ALAFIA is a Yoruba phrase, a native language of Nigeria. Also spoken amongst Caribbean descents. The Alafia phrase signifies a successful and positive energy commonly spoken by traders. Other times when people are asked about their well-being, it reflects as inner serenity and wellness. When things are going well, the Nigerians of Yoruba heritage and Afro-Cubans, Caribbeans say Alafia.
In a bid to pronounce the essence of Alafia, Acosta dance centre, a cultural foundation for dancing—through workshops, festivals, and rehearsals. Founded on the basis of retention for customary virtues for numerous cultures especially the African and Caribbean heritage. Curated the largest Afrocuban festival in the UK as at now.
Their practices include dance steps like ballet, amapiano, contemporary steps, cuban fusion, cuban salsa, son cubano, capoeira, yoga, and other practices.
The Acosta Dance Centre also offers membership for dance-creative practitioners, and industry professionals. While also reviewing the ‘dancistic’ legacy of Cuban people as an intangible manifestation of their indigenous identity.
In recent times, the Acosta Dance Centre facilitated the Alafia festival between June 7-9, 2024 to enhance their vision. To assemble this event they used Masterclass teachers, Art Directors, DJs, and Singers like Maestro Domingo Pau, Luanda Pau, Martha Galarraga, Niurka Aguero, Damarys Farrés, Verusca Pampana, Lázaro Lopez, Ariel Rios, Damaris Hechevarria, Maikel Mota, Miguel Gonzalez, José Ferrara, Randy Hechevarria, Gwen Francotte, Didier De Groef, Alex Jones, Richard Fallon, Javier La Rosa, Julio Morina Pérez, Ernesto Garcia. Who have continually proven the essence of why Afrocuban Festival by Acosta Dance Centre is an effective way of cultural preservation.
This past days, being Friday, June 7, and Saturday, June 8–between the hours of 7am-11pm at Woolwich Works and Liverpool street. They featured Artist like Damarys Farres presenting, who speaks of the Oyá and Shangó – Love, War, Passion and Loyalty. A folklore of the Yoruba Heritage through dance steps.
This choreography is based on the eternal love and loyalty between Oya and Shango, as depicted in a couple of well-known Ede Patakis (Yoruba religious stories) about these two orishas Oya, The Fierce Warrior, and Shango, The Warrior King.
The story reveals Oya, the Queen of Takua, known as the loyal warrior, always accompanied Shango in his many battles. When Shango came to conquer her kingdom, Oya defeated him. Although Shango was ashamed of his defeat, Oya’s victory led her to ask Shango to become her king. Shango, captivated by Oya’s strength and beauty, won her heart with his dancing and skills.
And Martha Galarraga presented a tribute to Celia Cruz, Cuba’s guarachera, the exceptional and unique Cuban female vocalist. To honour Celia’s cultural legacy, which she defended for many years by expressing our Cuban identity and Cuban women in popular dance music around the world.
Whereas Verusca Pampana presented the show “Obba Nani” with support from Alice Schiboni, Ludovica Mele. The show narrated chosen characters from the great book of the IFA religion, to examine the essence of a well-known Patakin in which the story of Obba, who was deceived by Oyá for the love of Changó.
Obba, an orisha in the Santería religion, represents love, sacrifice, and marital loyalty. She is feminine, strong, feared, and energetic, and she is believed to be stronger than many male Orishas.
Obba was the sister of Oya’ and Ochun. She lives with Oyá and Yewá in the graveyard. She dances with one hand covering her severed right ear and mimics the motion of “mixing soup.”
Obba was Changó’s wife and they had a majestic and profound love, despite the fact that Changó had Oyá as a lover, a woman with a strong personality comparable to his. Oyá was envious of Obba’s relationship with Changó and, hence, determined to exact revenge on her.
Oya advised Obba that Changó’s favourite food was her ears, which seemed unusual to her, but she quickly cut off her ear to make a lovely soup for Changó.
When Changó discovered his wife lacked an ear, he disowned her forever. Obba saw through Oyá’s deception and demanded to live among the dead, where no one would ever see her again.
From that point forward, the cemetery became her home. She established herself as the protector of the tombs.
This was presented by Samson Kendall who carried out the “Abakuá Efó” practice. It is commonly known that the Abakua, is an Afro-Cuban fraternity society. Whose religious and cultural origins stem from the Cross River region of Nigeria and Cameroon. In its dance form, spirits known as “Ireme” dress in colourful attire with face coverings so that they cannot see, following the invitation from the singers and the sounds of the drums to navigate the performance space.
They feel the floor with their feet to guide them and, whilst sharing their energy with the public, clean the world of badness and protect the sacred drums that play to them. Samson danced Abakua “Efo”, a slow and elegant style of Abakua where the Ireme uses a “baston” (walking stick) to dance.
The live music was from Julio Molina who displayed “ Soy pura raza.” As solo percusión will see the evolution of the rhythms and songs of Cuban popular music, such as Son, Afro-Cuban Güiro and Yoruba music. And in the evening, Richard Fallon the DJ completed the festival with tunes to end the event.
For Saturday, June 8 between the hours of 7pm – 02:00 am at Uncommon Liverpool Street 34-37 Liverpool St, London, EC2M 7PP and 7-9pm. Lazaro Lopez, Niurka Aguero, Ariel Rios, and Luanda Pau presented the orishas
Changó, Yemayá, Oggún, and Oshun in their session “PATAKI.” Which symbolized trust, struggle, jealousy, sacrifice, and love.
Oshún and Changó’s love led them from poverty to prosperity due to the other orishas’ ignorance.
According to legend, the supreme god, Olofin once hosted a feast for all of the orishas, but Oshun and Chango were impoverished, dressed in old clothes, and had nothing to eat. Instead of jewelry and money, Olofin chose to give away several massive, hefty pumpkins during his party.
The other orishas were perplexed as to why Olofin only donated pumpkins, which they turned down and gave to the cherished and destitute couple instead.
When Oshun and Changó returned home, joyful and hungry, they opened the pumpkins to cook them and discovered piles of beautiful jewels and gold coins inside. They became the kingdom’s richest orishas after that.
The trust between Yemayá, a beautiful woman and Oggún stayed but one day as she walked home from work at the market, she thought to herself, “How sad I am to be alone, returning home, without children, and without a husband.”
Who do I cook for? After hearing what she said, Oggún felt compelled to marry her, hugged her, and motivated her not to be scared. That he was aware his physique was intimidating, and everyone was afraid of him, but he will not harm her. Rather, he would take care of and defend her, on the condition she promises not to make fun of his bloodshot eyes. Yemayá consented and told him, “You must promise me that you will never look at another woman.” For a long period, both honoured their pledges, and Yemayá bore Oggún several children.
This was showcased through a live music by the use of Batá drums and singing. As Damaris Hechevarria presented the “Romance.”
A “Duo Irú Okan” con Francesca Perelli Story. This choreography romanticised the gradual integration of a love that fades between the two lovers but endures in the soul… “Pa to’ la vida”
And Miguel González presented GAGÁ.
Knowing that Cuba, as part of the Caribbean diaspora, has influenced postcolonialization by bringing African culture to various southern regions (Guantanamo and Santiago de Cuba) and mixing it with Spanish culture as a way to mask artistic practices, prompting slaves at the time to mask their beliefs and culture in order for the master to accept their expression of culture as related to European costume.
El GAGÁ, or RARÁ, originated in this region.
The Story behind this looms from cultural practices of GAGÁ communities and their interaction between villages in Africa, centred on celebration of life, culture, and exchange (goods, tools, planned marriages, offerings, and paying respect to each village elder for their guidance).
The evening came to a wrap with live music and performance from Maikel Mota, who presented the Renacer “bounce back” from difficult experiences. This exact show announced rebirth, reflected the resilience for Maikel, after facing recovery from a major knee injury, and represented having come out of the pain and fear of never dancing again. It is the awakening of a new stage for him as a dancer. The DJ’s that supported this event were Javier la Rosa Guillermo, Richard Fallon.
Sunday, 9th of June is the last day for this festival and it would be a great sightseeing for any who decides to visit Woolwich Works. Below are vital informations about the festival.
