Maracatu from Brasil

1. MARACATU

2. • Also known as Maracatu Nação and Maracatu
do Baque Virado. Like most popular
manifestations in the country is a mix of
Amerindian, African and European cultures.
• It is a form of expression that features a
percussive musical ensemble and a royal
procession, which takes to the streets for
parades and performances during the carnival.

3. • Maracatu gradually became characterized as a
typical phenomenon of the carnivals of Recife,
but maintains in many groups a strong
connection with Candomblé religiosity.
• After an intense process of decay of the
Maracatus of Recife during almost all the
twentieth century, occurred in the 1990s what
we can call "Maracatu Boom".

4. • The practice acquired a notoriety that it had
never conquered before, probably the result,
among other things, of the action of the
Unified Black Movement (MNU) with the
Nação Leão Coroado (one of the most
traditional Maracatus of Recife), the Mangue
Beat movement and the Nação Pernambuco
group (one of its main marks was that it
separated Maracatu's music and dance
dimension from its religious dimension).

5. • The practice acquired a notoriety that it had
never conquered before, probably the result,
among other things, of the action of the
Unified Black Movement (MNU) with the
Nação Leão Coroado (one of the most
traditional Maracatus of Recife), the Mangue
Beat movement and the Nação Pernambuco
group (one of its main marks was that it
separated Maracatu's music and dance
dimension from its religious dimension).

6. • In this context, Maracatu left its main stage,
which is the city of Recife, and reached several
other places in the country and around the
world. There are currently percussive groups
that work with elements of Maracatu Nação
Culture in almost all Brazilian states and in
several countries such as Canada, England,
France, United States of America, Japan,
Scotland, Germany, Spain, among others.

7. • It is considered that it emerged where today is
the state of Pernambuco, during the slave period,
probably between the seventeenth and
eighteenth centuries.
• The most widespread explanation among
scholars about the origin of the Maracatu is that
it arose from the coronations and autos of the
King of Congo, a practice implanted in Brazil
supposedly by the Portuguese colonizers and
consequently allowed and spread by the
slaveholders.

8. • The elected Queens and Kings of the Congo
were black political leaders, intermediaries
between the power of the Colonial State and
women and men of African origin. From these
organizations would have appeared many
popular cultural manifestations that began to
hold meetings and rituals around these social
representations, giving rise to the Maracatu.

9. • Between 60 and 200 figures
take part in the procession,
characters that accompany the
royal court, such as the
following of the king and queen
of Maracatu and other figures,
including the “Baianas”,
mystical entities and the
“Calungas” - black dolls made
of wood or cloth, considered
icons of the religious
foundation, which, in certain
maracatus, symbolize an
ancestor queen. Old calungas used by the Maracatu.
Available
http://www.unicap.br/webjornalismo/nobatuque/si
te/?page_id=76

10. • The dance performed with the Calungas has a
religious character and is obligatory at the
door of the Churches, representing a
"pleasing" to Our Lady of the Rosary and St.
Benedict. When Maracatu visits a Candomble
yard, it honors the Orixás.
• The court opens wings to the King and Queen,
who bring golden crowns and wear
embroidered velvet cloaks. In their hands
they carry small swords and royal scepters.

11. • The King is covered by a great canopy topped by a sphere
or moon, carried by the vassal, which rotates it between
his hands, remembering the movement of the earth. The
use of this type of umbrella is Arab custom, still present
today in certain African regions.
Maracatu Nação Pernambuco in presentation in
Cabo de Santo Agostinho-PE (Photo Patrícia
Valéria).
Available in
http://www.unicap.br/webjornalismo/nobatuq
ue/site/?page_id=76

12. • Some Maracatus
include in this
section of the
procession also
lance boys and
the figure of
Caboclo de Pena,
which represents
the Brazilian
indigenous and
has free
choreography.
“Caboclos” prepare for rural maracatu parade in Olinda - Photo: Rafael
Medeiros Available in
https://g1.globo.com/pe/pernambuco/carnaval/2018/noticia/encontro-
de-maracatus-rurais-em-olinda-exalta-tradicao-da-zona-da-mata.ghtml

13. • It is basically composed of percussion
instruments: several large drums
(implements), “caixas” and snare drums and a
“gonguê” (one- or two-bell metalophone,
struck by a metal rod). Nowadays, “abês” are
used (instrument made with a gourd and a
beaded skirt). The Master "pulls" the songs,
and the choir answers. Baianas and caboclos
have the responsibility to sing, but all dancers
can also participate.

14. • Maracatus always
begin at a steady
pace, which then
accelerates, although
they never reach a
very fast rhythm.
Before hearing the
bugle, which precede
the banner of the
Nation, it is the
leather drums sound
that announces in the
distance the arrival of
Maracatu.
Part of the instrumentalists, during presentation at Carnival (Photo
Patrícia Valéria)
Available in
http://www.unicap.br/webjornalismo/nobatuque/site/?page_id=76

15. • Maracatu is distinguished
from other dramatic
dances and black dances
in general by its
choreography. There is a
strong presence of a
mystical origin in the way
Maracatu is danced,
reminiscent of
Candomblé dances.
“Balizas” and “Caboclos”
dance the whole
procession. Baianas and
Damas do Paço have
special choreographies.
Caboclos and Guides do
many stunts.
Maracatu during a parade along the Arruda corridor at Carnival (Photo
Patrícia Valéria)
Available in
http://www.unicap.br/webjornalismo/nobatuque/site/?page_id=76

16. • Standard bearer - carries
the standard; it basically
contains the name of
the association, a figure
representing it and the
year it was created;
• Lady of the Palace -
takes the doll “Calunga”
in the hand;
Banner and drums before the start of the parade (Photo Patrícia Valéria)
Available in http://www.unicap.br/webjornalismo/nobatuque/site/?page_id=76

17. • King and Queen - the most important figures of the
procession, and it is by their coronation that
everything is done.
• Vassal - slave that carries the umbrella that protects
the kings.
• Court figures: princes, ministers, ambassadors, etc.
• Court ladies.
• Yabas, better known as Bahianas.
• Drummers, who animate the procession, playing
various instruments

18. • https://www.youtube.com/
watch?v=7jwERsj2s9g
• https://www.youtube.com/
watch?v=OlEcKMzCSoY
• http://www.unicap.br/webj
ornalismo/nobatuque/site/
?page_id=76
• https://maracatu.org.br/