Dance Origin: Cuba Genre: African-Cuban Administrative Coordinator: Colleen Barroso Choreographer: José Francisco Barroso First Appearance in SF EDF: 1997 Website:http://www.obakoso.org
In Yoruba, Obakòso
means “king” (oba) “does not hang” (kòso). It refers to Shango, the fifth king of Oyo, Nigeria;
who was hanged but did not suffer. The Yoruba people, from what is now
southwestern Nigeria, were
the second major ethnic group brought to Cuba
from Africa, arriving mostly in the
1820-1860s. Despite adversity, they maintained ancestral religions now referred
to as Regla de Ocha in Cuba and Lukumí
in the United States.
The spine of this cultural tradition is the sacred Odu scripture, or Ifa—a
vast body of oral teachings and history containing the 256 scriptures and
detailing the essence of the orishas
(deities). Artistic Director José Francisco Barroso works from the root of this
tradition by creating choreography directly inspired by the patakín (stories) of the sacred text.
The three hourglass-shaped, double-headed batá drums “talk” to each other in a
conversation that is understood in arun
(the spiritual realm). The batá drums
are fundamento (consecrated) for
ceremonial use or aberikula (profane)
for performance.
The songs are in the original Yoruba language as
they were preserved in Cuba,
presented in traditional African call and response.
Obakòso Drum
& Dance Ensemble was founded in 1996 by José Francisco
Barroso in devoted effort to educate and preserve the profound knowledge and
resilient beauty living within traditional African Cuban music and dance.
Director Barroso began his professional career at the age of 18 with Havana's renowned Raíces
Profundas. The members of Obakòso come with a variety of ethnic, cultural, and
dance backgrounds, each one a dedicated student of Barroso.
2009 PERFORMANCE
TITLE: Shango, King of Oyo Soloist: José Francisco Barroso Musicians: Colleen Barroso, Heather Easley-Kasinsky,
Emiola Gaia Randolph, Matt Lucas, Sandy Perez, Sherri Taylor, Rosita Villamil,
Chris Walker
Shango, the fifth king of Oyo, Nigeria was hanged, but did not suffer. The fierce essence of Shango's spirit
conquered death and he returned to his place in the sky—so, despite even
mortality, his ashe (divine life
force) is eternal. In both African and Cuban orisha traditions, Shango is known as the orisha (deity) of thunder and lightning; he is unmatched in his
mastery of the dance and is owner of the sacred batá drums. His power is evident in the resonance of the drum and
in the scream of thunder, heard simultaneously in heaven and earth. Shango—and Obakòso—represent connection and
interdependency: between heaven and earth, drum and the dance, dance and the
spirit, community and tradition.
Fabrics, colors, patterns, combinations of
cloth, appliqués, and trimming materials are specifically coded to the orisha Shango. Adornments such as cowry
shells are organized according to the signature number of the orisha according to Odu.
The complex rhythmic patterns of the batá drums imitate the
sounds of the spiritual energies of arun and oriki
(praise language) to the orisha Shango. The following lyrics sing the praise
of Shango in battle:
Shango, were were ina
jo Ina jo oku'jeje.
Shango, the fire grows and grows The fire busts through
the roof tops.
2006 PERFORMANCE
TITLE OF PIECE: Olurounbi- Oshun, The
Akara Seller ARTISTIC
DIRECTOR/ CHOREOGRAPHER: José Francisco
Barroso DANCERS: José Francisco Barroso, Colleen
Brennan,
Tyrone Collins, Tasha De Marco, Paulina De Castro Flint,
Heather
Easley-Kasinsky, Saba Gebreab, Heike Goering, Akua Jackson, Ariel Lucky,
Samad
Raheem, Ramon Ramos Alayo, Lance Scott, Takeo Wong, Tyese Wortham MUSICIANS: Bata: Chris Fisher, Tito Garcia,
Alan
Potosnak, Silvestre Martinez, Coro: WendyEllen Cochran, Christiane
Hayashi,
Portsha Jefferson, Michelle Martin, Sherri Taylor, Ahsabi Monique
(Akpon)
The Obakoso Drum & Dance Ensemble presents a dynamic
parable
from the Ifa tradition, utilizing the movement vocabulary of
Afro-Cuban
folkloric dance, and referencing the content and elements of the style of
the
African source. This is a tale of Oshun, the orisha of rivers, sensuality, fertility and love, and her plight
with
the sacred tree, Iroko. Villagers in the market place pay homage to the
Iroko and
petition prayers for prosperity and fertility. Dressed in yellow, the
barren Oshun
begs Iroko for a child and in exchange promises abundant
offerings. After being
granted her wishes, she becomes overwhelmed and forgets
her promise. Iroko thus casts
illness on her child and chaos strikes in the
village as Iroko’s spokesman, a parrot,
begins to spread predictions of
illness, loss and struggle. The powerful warrior
orisha, Ogun, is sent to cut down the tree in
order to put an end
to the turmoil. Realizing the magnitude of the circumstances,
Oshun seeks out a
special spiritual offering to satisfy Iroko. Oshun reclaims the
situation by
reminding the villagers of Iroko’s abundant power of blessings and
goodness and
she calls out for everyone to celebrate the sacred tree’s spirit once
more.
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