à 4 temps. In this sequence the four girls were collaboratively engaged to show and explain the dance not only to me but also to the other children. The others were observing and paying close attention and, after a couple of musical phrases we, the observers, naturally started to imitate them.

In the next section, an adult was called to help as translator. The children, the adults and I were standing up in a close circle, giving, translating and receiving instructions.

The children took the exercise very seriously: they were actively engaged, looking for possible and creative alternatives to overcome the barrier of language and eventually and after several attempts of showing, discussing and correcting, were able to teach us the dance in detail.

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As instructed by the children, the male adult returned to his place and sat down together with the audience. The four children who led the dance lesson took turns to direct the different actions. The instructions focused on body movements or giving different cues to indicate change of movements or directions. The dancers were moving counter-clockwise in two circles using a basic foot pattern: sliding the right foot rightwards and the left foot following it; after some musical measures, moving backwards in the opposite direction (clockwise). Following the complete sequence, two dancers started exchanging positions while the other two waited on the spot, and then they exchange roles doing exactly the same. At the beginning of the sequence, several attempts and mistakes were made and although the individual movements were never identical, slowly both circles became more synchronized and their movements more collectively coordinated. When the song finished the children clapped with joy showing their satisfaction and pride at the success of the exercise. In the next sequence they repeated exactly the same, but another group of four children joined them forming a total of three circles. The children were increasingly more participative and joyfully engaged.

After finishing this section, one of the main outcomes of this activity took place: one of the youngest children used collective and original methodologies and even created a new dance form: La Bourrée-Collective. While dancing in a great circle, the boy gave a cue to a couple for entering in the circle, crossing each other and switching with the other’s place. Unlike the dance lesson, on this occasion the children did not face each other when they moved in the circle. The attention was on the person in front of them. While moving clockwise children were not turning but moving backwards. Although the children were excited about the idea, they seemed a bit confused and the first attempt of following the instructions and doing the exercise was not a complete success: the cues that indicated who goes in the circle were not completely understood and many children got in the circle at the same time.

Immediately, the boy stopped the exercise and gave detailed corrections. The children, the teachers and I were in a close circle, giving, translating and receiving detailed instructions and corrections. Slowly we started making a great circle and the adults sat down outside the circle and started singing loudly to collaborate in the realization of the exercise.

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The dancers started moving counter-clockwise in a great circle following the same basic foot pattern: the right foot slides rightwards and left foot follows the right one then, using the same step pattern, moving backwards in the other direction (clockwise). While moving in the circle, the young boy did exaggerated feet and arm gestures and the others looked at him carefully and actively following and imitating him, taking more risks, stepping harder and doing more variations and exaggerated movements. Following the complete sequence of the collective circle, the young boy was again giving cues to choose couples for entering in the circle, crossing each other and switching with the other’s place. On this occasion the children were not confused and two by two started to enter in and out of the circle while the others waited in their place, mirroring the couple’s movements. After the dancers that got in the circle changed places with the other, the next couple entered in the circle. The sequence was repeated until everyone had the chance to enter in and out of the circle, being mirrored by the others, crossing and switching places with the couple in the opposite side, and then starting all over again. The exercise was a complete success: children were actively engaged, singing, dancing, waiting, proposing, receiving and exchanging. Everyone was cheerful and, when the exercise was finished, the participants applauded with joy and excitement.

4. What children teach us about (re) creating new forms and triggering changes in the social dynamics of the transmission process?

Connecting the outcomes of the different teaching situations mentioned before revealed interesting insights. 1) When teachers, children and I danced in a large circle, the tendency of the children was to start breaking the collective structure of the circle into individual spaces where each dancer was able to move and improvise in different directions. 2) When children were dancing amongst themselves, the opposite occurred: the children quickly started doing individual variations exaggerating movements and gestures but, after a while, the tendency was to pay closer attention to each other’s movements and to get closer, giving a prominent role to the collective structure. 3) In the later situation, when children were given a prominent role to teach, while they were dancing among themselves they supported each other to take more risks: stepping harder and doing more variations and exaggerated movements, but 33

being careful to conserve the circular and collective structure. Furthermore, after enhancing the collective structure, they encouraged everyone, without exception, to take more active roles by getting in and out of the circle: to be respectfully observed, to be mirrored, to encounter, cross and exchange places with the other.

One could argue that in the later example, when the children were encouraged to use and transmit their dance heritage, not only did children transform dance forms to create new ones, labelled by the young “author” as La Bourrée collective, but in the process of doing so, they altered social interactions and produced positive social changes among the peers, adults and myself.

In relation to the social interaction with the other children, and complementing the explanation given, “The anthropology of learning in childhood” (2010) explains why observing other children can be very useful for developing new skills.

Interactions with other children, whether related or not, are important for a child’s social, emotional, and cognitive development (…) Observing other children working can be very helpful in learning new skills because the tasks done by children are often less complicated than those done by adults.

(Lancy et al., 2010:185) It was noted how, when a young boy was teaching his peers and me, the children were not only actively engaged in learning new skills but they were also taking more risks and doing even more complicated movements and steps than when dancing with adults. Furthermore, after a while and feeling comfortable in a collective space, everyone without exception had the opportunity to take more active roles; to be the initiators of the movements by getting in and out of the circle, to be mirrored by a peer while encountering, crossing and exchanging places, and to be respectfully observed and mirrored by the others. Among children, the dialogue, collaboration and respect for individual ideas were highlighted. One of the most proactive leaders was one of the youngest participants. Therefore one could argue that, for these children the role of teacher or leader was not marked by the age or experience, but rather, other values could be more important such as: individual capacity for taking risks, sharing ideas and triggering changes.

In relation to the social interaction with the teachers, the teachers switched from their position of being distant observers to becoming collaborators of the children’s 34

initiatives. They started to sing loudly supporting and admiring the children’s ideas.

After the teaching situation, the teachers expressed that they were impressed by the outcomes of the practice, and acknowledged the importance of valuing these spaces and observing children as models.

These preliminary findings motivated me to consider the idea of doing fieldwork in my own country, Colombia. Could it be possible that the results were positive because the particular circumstances of Les Brayauds enabled them? In my previous fieldwork experiences with rural communities affected by the armed conflict, artistic and visual tools had proved to be fundamental tools for triggering cultural reparation and transformative processes among the participants. Nonetheless I had never considered the use of dance heritage giving a prominent role to children. I was motivated to integrate the positive and potential findings with the École de musique associate Les Brayauds in a very different and, to me, more familiar context.

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III. The case of Barrio Brisas del Cauca, Cali, Colombia

1. General description of a dance heritage model The music and dance group of Barrio Brisas del Cauca, is a communitarian space devoted to live practice and promotion of the Pacific rural heritage for children. It is composed by sixteen girls and nine boys, displaced from different regions of the Pacific Coast and now living in a marginal neighbourhood in Cali, one of the largest cities of Colombia. Their music and dance teacher, Pascual Caicedo, has been teaching them once a week for about a year. According to him, the main interests of the participants, parents and teacher is to provide a space where the children can spend their free time in constructive ways, to support and help foster their skills and talents, as well and most importantly, to use music and dance to help them transform negative past experiences encouraging them to fulfil their future dreams (Caicedo, 2014). What is interesting is that children from very different places and ages, who are economically and socially disadvantaged and separated from their local communities, share a repertoire of dances, songs, games, and cultural activities that brings them together.

The case of Barrio Brisas del Cauca is an illustrative example on how when children are encouraged to teach and perform their dance heritage, they are capable of (re) creating dance forms and triggering key changes in the social dynamics of the 36

transmission process of the dance. Furthermore, after connecting the findings of this ethnographic experience, the movement analysis and related literature, insights about the potential that children could have for triggering social transformations through dance were revealed.

The traditional music and dance teacher Pascual Caicedo (2014) explains that the aim of dancing Currulao, the most popular dance of the Colombian Pacific heritage, is to be able to express the feelings and values of their community, to remember, not only the living practices but also the environment where the dances emerged, and to transmit and give a symbolic meaning to every dance and body movement.

It is a very harmonic dance, a dance of patience, a dance of reconnecting, of falling in love. It is a dance that must coordinate everything, is a dance that makes you excited, that expresses feelings and values. It is a dance that reflects the living experiences of a community. It is a dance that when you do it, it reminds you of the rivers, of the sea (…) 21 (Caicedo, 2014) The subtext of dancing and transmitting the Currulao, as well as my personal observations and ethnographic experience, highlights a model of understanding and using dance heritage for remembering collective values that are associated with living practices and their symbolic relation with their territory and heritage. In this context, dance has the potential to transform the past by imagining a shared and positive future.

Because dance and music is the life of a community, is something that is transversal in our social, cultural and environmental live. Is the way every one of us lives their lives. When one dances, one creates dreams, dreams of brotherhood, one does not go thinking in

21

“Es un baile muy cadencioso, un baile de paciencia, un baile de reencontrarse de enamorarse, es un baile que poseer cadencioso necesita usted que su cuerpo este conectado con su mente, para que lo pueda hacer como se debe hacer. Entonces es un baile que debe coordinar todo es un baile que se emociona, que expresa sentimientos y valores, es un baile que recoge las vivencias de un pueblo, es un baile que cuando usted lo hace y si no es del Pacifico, es un baile que cuando lo hace se acuerda de los ríos, del mar. Cada paso del Currulao tiene un significado muy importante para la comunidad que lo conoce”.

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any other negative and past things. Dance allows you to be a more tolerant and better person.

(Caicedo, 2014) 22 Based on this framework of using dance heritage to foster social bonds and imagine a positive future, the music and dance teacher of Barrio Brisas del Cauca explains that the aim of transmitting the Currulao to children is to use an approach with different and progressive methodological tools. He starts with games and joyful activities that enable the recognition of the other, building trust and the unification of body movements and uses of space. After he identifies these basic elements, he builds choreography with specific gender roles in the movement for the children, within a stable structure of the rhythm and steps the children are encouraged to improvise. He also claims that in traditional environments, the children have the ability to learn by themselves by incorporating easily the rhythm of the music, observing, imitating, reflecting and being immersed in the environment of the dance (Caicedo, 2014).

In relation to the above, the children and students of the Barrio Brisas del Cauca music and dance group agree to the value and the importance of learning by observing and imitating the practice of a dance as a daily and living practice. When asking the children where had they learnt to dance, they collectively replied “in the house, in our yard, in the streets, with the group or in the school (…)” 23 (Personal Communication, Children Barrio Brisas del Cauca, 2014) In addition, it is plausible to say that children understand symbolic meanings of the dance that are related with other aspects of their cultural heritage. In the interviews, children highlight the importance of understanding the relation that dance has with the territory they inhabit, their rhythm, and the artefacts they use to that exalt gender role movements

22

“Porque las dazas y la música es la forma de vida de un pueblo, es algo transversal, la danza y la música eso va en la parte social, en lo cultural, en lo ambiental. Es la forma de vida de cada uno de nosotros. Cuando uno baila danza y música, uno crea sueños, sueños de hermandad, uno no anda pensando en cosas negativas del pasado. Uno andando en la música y la danza, eso a uno le permite ser mejor persona, le permite ser una persona tolerante, lo lleva a ser una mejor persona” .

23

“ Y en donde aprenden_? En la casa.. en el patio, en las calles, en el grupo, en la escuela( …) “

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-I think is better to dance with skirt because the movements of the hips are enhanced and look better.

-Which are the steps of the women? The hips! The movements of the hips. And the handkerchief, the sensuality and elegance!

-And the men? The men is easier because we don’t wear skirts or anything… we can use the handkerchief and drum with our feet (…) the men are guided by the drums and we have to practice it a lot to master it. 24 (Personal Communication, Children Barrio Brisas del Cauca, 2014) It is notable, that in the process of building choreography the children not only understand and give value to their dance, bodily expressions and aesthetic values, but they also use the different methodological tools they receive to create, remember and transform dance forms, as well as for triggering changes in the transmission of the dance. In this respect, Caicedo (2014) explains how, he himself, is affected by the innovative and creative ways children use their dances to nourish and develop his own method, teaching and practice of the dance.

I observe the method children use and I nourish it because although I have my own method, what I do is that I observe how every child does it using its own methodology to teach the other. So I am observing how each child does it and from that method I use it to nourish and develop my own method. 25 (Caicedo, 2014) The above example illustrates the potential that children have for initiate social changes, not only among their peers but also among adults in the process of the transmission of the dance. At respect, other artists and researchers working in related areas, complement the information revealed. Activist and performing artist Thomas

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“ -A mi me parece que es mejor bailar con la falda porque ahí se ven mejor los movimientos, de la cadera.

-Cuales son los pasos técnicos para las mujeres?

-La cadera! Los movimientos de la cadera, y el pañuelo, la sensualidad! La elegancia!

- Y el hombre? Pues el del hombre es mas fácil que el de la mujer porque no llevamos falda ni nada.. entonces es.. podemos manejar el pañuelo, y el zapateo. Pues el hombre más que todo se guía por encima del tambor y algunos pasos, y hay que practicarlo mucho para lograrlo”.

25

Yo miro, pues el método y lo enriquezco porque a pesar que tengo el método, yo lo que hago es que miro como cada niño, usa su metodología para enseñar al otro. Entonces yo estoy mirando cada niño como lo hace y miro de ese método que el niño utiliza que le puedo implementar al que ya tengo montado.

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Riccio (2010), argues that the process of building a dance performance in a context where human rights have been violated has the potential to explore and re-evaluate cultural inheritance in positive ways that reconnect the participants with the physical, imaginative, cultural, and creative selves.

Our work was not about creating nostalgic, museum renderings, but rather access all resources to serve the reimagining of Ethiopia through their bodies and performance (…) All of our work was discussed to establish an open dialogue and ensemble. Through exercises – dialogue, personal, bodily, emotional, racial, and physical – cultural barriers were broken down. As the work progressed, an awakening unfolded. Giving expression to personal feelings and the unleashing of creativity was an unexpected discovery for the ensemble.

(Ricchio, 2010: 50) In the same line of work, Toni Shapiro-Phim, cultural anthropologist with a specialization in the arts, social justice and conflict transformation, in her edited book, Dance, human rights, and social justice: Dignity in motion (2008) gives several examples about the relevance and potential that using dance, body movements and expressions has for triggering personal and therapeutic reparation with victims of violence.

Dance has potential to reduce traumatic experiences through catharsis. The emotions and excitations, or arousal and fear, that this attack produces are often necessarily repressed as means to survive, and can sometimes daftly be expressed through dance and movement, given the appropriate context.

(Phim, 2008: 225) So far, I have used interviews and observations of my ethnographic experience, as well as related literature, to argue that in the case of Barrio Brisas del Cauca, the model of using and transmitting heritage helps remembering collective values that are associated with living practices and their symbolic relation with their territory and heritage. Furthermore, it was noted how children’s dance initiatives affected and changed the teaching method of the adult teacher. While comparing this experience with other related researches in context traversed by war, the relevance and potential of using dance for initiating social changes emerges. I will now complement the information revealed with the findings of the movement analysis.

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2. The structure of the teaching situation The segmentation of the teaching situation with the group Barrio Brisas del Cauca (See annex 1), reveals interesting insights about how adults transmit their knowledge, as well as and interesting movements and expressions outcomes from the children.

Comparing the segmentation of the teaching situation with five other examples identified during the fieldwork in France and Colombia important information was revealed. The examples included two cases with the École de musique in the association Les Brayauds, Auvergne, France: an informal lesson within the Bal de l'ecole de musique, a social event, and in an organised dance lesson during the Weekend les enfants. The other examples were four different and organised dance lessons taught by the same teacher in different contexts in the Pacific Coast, Colombia: Days 1 and 2 in the rural community of Pianguitas, the school at Vereda El Carmelo, and the Barrio Brisas del Cauca, Cali, Colombia - see annex 8.

First, as in the above case of the École de musique associative Les Brayauds in France, due to the fact that the group of children of Barrio Brisas del Cauca already knew the teacher, there was no need for presentation of the dance lesson. This discloses a previous process of interaction between students and teacher and, therefore, a likely common knowledge and intrinsic trust between the participants and a continuity in their processes. It is important to mention that this common variable contributed to the choice of the two comparative case studies for the research.

Regarding the introduction, singing and dancing games had an important role in the beginning of the class. When comparing this experience with the other teaching situation done by the same teacher, it was common to find the same methodological tool in all of the cases.

In relation to the dance sequence, it is important to highlight that, in all the lessons, the first instruction in each new sequence was given while the teacher danced together with the students. Also, it was noted that the structure of the teaching methodology within each section shared the same basic order in all the dance lessons: 1) Instructions while the teacher and students dancing together, 2) repetitions and variations of the same movement or sequence, and 3) children dancing with each other. In the specific teaching situation of Barrio Brisas del Cauca, as well as the case 41

of Les Brayauds, the instructions, number of repetitions and sequences taught were the fewest in relation to the other cases. Nonetheless, each sequence was never repeated and the duration was longer than with Les Brayauds. One could argue that in these cases, the teachers do not feel the need to repeat instructions because there is a long-standing prior learning process between the teacher and group of children. This condition proved to make the process of transmission easier and faster.

3. Detailed movement and body expression analysis The detailed movement and body expression analysis of the teaching situation (See annex 4) reveals complementary and interesting information about the scenario of adults teaching the children. a) When adults teach children In the sequence 2 (see annex 4) the children are located in the centre of the room in a small circle facing each other, taking turns moving in and out of the circle. The teacher is moving around the circle and occasionally also moves in and out of the circle. The musicians are playing live music behind the children in the back of the room. In the left corner there are two children-playing marimba, and in the right corner there is an adult playing the drums. I am observing and filming behind the teacher in the right corner of the front part of the room. Beside me [right-front part of the room] there are other children sitting, moving in their places, or marking the rhythm with their bodies while observing and imitating the others’ dance. The teacher is giving a direct instruction: “abralo” [open it] opening the circle with both hands, moving into the centre, and starting to improvise a step while the children observe him and continue moving in the circle. Then he goes back to the circle and encourages the children to move to the middle (he pulls the first children to make them go in). As the children are dancing in the circle, the teacher walks around, and while observing he gives different cues such as: “arriba, eso, abralo” [up, that is right, open it] to motivate them. The children walk in a clockwise direction and, putting their hands on their hips, perform circular movements with their waist and pelvis. Three girls (the oldest) take the first initiative to start entering in and out of the circle, doing improvised and free movements, and turning in similar ways following 42

the teacher’s demonstration. In general, the group of children seem a bit shy and are not easily taking the initiative. I will now compare the previous findings with two different breaks in the class when the children were given a space to dance among themselves and to teach their own dance heritage. b) When children dance amongst themselves In the sequence “Children dancing alone playfully” (see annex 4) the teacher is located in the back-left side of the room sitting down playing drums and singing, occasionally raising his voice to indicate changes of speed and movement variations during the song. Children are dancing amongst themselves in the centre of the room in a small circle facing each other. The musicians are playing live music behind the children, in the back of the room. In the right corner there is an adult playing marimba, in the left corner there is an adult playing the drums, and in the back children are playing other instruments. I am observing and filming behind the children in the front right corner of the room. Beside me, there are other children who are sitting, moving in their places, or marking the rhythm with their bodies while observing and imitating the other’s dance. The basic movement is same as in the previous example, but contrary to what happened before, the children are actively engaged, taking turns moving in and out of the circle in couples. The children´s movement are evidently freer while improvising, than when following the teacher’s instructions. Moreover, the children start to take more and more risks. Their energy starts to increase and it is expressed with joy in the quality of their energetic movements, their laughs and the level of their voice. A boy moves in the middle of the circle with a guasa, a traditional instrument of the Colombian Pacific Coast similar to the maracas, and starts shaking it very fast while turning and moving even faster. Children surround him and follow his rhythms, moving and jumping in a close circle for more than three musical phrases. After he returns to his place in the circle, another boy moves in while keeping the rhythm with his body: he bends backwards almost touching the floor. The other children are observing, jumping, shouting and cheering him. Immediately, a few girls enter the circle, facing each other and performing exaggerated and quick movements with their upper body, arms, and shoulders, barely touching each other, while exchanging their positions in the circle.

Next, two other girls enter the circle and, facing each other, they start mirroring their upper body movements; with their hands they grab their waist, rotate the upper body 43

to the right, taking their left shoulder to the front, and then doing the same thing to the left side, repeating the same pattern of movements for several musical phrases. On this occasion the girls do not exchange positions and return to their places.

Suddenly, one of the girls grabs the waist of one of the smallest children and quickly all of the others imitate her; following and holding each other, they open the circle to make a collective chain similar to a train. They move in a clockwise direction and after doing a complete turn and returning to their initial place in the circle, one of the oldest girls start to exaggeratedly extend both of her arms, first towards an uprightwards direction (out of the circle) and then up-leftwards (touching their hands in the inner circle). Immediately all of the children imitate her, moving closer together in the train and doing the same collective and dynamic movement while shouting, jumping and expressing their joy. This moment of maximum expression was followed by a smooth break of the chain; children moving in different directions, dancing individually and freely, at their own rhythm and pace for several musical phrases.

Slowly, the level of the music starts to decrease and the dance and the sound stop.

When the children are dancing amongst themselves, they are evidently more engaged when taking turns (by couples or individuals) to lead and make visible different actions in the middle of the circle. Individual or couple actions are being mirrored, cheered and supported by the other children, providing each child with the possibility of leading, receiving and imitating actions. The climax of the sequence takes place: individual dance movements and expressions gather together in a train of joy and maximum collective expression.

In the break “Kilele” (see annex 4), the teacher in the left back of the room, sits down playing the drums, and marks the rhythm, moving in place while giving instructions and corrections for Kilele, one of the favourite songs of their shared repertoire. The girls are standing in a horizontal line playing guasa and singing the song while moving in place with the rhythm. Other children are close to the walls, observing while sitting down or standing up, engaging in different ways: playing music, observing, imitating, and moving. I get closer with the camera and follow the dancers and singers. In this case, the children sing together, always repeating a simple phrase as a chorus: “Marimbi marimba”, which is always answered back by the others with Kilele!! The girls are the main singers and they take turns singing different phrases 44

while the others (children and adults) answer back Kilele! The singers are particularly excited about leading the song and having a ‘solo’ that is always answered collectively and energetically by the others.

Evident and revealing resemblances were found in the work of dance therapist, Amber Elizabeth Lynn (2008), in her work Dancing in our blood. Dance/movement therapy with street children and victims of organized violence in Haiti. She explains in detail the potential that initiating movements and being seen as well as being mirrored and imitated by others has for helping triggering collective and personal reparations for the children, who are victims of human rights violations.

The children who were not drumming began to move in and out of the center of the circle, one at a time, taking turns leading, being followed, and following. As each child created a movement phrase in the center, he or she turned toward each child in the outer or witness circle, and then mirrored movements to one another. No child skipped being witnessed by each member of the group. It was made clear to me that each person had to spend time on the center, to lead or initiate movement, to be seen, and then to offer back to each mover in the center the mirroring of his/her movements. This practice is similar to the tradition of the solo circle that exists in many African dances and rituals, and somewhat similar to the traditional dance/movement therapy circle, although rarely in the traditional psychotherapeutic group setting have I seen group participants so consciously seek the center of the circle, and the opportunity to be seen and to have their experience reflected back to them.

(Lynn, 2008:231) The above information suggests that when repeating the same movement sequence but changing one variable: removing the adult-teachers from the circular and collective space, notable changes in the movement and expressions of the dancers emerge. While in the first case, when the teacher was pushing the children to get in the circle to lead movements, the response of the children was less positive; they were shy and not responsive to initiatives. In the second and third examples (when children dance amongst themselves), it was revealed that the children were more engaged in the circle and leading actions. The importance of being visible and mirrored by their peers (and in some case adults), gives important insights to consider the therapeutic benefit of initiating dance actions, particularly in a context traversed by war, where children are normally silenced and not encouraged to initiative visible actions.

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The following section will further discuss this information with the findings of what happens when allowing children to teach their own dance heritage. c) When children teach their dance heritage A teaching situation was organized so that the children could teach me their dance heritage immediately after they received the dance lesson from the teacher (See annex 5). At the beginning of the sequence “presentation” (see annex 5), and despite the clear instructions of giving the space to children for teaching their dances, the adultteacher Pascual is somewhat reluctant about the exercise and he asks: ‘Who is going to be the teacher?’, while his body language indicates the opposite. Moreover, the camera shows him giving instructions to the children. In this sequence, the teacher, children and I are placed in two vertical parallel lines, and as soon as two dancers are at the head of the lines they should open in different directions creating two semicircles and meeting again at the back. When they do so, the two leaders from each of the lines face each other and dance together closely in couples, moving forward and mirroring their movements. When they return to the starting place they move to the end of the line, and the next couple starts leading the sequence that is repeated until everyone has the chance to lead. The children are motivated and eager about leading and teaching their movements, however, Pascual’s interventions seem to confuse them and as a consequence, the children do not take the initiatives easily.

In the sequence “children teach Aguasao” (see annex 5) and in contrast with the above, the teacher is sitting down playing drums with the other musicians at the back of the room. He gives an indication for the beginning of the song, but besides that, he gives complete autonomy to the children. On this occasion, the children are teaching Aguasao, one of their shared repertoire dances and, together with me, they are organized in two horizontal lines. I am in the second line, observing and trying to follow the different leaders that engage collaboratively, taking turns to lead different movements. None of the leaders give direct instruction, they simply show the movement and dance energetically while being observed and imitated by the other children and me. On this occasion, children who, during the lesson, had never danced before, decide to join us.

Suddenly the children shout out loud “Caderona”, calling for one of their favourite and most dynamic dances of their shared repertoire. The children slowly form an open 46

circle, and start dancing together until they form a small and more intimate circle.

While moving like a train, that is, in the circle but facing sideways and following the person in front, other children join us and start to jump forwards and backwards while moving in the circle in a clockwise direction. A few boys and a girl enter the circle to dance and improvise together; they mirror each other’s movements, cross and take each other’s places. Other children follow them, entering in and out the circle, but not for long. The others observe, dance and follow the leaders’ movements. Afterwards, everyone dances the same step for several musical phrases, getting closer and closer in a smaller circle. Finally, one girl gives a cue to break the circle and, after counting one, two and three, everyone drops to the floor. The music stops and laugher takes over.

In the sequence “children teach Kilele” (see annex 5), the teacher is sitting down playing drums with the other musicians at the back of the room letting the children have the complete space and autonomy to show and teach their dances. On this occasion, the children and I are organized in two parallel, vertical and close lines, and are repeating exactly the same exercise as in the above example. On this occasion, it is notable that both lines cross each other, exchanging places and ending in two vertical lines, but with a wider distance between the lines. This is followed by the opening of the lines in opposite directions forming two semicircles, the two lines meeting in the back and moving forward facing each other, mirroring their movements in the two vertical lines. In contrast with the previous exercise, this time, they spend several musical phrases in the same place conserving the vertical lines, while dancing together in a collective and homogenous way. After repeating the same sequence several times, they switch to form a large circle facing each other, moving together in a clockwise direction, paying close attention to each other’s movements and maintaining their space within the circle. After dancing together for few musical phrases, the music starts getting faster, to which the dancers respond by exaggerating their movements and singing and shouting synchronically. As with the example presented in the previous sequence, when children were dancing amongst themselves, they started going in and out of the circle, while others observed and continued moving in the circle. The collective energy is extremely high and contagious.

Suddenly, one of the adult observers and community leaders, Luz Cuervo, gets in the middle of the circle and starts improvising energetic movements. Her intervention 47

generates shouts and clapping of excitement from the children. This particular example illustrates how when children take dance initiatives they produced changes in the social dynamics of the transmission process, which will be treated next.

4. What do children teach us about (re) creating new forms and triggering changes in the social dynamics of the transmission process?

The outcomes of the different teaching situations mentioned before revealed interesting insights. 1) When the teacher encouraged and pressured the dancers to take initiatives in leading, they were shy and did not do so easily. 2) When children danced amongst themselves, they more engaged getting into the circle, creating leading individual or couple actions, taking risks and changing dance forms, 3) In the later example, when children were given a prominent teaching role, not only were they more engaged in leading collaboratively different actions and changing previous dance forms and use of space, but this situation also revealed the importance of being visible and mirrored by their peers (and in some case adults).

The above information suggests that when repeating the same movement sequence but changing one variable: removing the adult-teachers from the circular and collective space, notable changes in the movement and expressions of the dancers emerge. While in the first case, when the teacher was pushing the children to get in the circle to lead movements, the response of the children was less positive; they were shy and not responsive to initiatives. In the second and third examples (when children dance amongst themselves), it was revealed that the children were more engaged in the circle and leading actions. The importance of being visible and mirrored by their peers (and in some case adults), gives important insights to consider the therapeutic benefit of initiating dance action. According to dance therapist, Allison Jane Singer’s work with war affected refugee and internally displaced children and adults (2008) explains that, this is particularly relevant in a context traversed by war, where children are normally silenced and not encouraged to initiative visible actions.

When talking about the dance workshops, ‘several members of Zdravo da ste described children as “initiators of change” and many of the children’s workshops

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were used as a basis for workshops with other members of the refugee and internally displaced people’s community’ (Singer, 2008:240).

The ethnographic experience, movement analysis and related literature give insights about the potential that children could have for (re)creating dance forms and, particularly, for triggering social changes through dance. In the next chapter, the findings of both contexts will be discussed, looking for possible ways of integrating these discoveries in a future project that gives children a protagonist role using their dance heritage to initiate processes of cultural and personal reparation in Colombia.

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IV. Integrating methodological and conceptual findings

In this chapter, inspiring and useful insights of each experience will be highlighted and integrated with relevant literature to identify useful methodologies and concepts for developing future research and applied projects in related areas. In this particular research, and according to my personal motivations, I will underline useful insights not only to transmit dance, but also the potential of using dance for triggering social changes in Colombia, a context that has been living in war for more than sixty years, and where the promotion of dance heritage is not only relevant but also, in my opinion, extremely necessary. Below, a detailed description and integration of these findings will be discussed.

1. General findings of the methodology As a point of departure, the process of building knowledge based on embodied and symbolic interaction between the children and researcher in the different teaching situations, in other words, creating an experimental methodological approach that could give children a prominent role for using and teaching their own dances to the researcher, proved to be very useful and positive for the unfolding of the research.

During the fieldwork, it allowed a different type of interaction with the children, different uses of roles (students and teachers), and a positive and motivated 50

environment for developing the research. In most of the cases, the children were happy to participate, ask and answer questions, and reflect about their own experience. Moreover, the results of the movement analysis of the experimental teaching situation revealed interesting insights for enhancing my understanding about the potential that children have for (re) creating dance forms and possibly triggering social change. Furthermore, when comparing the above mentioned experimental teaching cases with two other situations, and the methodological approaches of using and transmitting dance in each context (when adults teach children and when children dance among themselves), different strengths and possible outcomes for every teaching situation were explain in detailed, revealing the importance and potential of giving space for the three different methodological approaches in the transmission process of dance heritage.

On the other hand, and due to the high collaborative and visual documentation of the research, ethical considerations were taken into account during and after the documentation of the research. The objectives and methodologies of the project were worked in consensus with the facilitators of Les Brayauds in France and Barrio Brisas del Cauca in Colombia.

In relation to the above, visual anthropologist Sarah Pink (2007) suggests that the most important audience of her visual works are the participants themselves. I, therefore, gave emphasis to the children's point of view rather than the researcher's.

On the other hand, visual documentation gives the possibility of feedback, which helps the visual ethnographer to reflect on his/her own role. The outcomes of the strategy of using visual documentation for building two different interactive blogs with the purpose of sharing and connecting with the participants of each experience, especially with children, had two different and unanticipated results. First, and in relation to the researcher, the creation of the interactive blogs was very useful because it facilitated the organization of the vast material according to the different teaching situations, dance events and dates, which made easier its systematization and further

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reflexive analysis 26 . However, although the blogs and visual material were shared with the leaders of each context with the aim of sharing and giving back the material to the participants, especially to the children, the interactive participation was very scarce. Other strategies, such as using social media platforms, for example, Facebook, for sharing audio-visual material such as the edited video of the fieldwork experience, proved to have a bigger impact and participation in the case of the children in France.

On the contrary, the participation of the Colombian children to the interactive media was inexistent. One could argue that the children in the later context do not have access to these technological channels of communication. Therefore, a copy of the media was delivered physically to the teachers and facilitators so that they could personally present the material to the children.

The intercultural component of the experience was very interesting because it gave the possibility for the children of the École de musique associative Les Brayauds to meet and embody a different couple dance tradition. The encounter with the “other” triggered important reflections about learning different dances, but also about their “own” understanding of their dances in relation to their context: children are aware and have a clear understanding of the aesthetic and cultural values of their dance traditions. As explained in the next section, this particular experience motivated me to adapt similar strategies in a future research project.

Finally, it is important to mention that in both contexts the interviews and informal talks with children highlighted common elements. For example, on repeated occasions the importance of improvisation, having space to dance freely and enjoy themselves, was mentioned. Furthermore, the results of the analysis revealed that when children dance amongst themselves they encourage each other to take on more initiatives and risks. In relation to the above, according to educator and psychologist John W. Gardner (1995), children can teach adults much about the importance of failure in the process of learning,

26

For looking at the material, it is available online here: https://kidsdancearoundtheworld.wordpress.com/ and https://loschicosdelpacificobailan.wordpress.com/

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One of the reasons why mature people are apt to learn less than young people is that they are willing to risk less. Learning is a risky business, and they do not like failure. In infancy, when the child is learning at a truly phenomenal rate — a rate he will never again achieve — he is also experiencing a shattering number of failures.

Watch him. See the innumerable things he tries and fails. And see how little the failures discourage him. With each year that passes he will be less blithe about failure.

(Gardner, 1995, cited in Popova, 2014) In this section, the findings of the methodological approach used in both experiences were presented. Next, a detailed explanation of the insights of each experience will be discussed and connected with related literature.

2. Integrating inspiring concepts of both fieldwork experiences At the École the musique associative-Les Brayauds I witnessed a model that uses dance heritage to give children the possibility of being immersed in their local heritage and form holistic citizens. From this case, two key concepts emerged, which inspired me to explore the viability of its application in the Colombian context.

1) The effective role of the teacher as a facilitator that provide different sets of tools – such as: music, dance, paints and crafts, gastronomy, gardening, nature walks and treasure hunts, ethnographic, artistic, and visual workshops – that, ultimately and successfully, encourage the children to learn by personal motivation. When relating these concepts with the findings in Colombia, some potential approaches, as well as some challenges were revealed. In the context of Barrio Brisas del Cauca, the role of the teacher is also one of a facilitator that gives certain tools – such as: games and ludic activities, recognition of the other and trust-building – created a shared repertoire of choreographies that has the potential to foster social bonds. However, despite the relationship between the practice of the dance with other elements of their heritage, such as their living practice (music, food, agriculture, handcrafts, etc.) and its relationship to their territory, the teacher only focuses on giving tools related to dance and leaves aside other elements. As a consequence, I was deeply motivated to develop possible strategies of integrating the learning from the case of Les Brayauds in France, to fill the gaps revealed in the context of Barrrio Brisas del Cauca in 53

Colombia. In the next section, a possible strategy of adapting these tools to the context of Colombia will be presented.

2) The case of École de musique assosiative Les Brayauds highlighted how, by providing an adequate environment that gives children the possibility to immerse in their local traditions, enables them to constantly observe, foster social bonds and the appropriation of their local heritage. In this respect, children of Les Brayauds, explain: I have been in Les Brayauds for eight years. For me it is a school of music, I started making bonds with the teachers a little bit late but it when very fast because I saw them very often and I think it is very warm because each time I come here I have always the feeling that I am somewhere else, it is strange. It is very warm. And for me it is a kind of refugee, I love a lot Les Brayauds, it is like my second family.

(Personal communication, Children Les Brayauds, 2014) Unlike this case, in the context of Barrio Brisas del Cauca this issue raises the most problematic challenge: besides music and dance, these displaced children do not have an adequate or stable environment that allows them to immerse in a context that promotes the observation, participation and appropriation of their local heritage. In order to explore different possibilities for addressing this issue, further discussion that uses related literature and further projections will be presented.

3. Discussing findings and further projections When considering the notion of heritage promoted by UNESCO 27 in the Colombian context, a clear disjunction is revealed. As stated by the Estado del Arte del Patrimonio Cultural Inmaterial de Colombia [Current State of the Immaterial Heritage in Colombia] (2008), there is a tension between the cultural and collective

27

The Convention for he Safeguarding of the Intangible Cultural Heritage (ICH), officially defines ICH as: “the practices, representations, expressions, as well as the knowledge and skills (including instruments, objects, artifacts, cultural spaces), that communities, groups and, in some cases, individuals recognize as part of their cultural heritage” (UNESCO, 2003)

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rights and the processes of creating memory and building a multi-ethnic, multicultural nation that exists in the middle of an armed conflict (Rubio, 2008: 180).

In this problematic context, and according to this official document, the initiatives and participation of social actors in relation to the creation of ICH public policies are very limited. On the other hand, the few local ICH initiatives are only organized to support possible declarations of emblematic cultural manifestations (cultural, ethnic, territorial) at a national level. The most visible participation is in relation to the organization of annual territorial carnivals, but the local efforts are channelled towards the logistics of the event rather than to the knowledge, registration, or documentation of the local ICH practices. There is an absence of communication strategies regarding Immaterial Heritage. The Minister of Culture has, along with collaborations between private and public sectors, developed initiatives for the promotion, respect and appropriation of Intangible Cultural Heritage (ICH) using competitions and rewards as incentives 28. However, the appropriation and articulation of the ICH is still very scarce (Rubio, 2008:184).

Rather than focusing on the constraints of this disjunction, the research will highlight positive outcomes of different strategies implemented by the government, such as the annual festivals and the competitions and “We are Heritage” rewards, in order to learn from these experiences and intend to fill some gaps, giving a more visible role the practitioners, especially the children.

In this context, one observes that intangible expressions may give the possibility of achieving the presence in the public arena of voices have been silenced and made invisible by violence, discrimination or non-recognition of its historical, experiences, practices and narratives. This is a subject of further discussion about ICH in Colombia, not covered by the provisions of the UNESCO Convention, 2003.

(Rubio, 2008:185) 29

28

The “Reward we are Heritage”, promoted by Convenio Andrés Bello, and the “Gastronomic reward of immaterial heritage, by the Ministry of Culture, are worth mentioning.

29

‘En este contexto, se observa a las expresiones inmateriales como la posibilidad de lograr la presencia en la escena pública de voces que han sido acalladas e invisibilizadas por la violencia, la discriminación o el no reconocimiento de sus particularidades históricas, experiencias, prácticas y

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This context reveals the relevance of children’s participation for triggering collective and personal changes, as it was explained in detail in previous chapters (Chapter II, III). Nonetheless, when looking carefully at the priorities presented by the experts of the Regional Conference on Arts Education in Latin America and the Caribbean (2001), the principal priorities regarding children’s participation and education in their dance heritage, highlights an evident tension: First and foremost, as in the other disciplines but especially in the case of dance, there are different concepts of dance. Each group, whether teachers, pupils or society, has its own idea of what dance is or should be (…) We need, therefore, to reduce the distances between the different concepts of dance, so as to establish clear relationships between them. In this way we shall succeed in broadening concepts and harmonizing the quality of the profiles.

(Regional conference on arts education in Latin America and the Caribbean, 2001:91) Instead of promoting creative, diverse and inclusive participation for children and adults in dance education, institutional efforts are focusing their efforts and resources towards the homogenizing of concepts and delimitation of teachers and students of dance.

Furthermore, according to the report ‘Through a new lens: a child-sensitive approach to transitional justice’ (2011), presented by the International Centre for Transitional Justice, although children and youth are among the most affected in contexts suffering from human rights violations, they have not been systematically included as a focus of transitional justice mechanisms.

As part of this victim-centred approach, transitional justice should review its objectives, methods, and procedures through a childsensitive lens in order to assess and analyse the specific needs and rights of child victims, bearing in mind that boys and girls may experience conflict differently and be targeted based on their respective vulnerabilities. Furthermore, failure to address the experiences of children, including child victims, wastes the capacity and potential of young people to serve as catalysts for reconciliation

narrativas. Este es un tema de debate nuevo alrededor del PCI que se plantea en Colombia, no previsto en las disposiciones de la Convención de la UNESCO, 2003’.

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and peace building within their own communities. “In the end, real peace is not found in a piece of diplomatic paper. It is found in the secure and healthy lives of girls and boys.

(Aptel & Ladisch, 2011:7) Few examples of child-specific reparations programmes are being carried out.

However, efforts and resources are focused on giving children tools, resources and support by ‘attempting to compensate for lost years of schooling through accelerated educational programs’ (Aptel & Ladisch, 2011:4), instead of focusing on the quality of the education. In Colombia, the National Reparations and Reconciliation Commission (CNRR) and its Historical Memory Working Group (Grupo de Memoria Histórica, or MH) indicated that, while there is a willingness to account for children’s perspectives (as highlighted in its Action Plan), without additional support or funding, not all the members of the group have the necessary background or resources to systematically address this issue. Furthermore, the ‘lack of information on deadlines and eligibility requirements meant that many youth never received reparations they were potentially due’ (Aptel & Ladisch, 2011:4).

In relation to the reports from the Regional Conference on Arts Education in Latin America and the Caribbean (2001) and the International Centre for Transitional Justice (2011), important contradictions and potential unfilled gaps were revealed towards the aim of contributing to a more child-sensitive approach for cultural and personal reparation in Colombia.

In this regard, psychologists working with child victims asserted the potential of giving the voice to children through books and staging plays, ‘Warning others about the reality of armed conflict and of life within armed groups is also a way for children to take responsibility for their prior decisions. According to one psychologist working with child victims, ‘bringing one’s voice to the public sphere is also a healing exercise’ (Aptel & Ladisch, 2011:13). Recent studies, such as the work of Rocha and Bustos (2009) as well as my own (Gutiérrez, 2011), have linked the reconstruction of memory with artistic methodologies, such as theatre, to work on the symbolic reparation of victims.

When they came to talk about their losses, their fears, the fear that silences their voices, remorse or guilt that paralyzes, and expressed their feelings, their views on what was happening to the characters, but also to them, it was evident the importance and possibilities that 57

art offers to confront and handle the grief and to appropriate the processes of symbolic reparation.

(Rocha & Bustos, 2009: 24). 30 Although the mentioned methodologies are very useful and effective in processes of symbolic cultural reparation, it is important to mention that they are based in an imagined discourse that builds fictional “texts”, “stories” or “characters,” which allow social actors to play different roles that represent or enact their point of view. This creates a distance between the “social actor” and the “character”, and for some participants this scenario provides an ideal situation to unpack their emotions, connect with others, and “perform” reparation in a cathartic, symbolic way. Nevertheless, if one seeks to complement these methodologies and work with a more intimate, personal approach, the use of dance and body movements and expressions has enormous relevance and potential. Psychologist Arthur Janov explains one effect of war: Trauma that becomes imprinted on the body and creates a splitting within the person between what is hidden and what is felt. The traumas experienced by refugee’s children and families do not lie solely in the trauma of mental health, but also include social, economic, political and cultural factors. (in Phim, 2008: 239) After integrating the findings of both fieldwork experiences and the possibilities and gaps revealed in the related literature, I will now explore the potential of giving children a protagonist role using their dance heritage to initiate processes of cultural and personal reparation in Colombia.

30

“Cuando se subieron a hablar de sus pérdidas, de sus miedos, del temor que acalla sus voces, del remordimiento o la culpa que paraliza, y expresaron sus sentimientos, sus puntos de vista sobre lo que le acontecía a los personajes pero también a ellos, se evidenció la importancia y las posibilidades del arte para afrontar y tramitar el duelo y para apropiar los procesos de reparación simbólica”

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V. CONCLUSIONS After observing, participating and analysing the experiences with children in the École de Musique associative Les Brayauds and in Barrio Brisas del Cali, Colombia, I found interesting connections between both cases and with other related literature that helped me to understand the importance of giving a prominent role to children as students as well as teachers in dance heritage. Also, while advancing step by step, the more my thoughts and methods became clearer and the clues for answering and asking more questions were revealed, the closer I felt to the beginning.

A great artist once said “Science is a tool of breath-taking power and beauty, but it is not a good parent; it must be balanced by something broader, deeper, older. Like wind and weather, like ecosystems and microorganisms, like snow crystals and evolution, human learning remains untamed, unpredictable, a blossoming fractal movement so complex and so mysterious that none of us can measure or control it. But we are part of that fractal movement, and the ability to help our offspring learn and grow is in our DNA. We can begin rediscovering it now. Experiment. Observe. Listen.

Explore the thousand other ways of learning that still exist all over the planet. Read the data and then set it aside. Watch your child’s eyes, what makes them go dull and dead, what makes them brighten, quicken, glow with light. That is where learning lies”.

(Back, 2014) While going back to the beginning I started remembering about my motivation for joining Choreomundus and, all of a sudden, different pieces of inspiring learning and concepts started coming together. I remembered the potential that dance has in Colombia for triggering benefits inside the practitioners of the practice and also outside its practice. The case of Barrio Brisas del Cauca, Colombia revealed positive findings when I was in the field: the importance of having an adequate and stable environment for practicing and promoting dance heritage among marginal communities; the special need for making visible their local knowledge and dance practices, not only among their communities but also within different sectors of the society; and, furthermore, the important role that children have in this healing process, as inheritors but also and most importantly, as initiators of positive social actions.

Despite the positive findings, the challenging constraints that emerged during the research should be mentioned: displaced children in Colombia normally do not have adequate or stable environments that provide them the possibility to immerse in their 59

local heritage. In relation to this, it was noted how some political or institutional efforts are being made to promote the safeguarding and education of local practices.

However their approach aims to favour national or international agendas instead of focusing on the needs of the participants. Local initiatives are organized only to support possible declarations of emblematic cultural manifestations (cultural, ethnic, territorial). Moreover, resources in dance education are limited and are given with the purpose of homogenising and standardising the practices and teachers through academic curricula. In relation to this, the newsletter of UNESCO’S Education Sector, comments: “Funds will come into the country and be used to reinforce an education system that is decried by everyone. […]We should first stop and discuss what we want to teach and why we want to teach it” (UNESCO, 2015). Furthermore, scarce reparation programmes with a child-sensitive approach are being carried out but using compensation measures such as giving economic resources or accelerated educational programs instead of focusing in the quality of the education or the needs of the participants.

Until the date reparations programs have been inconsistent in their acknowledgment of violations against children (…) Failure to acknowledge crimes directly committed over their own bodies and minds may reflect misperceptions regarding children as political actors and agents and rights holders. Going forward, it is important that reparations programs acknowledge children as rights holders who suffered specific violations in light of their vulnerability, while also granting them special protections.

(Aptel & Ladisch, 2011:26) As a consequence, a possible model of using dance heritage for enabling cultural reparation with a focus on children brought to light many gaps that require attention: the scarcity of the appropriation and articulation of ICH; the absence of promotion of creative, diverse and inclusive participation for children and adults in dance education; and the lack of attention to a child-sensitive approach to cultural reparation which would provide systematic compensation measures and take in consideration crimes committed directly to children’s bodies or minds.

In relation to the above, I have been inspired to develop an ambitious strategy that aims to be nourished by the different participants and experiences of the project, in order to fill some of these gaps. The general idea of “The Seeds of Heritage Project” (See Epilogue) is to work in two directions that complement each other and give 60

children a prominent role: 1) Making a network with different groups, labelled as nodes of Heritage, which are already working with local dance practices as tools for cultural reparation around the country, with the aim of creating collaborative strategies for the appropriation, continuity and replication of each practice, as well as, for sharing and learning from each other; 2) Creating an annual Festival that promotes the visibility and dialogue among the different practices of dance heritage and where the children are the protagonist of each node. A detailed explanation of each strategy will be displayed below.

1. Why nodes of Heritage?

I reflected upon the role of the teachers in Les Brayauds as facilitators who give different sets of tools to the children to learn by themselves in creative and participative ways. Then, I realized that, in the case of Barrio Brisas del Cauca, children, unless they live in the context where the dance emerged (which is rarely the case in a context traversed by war as it has been noted), do not have the opportunity to learn different tools associated to their dances or even to dance together with other members of their community. Therefore, I felt deeply motivated and inspired to create an approach where teachers are facilitators or “seed growers” that use local practices of heritage as tools to empower the different participants of the group, especially the children. These tools help them to find their talents and nurture them, and to develop the appropriation and respect for their ‘own’ and ‘others’ local traditions. The idea is to depart from a combination of different and flexible workshops using activities such as dance, gastronomy, music, handicrafts and agricultural practices (gardening, planting seeds and food) with the inclusive participation of children and adults, as a way to immerse themselves in their cultural context.

Furthermore, to make visible the different practices outside of their local contexts, I am proposing to create an annual festival that promotes the visibility and dialogue among the different practices of dance heritage, giving a prominent role to children.

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2. The “Seeds of Heritage” Festival When looking at the programmes implemented by the Colombian Ministry of Culture related to the promotion of ICH practices in the country, the annual festivals, as well as the competitions and rewards “We are Heritage”, have the most notable results.

Nonetheless, despite the governmental efforts, the appropriation and articulation of the ICH is still very scarce. I am proposing to learn from these initiatives, but giving a prominent role to the participants, especially to the children, to make visible the dance outside of the local context. In other words, creating a festival, where each “Node of heritage” makes visible their dances and related practices to other sectors of the society, and where children are the main seeds, voices and representatives for each group.

To summarize, this research has made visible different insights concerning two different cases of transmitting dance heritage to children, using an experimental methodological approach that gives insights about the potential that children might have for (re)creating dance forms and for triggering social changes. With the findings from both experiences, I was motivated to develop the “Seeds of Heritage” project, which aims to support processes of cultural reparation in Colombia, my initial motivation for joining “Choreomundus” Master Program. Just after a few days of sharing the idea, it started taking an unexpected and promising path: a group of teachers, colleagues, and previously unknown people are gathering together to share their knowledge and talents to collaborate on the project. To date, five highly qualified professionals have formed an interdisciplinary group to make this idea a reality. Furthermore, six local initiatives from around the country are formally registered as ICH nodes for the project. By now the reader should have sufficient insights about how this dissertation integrates and opens new paths that have the potential to guide future projects in inclusive and beneficial ways for the participants.

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EPILOGUE: THE “SEEDS OF HERITAGE COLOMBIA” PROJECT

https://theseedsofheritage.wordpress.com/ “We educate turning our backs to art” teachers and students have said in unison. The latter feel pleasure that they did themselves.

Teachers resent it, but admit that they too would say it. Perhaps the fairest thing is to say that everyone is right. For both teachers and students, and ultimately the whole society, are victims of an educational system that is far from the reality of the country.

So before thinking about art education, we need to define a cultural policy that we have never had, as soon as possible. A policy that obeys to a modern concept of what culture is, what it is for, how much it costs, who it is for, and that takes into account that art education is not an end in itself, but a means for safeguarding and promotion of regional cultures, whose natural circulation is from the periphery to the center and bottom-up.

Guidebook To Being a Child.

Gabriel García Márquez

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The Project Seeds of Heritage Project supports processes of collective and personal reparation through collaboration between different groups that work with Intangible Cultural Heritage (ICH) in Colombia. We believe that dance is a tool and a goal in itself for the (re)understanding, encounter and respect of oneself and of the other. Using local workshops, intercultural encounters, and a National Festival, we aim to make visible, exchange and promote the practices and knowledges of the participants, giving a prominent role to the children as Seeds of Heritage.

Objectives 1. Work with local communities to identify and document practices and knowledge of ICH. 2. Collaborate with local leaders to identify strategies that support and promote the transmission, appropriation and continuity of their practices and knowledges.

3. Establish exchanges of strategies, methods and experiences between the leaders of the ICH groups.

4. Create a National Festival as a meeting point where the children of each group have the opportunity to show their skills, and to exchange and receive workshops of different ICH practices from around the country.

5. Create a visual and written archive of the festivals.

Our Nodes of ICH How is it possible to talk about Heritage in a context where the majority of the population does not want to reproduce their past? Can “Performing Heritage” be an accurate framework for enabling a better understanding of Heritage in a country like Colombia? What is the role of dance and bodily expressions in the process of “Performing Heritage” and triggering processes of collective and personal reparation?

By using and making visible these understandings of heritage, movement, and collective action, we believe we can help in this healing process.

We aim to create a collaborative environment where children and adults, living in a country torn by civil war for more than 60 years, can use their ICH practices to foster 64

social bonds, to appropriate their local knowledge’s and use and share their practices in creative ways. We strongly support children and adults to work in groups and to share their knowledge with each other. We believe in guiding children for a noncompetitive world, where knowledge and productivity is fully attained through sharing and collaboration.

Our approach to this process is as ‘facilitators’ that give tools to complement nonacademic areas of growth. We have observed that all areas of learning are interrelated and mutually enhance each other. In order to do this, we use local practices of Heritage to empower participants, as much as we can, to help them find their talents and nurture them, and to develop a strong sense of independence and responsibility towards themselves and their own emotions as well as to the world around them.

We encourage a holistic methodology based on the love and respect for our ‘own’ and ‘others’ local traditions: a combination of different workshops using joyful and immersion activities of dance, gastronomy, music, handcraft and agricultural practices (gardening, planting seeds and food) that gives an inclusive participation to children and adults. We also provide a diverse set of personal development tools that foster the understanding of inner emotions, personal relationships, creative processes, and conflict resolution through non-violent communication.

We depart from a general and flexible model that will be nourished by the different encounters of facilitators and their local experiences to ensure long-term continuity of the processes .Inside and outside our nodes, we seek collaboration to develop the following lines of work: 1. Diffusion and communication (videos, memories, flyers, newspapers) 2. Appropriation of knowledge (collaborative research) 3. Generation of cultural enterprises (shop, development of products, etc) 4. Building networks (linking the festival, our network on Facebook, newsletters and reports, fund-raising).

We invite you to participate and contribute in any area you want!

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Our Festival: Encounters of Seeds of Heritage

Our aim is to create an annual festival with the different nodes of Heritage. The location will not be fixed and the festival will be hosted by different communities that commit to organise the main annual event. The festival is the framework of unforgettable and enriching experiences of local heritages, a gathering of a diverse range of performances and workshops. More than a festival, it is a platform for sharing local knowledge, living, breathing, dancing community, bringing people together to share joyful and empowering moments through local heritages.

Additionally, we will invite external collaborators to contribute in topics such as: human rights, protection of the territory and the environment, as well as different artistic, technological and visual tools that promote creativity and respect for the others. National and international participants will be welcome to profit and enrich from these meetings of cultures, knowledge and talents.

The festival will be visually documented for the purpose of strengthening and appropriation of the processes that are being advanced in each of the nodes of ICH. Additionally, documentation will help make visible and promote our nodes, the festival, as well as contributing to its continuity.

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Our location We are located in diverse and colourful rural communities all over the territory of Colombia, South America. We have an abundance of living and local cultural practices but our resources are scarce. Although each community works with varied local, creative and natural resources and materials, our limitations are many.

At the moment, we are in the process of creating strategies that allows us to involve different sectors of society that can help us carry out this project. We aim to build a platform to foster different communities, volunteers, artists and researchers that want to be inspired and who can inspire the communities with their personality and knowledge.

We welcome you to join us!

When we dream alone it is only a dream, but when we dream together it is the beginning of, a new reality’ Hundertwasser

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Personal Interviews •

Caicedo, E., Interviewed by: Gutierrez, D., (20/06/14)

•

Quinones, M., Interviewed by: Gutierrez, D., (20/06/14)

•

Sinistierra, J., Interviewed by: Gutierrez, D., (20/06/14)

•

Champion, E., Interviewed by: Gutierrez, D., (05/07/14)

•

Children École de musique Les Brayauds., Interviewed by: Gutierrez, D., (20/04/14)

•

Children Rural Community Pianguitas., Interviewed by: Gutierrez, D., (07/06/14)

•

Children Vereda El Carmelo., Interviewed by: Gutierrez, D., (10/06/14)

•

Children Barrio Brisas del Cauca., Interviewed by: Gutierrez, D., (12/06/14)

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APPENDICES 1) Structure of the teaching situation- sequences: Six case studies: Adults teaching children situation General structure

Bal de l'ecole de musique/ social event

Weekend les enfants, Organized dance lesson.

Presentation Intro: singing and dancing games

Dance sequences

Formation: big circle

Sequence 1:Small circle bal Directions and dance together Sequence 2: Big circle Directions and dance together 3 repetitions Sequence 3: big couple bridge Directions and dance together 2 repetitions

Sequence 1: Directions and dance together Questions and corrections directions and dance together children dance alone

Sequence 2: Directions and dance together Questions and corrections directions and dance together children dance alone Sequence 3: Directions and dance together Questions and corrections directions and dance together children dance alone Sequence 4: Directions and dance together Questions and corrections directions and dance together

Pianguitas.

Day 1.

Organized dance lesson.

2 ludic exercises Singing and dancing exercises.

10 repetitions Sequence 1: Directions and dance together 5 repetitions Children dance alone Sequence 2: Directions and dance together 2 repetitions Children dance alone

Sequence 3: Directions and dance together children dance alone Sequence 4: Directions and

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Pianguitas. Day 2.

Organized dance lesson.

Vereda El Carmelo Organized dance lesson

Barrio Brisas, Cali Organized dance lesson.

Singing and dancing games. 1

Direct instructions

Ludic warm up.

2 repetitions.

Sequence 1: Directions and dance together 2 repetitions Children dance alone

Sequence 1: Escalera Step 1: Directions and dance together Step 2: Directions and dance together Step 3: Directions and dance together Children dance alone Corrections and children dancing Corrections and complete dance

Sequence 1: Directions and dance together

1 ludic exercise.

Sequence 2: Directions and dance together Sequence 3: Directions and dance together 2 repetitions Children dance alone Sequence 4: Directions and children dance alone.

Sequence 5-Currulao: Directions and dance together

Sequence 2- Currulao: Direction and dance together 1 repetition Step 1: Directions and dance together Step2: Directions and dance together

Sequence 2: Directions and dance together Sequence 3: Directions and dance together: Children dance alone

General structure

Bal de l'ecole de musique/ social event

Weekend les enfants, Organized dance lesson.

children dance alone Sequence 5: Directions and dance together Questions and corrections directions and dance together children dance alone

Pianguitas.

Day 1.

Organized dance lesson. dance together

Pianguitas. Day 2.

Organized dance lesson.

Singing and dancing 2 repetitions

Singing and dancing 7 repetitions

Barrio Brisas, Cali Organized dance lesson.

Children dance alone Corrections and children dance Corrections 2 and children dance.

Sequence 5: Directions and dance together 2 repetitions children dance together

Step3; Directions and dance together

Sequence 6: Directions and dance together Questions and corrections directions and dance together children dance alone

Breaks: dance and singing games

Vereda El Carmelo Organized dance lesson

Step 4: Directions and dance together Corrections and children dance Corrections 2 and children dance.

Singing and dancing 3 repetitions

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Adults and children dancing Adults and children dancing2 Presentation coplas Presentation coplas2

Boy dances Rehearse and children dance alone children organizing space Children organizing space2 Children dancing alone

2 girls dancing together Children dancing together 7 repetitions Children and adults dancing together

2) Movement and body expression analysis Weekend Les Enfants-École musique-Les Brayauds Weekend les enfants,

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

Formation : big circle

0- 0: 20

Teachers are in a big circle together with the children walking with them and giving small cues such as:

Teachers, children and researcher are in the middle of the room moving in a big circle.

Musicians are in the left-back side sitting down of the room playing live music.

The camera is in front and centre of the circle. Behind the camera there are some tables and chair where adults and children occasionally passed by or sit down and observe the class.

In the front and left side of the room there is a door that leads to an open space. Children and adults walk in and out of the room.

On the right front of the room there are some stairs that lead to a second floor, above the space where the tables are located. People can pass by and also watch the class and have a wider look of the class.

In the first floor, behind the tables there is a kitchen where adults and other children are preparing food.

Same as above but while everyone is moving the big circle the teacher gets in the middle and moves in the same direction doing a smaller circle within the big circle.

Slowly the circle is broken and participants are moving all over the space.

Teacher, children and researcher are walking (sliding their feet) slowly at the rhythm of the music in a counter clockwise direction.

Right step is accompanying with it seems a natural and bend movement of the right arm and shoulder, doing the same with the left side of the body. (basic pattern repeats all the time)

0:200:40min

Teacher is showing the movement and repeating a sound that helps her mark the rhythm.

0:401:20min

The teacher gives a cue that made everyone took different direction and open

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Children and researcher are walking a bit faster at the rhythm of the music in a counter clockwise direction. The teacher is in the centre moving in s smallest circle with the others can see her.

Every participant continues to do the basic step but moving freely in all the centre of the room. In this occasion dancers move

BODY EXPRESSIONS

Children are concentrated.

Children are engaged.

A couple of them starting to do variation of the basic walk doing more complicated steps within the rhythm and the circular structure.

Children are focus, following their rhythm and paying attention to the others to avoid crashing down.

Weekend les enfants,

Adult instruction s and demonstra tions

TIME CODE

00:20min

0:201:38min

Adults show couple dance

0-0: 15min

0:15-

INSTRUCTIONS

the circle.

While moving in different direction she continues to repeat the same sound „ tak, tak, tak ,tak: while marking the rhythm.

Teacher is showing the movement and repeating a sound that helps her mark the rhythm. „ tak, tak, tak ,tak:...

USE OF SPACE

Teachers, children and researcher are in the middle of the room moving in a big circle

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

collectively in clock and counter clockwise directions but not in a uniform way (using different directions and times for changing steps and directions), dancers also turn in their own space (clock or counter clockwise).

Teacher, children and researcher are walking (sliding their feet) slowly at the rhythm of the music in a counter clockwise direction.

Right step is accompanying with it seems a natural and bend movement of the right arm and shoulder, doing the same with the left side of the body. (Basic pattern repeats all the time) Every participant continues to do the basic step but moving freely in all the centre of the room. In this occasion dancers move collectively in clock and counter clockwise directions but not in a uniform way (using different directions (moving forward and backward in a clock or counter clockwise direction) and using different times for changing steps and directions), dancers also turn in their own space (clock or counter clockwise).

Some of them start to exaggerate their arm movements.

The children are focus, some of them looking at the floor, other with their hands in their pockets.

Other’s more engaged bur all of them paying attention to the others..

The teacher in gives a cue that made everyone took different direction and open the circle.

While moving in different direction she continues to repeat the same sound „ tak, tak, tak ,tak: while marking the rhythm.

One of the teacher is in the centre and back of the room talking and explaining a step to one of the children, Two woman-teachers are preparing, talking among themselves to show a couple dance

Slowly the circle is broken and participants are moving all over the space.

General use of the organization of space in the room same as above.

Couple teachers in the middle of the room while the children are spread around them observing them.

Walking around getting ready.

Children are quiet and observing.

Two women-teachers are showing a couple dance in

General use of organization of space in the room same as above.

The basic structure of the Mazurka couple dance showed by the teachers is:

Children are quiet and observing.

The camera is moving constantly accompanying the movement of the dancers and given a close up of the movements.

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Children are focus, following their rhythm and paying attention to the others to avoid crashing down.

Some of them start to exaggerate their arm movements.

Weekend les enfants,

Girls dancing a couple dance

Adults talking instructions 1

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

the middle of the room.

Couple teachers dancing in the middle of the room while the children are spread around them observing them.

00:35min

Teachers are observing.

Couple of girls did a couple of unsuccessful attempts to start dancing.

0: 351:33min

Teachers are observing.

Couple of girls did a couple of unsuccessful attempts to start dancing.

General use of organization of space in the room same as above.

Couple girls are dancing in the middle of the room while the teachers, other children and researcher are spread around them observing them General use of organization of space in the room same as above.

Couple girls are dancing in the middle of the room while the teachers, other children and researcher are spread around them observing them

Turning and moving together in a clockwise direction.

Variation step 1: (1, 2steps and hop) with the left foot step sideward and the right foot steps in the place + the right foot hops in the place while the left foot does a gesture taking the foot close to the right ankle ( 3 repetitions) Variation step 2: (1, 2, 3,4 and 5 steps and hop) left foot moves sideward+ right foot moves leftwards + left foot moves sideward+ right foot moves leftwards + left foot hops in the place while the right foot does a gesture taking the foot close to the right ankle(1repetitions) Repetitions using variation 1 and 2 while moving in different directions: forwards, backwards, sideward.

They try to start but make several unsuccessful attempts for coordinating.

01:20min

Teachers are talking give direct instructions to complement the previous demonstration.

Teachers move in and out of an open circle.

Children and researcher are surrounding the teachers.

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They repeat the Mazurka dance showed by the teachers.

Their rhythm is slower, they made a couple of evident mistakes in the direction and coordination of the couple dance, however the musician slow down trying to follow them.

Dancers are moving in their own space and following the indications of the teachers of how to use the space.

BODY EXPRESSIONS

Although they do not do t right at the beginning they laugh and feel confident to try again and again.

The others are respectfully observing.

The teachers and children do not interrupt them and carefully observe, smile and support them.

Children are asking some questions and paying close attention.

Weekend les enfants,

TIME CODE

Adult instructions 2

0-0:27

Adults teach 1

0-0: 43

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

With their hands show indications of how to use the space: making a clear sign of crossing and exchanging places.

Children ask some questions.

Children and adults talk informally.

Musicians are getting ready.

Teachers are talking give direct instructions to complement the previous demonstration.

Children ask some questions.

Children and adults talk informally.

Musicians are getting ready.

One teacher is showing the movements while dancing together with the children and researcher.

The other teacher is not moving from her place, and she is clapping and marking the rhythm with the steps while counting 1, 2,3- 1, 2,3 and 1,2 and 1, 2.

The camera is moving surrounding the dancers: zooming in and out.

The teacher is in the circle giving instructions.

Children and researcher are surrounding the teacher.

Camera is still.

Others same as above.

Dancers are moving in their own space and following the indications of the teachers of how to use the space.

Children are asking some questions and paying close attention.

General use of space same as above Teachers, children and researcher are in the middle of the room moving in different directions using the whole dancing space.

The basic stepping pattern is: Two steps rightwards (while the teacher claps 3 times) Two steps leftwards (while the teacher claps 3 times) Turning around themselves.(while the teacher claps 2+2 times) Every participant continues to do the basic step but moving freely in all the centre of the room. In this occasion dancers move collectively in clock and counter clockwise directions but not in a uniform way (using different directions (moving forward and backward in a clock or counter clockwise direction) and using different times for changing steps and directions), dancers also

Children are focus, following their rhythm and paying attention to the others to avoid crashing down.

Some of them start to exaggerate their arm movements.

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Weekend les enfants,

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

turn in their own space (clock or counter clockwise).

Children and adults dance in circle

01:54min

Both teachers are dancing together with the children.

General use of space same as above.

Children, teachers and researchers dancing in a big circle.

The camera moved to the second floor giving a wider perspective of the dance sequence.

Children dance alone in two circles

0- 2: 54

The teachers are outside the circles observing and surrounding both circles, giving occasional feedback to the students and researcher.

Or marking and showing the movement but outside of the circles.

General use of space same as above.

In this occasion children and researcher divide the big circle in two smaller circles.

The camera is in the stairs giving an above-lateral perspective of the dance.

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Variation 1: The dancers move counterclockwise in a big circle for 5 musical phrases while facing each other (looking at the centre of the circle) and following a basic foot pattern: Sliding right feet sideward, left feet rightwards (5 repetitions) Same step in the place to prepare for changing direction (2 repetitions) And then start moving in the other direction of the circle.

Variation 2: While moving clockwise, each dancer turns around themselves in a counterclockwise direction while using the same foot pattern. (10 repetitions or turns) Same step in the place to prepare for changing direction (2 repetitions) Complete Variation 1 and 2 (moving in counter and clockwise direction) is repeated 6 times.

Exactly same structure as above. With 12 repetitions.

Children are focus. Engage and dancing at there pace but paying close attention to the others.

After some time, few children start turning in different directions.

In this occasion, while moving in clockwise direction, some children made variation of the simple sliding step and start stepping harder, adding steps in this musical time, or exaggerating their arm gestures.

In occasions children and researcher got dizzy, stopping for a couple of seconds, and very soon and easily take back their position

Weekend les enfants,

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

Breaks: Adults and children dancing together 1

0- 1:00

And adult and a young boy are dancing together,

In the break all the participants are spread in or outside the room.

Variation 1: The dancers move counterclockwise facing each other and conserving a distance of a semicircle. They are following a basic foot pattern: Sliding right feet sideward, left feet rightwards Same step in the place to prepare for changing direction (in this occasion the step patterns are more ornamented and dynamic than in the big circle) And then start moving in the other direction of the circle.

Variation 2: While moving clockwise, they turn around themselves in a counterclockwise direction while using the same foot pattern.

Variation 3: Same as above but instead of turning the move backwards.

Same step in the place to prepare for changing direction (more dynamic.)

Break 2

01:20min

Two teachers start play music.

In the break all the participants are spread in or outside the room.

Teachers playing music.

Break 3

01:35min

Teacher’s start playing music and children join

In the break all the participants are spread in or outside the room.

Teachers and children are playing music Same few children are moving nd dancing.

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BODY EXPRESSIONS

with the group.

Although children dance freely and do not do exactly the same step, no one inner gets lost and there is a clear integrating while doing a collective moments.

After the song is finish teachers and children clap their hands.

They boy is very engage and doing more difficult variations than the ones performed in the big circle.

Two other boy occasionally join them playing and crossing back and forward them, When they finish other children and adults clap and cheer them.

Slowly the children start to gather around the music: they are eating, talking, observing, moving and dancing at the rhythm of the music.

Children gather around the music: they are eating, talking, observing,

Weekend les enfants,

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

them.

Break 5

01:25min

Teacher’s and children play music.

In the break all the participants are spread in or outside the room.

Teachers and children are playing music Some few children are playing and dancing.

Break 6

02:51min

Teacher’s and children play music.

They slowly organized and sited down in a square facing each other.

Break 4 Dancing around the fire

0-1 :50

Adults, teachers and children are outside singing and dancing together.

Adults, teachers and children are outside doing a big circle grabbed by their hands singing and dancing around a big fire.

Teachers and children are playing complete songs.

Fewer children are playing and dancing.

While singing and dancing all the participants move in a clockwise direction doing a basic step pattern: 3 normal steps to the let 1 jumping step to the left. ( 45 repetitions)

Break 7

01:@0min

Some adults are playing music others adults and teacher are walking around,

Adults, teachers and children are outside gathered around the music.

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Children are moving and dancing freely all over the place.

Two couple of boys are grabbed by their elbows and are spinning and jumping in different directions while the others surround and observed them.

BODY EXPRESSIONS

playing, shouting, moving and dancing at the rhythm of the music.

Children gather around the music: they are eating, talking, observing, playing, shouting, moving and dancing at the rhythm of the music Children gather around the music: they are completely engaged playing music.

Children are very engaged and motivated, singing, laughing and dancing Although the steps and movement and not identical (different uses of times, directions and quality of movements), there is a clear collective union that is highlights by the singing and cheers of the end.

Children are very engaged and motivated, singing, laughing and dancing Although the steps and movement and not identical (different uses of times, directions and quality of movements), there is a clear collective union that is highlights by the singing and cheers of the end.

3) Movement and body expression analysis / Children teach Les Bourrées- École musique-Les Brayauds Intercultural workshop Children teach Les Bourrees Children Bourree 4 temps

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

01:17min

Teachers are sitting down and asking questions when the other children are lost.

Some children answer the questions and give details explanations, use their body language: movements of hands to indicate directions and of how to cross and take turn in the bourree 4 temps.

The dancers move counter-clockwise in two circles following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) Then 2 dancers cross-changing position while the other wait in the place, and then the others do the same.

(1 repetition of the entire sequence)

Children are insecure and sometimes there is not a clear leader.

Among all of them talk and try to understand the step and find ways to explain them better.

Children teach 1

03:05min

Teachers are sitting down.

A group of 4 girls took the initiative to showing and explaining the bourree 4 temps.

The musicians are located behind the dancers, in the scaffold were they usually played in the social events of Les Brayauds.

The dancers (children and researcher )are in the middle of the room dong a big circle.

Some adults and other children are sitting or standing up surrounding the dancers near the walls.

The camera is in the front of the dancers giving a wider perspective of the lessons.

Children are organized in two circles.

General use of space same as above.

The dancers move counter-clockwise in two circles following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) Then 2 dancers cross-changing position while the other wait in the place, and then the others do the same. ( 12 repetition of the entire sequence)

4 girls that are teaching are engage collaboratively to show and explain the others.

The others are observing and paying attention and after a couple of phrases we also start to imitate them.

The sequence is interrupted, and slowed down a couple of times to give other instructions.

At the end and adult was called to help as a translator and give a

Children and researcher are in a big circle. The 4 girls open the circle doing a smaller circle and showing and the movements, After a couple of phrases the other group imitates them.

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Intercultural workshop Children teach Les Bourrees

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

Children teach 2

0- 2:30

Teachers, children and researcher are in a close circle giving and translating instructions. Detailed explanations of how to dance are given to us.

Move the arms Bend the knees Do the steeps Teachers, children and researcher are in a close circle giving and translating instructions. Detailed explanations of how to dance are given to us

General use of space same as above.

Children, adults and researcher are doing a close circle.

Collective Instructions, translation, questions and

General use of space same as above.

Children, adults and researcher are doing a close circle. And then we open n two circles.

The dancers move counter-clockwise in two circles following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) Then 2 dancers cross-changing position while the other wait in the place, and then the others do the same. ( 8 repetition of the entire sequence) The dancers move counter-clockwise in two circles following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) Then 2 dancers cross-changing position while the other wait in the place, and then the others do the same. ( 1 repetition of the entire sequence) The dancers move counter-clockwise in

Children teach 3

03:18min

Children teach 4

0- 2:23

Children

0-

Teachers are sitting down and asking questions when the other children are lost.

The children who lead the dance lesson take turns to lead different actions.

The instructions barely use words. They use body movements or different cues to indicate change of movements or directions.

Teachers are sitting down and

General use of space same as above.

We are doing two circles

In this case, other children

84

BODY EXPRESSIONS

complementary explanation..

The children are taking seriously the exercise. They are engage, and considering the barrier limitations, looing for different ways to teach correctly the dance

The children are taking seriously the exercise. They are engage, and considering the barrier limitations, looing for different ways to teach correctly the dance.

The children make several attempts to start, and patiently stop and continue trying.

Again, they make some attempt s to start but even if they make many mistakes they continue trying. In the end, although the movements are not identical both circles are synchronized and manage to follow and coordinate the instructions. At the end they clap showing to be proud and content of the successes of the exercise.

Children are more actively

Intercultural workshop Children teach Les Bourrees teach 5

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

2:01min

joined us making 3 circles.

0-0:48

two circles following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) Then 2 dancers cross-changing position while the other wait in the place, and then the others do the same. ( 1 repetition of the entire sequence) The dancers move counter-clockwise in a big circle for 8 musical counts while) and following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) ( 3 repetitions)

participating, engage and joyful.

In the end they also clap.

Bourre Collective Simon

asking questions when the other children are lost.

The children who lead the dance lesson take turns to lead different actions.

The instructions barely use words. They use body movements or different cues to indicate change of movements or directions.

The teachers are singing, repeating a basic sound to mark the rhythm Tak, tak tak…

The children who lead the dance lesson take turns to lead different actions.

The instructions barely use words. They use body movements or different cues to indicate change of movements or directions.

Correction Simon Bourree

05:17min

A young boy explains some corrections of what he has seen so far and proposes a new exercise of how to take turns and do the Bourree collective.

Teachers, children and researcher are in a close circle

The musicians are located behind the dancers, in the scaffold were they usually played in the social events of Les Brayauds.

The dancers (children and researcher )are in the middle of the room dong a big circle.

Some adults and other children are sitting or standing up surrounding the dancers near the walls.

The camera is in the front of the dancers giving a wider perspective of the lessons.

General use of space the same.

We are informally surrounding Simon and slowly start to make a big circle.

85

Variation 1: they continue moving in the place facing each other. A young boy is giving cues to choose couples of dancer who enter in the circle and cross each other and take the other’s place.

Unlike the dance lesson in this occasion the children do not face each other when they move in the circle.

There attention is in the person in front of them.

It is also notable that while moving clockwise children are not turning but moving backwards.

It is notable that in this occasion the cues that indicate who goes in the circle are not very clearly understood and many children get in at the same time.

Children are excited bit a confused.

2 35 we start to dance: Bourree collective.

The teachers are singing.

The dancers move counter-clockwise in a big circle and following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same

The children are taking seriously the exercise. They are engage, and considering the barrier limitations, looing for different ways to teach correctly the dance.

The young bot is doing exaggerating feet and arm gestures and others are

Intercultural workshop Children teach Les Bourrees

TIME CODE

INSTRUCTIONS

USE OF SPACE

giving and translating I and discussing the instructions.

Detailed explanations of how to dance are given to us.

Final feedback

0-0:32

Children Bourree 4 temps

01:17min

Children

0-

Teacher, children and researcher are doing a feedback of the activity.

Teachers are sitting down and asking questions when the other children are lost.

Some children answer the questions and give details explanations, use their body language: movements of hands to indicate directions and of how to cross and take turn in the bourree 4 temps.

Teachers are sitting down.

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

step pattern, they start moving backwards in another direction (clockwise) (repetitions) Variation 1: they continue moving in the place facing each other. A young boy is giving cues to choose couples of dancer who enter in the circle and cross each other and take the other’s place.

Every couple is follow by another while the others are dancing in the place.

When everyone has crossed the partner the exercise starts all over again.

actively following him.

They are interested and engage in the exercise.

After a while all the children are stepping harder and doing more variations.

In the end everyone claps cheerfully.

Children and researcher are standing up in a big circle.

The musicians are located behind the dancers, in the scaffold were they usually played in the social events of Les Brayauds.

The dancers (children and researcher )are in the middle of the room dong a big circle.

Some adults and other children are sitting or standing up surrounding the dancers near the walls.

The camera is in the front of the dancers giving a wider perspective of the lessons.

Children are organized in two circles.

General use of space same as

86

The dancers move counter-clockwise in two circles following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) Then 2 dancers cross-changing position while the other wait in the place, and then the others do the same.

(1 repetition of the entire sequence)

The dancers move counter-clockwise in

Children, researcher and teacher are cheerful.

Children are insecure and sometimes there is not a clear leader.

Among all of them talk and try to understand the step and find ways to explain them better.

4 girls that are teaching are engage

Intercultural workshop Children teach Les Bourrees teach 1

Children teach 2

Children teach 3

Children teach 4

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

3:05min

A group of 4 girls took the initiative to showing and explaining the bourree 4 temps.

above.

two circles following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) Then 2 dancers cross-changing position while the other wait in the place, and then the others do the same. ( 12 repetition of the entire sequence)

Teachers, children and researcher are in a close circle giving and translating instructions. Detailed explanations of how to dance are given to us.

Move the arms Bend the knees Do the steeps Teachers, children and researcher are in a close circle giving and translating instructions. Detailed explanations of how to dance are given to us

General use of space same as above.

Children, adults and researcher are doing a close circle.

Collective Instructions, translation, questions and

collaboratively to show and explain the others.

The others are observing and paying attention and after a couple of phrases we also start to imitate them.

The sequence is interrupted, and slowed down a couple of times to give other instructions.

At the end and adult was called to help as a translator and give a complementary explanation..

The children are taking seriously the exercise. They are engage, and considering the barrier limitations, looing for different ways to teach correctly the dance

General use of space same as above.

Children, adults and researcher are doing a close circle. And then we open n two circles.

The dancers move counter-clockwise in two circles following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) Then 2 dancers cross-changing position while the other wait in the place, and then the others do the same. ( 8 repetition of the entire sequence) The dancers move counter-clockwise in two circles following a basic foot

0- 2:30

03:18min

0- 2:23

Teachers are sitting down and asking questions when the other

Children and researcher are in a big circle. The 4 girls open the circle doing a smaller circle and showing and the movements, After a couple of phrases the other group imitates them.

General use of space same as above.

87

The children are taking seriously the exercise. They are engage, and considering the barrier limitations, looing for different ways to teach correctly the dance.

The children make several attempts to start, and patiently stop and continue trying.

Again, they make some attempt s to start but even if they make many

Intercultural workshop Children teach Les Bourrees

TIME CODE

Children teach 5

02:01min

Bourre Collective Simon

0-0:48

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

children are lost.

The children who lead the dance lesson take turns to lead different actions.

The instructions barely use words. They use body movements or different cues to indicate change of movements or directions.

Teachers are sitting down and asking questions when the other children are lost.

The children who lead the dance lesson take turns to lead different actions.

The instructions barely use words. They use body movements or different cues to indicate change of movements or directions.

The teachers are singing, repeating a basic sound to mark the rhythm Tak, tak tak…

The children who lead the dance lesson take turns to lead different actions.

The instructions barely use words. They use body movements or different cues to indicate change of movements or directions.

We are doing two circles

pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) Then 2 dancers cross-changing position while the other wait in the place, and then the others do the same. ( 1 repetition of the entire sequence) The dancers move counter-clockwise in two circles following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) Then 2 dancers cross-changing position while the other wait in the place, and then the others do the same. ( 1 repetition of the entire sequence) The dancers move counter-clockwise in a big circle for 8 musical counts while) and following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) ( 3 repetitions)

mistakes they continue trying. In the end, although the movements are not identical both circles are synchronized and manage to follow and coordinate the instructions. At the end they clap showing to be proud and content of the successes of the exercise.

In this case, other children joined us making 3 circles.

The musicians are located behind the dancers, in the scaffold were they usually played in the social events of Les Brayauds.

The dancers (children and researcher )are in the middle of the room dong a big circle.

Some adults and other children are sitting or standing up surrounding the dancers near the walls.

88

Variation 1: they continue moving in the place facing each other. A young boy is giving cues to choose couples of dancer who enter in the circle and cross each

Children are more actively participating, engage and joyful.

In the end they also clap.

Unlike the dance lesson in this occasion the children do not face each other when they move in the circle.

There attention is in the person in front of them.

It is also notable that while moving clockwise children are not turning but moving backwards.

It is notable that in this occasion the cues that indicate who goes in the circle are not very clearly understood and many children get in at the same time.

Intercultural workshop Children teach Les Bourrees

TIME CODE

INSTRUCTIONS

Correction Simon Bourree

05:17min

A young boy explains some corrections of what he has seen so far and proposes a new exercise of how to take turns and do the Bourree collective.

Teachers, children and researcher are in a close circle giving and translating I and discussing the instructions.

Detailed explanations of how to dance are given to us.

Final feedback

0-0:32

Teacher, children and researcher are doing a feedback of the activity.

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

The camera is in the front of the dancers giving a wider perspective of the lessons.

General use of space the same.

We are informally surrounding Simon and slowly start to make a big circle.

other and take the other’s place.

Children are excited bit a confused.

2 35 we start to dance: Bourree collective.

The teachers are singing.

The dancers move counter-clockwise in a big circle and following a basic foot pattern: Sliding right feet sideward, left feet rightwards And then using the same step pattern, they start moving backwards in another direction (clockwise) (repetitions) Variation 1: they continue moving in the place facing each other. A young boy is giving cues to choose couples of dancer who enter in the circle and cross each other and take the other’s place.

Every couple is follow by another while the others are dancing in the place.

When everyone has crossed the partner the exercise starts all over again.

The children are taking seriously the exercise. They are engage, and considering the barrier limitations, looing for different ways to teach correctly the dance.

The young bot is doing exaggerating feet and arm gestures and others are actively following him.

They are interested and engage in the exercise.

After a while all the children are stepping harder and doing more variations.

In the end everyone claps cheerfully.

Children and researcher are standing up in a big circle.

89

Children, researcher and teacher are cheerful.

4) Movement and body expression analysis / Barrio Brisas del Cauca, Colombia Barrio Brisas del Cauca Warm up 1:

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

00:25min

Teacher gives direct instructions: ’Nos vamos a estirar. Abajo, atras, al lado, hacia el otro lado. Izquierda arriba con la deracha bajamos, cambiamos bajamos.’

The teacher goes down touching the flow with both hands, then stands up putting both arms in his waist and stretches his back looking up.

He twists his waist turning to the right and then to the left.

With the right arm he grabs his lefts elbow and stretches it taking it to above his head and with his hand he touches his back. He repeats the same with other hand.

The children imitate the teacher.

The musicians are standing up and playing music.

The researcher is observing.

Children are paying attention.

0:25-

The teacher says ’Vamos a hacer un calentamiento con ritmo de Aguasao’ The teacher directs the students to form a new figure using his hands.

The teacher is located in the front of the room. He is in the facing the students and given me his back. In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

Children are located in the centre of the room. They are doing a big circle facing each other.

The musicians are playing live music behind the children, in the back of the room. In the left corner there are 2 children-playing marimba, and in the right corner there is an adult playing the drums.

I am behind the teacher in the right corner of the front part room. I am observing and filming the class.

Besides me -right-front part of the room- there are other children that are sitting, moving in their places, or marking the rhythm with their bodies.

On my left, - left-front part of the room- the door is located. Sometimes other people come in and out.

The teacher is located in the front of the room. He is in the facing the students and given me his back. In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

Children are located in the centre of the room. They are doing a big circle facing each other.

The teacher starts doing small hoping in the place.

The children imitate the teacher.

The musicians start playing faster The researcher is observing.

The children express joy.

90

Barrio Brisas del Cauca

Warm up 2:

TIME CODE

00:8min

INSTRUCTIONS

The teacher counts 1 and 2 while showing the movements.

Marimba and drums marking the rhythm in 2 musical tempos.

USE OF SPACE

The musicians are playing live music behind the children, in the back of the room. In the left corner there are 2 children-playing marimba, and in the right corner there is an adult playing the drums.

I am behind the teacher in the right corner of the front part room. I am observing and filming the class.

Besides me -right-front part of the room- there are other children that are sitting, moving in their places, or marking the rhythm with their bodies.

On my left, - left-front part of the room- the door is located. Sometimes other people come in and out.

The teacher is located in the front of the room. He is in the facing the students and given me his back. In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

Children are located in the centre of the room. They are forming 2 horizontal lines (not identical so the children can see the teacher).

The musicians are playing live music behind the children, in the back of the room. In the left corner there are 2 children-playing marimba, and in the right corner there is an adult playing the drums.

I am behind the teacher in the right corner of the front part room. I am observing and filming the class.

91

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

Teacher uses both hands to grab his waist.

While jumping right feet moves forwarddown and then comes back to the place in tempo number 1. Then doing the same with left foot in tempo number 2. Four repetitions While doing the same step he takes his left shoulder to the front in 1 and comes back to the centre in 2, then right shoulder to the front and comes back (2 repetitions.)

He takes both arms and touches the floor in 1 and in 2 goes back to standing position. (4 repetitions.)

Children imitate teacher and in phrase number 3 they start to add their own quality of movement. While going up in 2 to the standing position they move dynamically their hips an chest in circles.

The teacher is joyful The children express joy, laugh, and start counting out loud marking the tempo.

Barrio Brisas del Cauca

TIME CODE

INSTRUCTIONS

0:25-

The teacher counts 1. 2. 3 and 4 while showing the movements.

1: 30min

The teacher counts 1 and 2 (Each count last 2 tempos),

USE OF SPACE

Besides me -right-front part of the room- there are other children that are sitting, moving in their places, or marking the rhythm with their bodies.

On my left, - left-front part of the room- the door is located. Sometimes other people come in and out.

The teacher is located in the front of the room. He is in the facing the students and given me his back. In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

The children are located in the centre of the room. They are forming 2 horizontal lines (not identical so the children can see the teacher).

The musicians are playing live music behind the children, in the back of the room. In the left corner there are 2 children-playing marimba, and in the right corner there is an adult playing the drums.

The researcher I am behind the teacher in the right corner of the front part room. I am observing and filming the class.

Besides me -right-front part of the room- there are other children that are sitting, moving in their places, or marking the rhythm with their bodies.

The teacher turns half circle, giving the children his back so they can imitate

92

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

The teacher moves to the right: right feet sideward, left feet sideward, right feet sideward, in count 4 he closes both feet in the place and claps with both hands. The same to the left (6 repetition).

Variation 2: same but in count number 4 he jumps while clapping. (6 repetitions) Variation 3: same but in count number 4 he touches the floor with his right arm while the left arm is stretch in an up/leftward position.

He does the same to the left side. (4 repetitions) Variation 4: Same but in count number 4 he jumps with both feet to the middle-back (7 repetitions).

Variation 5: same as variation 3 but he doesn’t touches the hands do not touch the floor. (4 repetitions) Variation 6: Opens right then left sideward in 2 counts while moving in fast circle his hips, chest and shoulders, in the other 2 counts he does the same closing his feet to the middle.(4 repetition) The children imitate the teacher.

The musicians stand up playing the music.

The researcher is observing.

Variation 7: same but in 4 number 4 he moves his left arm from sideward to

Jumping triggers joy and some additional and more dynamic steps within the 4 tempos.

Some children found hard to follow and slow down the step.

The teacher express joy and dynamism.

Barrio Brisas del Cauca

Sequence 1: Directions and dance together

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

while showing the movements.

better his movements.

The children same as above.

The musicians same as above.

The researcher same as above.

The children express and laugh.

00:15min

The teacher shows the steps.

0:15-

The teacher says: ‘sigan

The teacher is located in the front of the room. He is giving the back to his students In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

The children are located in the centre of the room. They are forming 2 horizontal lines (not identical so the children can see the teacher).

The musicians are playing live music behind the children, in the back of the room. In the left corner there are 2 children-playing marimba, and in the right corner there is an adult playing the drums.

The researcher I am behind the teacher in the right corner of the front part room. I am observing and filming the class.

Besides me -right-front part of the room- there are other children that are sitting, moving in their places, or marking the rhythm with their bodies.

The teacher is located in the front of

upwards while doing a semicircle with his arms and upper body. Does the same to the left. (4 repetitions) Variation 8: same but he does the same counting faster and each step last ¼ tempo.(12 repetitions).

The children imitate the teacher but they exaggerate more the extension and movements of the hands.

The musicians stand up playing music.

The researcher is observing.

The teacher moves right feet back while moving both of his bend-arms-back (in 2 counts) and moves right feet in front while moving both of his bend-arms-front (In two counts) (8 repetitions) The children imitate the teacher.

The musicians are playing in the same space.

The researcher is observing.

The teacher walks around his position in

Some children start

93

The children are concentrated.

Barrio Brisas del Cauca

Sequence 2: Directions and dance together

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

0:45

bailando ’continue dancing while he observes, talks and changes position facing the students.

space.

The children repeat same as above.

talking while dancing naturally.

0:451:15min

The teacher gives a direct instruction: ¨en cuatro tiempos vamos a dar la vuelta, empezamos hacia la derecha´and starts marking the time using two counts and doing the movement,

the room. He is facing the students. In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

The children repeat the above.

The musicians. Same as above.

The researcher same as above.

The teacher is located in the front of the room. He is giving the back to his students In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

Children same as above.

Musicians same as above.

Researcher same as above.

00:15min

The teacher marks the step using two counts (1 and 2), while he shows the step.

The teacher: with the right foot steps backleftwards counting one, with the same foot returns to the initial position in two while the right arm smoothly follows the direction of the foot that is moving and returns back, the same with the left. (10 repetitions) The children repeat the teachers instructions

The children are concentrated expressing joy and some of them are laughing.

0:150:22

The teacher gives the cue: ¨mirando abajo’ And continues marking the step using two counts (1 and 2), while he shows the step.

The teacher does a variation of the above step.

Exactly the same but he exaggerates more the movement, bending his back and taking his arms lower to the floor. (8 repetitions) The children imitate them.

The teacher is having fun and smiling.

The children having fun.

0:220:28

The teacher gives the cue: ¨hacia atras And continues marking the

The teacher is located in the front of the room. He is giving the back to his students In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

Children same as above.

Musicians same as above.

Researcher same as above.

The teacher is located in the front of the room. He is giving the back to his students In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

Children same as above.

Musicians same as above.

Researcher same as above The teacher is located in the front of the room. He is giving the back to his students In relation to the children he

94

The teacher does the same step but moves to the right doing a square and going back to the same position. In every direction of the square he repeats the step.

Children repeat the above.

The teacher does a variation of the above step.

Exactly the same but he is not exaggerating

Barrio Brisas del Cauca

TIME CODE

0:280:43min

0:431:00min

1:001:20min

1:201:40

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

step using two counts (1 and 2), while he shows the step. .

moves in the centre (horizontal lines), so the children are able to see him.

Children same as above.

Musicians same as above.

Researcher same as above The teacher is located in the front of the room facing the children. In relation to the children he moves in the centre (horizontal lines), so the children are able to see him, but in this occasion he moves further in the back of the room and he is no longer in the camera.

Children same as above.

Musicians same as above.

Researcher same as above

anymore but moving backwards.

(4 repetitions) The children imitate them.

The teacher moves back to the centre.

He is giving the back to his students In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

Children same as above.

Musicians same as above.

Researcher same as above

The teacher puts his hands in his waist and with the right foot he step forward in count number and does circular waist movements while counting 1, 2, 3 , 4, he repeats the same with the left. ( 4 repetitions.)

Children imitate the teacher.

Variation 2: Same as above but while stepping the right foot he moves all his upper body to the right (1/4 circle) and same to the left( 4 repetitions) Teacher is in his place facing the students, moving in his place and observing.

The children continue doing the step but at different rhythms and intensities,

The children are overjoyed dancing freely their circular movements.

Teacher is walking around the student.

The children are walking in clockwise

The children are collectively engaged and

The teacher gives the cue: ‘hacia atras’ And stops doing the step and starts walking towards facing them. Continues marking the step using two counts (1 and 2), while he talks giving instructions: ´suba, suba´ ‘eso, eso’ ‘bajen’ ‘hacia atras’ The teacher says: ’muy bien, que siga la musica’ and starts counting four musical times: 1, 2, 3, 4 and showing the step.

The teacher continues counting and talking and gives the cues like: ’mas movimiento’ ’se mueve’ ’1, 2, 3 y se mueve” The teacher says” caderona’ and moves them to make a

In the last repetition the teacher turns back facing the students and continues dancing while looking at them.

The teacher is walking around the children

95

BODY EXPRESSIONS

The teacher is moving in his place while he gives instructions.

The children continue doing the same step but doing it at different rhythms and directions. Not uniform

Some of the children are laughing, stop dancing, or dance at different intensities.

Barrio Brisas del Cauca

Sequence 3: Kilele Directions and dance together: Children dance alone

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

circle/

Children are located in the centre of the room. They are doing a small circle facing each other and observing the teacher.

The teacher moves in and out of the circle.

Children are located in the centre of the room. They are doing a small circle facing each other and taking turns to get in and out of the circle.

direction of the circle while putting their hands in their hips and doing the same circular movements as above.

expressing laugh, and overjoyed.

The teachers moves in the middle of the centre and improvises a step while the children observe him and continue moving in the circle. Then he goes back to the circle and encourages children to get in the middle of the circle (he pulls the first children to get in). While the children are dancing in the circle the teacher walks around the circle and room while observing and giving some cues to motivate them.

The children keep dancing moving clockwise in the circle while moving their hips. Three girls (the oldest) move in and out of the circle, doing a free turn very similar to the one shown by the teacher.

The teacher does two steps to the right while pretending to be sweeping and does the same to the left( 2 repetitions) The children imitate the teacher.

The musicians got distracted and stopped.

The children feel a bit shy and are not taking initiatives easily.

The teacher does two steps to the right while pretending to be sweeping and does the same to the left( 7 repetitions) The children do the same and even started first than the teacher as soon as the music

The children are paying attention and having fun.

1:402:40

The teacher says”abralo” while opining he circle with both hands and getting in the middle.

He goes back to the circle and continue talking and giving some cues such as: ’arriba’ ’eso’ ’abralo’

0-0>10

The teacher is giving instructions and showing the movement.

0:-0:15 min

The teacher is giving instructions and showing the movement.

Starts to give some cues and marking the rhythms while

The teacher is located in the front of the room. He is giving the back to his students In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

The children are located in the centre of the room. They are forming 2 horizontal lines (not identical so the children can see the teacher).

Musicians same as above.

Researcher same as above.

The teacher is located in the front of the room. He is facing his students In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

96

Barrio Brisas del Cauca

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

singing

The children are located in the centre of the room. They are forming 2 horizontal lines (not identical so the children can see the teacher).

Musicians same as above.

Researcher same as above.

The teacher is located in the front of the room. He is facing his students In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

The children are located in the centre of the room. They are forming 2 horizontal lines (not identical so the children can see the teacher).

Musicians same as above.

Researcher same as above.

The teacher is located in the front of the room. He turns and is giving the back to his students. In relation to the children he moves in the centre (horizontal lines), so the children are able to see him.

The children are located in the centre of the room. They are forming 2 horizontal lines (not identical so the children can see the teacher).

Musicians same as above.

Researcher same as above.

started.

0:15min 0:30min

The teacher is giving instructions and showing the movement.

Starts to give some cues and marking the rhythms while singing „ abajo, arriba” (bis)

0:30-

The teacher is giving instructions and showing the movement.

Starts to give some cues and marking the rhythms while singing „ hacia atras” ’girando’

97

BODY EXPRESSIONS

Variation 1: same as above but while moving to the right he takes both of his arms down-rightwards, and when he moves to the left he takes both of his arms up-leftwards while singing. (14 repetitions) The children imitate the children.

The children are overjoyed, singing loudly abajo . arriba while dancing.

Variation 2: same as above but moving to the back and moving his arms freely downwards.

(2 repetitions) Variation 3: Same as above but while moving he rotates his upper body to the right and then to the left.( 4 repetitions.)

The children imitate the children.

The children are concentrated paying attention.

5) Movement and body expression analysis / Children teach Currulao- Brisas del Cauca, Colombia Children teach Currulao Presentation

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

00:22min

Pasucal is asking ok_ so who is going to be the teacher?

All the children are asking at the same time and not taking any initiative to teach.

The camera shows how Pascual signs one of the oldest girls calling her to be in the centre of the room.

Pascual grabs the girls and shows her a hip movement while turning her so she is in the back and centre part of the room and the other children and Pascual can observe her.

Pascual moves where she was and suggests and reflects her movements. He is continuously giving cues to lead the sequence of movements: ’vamos, aguasao’ ‘los demas atras, vamos a bailar aguasao’ como hace, adelante, eso, vaya, todos sigamos al profe’ ’ventana’ uepa aguasa

Teacher and children are walking and moving all over the centre of the room.

Teacher and students are talking and moving at the same time organizing themselves.

Observing, interested, expecting.

The teacher is in the last line of the students, in the centre dancing with the other students.

The children are in the middle of the room, organized in three horizontal (but not equal lines) facing the girl that is teaching.

The musicians are in the back of the room, behind the dancers, playing live music.

The researcher is in the third line in the left surrounded by smaller children, dancing and learning from them.

Pascual is always suggesting, hurrying and giving the cue for changing steps and reflecting movements to the teacher.

Variation 1:. Both hand grab their waist while doing circular movements.

Variation 2: same but with the right feet step forward and back to the place and the same with the left (10 repetitions) Variation 3: 4 steps moving in the line to the right and exaggerating and accompanying the last step while moving both hands pretending to open a window.

Same to the left (8 repetitions) Variation 4: Same as above but in the 4 count they use both hands to clap to the right and then to the left (10 repetitions) Variation 5: same as above but instead of clapping they move one hand upward and the other in direction forward (forming a shape of a semicircle). (10 repetitions) Variation 6: same as above but putting their hand in their hips and exaggerating the 4 count with their chest.(10

Children are confused they don’t know if they should look Pascual or the girl.

And Pascual cues or voice distracts them and makes them keep turning and giving the back to the girl.

It is notable that there are more dancers in the room now. More younger girls that haven’t dare to dance before now are following closer the girl leader.

0:221:15

98

Children teach Currulao

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

muy bien „dos filitas para aguasa’ and starts formatting two lines and asking who wants to teach next.

Children and Pascual teach me 2

0- 0>: 58min

0:58- 1: 35min

Pascual is indicating clear instructions and organizing the children in two vertical lines.

He explains that all the children when they are in the front of the lines should open doing a semicircle and going to the back. When the student is the back he is allow to a different step.

He grabs a student an gives a instruction and sets the example while doing it.

Teacher and students and talking and discussion the instructions

Pascual, children and researcher are organized in two vertical parallel lines. As soon as two dancers are in front of the lines they should open in different directions doing a semicircle and getting to the back.

From the back, the couples reflecting each others movement, move forward in a single vertical line.

When they get to front of the room they repeat and go back.

Pascual is in front in the middle of the two vertical lines and moves forward and backwards in the centre (imaginary vertical lines) of the two semicircles shaped by the children.

The children and researcher are organized in two vertical parallel lines. As soon as two dancers are in front of the lines they should open in different directions doing a semicircle and getting to the back.

From the back, the couples reflecting each others movement, move forward in a single vertical line.

When they get to front of the room they repeat and go back.

99

repetitions) Variation 7: while grabbing and moving their hips they turn in their place.

Variation 8: Pascual screams aguasao and the music starts increasing the tempo and the children improvised and dance for a couple of phrases freely.

All the dancers move in the direction Pascual is indicating while stepping front and back with the same foot and advancing in the pertinent directions. The upper body is used differently in each case.

Every couple when they are leading the lines and get to the back proposes a step and are follow by the others.

This basic structure is repeated many times allowing all the couples to be leaders, reflecting their movements and proposing steps to be follow by the others.

BODY EXPRESSIONS

The children are motivated, anxious and a bit confused.

Children are attentive and engage following the instructions and using the space adequately.

At the beginning the children are confused and the exercise is interrupted several times by questions and instructions, changes of leaders.

Children teach Currulao

TIME CODE

INSTRUCTIONS

4:48

5:386>00

Children teach me Kilele

0-0: 25min

0:25-

Pascual counts and gives a notable cue: Y uno, Y dos, Y tres, stop.

Children are talking and slowly forming two vertical can parallel lines.

In this occasion children are alone showing the movements.

They never talk or give direct instructions, except for making a circle.. or telling me to get in the circle.

USE OF SPACE

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

Same but Pascual separated- open both vertical lines, organizing hem in the extremes.

The dancers starts dancing in the opposites, dancing each other when they meet they repeat the 2 semi-circular shapes meeting again in one line and moving forward.

The dancers are organized in two parallel and close lines they break the lines.

In this occasions the leaders are always the older girl and me. We repeat the same pattern of directions inventing different movements when we get to the back and start moving forward. We are always followed by the two lines.

The children are focus, engages following the actions and movements.

The dancers are organized in two parallel and close lines but with each count, the dancers move freely improvising new and different steps and breaking the lines.

The children are overjoyed, counting loudly and moving energetically.

The teacher is sitting down playing drum with the other music and in the back of the room.

The children and researcher are organized in two vertical parallel lines. As soon as two dancers are in front of the lines, in this case the two older girls started as the couple teaching, they should open in this occasion they: They cross and do two vertical lines but more distant.

They opening opposite directions doing semicircle.

They meet in the back and move forward facing each other and reflecting their movements in two vertical lines They spend several musical phrases in the same place conserving the vertical lines.

In this occasions the leaders are always the two older girls. They give cues for the new movements and changes of uses of space.

They use a basic pattern of movements and notably mark the rhythm with their feet while the upper body is freer.

All the children imitate without the use of direct instructions, although they move freely they are very uniform and collectively dancing and marking the rhythm at the same time.

All the children are concentrated dancing together.

Without being confused following the two leaders.

When I got to the circle they were overjoyed clapping.

When the adult came to the circle they were really exciting, encouraging and cheering her.

100

Children teach Currulao

The children teach aguasao

TIME CODE

0- 1: 54min

INSTRUCTIONS

Children form two horizontal lines and start showing and dancing immediately at the rhythm of the music without any instructions.

USE OF SPACE

They open again in different direction doing semicircles and meeting in the back.

They meet in the back and move forward facing each other and reflecting their movements in two vertical lines They spend several musical phrases in the same place conserving the vertical lines.

They cross and go to from two vertical lines but more distant.

They make a circle facing each other and move in the place.

They do a full turn in the circle moving clockwise.

When the music starts getting faster, children go in and out of the circle, while others observe and continue moving in the circle.

The community leader and adult, suddenly gets in the middle of the circle and improvises some moments causing joy and excitement among the children and musicians.

The couple of girls teaching go back to the front guiding the others to make to parallel vertical and close lines. We dance for a couple of phrases in the space.

We count one, two, and with three everyone makes a different pose.

Two horizontal lines. The teacher is in the centre but is at the same distant that the others.

I am in the second lien following the leader.

The teacher is behind playing and singing with the musicians.

101

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

Variation 1: with the right foot step forward and backward while swing both hands to the front and to the back at the same time as the feet. (10 repetitions) Variation 2: the same but stepping to the right and to the left and doing and exaggerating their arm gestures. (12 repetitions)

Slowly more children start to join the lesson Children start to get closer and taking part in the leading.

Children teach Currulao

TIME CODE

INSTRUCTIONS

Pascual gives the cue of the song: caderona. Music stops.

USE OF SPACE

BODY POSTURES/ MOVEMENT

Two horizontal lines. The teacher is in the centre but is at the same distant that the others.

I am in the second lien following the leader.

The teacher is behind playing and singing with the musicians.

Slowly form a open circle or train, and dance collectively together until forming a intimate circle.

102

Variation 3: the same as variation 1 but when stepping in the front they take both arms and extend them to the front while bending back and head. ( 2 repetitions) Variation 4: same but extending arms upwards (2 repetitions) Variation 5: same but doing semi circles with the right hand and then with the left one while moving the upper body in diagonal directions( 10 repetitions) Variation 6: same basic step but moving 4 steps to the right and 4 to the left ( 8 repetitions) Variation 1: with both hands grabbing the hip doing circular hip movements.

Variation 2/l same but turning in the same place.

Variation 3/; turning in the same place but passing and marking clearly each direction (1//4 circle) Variation 4: moving shoulders dynamically.

Variation 5: improvisation.

While dong a train other children join us and start to jump frontwards and backwards while moving in the circle clockwise In the circle a couple of boy and girl dance dancing each other, improving and the other observe and dance closely and intimate with them, then they cross each other and take the other place..

Some children enter in and out of the circle but not for long.

For a couple of phrase we all dance the

BODY EXPRESSIONS

While increasing the tempo of the music the children start moving faster and getting more engage and enthusiastic.

Children start dancing individually and apart and a big girl takes the initiative of doing a circle.

Train and all of them are immediately engage back again.

And even other children join in.

Start jumping and having fun.

Children teach Currulao

Children teach Currulao Presentation

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

same step getting closer and closer, one girl says to break the circle they count one, two and three and we all go to the floor. The music stops.

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

TIME CODE

INSTRUCTIONS

USE OF SPACE

00:22min

Pasucal is asking ok_ so who is going to be the teacher?

All the children are asking at the same time and not taking any initiative to teach.

The camera shows how Pascual signs one of the oldest girls calling her to be in the centre of the room.

Pascual grabs the girls and shows her a hip movement while turning her so she is in the back and centre part of the room and the other children and Pascual can observe her.

Pascual moves where she was and suggests and reflects her movements. He is continuously giving cues to lead the sequence of movements: ’vamos, aguasao’ ‘los demas atras, vamos a bailar aguasao’ como hace, adelante, eso, vaya,

Teacher and children are walking and moving all over the centre of the room.

Teacher and students are talking and moving at the same time organizing themselves.

Observing, interested, expecting.

The teacher is in the last line of the students, in the centre dancing with the other students.

The children are in the middle of the room, organized in three horizontal (but not equal lines) facing the girl that is teaching.

The musicians are in the back of the room, behind the dancers, playing live music.

The researcher is in the third line in the left surrounded by smaller children, dancing and learning from them.

Pascual is always suggesting, hurrying and giving the cue for changing steps and reflecting movements to the teacher.

Variation 1:. Both hand grab their waist while doing circular movements.

Variation 2: same but with the right feet step forward and back to the place and the same with the left (10 repetitions) Variation 3: 4 steps moving in the line to the right and exaggerating and accompanying the last step while moving both hands pretending to open a window.

Same to the left (8 repetitions) Variation 4: Same as above but in the 4 count they use both hands to clap to the right and then to the left (10 repetitions) Variation 5: same as above but instead of clapping they move one hand upward and the other in direction forward (forming a

Children are confused they don’t know if they should look Pascual or the girl.

And Pascual cues or voice distracts them and makes them keep turning and giving the back to the girl.

It is notable that there are more dancers in the room now. More younger girls that haven’t dare to dance before now are following

0:221:15

103

BODY EXPRESSIONS

Children teach Currulao

TIME CODE

INSTRUCTIONS

USE OF SPACE

todos sigamos al profe’ ’ventana’ uepa aguasa muy bien „dos filitas para aguasa’ and starts formatting two lines and asking who wants to teach next.

Children and Pascual teach me 2

0- 0>: 58min

0:58- 1: 35min

Pascual is indicating clear instructions and organizing the children in two vertical lines.

He explains that all the children when they are in the front of the lines should open doing a semicircle and going to the back. When the student is the back he is allow to a different step.

He grabs a student an gives a instruction and sets the example while doing it.

Teacher and students and talking and discussion the instructions

Pascual, children and researcher are organized in two vertical parallel lines. As soon as two dancers are in front of the lines they should open in different directions doing a semicircle and getting to the back.

From the back, the couples reflecting each others movement, move forward in a single vertical line.

When they get to front of the room they repeat and go back.

Pascual is in front in the middle of the two vertical lines and moves forward and backwards in the centre (imaginary vertical lines) of the two semicircles shaped by the children.

The children and researcher are organized in two vertical parallel lines. As soon as two dancers are in front of the lines they should open in different directions doing a semicircle and getting to the back.

From the back, the couples reflecting each

104

BODY POSTURES/ MOVEMENT

BODY EXPRESSIONS

shape of a semicircle). (10 repetitions) Variation 6: same as above but putting their hand in their hips and exaggerating the 4 count with their chest.(10 repetitions) Variation 7: while grabbing and moving their hips they turn in their place.

Variation 8: Pascual screams aguasao and the music starts increasing the tempo and the children improvised and dance for a couple of phrases freely.

All the dancers move in the direction Pascual is indicating while stepping front and back with the same foot and advancing in the pertinent directions. The upper body is used differently in each case.

closer the girl leader.

Every couple when they are leading the lines and get to the back proposes a step and are follow by the others.

This basic structure is repeated many times allowing all the couples to be leaders, reflecting their movements and proposing steps to be follow by the others.

Children are attentive and engage following the instructions and using the space adequately.

At the beginning the children are confused and the exercise is interrupted several

The children are motivated, anxious and a bit confused.

Children teach Currulao

TIME CODE

INSTRUCTIONS

4:48

5:386>00

Children teach me Kilele

0-0: 25min

0:25-

Pascual counts and gives a notable cue: Y uno, Y dos, Y tres, stop.

Children are talking and slowly forming two vertical can parallel lines.

In this occasion children are alone showing the movements.

They never talk or give direct instructions, except for making a circle.. or telling me to get in the circle.

USE OF SPACE

BODY POSTURES/ MOVEMENT

others movement, move forward in a single vertical line.

When they get to front of the room they repeat and go back.

Same but Pascual separated- open both vertical lines, organizing hem in the extremes.

The dancers starts dancing in the opposites, dancing each other when they meet they repeat the 2 semi-circular shapes meeting again in one line and moving forward.

The dancers are organized in two parallel and close lines they break the lines.

The teacher is sitting down playing drum with the other music and in the back of the room.

The children and researcher are organized in two vertical parallel lines. As soon as two dancers are in front of the lines, in this case the two older girls started as the couple teaching, they should open in this occasion they: They cross and do two vertical lines but more distant.

They opening opposite directions doing semicircle.

They meet in the back and move forward

105

BODY EXPRESSIONS times by questions and instructions, changes of leaders.

In this occasions the leaders are always the older girl and me. We repeat the same pattern of directions inventing different movements when we get to the back and start moving forward. We are always followed by the two lines.

The children are focus, engages following the actions and movements.

The dancers are organized in two parallel and close lines but with each count, the dancers move freely improvising new and different steps and breaking the lines.

The children are overjoyed, counting loudly and moving energetically.

In this occasions the leaders are always the two older girls. They give cues for the new movements and changes of uses of space.

They use a basic pattern of movements and notably mark the rhythm with their feet while the upper body is freer.

All the children imitate without the use of direct instructions, although they move freely they are very uniform and collectively dancing and marking the rhythm at the same time.

All the children are concentrated dancing together.

Without being confused following the two leaders.

When I got to the circle they were overjoyed clapping.

When the adult came to the circle they were really

Children teach Currulao

TIME CODE

INSTRUCTIONS

USE OF SPACE

BODY POSTURES/ MOVEMENT

facing each other and reflecting their movements in two vertical lines They spend several musical phrases in the same place conserving the vertical lines.

They open again in different direction doing semicircles and meeting in the back.

They meet in the back and move forward facing each other and reflecting their movements in two vertical lines They spend several musical phrases in the same place conserving the vertical lines.

They cross and go to from two vertical lines but more distant.

They make a circle facing each other and move in the place.

They do a full turn in the circle moving clockwise.

When the music starts getting faster, children go in and out of the circle, while others observe and continue moving in the circle.

The community leader and adult, suddenly gets in the middle of the circle and improvises some moments causing joy and excitement among the children and musicians.

The couple of girls teaching go back to the front guiding the others to make to parallel vertical and close lines. We dance for a couple of phrases in the space.

We count one, two, and with three everyone makes a different pose.

106

BODY EXPRESSIONS exciting, encouraging and cheering her.