Porangui McGrew

Approval Type

Community Based

Artistic Discipline

Folk Arts Performing

Program Type

Performances, Workshops, Residencies, Lecture/Demonstation

Populations/Areas of Interest

Pre-Kindergarten, Grades K-6, Grades 7-12, In School, After-School / Out-of-School, Young Adults, Adults, Older Adults, Intergenerational, Persons with disabilities, At-Risk, Underserved

Artistic Approach

The principle body of my art form involves the representation and negotiation of sound and movement from various sacred traditions around the world. The largest influences come from my native Brazil which includes a rich soundscape of traditional rhythms, songs and stories that inform my work.

In addition to Brazil, I also draw a great deal of my creative inspiration from Mexico due to my upbringing with a Mexican Grandmother and a Chicano father who was both a bilingual DJ and musician. This opened me to many folkloric and contemporary styles from the Jarocho music of Veracruz to the fusion Latin rock of Santana. After studying music in Beijing and Hanoi in the 90's, I also began to incorporate a great deal of Eastern sounds into my music. In 2000, I shot a documentary on Aymara & Quechua musicians in Bolivia and Peru that taught me even more about the interrelatedness of music and community value systems, which informs my work to this day. A clear example of this is the interlocking melodic nature of the Zampoñas (Pan Pipes) that are intentionally played by at least two players to be able to sound an entire scale.

The same applies to all music and I would say my approach with students in any setting is to transmit this sense of community and interrelatedness through the experience of music. I believe it is essential to know the stories and historical context of musical styles and instruments as they do not occur within a vacuum. My classes always include this type of background as well as the geo-political and socio-economic significance of the music we study.

Lastly, as a person who has worked in the healing arts since childhood, I am always interested in creating a safe container for learning with students. With this safe container, students may discover and cultivate their own song through the songs of our ancestors thus empowering them to step beyond the world of the mundane and into that of music as magic.

Teaching Artist Approach

As mentioned in my Artistic Approach statement, it is important for me to transmit to my students a sense of community and interrelatedness through the experience of music. I believe it is essential to know the stories and historical context of musical styles and instruments as they do not occur within a vacuum. My classes always include this type of background as well as the geo-political and socio-economic significance of the music we study.

As a person who has worked in the healing arts since childhood, I am always interested in creating a safe container for learning with students. With this safe container, students may discover and cultivate their own song through the songs of our ancestors thus empowering them to step beyond the world of the mundane and into that of music as magic.

Program Management Strategies

I begin by establishing norms that both the students and teachers agree upon in dialogue. Upon the first class meeting, I review these norms with the students. The norms are then signed by all students and faculty and posted in a visible place throughout the course so that they may be referred to and refreshed whenever necessary. This ensures everyone has a clear understanding of what is expected and the consequences of breaking the learning agreement. I also write out the goals & objectives of the lesson for any particular day along with specific material that will be covered, so that participants can understand what is to be covered.

At the end of the lesson, I will review the lesson for the day and ask questions to get an assessment if the goals have been reached and if not, make a note of where we must pick-up from there. This is done both verbally and is documented in my notes.

It is important for me to first assess the resources at hand and then see what additional resources I must bring to the classroom setting to ensure the learning setting is optimal and well-managed. This may include team-building and organizational meetings with the other staff/faculty as well as some class time dedicated to engaging the students to have an active roll in what they need.

Evaluations are executed at the end of the program taking into consideration the time students need as well as privacy to fill them out completely and accurately. Follow-up is offered where appropriate along with best ways to communicate with me directly or through the respective institution.

Program Description

Given the specific setting and orientation of a program (i.e. whether Community or Education), I begin by assessing the age, socio-cultural makeup and other demographics of the participants to determine the best way to present the information. For example, I might use more stories and symbols to describe the music and background to a younger audience than an older audience. In general, the program content begins with an ice-breaker to assess group dynamics and establish class norms. This is followed with historical and cultural background on the music being presented using various visual & aural aids to illustrate the information, oftentimes through a multi-media presentation or performing on respective instruments.


As a general rule, I outline the goals for a specific lesson and place it within the context of the overall objective for the course to ensure participants understand the relevance of what they are learning and can integrate it later. In the majority of my classes where we are learning percussion-based music or melodic folk music, my emphasis is on teaching how students can create the music using their bodies. Once the pattern or melody can be song or played using the body with proficiency, we then move onto using the actual instruments. This ensures that when the participants are in another setting where they do not have access to these instruments, they may practice and review without much difficulty. It also helps to minimize the cacophony that can emerge when novice students pick-up instruments (especially percussion) for the first time.


Many students learn differently, hence the initial classes are an opportunity to see which students need the lesson modified for their learning needs. For example, I might write it out for one student and then play a game to help with entrainment for another student. During the review section of the class, I take an assessment of the material to see how engaged the students are and make adjustments to the material and/or teaching style accordingly.

Technical Requirements

Dependent upon the focus of the given program and the age and/or number of participants any of the following may be necessary. Please contact the artist for more specific details.

Technical Requirements:

Well lit large space with ample room to cultivate musical & corporeal awareness (the groundwork of most lessons). For example: body percussion

Ability to control lighting and air flow is ideal. If an outdoor space, shade, access to water and restrooms are essential.

A/V equipment necessary will include a stereo system & speakers with sufficient power so all participants may experience the music (i.e. computer speakers are not sufficient).

For specific presentations that are more lecture oriented, a digital projector is needed that can be connected to a Mac Laptop. This is essential for presentations on cultural and historical background of various world music programs presented allowing the inclusion of multimedia content for students.

Any specifics can be coordinated by contacting the Artist.

Space Requirements

Dependent upon the focus of the given program and the age and/or number of participants any of the following may be necessary. Please contact the artist for more specific details.

Well lit large space with ample room to cultivate musical & corporeal awareness (the groundwork of most lessons). For example: body percussion

Ability to control lighting and air flow is ideal. If an outdoor space, shade, access to water and restrooms are essential.

A lockable storage room for instruments may be needed.

Supply Requirements

Dependent upon the focus of the given program and the age and/or number of participants any of the following may be necessary. Please contact the artist for more specific details.

Low-budget:
Found materials, drumsticks, garbage cans, etc.

Medium-High budget:
Tambourines, Congas, Bongos, Cowbells, and other such accompanying instruments.

Also, specific world music traditions and other focuses (i.e. Brazilian, Caribbean, etc.) can be coordinated with the Artist.


--------------------------------------------------------------------------------

Special Considerations

Please contact for details, thank you.

References

Regina Nixon, Phoenix Conservatory of Music, (623) 826-0625

Veronica Peña, Southwestern Behavioral Health Services, (480) 820-0194

Richenel Ansano, Global Medicine Education Foundation, (919) 824-8153

Fees

Please Contact Artist

Educator/Staff Training

Please contact for details, thank you.

How Arizona State Academic Standards are Addressed

Please contact for details, thank you.