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found in that state's cities, it is substantially different in terms of narrative, practice, and instrumentation. It evolved in the early 20th century as a fusion of pre-existing forms of
Carnival revelry. It is considered to be Afro-indigenous in origin. Its members, typically sugarcane workers, are
638:. Among these is NaĆ§Ć£o Iracema, founded in 2002 by LĆŗcia SimĆ£o and William Augusto Pereira, heads of the first black family in Fortaleza to direct a maracatu nation (current as of 2009). LĆŗcia SimĆ£o also founded CearĆ”'s first black consciousness movement in the early 1980s. This consciousness of
165:, usually female, are traditionally made of either wax and wood or of cloth. They may have clothing made for them in a similar Baroque style to the costumes worn by the other members of the royal court. The
610:
demographic, and its small black population (4.4%) (IGBE 2008), which effects a situation where mostly white and brown people end up performing a traditionally black expression of
Brazilian
657:
in CearĆ” that has mythologized itself as a non-black region of Brazil (thus, the justification for blackface), perpetuating Brazil's longstanding racist ideology of skin whitening.
646:
performance in part as the continuation of CearĆ”'s historical identity as the first region in Brazil to abolish slavery, in May 1884 (the rest of the nation followed suit in 1888).
493:), and there is some dispute over which style most authentically expresses the tradition in CearĆ”. Standard instrumentation is also distinctive. Instead of
673:
da Silva, Ana ClƔudia
Rodrigues. 2004. "Vamos maracatucĆ”!!! Um estudo sobre os maracatus cearenses. Master's thesis, Universidade Federal de Pernambuco.
485:, sometimes as slow as 45 beats per minute. In recent decades groups have tended to divide into those that retain the slow tempo (to express the misery of
733:
da Silva, Ana ClƔudia
Rodrigues. 2004. "Vamos maracatucĆ”!!! Um estudo sobre os maracatus cearenses. Master's thesis, Universidade Federal de Pernambuco.
724:
Conner, Ronald. 2009. "Brazilian
Blackface: Maracatu Cearense and the Politics of Participation." Master's thesis, University of California, Riverside.
73:: "maracatu of the turned-around beat"), the most well-known of the maracatu genres, is an Afro-Brazilian performance genre practiced in the state of
521:
614:. Blackface in this context is intended to pay homage to the African slaves' contribution to Brazilian civilization and is not viewed as a
411:
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participants, at least one
Brazilian scholar sees the development of the tradition in Fortaleza to be intimately tied to a subtle racist
247:. Although several have an unbroken line of activity going back to the 19th century, most have been set up in recent decades. Well-known
749:
English-language broadcast produced for the
University of London's OpenAir Radio. This episode provides an in-depth report on
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161:, a doll representing tribal deities that is kept throughout the year in a special place in the naĆ§Ć£o's headquarters. The
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has since been cultivated as the city's most distinctive
Carnival performance tradition, owing in part to its use of
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is sacred, and carrying this spiritual figurehead of the group is a great responsibility for the female
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perform by parading with a drumming group of 80ā100, a singer and chorus, and a coterie of dancers and
107:
who were granted leadership roles within the enslaved community by the
Portuguese administration. When
221:
108:
554:. Individual groups often add to or slightly modify this setup to create their own distinct sound.
115:
continued to choose symbolic leaders and evoke coronation ceremonies for those leaders. Although a
465:
of the important female personages, particularly the queen. Its rhythms are described locally as
262:
The genre has inspired the establishment of performing groups in a number of cities outside
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include
Estrela Brilhante, LeĆ£o Coroado, and Porto Rico. Each year they perform during the
191:
142:
including a king and a queen. Dancers and stock characters dress and behave to imitate the
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and the Politics of Participation." Master's thesis, University of California, Riverside.
259:, was primarily responsible for introducing the genre to overseas audiences in the 1990s.
8:
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61:
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competition, normally taking place at Domingos OlĆmpio Avenue. The oldest nation,
714:
Conner, Ronald. 2009. "NaĆ§Ć£o Iracema's Rhythm vs. Az de Ouro's Ritmo Cadenciado."
639:
139:
255:
period in Recife and Olinda. Maracatu NaĆ§Ć£o Pernambuco, while not a traditional
462:
93:), refers not only to the performance but to the performing groups themselves.
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678:
Brazilian Music: Northeastern Traditions and the Heartbeat of a Modern Nation
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in 1888, the institution of the Kings of Congo ceased to exist. Nonetheless,
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573:(Golden Ace), founded in 1936, is still in operation. Other nations include
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has a high participation rate with dozens of groups in operation.
131:(bases), and the principles of CandomblƩ infuse their activities.
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filled with metal shot or small dried seeds). The song form is
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makeup to enact Afro-Brazilian characters and male-to-female
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626:, which parodied black speech and character). In fact, some
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183:
392:, rooted in the Pernambucan interior, is also known as
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nations are actively involved in racial equality and
99:ās origins lie in the investiture ceremonies of the
604:reportedly stems from Fortaleza's mostly white and
34:denotes any of several performance genres found in
212:(a gourd shaker enveloped in a net of beads), and
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16:Music genre from the northeast region of Brazil
666:Conner, Ronald. 2009. "Brazilian Blackface:
618:expression (compared, for instance, to the
153:The performance also enacts pre-colonial
453:. Brought to Fortaleza, CearĆ”, in 1936,
426:
377:
18:
404:. Although it shares its name with the
759:
469:, "cadenced," which amounts to a less
85:. The term, often shortened simply to
680:. Santa Barbara, CA: ABC-CLIO, 2005.
127:or Jurema (Afro-Brazilian religions)
422:
119:performance is secular, traditional
13:
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473:, steadier 2/4 meter and a slower
409:involved in the native-influenced
173:(Lady-in-Waiting) of the cortĆØge.
14:
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176:The musical ensemble consists of
55:
42:. Main types of maracatu include
532:, or snare drum. Instead of the
649:Contrary to the claims of most
109:slavery was abolished in Brazil
727:
718:
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228:singer and (usually) a female
157:traditions, like parading the
1:
438:queen. Pre-Carnival show in
48:(nation-style maracatu) and
7:
747:Pernambuco Trilogy ā Part 3
550:, to keep its steady duple
239:operating in the cities of
182:(a large wooden rope-tuned
103:(Kings of Congo), who were
10:
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538:, large single-head bell,
449:is Fortaleza's variant of
235:Today there are around 20
77:, mainly in the cities of
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767:Brazilian styles of music
565:'s traditional municipal
700:
71:maracatu de baque virado
52:(rural-style maracatu).
442:, CearĆ”, February 2009.
394:maracatu de baque solto
772:Afro-Brazilian culture
557:Every year, different
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27:
477:than is found in the
430:
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216:(a metal cylindrical
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620:blackface minstrelsy
577:(Voices of Africa),
546:, a heavy iron-slab
402:maracatu de trombone
398:maracatu de orquesta
632:black consciousness
146:royal court of the
123:are grouped around
561:nations parade in
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206:(or "war-snare"),
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668:Maracatu Cearense
651:maracatu cearense
644:maracatu cearense
642:operates through
628:maracatu cearense
602:maracatu cearense
559:maracatu cearense
540:maracatu cearense
455:maracatu cearense
447:Maracatu cearense
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423:Maracatu cearense
222:call and response
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661:Further reading
640:racial equality
634:initiatives in
579:NaĆ§Ć£o Fortaleza
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503:tradition uses
431:Cross-gendered
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204:caixa-de-guerra
105:enslaved people
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69:(also known as
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38:, Northeastern
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406:maracatu naĆ§Ć£o
390:Maracatu Rural
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97:Maracatu naĆ§Ć£o
67:Maracatu naĆ§Ć£o
62:Maracatu NaĆ§Ć£o
60:Main article:
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596:The use of
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499:drums, the
276:Quebec City
198:(a shallow
761:Categories
571:Az de Ouro
517:Pernambuco
483:Pernambuco
471:syncopated
467:cadenciado
415:religion.
385:performers
348:Manchester
224:between a
200:snare drum
144:Portuguese
75:Pernambuco
36:Pernambuco
655:discourse
598:blackface
563:Fortaleza
542:uses the
459:blackface
436:blackface
360:Melbourne
336:San Diego
320:Edinburgh
312:Stockholm
190:(a metal
129:terreiros
125:CandomblƩ
30:The term
696:(ebook).
612:Carnival
567:Carnival
548:triangle
501:cearense
491:Carnival
364:Brisbane
344:Portland
324:Brighton
257:maracatu
253:Carnival
163:calungas
150:period.
117:maracatu
32:maracatu
622:of the
607:caboclo
487:slavery
440:Caucaia
412:CatimbĆ³
352:Bristol
340:Seattle
332:Oakland
328:Madison
300:Hamburg
292:Cologne
272:Toronto
214:mineiro
192:cowbell
167:calunga
159:calunga
155:African
148:Baroque
26:dancers
692:
684:
616:racist
589:, and
552:rhythm
535:gonguĆŖ
496:alfaia
400:, and
368:Madrid
366:, and
356:Oxford
316:London
304:Vienna
296:Berlin
284:Austin
268:Lisbon
264:Brazil
249:naƧƵes
245:Olinda
241:Recife
237:naƧƵes
230:chorus
218:shaker
188:gonguĆŖ
179:alfaia
136:naƧƵes
121:naƧƵes
113:naƧƵes
91:naƧƵes
83:Olinda
79:Recife
40:Brazil
701:Notes
636:CearĆ”
544:ferro
529:]
522:Tarol
512:bombo
506:surdo
475:tempo
196:tarol
87:naĆ§Ć£o
690:ISBN
682:ISBN
308:Lyon
243:and
226:solo
184:drum
81:and
600:in
509:or
481:of
209:abĆŖ
202:),
194:),
186:),
763::
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232:.
753:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
