Pólo Multicultural MARACATU DE BAQUE SOLTO PIABA DE OURO
The Afro 1T.N.Stage and the . Noite dos Tambores Silenciosos (at Pátio do Terço) constitute two of the events that most approximate this reality, by conjoining in the same space subjects of varied tendencies. Although the influence of Afro-Brazilian religions can be more explicitly verified in the “Twisted Stroke Maracatu” and Afoxé groups, once they use in their repertoire typical rhythms and lyrics of Xangô temples and their participants perform with African or religious style costumes (2T.N.bracelets, panos-da-costa, bead and torso threads), other manifestations such as “Loose Stroke Maracatu”, Caboclinhos, “Samba Schools”, “Bear”, Boi de Carnaval, Troças, Blocos de Pau e Corda, “Puppet” and “Frevo” clubs also have a strong connection with that type of religious practice. The “Carnival Troça” called Abanadores doArruda, for instance, expresses its devotion to the orixás (deities) by the colours used in some fancy dresses and in its banner. The red and green reveal the group’s relationship with the orixá Ogum – alleged to be knowledgeable about the metallurgy and the power to transform the iron in weapons and utensils, necessary to the war and agriculture. The following account, by Cláudio Brandão, president of the “Clube de Boneco Seu Malaquias, reinforces and illustrates the connection between carnival and religion in Recife, specifically in the fact that some revellers use the colours of their protector orixás in the carnival clubs they create: “the colours of the puppet are red and white because my grandfather devoted Xangô; and my father told me to keep this tradition”. In this sense, some time before the festival, some association leaders, with the purpose of preserving the basis of the group and its religious memory, initiate the so called “ritual for the ‘play’s’ protection”, also denominated calço that can be individual or collective. It is a sort of spiritual cleansing, with the intention of protecting, preventing from the evil. In their belief, the non execution of such practice bring serious harms, either for the associatior or the ‘players’ themselves. The magic portions for protection are diverse: herbs bath, lavender perfums, candles all over the body, honey, smoking, drinking of herbal beverages, etc. Each group has its own manner of using them. There are cases in which the whole association concentrates in the terreiro to accomplish the rituals: costumes, adorns, musical instruments, everything involved in a sacred atmosphere. Great part of the “Twisted Stroke Maracatus” and Afoxés, for example, have a session conducted by the Ialorixá (female leader) or the Babalorixá (male). Nevertheless, there are groups that for not possessing their own place, gather to fulfill their religious obligations in the residences of their leaders, who improvise in the living room or in the backyard a sacred place to receive their spiritual masters or deities, in order to carry out their protection rituals. It is the case of Caboclinho Sete Flexas, whose president - “Mestre Alfaiate”- performs all the necessary steps
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prior to the group’s departure to the streets. “When the Carnival period arrives, I do this: I offer an oblation to the caboclo (deity). When it’s possible, I go to the woods to fulfil an obligation, I offer an animal, some fruit, fire candles. But to go to a terreiro here, there, anywhere, definitely not, I do it myself”. Although it is clearly verified in the great majority of carnival associations their close relation with the Afro-Brazilian religions, many groups have catholic saints as their patrons. For example, The Clube da Pás has devotion for St. Joseph; the Bloco Banhistas do Pina for Our Dear Lady of Immaculate Conception; the Clube Lenhadores Olindense, St.Peter, among others. In the headquarters of such institutions, this symbolic connection with the spirituality is expressed, mainly, by the altars, common practice of the popular catholicism, through which the devotees decorate with flowers, candles and rosaries the veneration place of the saint protector’s image. This way, the concious or unconcious reutilization of the meanings, historical or cultural references, related to religious practices, by these carnival clubs, uncovers the established tension between the previous meanings and the new use. It all constitutes resistence means, translated through out the time, in the daily life of these groups, by means of instituitions, but also under “deaf”, implicit forms – and sometimes not so deaf at all. In this movement, through which the revellers transport to the Carnival their connection with the divine, we can identify the silent, slow, careful and skillful development of a dense invisible web, whose network happens to be extended all over the city, in such a way that it interferes in the organizational, functional and symbolic structure of the festival itself. This network is transgressive of the public order and institutionalizes new spaces of circulation. The street turns to be the territorial domain of caboclinhos, afoxés, maracatus, bois, troças and clubes. It is the “practised place”. The alleys, corners, forecourts, avenues and stages constitute new circulation spaces, whose itinerary is strongly defined and conquered. The street carnival of Recife, thus, reveals itself, translated in the strong features of the constituting elements of the population’s imaginary. Sacred and profane interweaving territory; domain of the mixture between the reality and the representation of reality.
Night of the Silent Drums – a gathering of maracatus. At midnight, all drums fall silent and lights are turned off, while the Babalorixá prays and sings chants honouring Our Dear Lady of Rosary and special songs to the eguns (the dead). Esta nota também está presente nos textos sobre o Maracatu Nação.
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Rectangular white or bicolor (striped) piece of cloth used on the shoulders hanging to the back. The word costa may be a reference to the Ivory Coast or to the Portuguese word for the back, part of the body covered by this cloth.
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