Maracatu: Music of Northeast Brazil

Bailey Petersma For students in grades 7-8

http://www.websters-online-dictionary.org/definitions/Pernambuco http://www.projetofua.com.br/arteregional/musica.htm

History

Originating during the 19th 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 1888. 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

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).

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).

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

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-and-

response, 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 [Nagô, Nagô

Nossa raina já se coroou Our queen has already been crowned

Nosso rei que veio de Mina Our king who came from Mina

Nossa rainha já se coroou Our queen has already been crowned]

(Crook, “Brazilian” 237)

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

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

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

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).

Works Cited

"Brazil Demographics Profile 2010." Index Mundi. Web. 17 Feb. 2011.

<http://www.indexmundi.com/brazil/demographics_profile.html>.

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. 2011. <http://www.geographia.com/brazil/brazihistory.htm>.

This site provides the reader with information about the history of northeastern

Brazil, beginning with its colonization in the 1500s and continuing up to present-

day 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, 2001. 233-44. 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, 2009.

Print.

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, 2009. 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. 2011. <http://www.websters-online-

dictionary.org/definitions/Pernambuco>.

This map highlights the state of Pernambuco, where maracatu is highly prevalent.

Maracatu Nação Cambinda Estrela. 2003. 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. 2003. MP3.

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. 2002. 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. 2011.

<http://www.projetofua.com.br/arteregional/musica.htm>.

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. 2008.

Highbeam Research. Web. 18 Feb. 2011. <http://www.highbeam.com/doc/1G1-

185248274.html>.

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. 2011.

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.