#braziliers | Explore Tumblr posts and blogs

ariel-seagull-wings · 7 months ago

Text

BUMBA MEU BOI

@themousefromfantasyland @the-blue-fairie @thealmightyemprex @piterelizabethdevries @professorlehnsherr-almashy @princesssarisa @tamisdava2 @faintingheroine @grimoireoffolkloreandfairytales @shelleythesapphic @amalthea9

The bumba-meu-boi, (bumba-boi, boi-bumbá, etc.) is a very popular and widespread comic-dramatic dance, which tells the story of the death and resurrection of an ox. It started at the end of the 18th century in the coastal sugar plantations and cattle ranches of northeastern Brazil and from there it spread to the north and south. Its name comes from the verb bumbar, meaning to beat up or against, and the expression is chanted by the crowd as an invitation for the ox (the men under the ox costume) to charge against them.

Brought to Brazil by the Portuguese, along with the influence of indigenous and African cultures, it emerged in the 18th century, when cattle were important for the local economy.

Many different origins of Bumba Meu Boi have been proposed. However, the most commonly believed one is from mid-18th-century Brazil lower-class communities that were left very little from the wealthy and forced to live dreadful lives. It was through these rough conditions that Bumba Meu Boi was born to bring joy to these deprived communities, as well as to provide men with an internal form of rebellion. These communities consisted of slaves and rural workers. So from the start, Bumba Meu Boi was created from people of mixed origins.

Throughout the 20th century and the turn of the 21st century, the festival experienced large amounts of popularization, spreading to all corners of the nation. This created large variations of the festival to form, depending on the central values of each community it is celebrated in. Today, its variations and the Brazilians who celebrate them can be sorted into two main categories of people. There are those who continue to celebrate the festival in its traditional forms, who mainly live in northern, northeastern, and Amazonian cities and villages, especially in Maranhão, though it also exists in central regions as well.

These forms of the festival still maintain a large focus on the rebellious features of the play towards the upper class, providing Brazil's lower class with a strong cultural connection to Brazil's past. Then there are those who embrace its modern form, which is more constantly altering to modern trends and is aroused by the media. These forms of the festival allow Brazilians to embrace the more current, festive cultures of Brazil.

Rationally, this form exists in more populated, modernized cities such as Rio de Janeiro, and is perceived by traditionalists to have lost the meaning of the celebration.

As it became more popular throughout northeastern communities in the 21st century, people began performing it for the entertainment of others, rather than merely for self-enjoyment.

It was at this point that it evolved from a family affair to a communal one.

This also made it more important within lower-class Brazilians' social lives, as it brought everyone together.

By the 20th century the play became an annual and biannual event, transitioning to its modern form as a festival.

The ox was placed as a centerpiece because, at the time, it was seen as an animal of high economic regard due to its use in farming.

Oxen were also highly involved in colonists' social lives, as bullfighting and calf-dancing were very popular.

These are thought to have been passed down from lower-class Portuguese families, as similar social activities can be traced back much further in Portugal.

A literal translation for "bumba my ox" could be "dance my ox".

It is recognized as Intangible Cultural Heritage of Humanity, by the United Nations Educational, Scientific and Cultural Organization (Unesco), and as Cultural Heritage of Brazil, by the National Historical and Artistic Heritage Institute (Iphan).

It is a parade of human and animal characters, and fantastic creatures from Brazilian Indigenous mythology, such as the Caipora, to the sounds of music and singing.

It takes place during the Christmas season in certain states and in June in the states of Maranhão and Amazonas - during the "festas juninas" dedicated to St. John and St. Peter.

There are usually a group of singers and the "chamador" or caller, who introduces the characters with different songs.

The instruments used are the acoustic guitar, Brazilian tambourine, tamborim and accordion.

The bumba-meu-boi appears in northern Brazil as boi-bumbá or bumba-boi and in the island of Santa Catarina, in southern Brazil, as boi-de-mamão.

Mamão is the Brazilian word for papaya. It is believed that originally a green papaya was used as the ox head, and that's where the name apparently comes from.

In the city of Parintins in the Brazilian Amazon, tens of thousands take to the "bumbódromo" (Parintins' answer to the "sambódromo" of Rio de Janeiro) where they sing and dance to the music of the boi by two rival groups that parade with huge floats and fabulous costumes: the red called Garantido and the blue, Caprichoso. It's become a great destination for tourists in the Amazon.

In the city of São Luis do Maranhão and its environs there are many different groups, with elaborate costumes and different styles of music, which are called "sotaques:" "sotaque de orquestra," as the names says, uses an orchestra of saxes, clarinets, flutes, banjo, drums, etc; "sotaque de zabumba" employs primarily very large drums; and "sotaque de matraca," a percussion instrument made of two pieces of wood that you carry in your hands and hit against each other.

Some matracas are very large and are carried around the neck. In Pernambuco, bois go out at carnaval time in a more informal way.

THE STORY

Finding a single true plot behind the story of Bumba Meu Boi is near impossible due to all its variances throughout different communities in Brazil.

However, the most common performance will go as follows:

The Musical begins with the singing of the overture form the Chorus, who may sing a multitude of songs specifically for Bumba Meu Boi. Usually the first to walk into the room is Cavalo Marinho (or Amo, the owner of the farm), wearing a costume that makes it appear as though he is riding a horse.

He entertains the audience with rhythmic dancing until the Chorus announces of the entrance of important characters, such as a cowboy named Mateus (or Pai Francisco), who may have another cowboy with him named Birico.

A pregnant woman named Catirina usually enters with the Cowboys. She is played by a man, which is almost always the same for all female roles in the performance.

After a dance of their own, Catirina proclaims her need to consume the tongue of an ox or bull, for she fears her baby will die, or sometimes have certain birth defects if she doesn't.

The story follows Mateus (or Pai Francisco) as he leaves to find an ox. He has many comedic encounters with secondary characters, such as a giant and a donkey. In other forms of the story, the ox belongs to the village and there is no journey to find it.

Next, the ox enters the room and the audience cheers, as it is the most beloved role. The ox may perform a number of dances, and often one known as "Lundu", which involved tap dancing.

The ox is then killed, and the audience remorse's and even cries. Often the ox is killed because it attacks the cowboys, Catirina, and the audience, or it happens by accident.

Songs are then sung, mourning the death of the ox, followed by Mateus cutting out the ox's tongue and offering it to Catirina.

Next Cavalo Marinho (or Amo,the owner of the farm) re-enters and demands the capture of the one who killed the ox, as it is a useful animal to the farm.

He also requests a Doctor (or indigenous healers, the pajés,in Maranhão) to try to bring the ox back to life.

Before doctors arrive, a priest arrives, to bless the ox and to simultaneously marry Mateus and Catirina.

The story alters largely here; one or sometimes two doctors may come, to try a variety of comical procedures to save the ox. Witches are also known to come in some.

All who attempt to save the ox are mocked by the audience. In Maranhão, when the indigenous healers (pajés) are summoned to save the ox, and when the ox resurrects mooing, they all participate in a huge feast to commemorate the miracle.

In other forms a Doctor places a special green leaf in the ox mouth. As the ox is revived, the audience cheer, sing songs of praise and dance around the ox.

At some point in this final scene the Capitão do Mato or police arrives which is a man dress in a military outfit.

He is then mocked by the Audience and by other characters in the play as well.

Lastly the Farwell begins as the Chorus sings, and the performers dance, which can be well-mannered or offensive depending on the entertainers' opinion of the reactions of the audience to the performance.

CHARACTERS

The Band: Is typically positioned visually on the side of the stage or room, and is responsible for creating a beat for the performers to dance to. The band consists of String, air, and percussion. In Maranhão, there are also matracas, maracás, pandeirão, pandeiros and tambor onça and zabumbas (types of drum).

The Chorus: Is off-scene for all of the play and is responsible for the introduction of each character as they appear on-scene. Within the Chorus, the Violeiro, and Cantador are guitar players whose energy and speed of play is important to the atmosphere of the play. Additionally, they are responsible for the improvisation of new songs that go along with what is occurring in the musical, and the surrounding community.

Amo: in Maranhão, represents the role of the owner of the farm, commands the group with the aid of a whistle and a maracá (maracá of the master) sings the principal toadas (songs).

Cavalo Marinho: In Pernambuco, he is the main character with the highest authority in the play and the first to arrive on-scene. He is typically white, representing a Portuguese heritage, and wears a naval captain's costume, including a colored coat with golden ornaments hanging from it. Also, red striped pants, a red satin ribbon across his chest (sometimes), and a crown made of paper, covered with small mirrors and ribbons. Additionally, he is seen carrying a sword and has a protruding addition to his costume, making it appear as though he is riding a horse.

Vaqueiros (Cowboys): These characters consist of Mateus (or Pai Francisco, in Maranhão), and often Birico or Sebastião. There may also be other cowboys as well, however, they are insignificant. Their role in the play is as energetic jokesters, who obey the orders of Cavalo Marinho, and are meant to arouse the audience with laughter and remarkable dancing. The Vaqueiros tend to mainly mock the roles of authority in the play such as the Cavalo Marinho, Doctor, priest, and Capitão do Mato (police). Lastly, Mateus tends to be decorated with many noisy bells hanging from his clothes, and Birico will typically wear a mask, while both carry whips in hand.

Indios, Indias and caboclos (indigenous people): have a mission to locate and arrest Pai Francisco. In the presentation of the bumba meu boi of Maranhão, they provide a beautiful visual effect due to the beauty of their clothes and the choreography they perform. Some groups, especially the sotaque de matraca have the royal caboclo, or caboclo de pena (feather), which is the greatest outfit of bumba meu boi. Caboclos de fita are pessoas with hats with colorful ribbon and they blend into the cowboys during a party.

Catirina: As almost all female roles in Bumba Meu Boi, she is played by a man, as a black, provocative woman. She is also pregnant and the mistress of Pai Francisco/Mateus. She is also a comedic character, who is known to dance a frantic Samba. She is very significant in the story, as she is the one who requests the arrival of the bull for its tongue. Sometimes, a secondary female character comes out with Catirina, named Dona Joana. She is also a black woman played by a man, who normally wears amusing ornaments.

Pai Francisco, Chico or Mateus: Catirina's husband, vaqueiro (cowboy), dress in simpler clothes. His role is to provoke laughter in the audience.

The ox: one or two men under a structure usually made of bamboo, covered with colored fabric, such as velvet. The head can be an ox skull or a mask adorned with flowers, stars, and ribbons. The ox has the largest effect on the crowd, and its death and resurrection is the basic framework of the play. In Maranhão, it is called Miolo to the person responsible for the evolutions and choreographies of the ox.

Capitão do Mato: An aggressive man wearing a military costume, who represents the authorities or the police. He is heavily mocked by the audience.

Priest: Is played by a man wearing an elegant robe of sorts, usually with some type of religious symbol on it, such as a cross or Mary, the mother of Jesus. He Arrives on-scene to bless the dead bull, and the marry Mateus and Catirina. Like all characters of high social status, the Priest is heavily mocked and disrespected by the audience, and other comedic characters.

Doctor: Is typically played by a one or many men wearing a higher-class gown. His procedures to save the ox life are usually foolish and are all ridiculed by the crowd. In Maranhão, indigenous healers, the pajés, try to bring the ox back to life.

In longer versions, where Mateus (or Chico or Pai Francisco) and Birico embark on a journey to find the ox, the secondary characters they stumble upon are usually two or three of the following:

Burrinha or Zabelinha: This is a role of an unattractive woman riding a donkey, who tends to please the audience with a fast tap dance. Though the dance is impressive the character is meant to look unorthodox.

Gigante: This is the role of a giant played by a man wearing a mask made from calabash, with a big mouth, nose, and eyes to represent a giant. He also wears a large cotton wig and rides on a horse (similar consume design as Cavalo Marinho). The role is known for it character's acrobatic dancing, music sounds like death screams, and forest sounds.

Caboclinha: A man plays an Amerindian girl wearing a costume made of feathers, and rides a goat. She will often skillfully dismount from the goat and kills it with an arrow.

Ema: An exotic bird, played by a boy weighed down by a straw basket full of trash, who moves like a bird, flapping his arms about frantically. He is meant to look foolish.

Babau: A truly dreadful animal played by a man under a sheet, clicking together the jaws of a horse.

Mutuca – in Maranhão, are responsible for the distribution of cachaça to all dancers not to sleep during the marathons of presentation of my bumba meu boi.

Cazumbá: in Maranhão, a character covered in green leaves, and wears a horrifying mask. Is called, or arrives uninvited to save the lifeless ox by performing witchcraft rituals.

#brazil #folklore #theater #dramatic dances #bumba meu boi #boi bumbá #festas juninas #fantasy #literature #being a child in latin america

3 notes · View notes