Juliana Cantarelli de Andrade Lima Araújo Universidade Federal do Recife
Brazil
jucantarelli.mus@gmail.com
Abstract
The present study brings forward results of an undergraduate research study on the musical acquirement in an alternative system of teaching-learning. The purpose of the research was to elucidate teaching practices of traditional cultures, specifically the methods of oral transmission used in Maracatu “nations” in northeast Brazil.
Research methods included observation and interviews using qualitative approaches.
This research contributes to a further comprehension on the nonformal methods of oral transmission in Maracatu's nations, in the scope of incorporating some aspects in the formal education.
Keywords: Maracatu, music education, nonformal education Introduction
This study focused on the musical practices observed at the Nação do Maracatu Porto Rico, a Maracatu Nation based in Comunidade do Bode, in Recife, Pernambuco.
Specifically, the research focused on the percussion workshops and rehearsals that took place on Saturday afternoons, guided by the Maracatu's Master Shacon and his helpers.
Many societies have developed complex systems of formal education. In parallel to this reality, other methods of transmission and knowledge acquisition exist, primarily in the context of traditional and folkloric culture. Today, many music teaching practices are linked to the inclusion of culturally diverse musics in schools and universities. A problem arises when curriculum adopts only the repertoire and not the traditional culture’s teaching-learning practices that often differ in many aspects from practices found in formal learning environments. According to Green (2002), if we keep ignoring the attitudes, values, and apprenticeship model of nonformal practices, there is a risk of losing the enthusiasm for music that attracts many lovers to the musical art.
Methodology
Because the purpose of this research was to gain an understanding of the processes of musical transmission in the workshops at Nação do Maracatu Porto Rico, a qualitative design was adopted for participant selection, data collection, and analysis.
The participants were the players involved at the Nação do Maracatu Porto Rico.
This nação was chosen for it is an opened environment for all, different from other naçoes in Recife.
I observed and videotaped 15 percussion workshops that happened every weekend from September 2011 to February 2012. The observations followed an outline that consisted in questions related to pedagogical approaches chosen by the mestre,
rhythms learned, and teaching sequences. I also did interviews with mestre Shacon, and with two participants—an 11-year-old child that was born and raised on the community, and played Maracatu since toddler age; and a senior male who was not part of the community, and had just started playing Maracatu. To further examine the most relevant aspects of teaching-learning practices within the Nação, I highlighted the methodological practices of Maracatu along with its musical and pedagogical elements.
Multiple dimensions of teaching
When reviewing the literature in music education, I could find several discussions on the theme involving multiple spaces and context of musical teaching-learning. These discussions advocate the need to expand the concept of formal, nonformal, and informal education and to promote more dialogue and adaption of these concepts.
Popular musical practices provide an expanded view of practices and approaches for teaching folk music in music classroom. According to Lazzarin (2006), the term multiculturalism has been used to define a vision of the world that respects each society’s diverse ways of living as well as its unique characteristics, ethical values, and cultural identity.
According to Libâneo (2000, as cited in Willie, 2005), education is a phenomenon that does not exist in isolation from society. Formal schools are not the only way of knowledge achievement–understanding as product of social development. In general, these influences can occur in non-intended means and its educational purposes cannot be denied. Libâneo clarifies that there are three educational dimensions: formal, nonformal, and informal practices. Green (2002) also classifies music education within these three scopes. For this research, I adopt Libâneo (2000) and Green (2002) definitions as follows:
• Formal Education: structured, organized, purposely planned, systematic. The educational system is a typical example. Green (2002) asserts that music education can also be formally configured: lesson plans, renamed and well-paid teachers and professors, qualified coordinators, assessments, diplomas, music notation, and finally a bibliography including scores, text books and manuals.
• Informal Education: results from the environment with educational relations acquired independently of the conscious of its purposes, without goals or pre-established objectives.
• Nonformal Education: activities have an intentional feature, albeit hardly structured and systematic, with nonformalized pedagogical means. Green (2002) points out that, in contrast with formal education, nonformal education does not appeal to institutes of education, written curriculum, specific methodologies and programs, nor qualified teachers, nor assessments or certificates and diplomas, and little or no notation or bibliography.
In research developed in the fields of music education, ethnomusicology and anthropology, I found examples and discussion about several forms of transmission and musical acquirement. Sandroni (2001) states that it is possible to learn music outside the formal classrooms and that it is necessary to incorporate the “ways-to-do”
approaches commonly used when learning folkloric repertoire. According to Almeida e Magalhães (2007), in communities that do not use music notation, the
teaching-learning process is based on watching and listening, which is broader than in the formal practices that emphasize learning from notation.
Discussion
The findings suggest that the nonformal workshop setting of the Nação do Maracatu Porto Rico performs a very important role in music education. The processes of musical transmission are essentially made in a collective way in which, according to Queiroz (2004), learning happens through the playing practices, experimentation, paying attention to the most experienced players and imitating their performance. In the Nação do Maracatu Porto Rico all the participants learn together the rhythms and chants, in the same room, and at the same time.
Sandroni (2001) elucidates the importance of the incorporation of traditional culture ways of teaching-learning. Similarly, Green (2002) highlights the importance of the inclusion of traditional music in the curriculum but also safeguarding against an academic version of learning practices that are distant from the original tradition.
Arroyo (2000) also claims the need for a more conscious teaching practice as regarding social and cultural contexts and the experience of the pupils themselves.
The author reported the intense involvement and joy of the children dancing Congado (Uberlândia, MG)–in contrast to children observed during a formal music class. I could also observe this excitement during the workshops at the Nação.
As a result of the observed experiences, I can affirm that the workshops at Nação Porto Rico have an essential collective character: the learning process is based on observing and imitating the more experienced players. The following aspects characterize the teaching and learning that take place at the Nação Porto Rico:
The presence of the mestre Shacon Viana (mestre. Shacon is the main person in a Nação. Born and raised in that environment, he holds all the knowledge related to that culture. According to Sandroni (2004), although the agents of the process of oral transmission occupy non-privileged social and economic places, they are the holders of a knowledge related to the traditions, roots, and Brazilian identities. It is the mestre who dictates what will be taught and how it should be done. Besides that, he designates what each player needs to improve (posture, strong left arm, body movement, along with other aspects).
His calm, yet commanding approach, keeps the musicians constantly busy working on technique, rhythms, and sequences for various patterns. Shacon gives students “the look” when patterns are inaccurate, or he simply begins to model rhythms on his drum
The importance of helpers. Students have a very important role, not only as helpers to the mestre during the rehearsals, but also as figures that will continue and preserve this culture. They are apprentices aspiring to become a master.
Characterization of the groups based on level and age. The workshops' groups are heterogeneous, differing both in musical knowledge and age. Kids and elders learn together. This interaction between different learners stimulates learning and brings positive results to the teaching-learning process.
Instrument approach. There is a hierarchy related to instrument choice. All of the learners must start playing alfaia drums; they are allowed to play other instruments only after they master techniques and patterns.
Importance of rhythm. As Maracatu is substantially percussive and marked, learning the rhythm is not only necessary but essential; the rhythm stands in contrast to other musical aspects such as melody and harmony. There is a ritual when teaching a new rhythm: the master models, the drummers try, some corrections are made, and students try to play together once more. All of the workshop rehearsals start with warming-up with a pattern called “melê”
(the basis of all other patterns). The absence of the music score accelerates the learning process.
Movement as an assimilation of rhythms. Even after every drummer already learns the patterns, Mastre Shacon emphasizes the marked beats that must be accentuated with his body.
Problem-solving strategies: When realizing that not all players are successful when learning a new rhythm, the master highlights one drummer that is doing it right and secure, and asks the other players to observe and imitate that single one.
Melodic approach–the loas: At the ending of each rehearsal, all players have to sing a loa (a call-and-response chant) as the complement of the rhythmic ostinato they practice each day. The master starts singing by himself while playing a drum, showing how the ostinato combines with the melody. After singing once, he takes the lead with vocal calls and gestural cues indicating when all should start playing. He advises that the players should only join him singing when they are secure enough playing the patterns.
Chant, instrument, and dance. While observing abê shaker (instrument with large gourds with beads on the outside) rehearsal led by the master's wife, I noticed a very similar process. It included one more aspect: the dance.
Students were playing and moving at the same time. When she realized that some of the players were not following her, she used nonverbal communication. She placed the abê shaker on the floor, and focused on dance steps. As soon as she perceived every player was able to move correctly, she picked up the shaker, and began to play; now adding a chant already known by the players. At any time, she used her voice to give directions or correct any of the players.
The enjoyment of playing. All the players at Nação do Maracatu Porto Rico have one aspect in common. They all get together and rehearse for long hours for one single reason – the joy of playing.
Conclusions
In essence, oral tradition cultures contain their own methods by which it is possible the formulation and adaptation on already consecrated approaches of formal musical education. It is necessary to learn that the procedures of the musical transmission happen in different situations, spaces and cultural contexts, allowing us to enlarge the pedagogical possibilities, enabling the realization of education proposals coherent for teaching music.
This research makes an important contribution to the field of Music Education. It suggests that traditional practices and transmission methods can enrich formal education in many aspects, as discussed throughout this paper. Almeida and Magalhães (2007) challenge the possible use of oral traditional transmission techniques within a formalized scope and, from this research's reflections, I believe that nonformal education does not replace the formal spaces of education; these
spaces may be favored by the incorporation of the pedagogical practices of the nonformal, as an alternative extension for teaching-learning processes.
This study is also a starting point for more research examining the importance of traditional practices in music education. Souza (2004) points out that music is often displayed as an object that can be stripped of all contexts. Galdino (2005) cautions that music teachers should be aware that each educational area has its own culture and, because of that, must be seen as unique. Although the intention of this research is not generalize; there should be, instead, a recognition of the possibilities for enhancing of teaching-learning practices in music education.
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