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MARACATU
The Rhythm that inspired Chico Science and the Mangue Beat Movement
Contributed by:
Scott Kettner and Phil Ballman
For years, most Americans have associated Brazil with samba, overlooking the numerous regional rhythms and music styles which are tremendously popular throughout Brazil. A perfect example is Maracatu- a dynamic rhythm from the Northeast, propulsive and dramatic, steeped in African traditions with heavy religious overtones. Deep bass tones are sounded on alfaia drums, which 'cut' against the beat. Crackling snares provide crisp rhythmic counterpoint, and the ringing tones of double bells (gongue) delineate the rhythmic structure. Think of the nastiest funk drumbeat you've ever heard, and then increase the intensity exponentially and you'll be close. Beautiful call-and-response songs provide melody and harmony, floating over the roar of the drums.
In the last ten years, the biggest musical success story out of Brazil has been the explosion of music from the economically impoverished, culturally rich Northeast. World-famous musicians like Chico Science and the Mangue beat movement that sprung up around him used Maracatu as a springboard for contemporary fusions in the same way that Jorge Ben Jor and other MPB artists used samba a generation earlier.
Maracatu de Baque Virado
Maracatu Nação or Maracatu de Baque Virado. This cultural performance derives from a ritual of the African slaves in Recife (capital city of Pernambuco) 400 years ago when they crowned their own king inspired by the Portuguese colonizers. Although nowadays the crowning part of the ceremony has disappeared, a parade of Maracatu de Baque Virado still symbolizes the royal court accompanied by a percussion group representing slaves.
The origins of Maracatu can be traced back to the Reis do Congo (Kings of the Congo) procession. The institution of the Kings of Congo (or Reis Negros i.e. Black Kings) existed in colonial Brazil from the second half of the 17th century until the abolition of slavery, in 1888. The King of Congo was a black African (slave or freeman) who acted as an intermediary between the government (Portuguese or, after independence, Brazilian) and the African slaves. He was expected to control and keep peace among his "pupils." From this institution, which existed throughout Brazil, different folk manifestations evolved in several regions of the country. It was in Pernambuco that the culture and music of Maracatu de Baque Virado evolved, and to this day still plays an important role in the community.
The coronation of the King of Congo was an event that involved a procession, theatrical display, music and dance. With the abolition of slavery, the institution lost its significance, but part of these traditions remained in the gatherings of maracatu. After the Kings of the Congo came to an end there was a natural shift in authority from the King of Congo to the religious leaders of the black communities, the maracatus thus becoming naturally linked to candomblé (an African derived religion in Brazil).
Information from SOB's
On November 21, 2004, New Yorkers will get a very rare chance to experience a slide show about Maracatu followed by a full performance of this music. Maracatu NY and Jorge Martins will be performing at S.O.B.'s with up to twenty musicians and dancers in full costume. This concert is Maracatu's 'coming out' party in New York City- a chance for music lovers to hear the roots of mangue beat music. One of the foremost practicioners of Maracatu in Recife, Master Jorge Martins, member of Estrela Brilhante, founding member of Cascabulho (a pioneering mangue beat group), will be the evening's very special guest. SOBs is located at 204 Varick St. @ Houston St., NYC:
Doors 6:30, slide screening/discussion 7:30pm, show 8pm
FURTHER INFORMATION SUPPLIED BY MARACATU New York (www.maracatuny.com)
Maracatu New York is New York's first and only Maracatu ensemble who dedicate themselves to the performance and knowledge of traditional Maracatu de Baque Virado and other musical styles from the Northeast of Brazil, while fusing these elements with the New Orleans "Second Line" rhythms. Upon returning to New York after an extended study of Folkloric Afro-Brazilian music, Scott Kettner founded Maracatu New York in the hopes of exposing the community to a rhythm outside of the popularly known music of Brazil such as samba and bossa-nova. The mission of Maracatu NY is to expose the community to this traditional Brazilian folk art and heighten the awareness of Brazilian music beyond that of Samba and Bossa Nova. Maracatu NY and Scott Kettner also host an annual cultural exchange program between Recife, Brazil and New York. This year marks our second annual cultural exchange program with Jorge Martins as our guest artist-in-residence.
JORGE MARTINS da SILVA: (guest artist-in-residence) Master percussionist, educator and recording artist, Jorge Martins is an internationally known educator and performer from Recife, Brazil. In addition to his educational endeavors, Martins performs with world-renowned Brazilian pop phenomenon "Cascabulho". Cascabulho was featured at Central Park's SummerStage in 1997 and toured the United States and Europe. Martins is also a 12 year member of "Estrela Brilhante", one of the oldest traditional Maracatu groups in Brazil. His passion for teaching Maracatu and other Afro-Brazilian rhythms led Jorge to create "Corpos Percussivos", a percussion school in Recife where he acts as the artistic director and founder and educator. More recently Jorge has founded "Tambores do Pilar", an outreach program to help get poor kids off the streets in Brazil by teaching music and percussion. Every week Jorge and Corpos Percussivos go into the favelas (poor neighborhoods) and give classes to underprivileged children.
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