O maracatu It is a cultural manifestation composed of music, dance and other cultural elements brought by enslaved people from the African continent. Its emergence occurred in Brazilian colonial period, in the state of Pernambuco.
The realization of maracatu is differentiated into two types: maracatu nation or baque virado and rural maracatu or baque loose.
The word maracatu originates from the terms maraca, which means indigenous percussion instrument, and catu, which means “good/beautiful” in Tupi.
On August 1st, the National Maracatu Day is celebrated. The date aims to strengthen cultural tradition and is a tribute to the birth of master Luiz França, who was responsible for commanding Maracatu Leão Dourado for 40 years.
Read too: Carimbó — a traditional round dance from the state of Pará
Summary about maracatu
Maracatu emerged in the 18th century in the state of Pernambuco, during Colonial Brazil.
The demonstration is related to cultural aspects brought by enslaved people from the African continent, being a reformulation of the coronation of Congolese kings and queens.
It emerged as a form of resistance by enslaved peoples against Portuguese colonizers.
There are two types of manifestation of maracatu: the nation or baque virado and the rural or baque loose.
Maracatu Nation is the oldest and represents the coronation of African queens and kings.
Rural maracatu, on the other hand, began to be practiced by rural workers on sugar cane mills.
Origin and history of maracatu
Maracatu is a cultural manifestation that arose in state of Pernambuco in the 18th century during the Brazilian colonial period.
The enslaved blacks who came from the African continent brought different cultural traditions from the most diverse ethnic groups. Congo's cultural elements are one of them. Congo's tradition highlights the coronation of kings and queens and is expressed through dances and in reference to religious practices, wars and community festivals.
As time went by, there developed a process of moving away from the original aspects of the Congo coronations and a formulation of cultural elements through a miscegenation.
In this context, maracatu was born. the maracatu reinterprets the coronation of African queens and kings. The first records of the practice are from 1711.
![Maracatu block in the city of Olinda, in Pernambuco. [2]](/f/1a0f21f4edd737b4c26eda4cbe90cb77.jpg)
This expression is recognized as a mechanism of resistance by the enslaved. in relation to the oppression of the Portuguese colonizers.
after the end of slavery in Brazil at the end of the 19th century, maracatu began to be gradually inserted as a part of the carnival celebrations in the city of Recife.
The popularization of maracatu in other Brazilian regions occurred in the 1990s. This process was intensified with the action of some groups such as the Unified Black Movement and the Leão Coroado Nation (one of the most traditional in Recife).
See too: WongadThe - the most traditional folk form of coronation of African queens and kings that developed in Brazil
types of maracatu
Maracatu is formed by Brazilian folk music, dance movements and elements of reference to religious cults. The costumes used by practitioners refer to African, indigenous and Portuguese cultures.
The manifestation differs in two types of celebration, being the nation maracatu or baque virado and the rural maracatu or baque loose. See about them below.
→ Maracatu nation or baque virado
Maracatu Nação or Baque Virado and the type oldest and is characterized by the representation of a royal procession togetherO to a percussive group. Magical and religious elements of Pernambuco culture make up this type of maracatu. Terreiro religions, such as candomblé (or xangô), jurema and umbanda, are related to this expression.
The meaning of nations refers to the way enslaved people organized themselves or were organized by colonial authorities. The name of the nation is related to the origin of its members — for example, the Cabinda nation and Angola.
The Maracatu Nation groups originate from peripheral communities in the metropolitan region of Recife.
![Presentation of Maracatu Nation in the city of Olinda, in Pernambuco. [3]](/f/cbfead6ebb97b6cf55d741e2f6c964f4.jpg)
In 1955, César Guerra Peixe systematized the practice of maracatu nation in the work Maracatus do Recife. Since then, the publication has become a reference for the demonstration. Maestro César was the first researcher to talk about the distinction between the two main types of maracatu.
◦ Characters and elements of Maracatu Nation
The presentation of Maracatu Nation is made up of different characters and elements. Thus, O beginning of the procession is marked by the open-wing car which carries the symbol of the group.
Right away, a standard bearer (dressed as Luís XV)drive a banner, which has the name of the association and its founding date.
The ladies of the palace come next wielding the slanders, which are dolls that represent the ancient ancestors (orixás). The ladies of the palace must fulfill certain religious tasks in order to be able to carry this object. Both these women and the dolls symbolize the axé of the group.
The caboclo Arreaiamar also participates in the opening of the parade. He is an indigenous character who carries a bow and arrow, called preaca, and wears a large headdress with feathers. His steps mix caboclinho dance moves with frevo.
Besides these, other characters who participate in the presentation of maracatu are the following:
Front ladies: they carry flowers or trophies from previous maracatu competitions. Their clothes have characteristics of European origin.
Orixá wing: perform during the presentation.
Rich Baianas: they wear wide skirts, some with costumes reminiscent of axós, used in terreiros.
Baianas de Cordon or Catirinas: they accompany the procession on the sides and wear costumes made with flowered cotton.
Lancers: guards who symbolically protect the queen and king.
royal couple: they wear very well-crafted costumes adorned with sequined edges, stone and aljofre applications. The king and queen are protected by the pallium (a symbol of royalty) and by pages, fan holders, lamp holders and the royal guard.
Ward of the Enslaved: they carry work tools with them, such as scythes, hoes and shovels.
It is also important to highlight the existence of the batuque. The batuque is the set of percussive instruments that produces the musical effect of maracatu. It is played throughout the procession.
![Batuque members of a maracatu nation group in the city of Olinda, Pernambuco. [4]](/f/367b1ff5415ac5f292cfac912811a0cf.jpg)
The practice of maracatu nation, by involving ethnic-racial and cultural aspects, has contributed to the development of public policies to promote racial equality.
The maracatu tradition involves, in addition to the presentation of the procession itself, the entire production process and preparation for the practice. The groups form communities that share among themselves ways of doing things and knowledge about the tasks of making costumes and musical instruments.
The musical language of Maracatu Nation expanded not only for other Brazilian states as well as for other countries, such as Germany, Canada and the United States.
In this expansion process, the practice came to be recognized as a percussive group. These groups are made up of mostly white people and began to emerge in the late 1990s.
→ Rural maracatu or thump loose
The rural maracatu or baque loose, also known as orchestral, is traditional from Zona da Mata, located in the north of the state of Pernambuco.
The origin of this type of maracatu is associated with sugar cane mills.. The demonstration began to be practiced by rural workers who worked in planting and cutting sugarcane.
![Performance of rural maracatu during Carnival in Recife. [5]](/f/868eaced947d15ba8f43e6069e631a8d.jpg)
Faced with the context of violence experienced by these peasants, rural maracatu emerged as a way of expressing freedom and contesting the authoritarianism of planters.
With regard to the characters and elements of this type of maracatu, the protagonist of rural maracatu is the caboclo de lance. The costume draws attention, and he performs movements with spears in different directions. In addition to the caboclos of feathers, there are baianas and the bouquet ladies.
The characters form two circles. The caboclos de lance form a larger and outer circle. In a smaller circle, there are the baianas and the ladies with a bouquet.
In the center are the court, the caboclos in feathers and the standard.. The caboclo de pena, also known as arreia-má (which means “the one who removes evil”), is a figurative element of catimbó.
Important:Sambadas are known as the meeting of two maracatu groups. In them, the masters duel improvised poetic passages. The dispute is marked by a moment of relaxation and lightness among those present.
Also access: Frevo — another cultural manifestation that originated in the state of Pernambuco
maracatu instruments
Check out which maracatu instruments are:
Tools: large drums that are covered with skins on both sides. They are formed by a string tying system that conducts their tuning. They are diverse in size, function, sound effect and materials of manufacture. Examples are plywood and macaiba.
Gongue: percussion instrument made of iron that measures from 20 to 30 cm. The structure is formed by a kind of bell with a flattened mouth and a stem.
war box: drum covered with skins on both sides that produces a drumming sound.
Ganza: it is formed by a tube made of metal or plastic that forms a rattle. Its sound is produced by cereal grains or sand placed in the internal compartment.
Xequerê or agbe: it is a gourd surrounded by beads. It has a complementary function to the batuque and similar to the ganzá.
Atabaque: It is a low cylindrical drum of African origin very common in candomblé.
image credits
[1] Erica Catarina Pontes / Shutterstock
[2] Tetraktys / Wikimedia Commons (reproduction)
[3] Laila Santana / City Hall of Olinda / Wikimedia Commons (reproduction)
[4] Birdie / City Hall of Olinda / Wikimedia Commons (reproduction)
[5] Elysangela Freitas / Shutterstock
By Lucas Afonso
Journalist