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Maracatu
- a short summary.
Origins -
Our story is set largely in and around the area of Recife in the north
east of Brazil. During the time of slavery in Brazil, it was common
practise to make one slave partly responsible for others – in an
attempt to decrease unrest amongst the slaves.
The chosen man was usually someone of particular standing within his
community. Called 'Rei do Congo' (literally 'King of Congo'), his
position and title was given to him at 'coronation' ceremonies that
typically took place in church courtyards.
Other slaves would participate in this ceremony, making up part of the
'king's court’ as a royal figure, servant, slave, or
dancing/musical band member. The royal court was a parody of the
existing Portuguese court, recreated with clothes of the period,
costumes, and symbols of the real court. The musical and dance which
accompanied the crowning and its festivities were African in origin
– and came to be known as maracatu (as did any group playing and
dancing maracatu).
Continuation
Slavery was abolished in Brazil in 1888 and, although it
was still played at parties and on certain feast days, maracatu could
no longer be part of a 'coronation' ceremony. However, maracatu
continued to be seen and heard at the annual Carnaval. Various
maracatus formed and standardised the parade.
To reflect their origins, many maracatus use 'nação' in
their names. Loosely translated, nação means 'nation' in
English, and is used to show fidelity to the African tribes or
communities from which many of the traditions come. Maracatu
Nação is also known as Maracatu de Baque Virado –
Baque Virado referring to the rhythm and loosely translated as 'turned
beat'. Maracatu Rural, also known as Maracatu de Baque Solto ('loose
beat'), is the other form of maracatu played mainly in the countryside
of Pernambuco.
Founded in 1800, Maracatu Elephante is the oldest group –
although it was disbanded toward the end of last century and the group
currently using this name is not the same. Maracatu Leão
Coroado, started in 1863, is the oldest group in continuous existence.
They were joined by Maracatu Nação Estrela Brilhante do
Recife in 1910, Maracatu Cambinda Estrela in 1935 and
Nação do Maracatu Porto Rico in 1967.
Formation
A typical maracatu (the name given to a group who dances and plays maracatu) consists of:
| Name: (Port/ Eng) |
Role: |
Description: |
Notes: |
| Rei/King |
|
Dressed in fine royal robes including crown,
carries a sword |
|
| Raínha/Queen |
She oversees the rest of the court |
(as above) |
A part traditionally played by a black woman |
| Porta Estandarte/Standard Bearer |
First in the parade, he leads the maracatu
|
Dressed in a period costume (typically Louis
XV), he holds the flag with the name, symbols and colours
of the Maracatu |
Also known as Embaixador/ Ambassador |
| Damas de Paço/Ladies of the Palace |
To hold a/ the Calunga
doll, attends the Raínha |
Dressed in a period costumes (typically Louis
XV) similar to that worn by the Queen, usually younger than
the Queen |
|
| Damas de Buquê/Ladies of the Bouquet |
|
Dressed in a period costume (typically Louis
XV), hold bouquets of flowers |
|
| Pagens/Pages |
To hold the flowing royal robes |
Dressed in a period costume (typically Louis
XV), typically played by children |
|
| Escravo/Slave |
To hold a parasol over the Rei and Raínha |
Often wears a turban and no shirt. parades
barefoot |
Some slaves carry lanterns when groups parade
at night |
| Lanceiros/Spearmen |
Warriors of the court |
Dressed as warriors, they form two rows protecting
the maracatu on its parade |
|
| Baianas |
|
Typically older women, they wear wide hooped
skirts and traditional headdresses (similar to a Samba parade) |
They maintain the connection with Afro Brazilian
religion(s) |
| Batuqueiros/Drummers |
Provide the music |
There is usually a separate uniform for the
drummers. it is deemed traditional to parade barefoot |
See the rhythms
page for more information on the music |
| Caboclo de Pena/Indian of 'Pity' |
Guide and protector of the (African) Maracatu |
Dressed in simple native indian
costume |
Not often seen in modern maracatus |
Assimilation
In the mid nineties, a group of university students became interested
in maracatu and started their own group, Maracatu Nação
Pernambuco. This group was partly responsible for a resurgence in
popularity of what was, at the time, a tradition held largely by the
those living in the poorer parts of the Olinda/Recife metropolitan area.
The work of Chico Science e Nação Zumbi stood out among a
new movement of young musicians fusing maracatu (and other folkloric
musical forms) with hip hop, rock and other electronic music to form mangue beat –
the name of the movement and music. Through this more-accessible form,
the younger generation discovered maracatu, increasing its popularity.
Now
Maracatu has now regained the respect of many who realise its true
value as folklore and a link to the past. The opening of the 2003
Carnaval in Recife alone featured eleven maracatus from the area
playing Chico Science's 'A Praieira' and a Hector Villa Lobos piece
with the Recife Philharmonic Orchestra!
We have now reached a point where many maracatus have been set up by
newcomers with a passion for the music. Some of these bands stick
rigidly to a maracatu tradition, whilst others experiment with the
sound using new instruments and rhythms. There are 'next generation'
maracatus in Rio de Janeiro (Rio Maracatu) and Belo Horizonte
(Trovão das Minas), to name but two. Outside of Brazil, other
bands include:
· Maracatu Estrela do Norte in London, U.K.
· Maracatu Nunca Antes in Toronto, Canada
· Maracatu Stern der Elbe in Hamburg, Germany
· Maracatu New York, N.Y., U.S.A.
See our links
page for more information on international maracatu groups.
Notes
Calunga: a small doll, traditionally made of wax and
wood or cloth and dressed in a costume similar to that of the Dama de
Paço or Raínha. Calungas can be male or female and
maracatus sometimes have more than one. It is said that they represent
African spirits and are given names of previous members of the royal
court.
NB. The above notes are based on Maracatus de Recife by Guerra Peixe, O
Baque Virado do Maracatu by César Maia, and various other
sources (including personal experience), and do not seek to be a
definitive description.
Any further input is most welcome – cashman.
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