Samba Dancers Create a Stir
A local Samba band and dancers performed at the Loeb50 Gala Bash, provoking a variety of responses from the crowd.
Shaney Peña-Gómez ‘18, Patti Brown ‘10, Natalia Dopazo ‘23, Steve Lewis and Rodolpho Ramina ‘04 share their reactions.
Shaney Peña Gómez ‘18
The Body as a Place to Inhabit and Decolonization
Let’s have some fun. Let’s talk about Samba, about the body as a place to inhabit and decolonization. In the Americas, where slavery left those submitted to the realm of colonizers, only with their bodies, chants and musical instruments as a form of expression, of ritual, of resistance, that later became their freedom. Today, many of these resistance expressions are part of the cultural heritage across countries in our continent. Samba is one of those African-descent expressions that have become internationally popular, and something that citizens around the world relate directly with Brazil.
If we analyze this cultural expression from a gender perspective focused in the current western debate of the metoo movement, and ideas of the female body as commodity or object, although very needed discussions, in this particular context of a samba performance, we might be dragging something out of its roots and authentic culture. Therefore, it’s an inadequate approach to this centuries-old tradition. It can not be a complete position because, if an analysis takes place, it should acknowledge where it comes from, and enjoy it as a foreign cultural manifestation, where women (and both men and women in the drums) are inhabiting their bodies from assertiveness, pleasure, and the safety of a genuine expression of being entitled to fully embrace their own physicality. These are goals to fight for, actually, when we think about women’s rights to make decisions over their own bodies and gender equality, not the opposite.
In doing so, they honor the resistance and liberation of their ancestors. And, in the process, reminds us all of a permanent and much needed decolonization of our minds and bodies. The big lesson here (if one is to be attained when some form of controversy arises when exposed to these traditions) is that something meant for fun, became a tool for learning more deeply about the other, and in doing so, it helps us all to fully contextualize our ideas, reactions of different cultural expressions, without detaching them (and us) from their history and meaning.
Steve Lewis ‘04 and Rodolpho Ramina ‘04
Conflicting Perceptions
Those who attended the Bash, witnessed clearly that our group is growing, not only in the number of Fellows and years of experience combined but also in our diversity of professional, ethnic, geographical and cultural backgrounds. As our multicultural network grows in a much more connected world, new complexities also pose challenges in our quest to be influential in shaping the built and natural environment and to advance positive social outcomes in the US and around the world.
Positive outcomes imply some set of values that must be shared between us and the society that we try to influence, and this is not so simple. For a group of such diverse and accomplished practitioners converging on a common set of values will always deal with what we may call “conflicting perceptions”, highlighting the importance of a dedicated and careful consideration of the “context”, being it social, cultural, economic, political, etc. How are we, as a group, prepared for this increasingly fast, complex and multi-faceted interaction?
For example, the polarized environment of contemporary political issues showed up during the Loeb Symposium on Saturday, confronting native population demonstrations with political debates over a new Chilean national constitution. Supposing that a number of Loeb Fellows have been involved with critical political issues in the recent presidential elections in US, Brazil, Mexico, Chile, France (or almost everywhere) we could see some potentially explosive outcomes there.
Another example, leaning on the cultural side: Loeb Bash attendees were treated to an extravagant celebration held inside of the big, white tent situated on the plaza just outside of the Science Center. Throughout the course of the evening, guests, for the most part, enjoyed a variety of entertainment, including an authentic Brazilian carnival performance featuring a drum troop and two women dancers appointed in what could be said a “culturally appropriate costume” for Carnival. Following the frenzy of dancing, both by the performers and many attendees of all ages, several alumni were clear in expressing their displeasure with how the dancers were dressed, or not dressed.
Some perceived the dancers (and how they were dressed) as a display of male dominance, while others were concerned with the dancers’ exposure to a chilly evening, maybe with too much skin without appropriate cover. Others just followed the vibe and joined the samba party.
What’s behind the tradition of scantily clad celebrants partying with reckless abandon during Brazil and Trinidad’s Carnival, or New Orleans’ Mardi Gras? Actually, the roots of Carnival and Mardi Gras date back to the Greeks Gods (specifically, Dionysus) While the custom has morphed through generations and locations, from Portugal to Brazil, to New Orleans, the underlying premise has remained intact. For several days, social hierarchy is set aside with control of the celebration being placed in the hands of a random participant, irrespective of race, class, or stature. In the post-colonial Americas (please note the plural), this custom that equalizes the strata of society equates in contemporary times to a celebration of freedom from slavery.
Patricia Leigh Brown ‘10
As a Woman of a Certain Age
I’ve got to admit that I was a bit shocked when the two flawless goddesses from Brazil came samba-ing onto the dance floor. Their costumes, or lack of them, were not exactly Loeb-like.
As a woman of a certain age, my first reaction was ‘maybe I should end it all right here.’ But then I began to study the dancers’ feet. I have danced all my life -- it is my passion -- and learned fast samba steps in Oakland with a Venezuelan Zumba teacher who would constantly tell us how magnificent our hips are (I have also done a bit of burlesque.) So when one of the dancers shimmied up to Etty Padmodipoetro and I, I turned to Etty and said “I can do this!” Minus the latticed gold boots, I stepped onto the dance floor (I would like to state for the record that I had no idea that our beloved Rob Stein would wind up blackmailing me by sending a photo to my neighbors in the Berkshires.) These are challenging movements. During a recent period in my life when I was recuperating from a major illness, it was the sweaty aliveness of the samba that spurred me on.
I have not studied Carnaval but the dancers and regalia seemed very authentic to me. While I understand the objectification-of-women argument, to me this was about the joy and power of dance, one rooted in a popular Brazilian cultural tradition. I have not been to a Carnaval, but I am looking forward to experiencing three Carnaval celebrations in the Yucatan this coming February. I’ll think about our enchanted evening when I do.
Natalia Dopazo ‘23
Comfortable Being Uncomfortable
What do we do with feminism and social and racial equity as a principle when we step upon disagreement on a specific topic? How can we improve the general agreements on what makes us feel a part of a collective that is diverse, crossed by different backgrounds, ages, genders, and nationalities? It is a beautiful but complicated challenge. And it is worth it. Each day I find myself struggling with this idea: be more comfortable of being uncomfortable. Every time I am feeling an awkward sensation in a group is an opportunity to have new questions and engage in deeper conversations.
Was it racist or patriarchy the samba dance in our bash? It is not my role to define that, but I will share my feelings during that scene. At first, I felt misplaced, what were they doing, playing and dancing at a Carnaval celebration in Cambridge? That was my first thought. I started to pay attention to who these people were. Three men led by a woman. Usually, music groups in Brazil tend to be led by men. Then I paid attention to the dancers, I was impressed that they had small outfits crafted by an artisanal hand, similar to traditional Carnaval dancers. I was struck by the accurate and professional movements. Their dancing skills were outstanding. Finally, I paid attention to the people, and I saw some women who felt they could also move and dance freely. I also saw people staying at the back, looking uncomfortable.
When I saw that woman leading the musicians I related with some feminist movements that reclaim since 2015 their equal right to enjoy the Carnaval without sexual harassment on the streets. Usually, people have a different relationship with their bodies and are used to wearing smaller pieces of clothes or costumes during this celebration. Apart from that, Carnaval is an afro tradition that brings to the street the celebration of the usually discriminated groups, black men and women, and also the LGBTQ+ communities. It is usually seen as a place of resistance to their traditions and reclaiming visibility and rights in the public field.
I had no participation in the organization of the anniversary and I have no intention of judging the morals or ethics of the bash, I am far away from the role some people take as a feminist to say whether something is correct or incorrect. What I am always in is in engaging in bigger conversations. I hope this writing helps to do that, sharing opinions with other Loebs I don’t know if I have already met or not but hope we do so in the future. I again thank you for the time and generosity in addressing new voices.