Maracatu: Bailey Petersma For students in grades 7-8. Music of Northeast Brazil.

Transcription

1 Maracatu: Music of Northeast Brazil Bailey Petersma For students in grades 7-8

2 History Originating during the 19 th century, the rhythmic music known as maracatu is predominant in the cultural performances of the communities of Pernambuco, Brazil (Kettner 1). Pernambuco, one of Brazil s twenty-six states, is considered to be fairly diverse as it is home to a variety of ethnicities that include Portuguese, African, and the people of Brazil s Indian tribes (Brazil Demographics). Indigenous people primarily inhabited northeastern Brazil until the arrival of the Portuguese in 1500, led by explorer Pedro Cabral. Although this was the first area of Brazil to be discovered, most of the sailors and settlers were interested in developing trade and agriculture, and they did not share the territorial interests of the Spanish conquistadores that had explored the New World before them. Not long after their arrival, the Portuguese discovered that pau brasil (brazil wood) had tremendous value in Europe, sparking the beginning of trade between Brazil and Europe (Brazil History). As trade continued to develop, the Portuguese settlers began to grow sugar to supplement their agricultural expansion. As a result of this, countless Brazilian indigenous people as well as Portugal natives were enslaved to work in the sugar fields. This eventually led to relationships and marriages between the Indians and the Portuguese, beginning in Brazil the extensive ethnic diversity that still exists today (Brazil History). Slavery was common in Brazil until its abolishment in Prior to the abolition, a group known as the Reis do Congo ( Kings of Congo ) was present in Recife, Pernambuco s capital city (Kettner 3). This group came about as a means of maintaining unity among the African slaves, and it was led by one member who was

3 known as the Rey (King) do Congo. The duty of the Rey do Congo was to serve as a mediator between the Portuguese (and later, Brazilian) government and the slaves, as well as a mediator among the different cultures of Pernambuco (Metz). This allowed African practices to be maintained as long as they did not interfere with Catholicism (Crook, Brazilian 234). The Reis do Congo played perhaps the largest role in the development of maracatu. Their traditions included festivities to celebrate their heritage. During these festivals, one member of the group was crowned Rey do Congo. This festival included processionals and danced dramas, both of which incorporated African drumming and singing. The Catholic Church in Brazil eventually began to disapprove of the African processions, causing colonial authorities to ban African costuming from the festivities. This, however, only led the Reis do Congo to change their costuming to incorporate European-style clothing for their king, queen, and royal court (Crook, Brazilian 234). Over time, the various African ethnic groups in Brazil came to be known as nações (nations). Guerra Peixe, author of Maracatus do Recife, believes that the term maracatu developed as an iconic representation of the drumming that was present in the processions of the nações (Crook, Brazilian 235, Kettner 5). Another theory of the origin of the term maracatu comes from Mário de Andrade, who believed that maraca, an indigenous instrument, and catu, an indigenous word meaning beautiful, combined to create the term used today. Both theories are equally popular, and by some manner eventually led to the development of the term nações de maracatu (maracatu nations), which is the term that associated with the maracatu style of music today (Crook, Brazilian 235).

4 In the late nineteenth century, many people of Recife began to protest the maracatu groups, as they felt that the culture associated with these people was disruptive, obscene, and dangerous. This was largely due to the fact that, at that time, many felt as though drumming was an aggressive activity and the instruments used by the people of the nações de maracatu were savage. In reality, the aggressiveness and bold rhythmic feel are now part of the reason so many people today are attracted to the music known as maracatu (Crook, Brazilian 235).

5 Characteristics of Maracatu In the context of today s society, maracatu is performed primarily in the Pernambuco Carnaval that takes place in the days leading up to Lent. Because of the high theatrical involvement of maracatu music, it is mainly presented in performance settings for the purpose of entertainment. Until recently, however, maracatu was shunned during Carnaval due to its close association with African religions in Recife (Crook, Brazilian 237). While these objections have been mostly overcome today, the maracatu de baque virado (maracatu of the turned-around beat) is still strongly associated with the African history that is a part of northeastern Brazil. Maracatu de nação (also known as the aforementioned maracatu de baque virado) contains a theatrical aspect that reenacts the crowning of the Rey do Congo (Crook, Brazilian 237). Some performers of the maracatu de nação (the most common form of maracatu) dress to represent the royal court of the Reis do Congo, while the accompanying percussion group is dressed to represent the African slaves that were once present in Brazil. In most maracatus de nação, the Calunga (a doll) represents the African Nations. The Calunga doll symbolizes the power and unity of the African nations, and its use in maracatu today serves as a reminder of the people s African ancestors (Kettner 3). Maracatu music is considered to be secular, however it often has a deep emotional connection with many of the performers, who are typically those that have a strong sense of African identity. This is primarily due to the fact that the purpose of maracatu performances (aside from the entertainment factor) is to create awareness of

6 African heritage, the enslavement that Afro-Brazilians went through, and the discrimination and inequality that is still faced in Brazil today (Crook, Brazilian 237). Some of the maracatu music is notated, but the majority of these notations have been transcribed by outside listeners. Most of the rhythms and vocal parts are taught by rote; the maracatu groups that perform are so large that newcomers can learn simply by being immersed in the ensemble. A description of a maracatu procession that took place in Recife in 1666 states: After some four hundred men and one hundred women attended mass, they elected a king and a queen, they marched through the streets singing and reciting verses that they themselves improvised, preceded by atabaques, trumpets, and tambourines (translated by Crook, Focus 26). There are two main parts to the music of maracatu de baque virado: singing and drumming. Some of the singing is improvised, while some is taught through call-andresponse, but many of the texts used in maracatu describe the African past of the Afro- Brazilians and emphasize the freedom that they achieved and strive to maintain. One of the most popular songs of maracatu nação describes the coronation of the Reis do Congo: Nagô, Nagô Nossa raina já se coroou Nosso rei que veio de Mina Nossa rainha já se coroou [Nagô, Nagô Our queen has already been crowned Our king who came from Mina Our queen has already been crowned] (Crook, Brazilian 237)

7 The chorus, or coro, of maracatu consists of numerous singers and dancers, the majority of which are often female. The members of the ensemble are all dressed in attire that imitates the Portuguese royal court of the early 1600s (Crook, Focus 93). The royalty consists of the Rei (King), Rainha (Queen), Príncipe (Prince), and Princesa (Princess). Other roles of the maracatu nação include: Damas do Paço: Maid of the Court; played by two females; carry Calunga doll Damas do Buquê: Maid of Flowers; carries a bouquet of artificial flowers Damas Da Corte: Maid of the Court; carries the Goblet Embaixador: Ambassador; man chosen to carry the flag, dressed as nobleman Porta-Estandarte: additional carriers of the flag Pajens: hold the tails of the royal robes Escravo: dressed to represent the African slaves; carries Umbela (umbrella that protects the King and Queen) Lanceiros: Lancer; group that carries lances to protect the maracatu nation All of these characters make up the coro of a maracatu nação (Kettner 5). Crook s translation of Pereira da Costa s famous description of the maracatu creates a vivid image of what is typical within a maracatu procession: The procession begins with a standard bearer flanked by guards, followed by two rows of beautifully adorned women with turbans of ribbons of various colors, small mirrors and other accessories, representing, in the middle of these rows, various characters, who carry religious fetishes a wooden rooster, a stuffed alligator, and a doll in white clothing with a blue veil; and soon after this, formed into lines, come the dignitaries of the court, ending the procession are the king

8 and the queen. These two characters, displaying the royal insignia, such as crowns, scepters, and full capes held up by servants, march under a large parasol and [are] protected by guards (Crook, Focus 99). The tonalities and harmonic structures found in Western music differ greatly from those of maracatu. While some maracatu songs revolve around what could be considered a tonal center, the majority of the songs do not follow any of the harmonic structure that is common in Western music. The melody lines of maracatu have definite contour; most of the melodies start lower, moving upward and then returning to what can be considered a home tone (Maracatu Nações Cambinda Estrela, Encanto Da Alegria, Estrela Brilhante, Estrela Brilhante De Igarassu, Porto Rico). Maracatu follows a similar form and structure among each ensemble in which it is performed. Each song begins with a soloist (often male) singing a call to the ensemble, after which the ensemble responds. The response is sung in unison, however less emphasis is placed on the precision of intonation, as most of the singers in the coro are townspeople with little other musical experience. After a few call and response exchanges, the percussion instruments join the coro, beginning with simple rhythmic patterns that gradually become more complex (Maracatu Nações Cambinda Estrela, Encanto Da Alegria, Estrela Brilhante, Estrela Brilhante De Igarassu, Porto Rico). Because drumming is such an integral part of maracatu, there are numerous types of instruments that are used within maracatu ensembles. The variety in percussion instruments, and therefore timbres, allows the complex rhythms to be played together while still maintaining a balance within the ensemble. The following instruments make up what is known as the orquestra, or the percussionists within the ensemble: The

9 gonguê, a large bell, acts as the clave does in Cuban music, tying the rhythmic parts together. Although maracatu ensembles (or nations, as they are sometimes called) are quite large, there is usually only one gonguê player. Another bell instrument is known as the agogô, consisting of two bells (one high-pitched, one low-pitched) stacked on top of each other (Crook, Brazilian 237, Kettner 6). The alfaia is similar to a large bass drum, and is also known as the bombo or tambor. These drums are traditionally made from a hollowed-out tree trunk known as Macaíba, and exist within the ensemble in three different sizes: marcante: the largest drum, used to solidify the rhythm; meião: the mid-sized drum, used to play a more complex variation of the main rhythm; and repique: the smallest drum, used to play the most complex solo variations within a song (Crook, Brazilian 237, Kettner 6). The caixa, a snare drum made of metal or wood, plays a variety of complex rhythms that add character to the song. A second, smaller type of snare drum known as the tarol is sometimes used to accompany the caixa, but it is never played as the primary snare drum within a song (Crook, Brazilian 237, Kettner 6). The abé is a hollowed-out gourd with a beaded skirt (known as the shekeré in Cuba and Africa) that is used to provide a light, steady pulse throughout the song. A similar instrument known as the ganzá or mineiro is a long metal tube filled with tiny stones or beans, and it is thought to be the predecessor to the abé (Crook, Brazilian 237, Kettner 6). The aforementioned instruments are all types of percussion that are commonly found in maracatu, however the assortment of instruments used on a piece can vary between maracatus de nação. The gonguê, alfaias, caixa, and abé are found in all

10 traditional and non-traditional maracatus de nação. The agogô, ganzá, and tarol, however, are instruments that are not always found in maracatu groups. The inclusion of these instruments often varies based on the number of members of the maracatu nation, as well as the type of song that is being played (Kettner 6). The highly percussive nature of maracatu creates a steady pulse that carries throughout the music. Maracatu is felt in four beats per measure, as the rhythmic patterns played by the orquestra are written in measures with four beats in each. Phrases are felt either every two or four measures, varying based on what is being sung by the coro (Maracatu Nações Cambinda Estrela, Encanto Da Alegria, Estrela Brilhante, Estrela Brilhante De Igarassu, Porto Rico).

11 Works Cited "Brazil Demographics Profile 2010." Index Mundi. Web. 17 Feb < This website provides information about the current demographics of Brazil, allowing the reader to form an idea of the population specifics of the country. "Brazil History." Geographia - World Travel Destinations, Culture and History Guide. Web. 17 Feb < This site provides the reader with information about the history of northeastern Brazil, beginning with its colonization in the 1500s and continuing up to presentday events. The site is a good resource for background information about Brazil s history and culture, however it does not go very in-depth in its content. Crook, Larry. "Chapter 14: Turned-Around Beat." Brazilian Popular Music & Globalization. Ed. Charles A. Perrone and Christopher Dunn. Gainesville: University of Florida, Print. Chapter 14 of this book provides the reader with an extensive amount of information about the history and culture of maracatu. It discusses the instrumentations used within the music, as well as its origin and the performance aspects. Crook, Larry. Focus: Music of Northeast Brazil. 2nd ed. New York: Routledge, Print.

12 This book provides some basic information about maracatu, however the majority of the sections on this culture relate to the impact that maracatu has had on society. The maracatu-related portions of this book would be good resources for teachers who wish to further explore the cultural implications of the maracatu music and nations. Kettner, Scott. Maracatu. First ed. Kettner, Print. Scott Kettner s book about maracatu is a great resource for those who are interested in learning the basics of the maracatu style of music. It is accompanied by a CD with examples that correlate to written transcriptions in the text. It also provides instructions and tips for learning to play the basic rhythms of maracatu. Map. Webster's Online Dictionary. Web. 18 Feb < This map highlights the state of Pernambuco, where maracatu is highly prevalent. Maracatu Nação Cambinda Estrela MP3. This set of recordings is from a maracatu nação known as Cambinda Estrela. The recordings were obtained from Michael Mixtacki, and are authentic recordings of maracatu music. Maracatu Nação Encanto Da Alegria. Pequena Longa Historia MP3.

13 The maracatu nação Encanto Da Alegria is another example of authentic maracatu music. The recordings were obtained from Michael Mixtacki. Maracatu Nação Estrela Brilhante. Maracatu Estrela Brilhante Do Recife MP3. Estrela Brilhante is an authentic maracatu nação. This album was obtained from Michael Mixtacki. Maracatu Nação Estrela Brilhante De Igarassu. 180 Anos. MP3. The maracatu nação Estrela Brilhante De Igarassu is another example of authentic maracatu music. The recordings were obtained from Michael Mixtacki. Maracatu Nação Porto Rico. MP3. This collection of recordings is from an authentic maracatu nação in Puerto Rico. The recordings were obtained from Michael Mixtacki. Maracatu procession. Digital image. Projetofuá.com. Web. 20 Feb < This image depicts a typical maracatu processional found in Brazil. Metz, Jerry D. "Cultural Geographies of Afro-Brazilian Symbolic Practice: Tradition and Change in Maracatu De Nação." Latin American Music Review 22 Mar Highbeam Research. Web. 18 Feb <

14 This essay discusses the history of maracatu and how it came to be a style of music. The author, having been to Brazil, gives a first-hand account of the traditions he saw and the way the maracatu music was performed. Additionally, he describes the symbolism used within maracatu ensembles and the impact that these symbols have on the performers. Mixtacki, Michael. "Information about Maracatu." Personal interview. 17 Feb Michael Mixtacki is a graduate student of Indiana University and has had extensive experience studying the culture and music of northeastern Brazil. He spent the summer of 2010 studying under fellowship in northeast Brazil, learning the area s music and ways of life. He has also studied under Michael Spiro, world percussion professor of Indiana University.