#candomblé music

[zhanteimi]

Clementina de Jesus, Doca & Geraldo Filme – O canto dos escravos

Brazil, 1982, candomblé music / work songs / jongo A folklore album, par excellence, since the music was discovered in the early 20th century among workers of African descent, these tunes being handed down from the mining slaves of yesteryear. An excellent musical document featuring soothing vocals and soft, natural percussion. Features instruments such as afoxé, agogô, caxixi, and ganzá.

[namacsan]

Música "Aceita" de Anitta: Mirou no Candomblé, acertou a Santeria.

A música "Aceita" da Anitta mirou no Candomblé, mas acabou acertando a Santeria.

Cantada em espanhol, a música acabou induzindo à outra cultura e não a nossa.

Você confere os detalhes em:

Diga o que vocês acharam nos comentários e compartilha com os amigos.

[allthebrazilianpolitics]

Backlash to Anitta’s Music Video Evokes a Painful History in Brazil

Outrage over the pop star’s new music video brought Brazil’s struggle with religious intolerance into view.

Anitta, the popular Brazilian singer, was the target of intense backlash over the release of a music video in an episode that highlighted persistent religious intolerance and racism in Brazil.

The furor began on Monday, when the 31-year-old pop star shared a preview of the video for her new song, “Aceita” (“Accept” in Portuguese), with her 65 million followers on Instagram. Within two hours, she lost 200,000 followers, she said.

The video depicts the practices of her faith, Candomblé. Her Instagram account showed images of the artist dressed in religious garb with a Candomblé priest and stills of spiritual items and other iconography associated with the faith.

Candomblé is considered a syncretic religion, meaning it draws from various faiths and traditions.

It evolved from a mix of Yoruba, Fon and Bantu beliefs brought to what is now Brazil by enslaved West African people during the colonial expansion of the Portuguese empire, scholars said.

Although they are practiced by only 2 percent of the population, Afro-Brazilian religions such as Candomblé make up a disproportionate number of reported religious intolerance cases, according to a 2022 U.S. State Department report on religious freedom in Brazil.

Continue reading.

[encontroancestral]

Every year, across the country, Brazilians of all faiths gather to celebrate the Candomblé goddess of the sea, Iemanjá. In Salvador, in particular, the festivities are spectacular and draw large crowds, as well as being shown on TV. Read on to get an idea of when and why this goddess is worshipped and how you can get involved.

What Is the Festival?

The festival of Iemanjá (sometimes spelt Yemanjá) takes place in many places all over Brazil. The biggest celebration of it takes place in the Rio Vermelho neighbourhood in Salvador on February 2 every year. During the festivities, followers of the Candomblé religion offer flowers and gifts to their goddess Iemanjá at the sea’s edge and send them out to her in the ocean. Everyone dresses in white, and night-long music and dancing continue after the offerings have been made.

Iemanjá, goddess (or orixá) of the sea, is a central deity in the Candomblé religion. She watches over sailors and fishermen and controls their catches. She is very powerful, and is concerned with every aspect of womanhood, fertility and family; she is also the protector of children. She often is depicted as a mermaid and is always dressed in either white or blue.

[irunevenus]

Voodoo: The Deep and Complex Spirituality of West Africa

Voodoo is a spiritual practice deeply rooted in African culture, especially in the West African regions of Benin, Togo, and Ghana. Although often misunderstood and stigmatized by popular representations in Western media, Voodoo is a rich and multifaceted tradition that offers unique insights into the connection between the human and the divine, life and death, the seen and the unseen.

The Origins of Voodoo

Voodoo has its roots in the religious traditions of the Fon and Ewe people of Benin and Togo. However, its practices and beliefs are as old as the civilizations that flourished in these regions. The word “Voodoo” comes from the Fon word “vodun,” which means “spirit” or “divine force.” For Voodoo practitioners, the world is filled with spirits that inhabit nature, ancestors, and everyday objects.

These spirits, or “loas,” play essential roles in the lives of devotees. Each loa has its own characteristics, preferences, and powers, and can be invoked to help in specific areas of human life, such as health, love, protection, and prosperity. The loas are not gods in the traditional sense, but rather intermediaries between humans and the supreme Creator, known as Mawu or Nana Buluku, depending on the region.

Voodoo and the African Diaspora

The transatlantic slave trade played a crucial role in the spread of Vodou to the New World. Enslaved Africans took their beliefs and practices to the Caribbean, Latin America, and parts of the United States, where Vodou evolved into different forms, such as Haitian Vodou, Brazilian Candomblé, and Cuban Santería.

In Haiti, Vodou developed into a unique spiritual system, combining elements of African Vodou with the Catholicism imposed by French colonizers. This fusion of beliefs created a syncretic religion that played a crucial role in Haitian history, including the Haitian Revolution, where rebel leaders turned to the lwa for guidance and strength.

The Structure and Practice of Vodou

At the heart of Vodou is the belief in the interdependence between the visible world (the world of the living) and the invisible world (the world of spirits and ancestors). Vodou rituals are performed to maintain balance between these two worlds, ensure the health, prosperity, and protection of devotees, and appease the lwa.

These rituals are led by priests and priestesses known as houngans and mambos. They are responsible for interpreting the will of the lwa, conducting ceremonies, and offering sacrifices, which may include food, drink, and in some cases, animal sacrifices. During the rituals, devotees may enter a trance, allowing a lwa to take possession of their body and communicate directly with those present.

Vodou is also deeply communal. Ceremonies are not only religious events, but also moments of social bonding, where music, dance and singing play a central role. Through these expressions, practitioners reinforce their connections with the loas and with each other, creating a sense of belonging and collective identity.

Myths and Realities

The practice of Voodoo has been the subject of much misinformation and prejudice, especially in the West. Films and popular literature often portray Voodoo in a sensationalist manner, associating it with evil practices such as creating zombies or using Voodoo dolls to harm others. These depictions are not only inaccurate, but also disrespectful of the deep spiritual traditions that Voodoo represents.

In reality, Voodoo is a religion of balance and harmony, where the well-being of the community and the preservation of the natural order are paramount. While there are aspects of justice and retribution in Voodoo, these are only part of the broader spectrum of practices intended to promote life, healing and spiritual connection.

Voodoo Today

Today, Voodoo continues to be a living and vibrant practice, both in West Africa and in communities throughout the African diaspora. In Benin, Voodoo is recognized as an official religion, and celebrations such as National Voodoo Day on January 10 draw thousands of devotees and tourists. In Haiti, despite social and political challenges, Voodoo remains a central force in the country’s national and cultural identity.

In addition, there is growing global interest in Voodoo, especially among those seeking forms of spirituality that offer a more direct and personal connection to the divine. For many, Voodoo offers an alternative to traditional religions, emphasizing community, ancestry, and a connection to nature.

Conclusion Voodoo is much more than popular caricatures make it out to be. It is a rich and complex expression of spirituality that transcends cultural and geographic boundaries, connecting millions of people around the world.

[apenitentialprayer]

Elements of the Afro-Mass: Drumming

The first thing one notices about the inculturated [Afro-]Mass is that the whole two- to three-hour ritual (twice the length of the traditional Mass) is accompanied, from beginning to end, by the loud rhythmic drums called atabaques. These tall cylinders are widely associated with the music of samba, as well as the irredeemably un-Christian religions of umbanda and candomblé. It is therefore not surprising that most witnesses, when asked to comment on the inculturated Mass, think first of the drums. They remark on how unusual it is to see such drums —whose very mention provokes a shiver in some— inside the sacred precinct of the church. They also comment on the drum's constant din, the fact that they are played far more during the inculturated Mass than any musical instrument is played during the traditional Mass. When asked to explain the presence of the drums, theologians of the pastoral negro point to the Psalm of David that incites the believer to praise the Lord "with timbrel" (Psalms 150:4). They also insist that bringing the atabaque into the church is an act of cultural revolution, in which the demonized instrument is finally winning the respect it deserves. "For too long," said Frei David, "the atabaque has been seen as the tool of the devil. So by bringing it into the Mass, we are declaring its value, saying 'No! It is a valuable part of African and Afro-Brazilian culture. It is nothing to be ashamed of. It too must take its place in the sun.'" The constancy of the drumming derives from the black pastoral's interpretations of popular culture. "Our understanding," said one black priest, "of sacred rituals in Africa is this: in contrast to European rituals, which value silence at the most sacred moments, there they value the most intense music, noise, and drumming. So in order to show the whole ritual is sacred, that there are no profane moments, it is appropriate to keep the drum going throughout."

- John Burdick (Blessed Anastácia: Women, Race, and Popular Christianity in Brazil, pages 57-58). Italics original, bolded emphases added.

[ms-lirio]

1. I want to say that I adore your drawing of Haiti and Brazil! 🇭🇹🇧🇷💕 Not many people draw countries from the Caribbean

2. Does Maya get along with only Haiti? Or are there other countries she gets along in the region?

1. Thank you so much for the sweet words! I would love to see more Caribbean countries being portrayed as ocs!! They deserve love and attention 🤲💕 Haiti will always be in my ❤ I really wanna learn more about this country.

2. Ohhh, do you mean if Maya has more relations with Caribbean countries, yes? Except for Haiti, I believe it would be with Jamaica and Cuba!

BRAZIL — JAMAICA

Jamaica and Brazil like raggae and Carnival. They share familiar topics to talk aha. XD

But, for real, Raggae is a very popular musical genre in my region, for example. We got many references to it in our culture. Like in the states of Bahia and Maranhão!

(Jamaican Raggae influence in Brazil).

Samba-Raggae 🇧🇷🇯🇲 (uff but imagine Bramaica dacing together eeeeee///)

Did you know that the state of Maranhão is known as the land of the Raggae in Brazil? São Luís do Maranhão is known as the Brazilian Jamaica.

Also, I saw videos of many Jamaican people cheering for the Brazilian Football Selection (like the Haitians!!) During the Qatar WC. It made us very happy and emotional, since many Brazilians spit on our Selection and Football and prefer cheering for other countries.

So, I believe that they have a very nice friendship!

BRAZIL—CUBA

Cuba falls in a little more complex situation, because their relation is mostly enveloped in politics. Basically, relations between them will vary depending on the ideological positioning and politicals views of the current government.

The current Brazilian government is trying to re-approach Cuba again as you can read:

But out of politics, I HC that Brazil and Cuba can spend nice times together, since they got similar cultures, and even similar religions beliefs (Cuban Santería and Afro-Brazilian religions like Candomblé, for example, shares the belief in Orishas) so... they can get along, in my opinion 🤔 maybe they can have fun moments together.

PS: Honorable mention for Suriname, which is Brazil's commercial partner and in addition to maintaining mutual cooperation, historical and border relations. But for me, Suriname better fits within Brazil's South American relations.

I have to research more and more, but I hope that I could give an okay answer! Ofc I didn't enter in more complex topics, this is a nutshell of my HCs.

Alsoooo, I am sorry if it is badly written, it is too late on here, I took some medications, and I am feeling 🤪

Any error or mistake I will fix tomorrow (or in the morning sisksk)

[247reader]

Day 24: Tia Ciata!

Hilária Batista de Almeida, known as Tia Ciata, spent most of her life in Rio de Janeiro. She was a follower of the Candomblé faith, an Afro-Brazilian religion, and became a priestess and respected herbal healer, as well as a popular figure and eventual community leader in the neighborhood of Praça Onze, nicknamed “little Africa.” The home she shared with her husband and eventual fourteen children was a gathering place and musical salon.

Afro-Brazilian faiths and music were under persecution in Rio. Samba music and dance, now iconic in Brazil, is held to have been born in Ciata’s back yard - far enough from the front door that the musicians could escape police attention. In time, the first samba record, the famous “Pelo Telefone,” would be recorded in her home.

Over time, Ciata became an institution. The President of Brazil sought her help dealing with a supposedly-incurable leg infection, and her parties attracted people from all walks of life - but she never lost sight of her people or community. Every year, Carnival in Rio would start the party at her house, a samba-infused celebration, and she founded two parade groups - a tradition now continued by her great-granddaughter.

[jasminewalkerauthor]

Deep dives into folklore: Brazilian folklore

Brazilian folklore is a dynamic and intricate representation of the nation's history, where diverse cultural influences, including Indigenous, African, and European traditions, have converged over centuries. This amalgamation has given rise to a rich and unique folklore that reflects the complex heritage of Brazil.

Brazilian folklore finds its origins in the blending of Indigenous, African, and European cultures that unfolded during centuries of colonization. The collision of these diverse cultural elements gave rise to a unique and syncretic folklore that manifests in a multitude of rituals, legends, and oral traditions.

Indigenous contributions are evident in the reverence for nature and the presence of mythical creatures like the Curupira, a forest guardian with backward-facing feet. African influences introduced deities, spirits, and vibrant folklore traditions such as Capoeira, a martial art with roots in African dance. European folklore, particularly Portuguese, contributed elements like the Saci-Pererê, a mischievous one-legged creature similar to the European leprechaun.

Curupira: The Curupira is a guardian spirit of the forest, often depicted with fiery red hair and backward-facing feet. It protects the flora and fauna of the Amazon rainforest, punishing those who harm the natural world.

Saci-Pererê: A mischievous figure with one leg, the Saci-Pererê is often portrayed as a prankster who delights in playing tricks on people. Despite its mischievous nature, it is not entirely malevolent and can be appeased with offerings.

Iara: Iara, also known as the Mother of Waters, is a seductive mermaid-like figure residing in rivers. Legend has it that Iara lures men with her enchanting beauty, drawing them into the depths of the water.

Exu: Borrowed from Afro-Brazilian religions like Candomblé and Umbanda, Exu is a trickster deity associated with crossroads, communication, and both good and bad fortune. Representing the duality of existence, Exu is a vital figure in Afro-Brazilian cosmology.

Brazilian folklore holds immense cultural significance, serving as a repository of shared identity and heritage. It connects communities across the vast expanse of the country, fostering a sense of unity and pride in cultural diversity. The folklore traditions are often passed down through oral storytelling, music, dance, and religious ceremonies, enriching the cultural landscape of Brazil.

The influence of Brazilian folklore extends beyond traditional storytelling, permeating various aspects of Brazilian culture, including literature, music, art, and festivals. Renowned Brazilian authors like Jorge Amado and cultural movements like the Tropicalia music movement have drawn inspiration from folklore, infusing it with contemporary relevance.

Moreover, Brazilian folklore has become a source of inspiration for international audiences, contributing to the global fascination with mythical beings and supernatural tales. The ubiquity of these figures in popular culture serves as a testament to the enduring and universal appeal of Brazilian folklore.

Brazilian folklore is a testament to the intricate interplay of cultural influences that have shaped the nation's identity. Through its mythical figures, oral traditions, and syncretic rituals, Brazilian folklore serves as a living, evolving expression of the country's rich heritage. As Brazil continues to evolve and embrace its diverse cultural tapestry, the folklore remains a vibrant and integral part of the nation's collective narrative, inviting both Brazilians and the world to explore the enchanting realms of its mythical beings and age-old stories.

Taglist (reply or reblog to be added): @axl-ul @crow-flower @thoughts-fromthevoid @alderwoodbooks @harleyacoincidence @tuberosumtater @sonic-spade @theonlygardenia @holymzogynybatman @nulliel-tres @w0rkah0licz @sylvanthorn @tigertaurus22 @profiterole-reads @mathias-musings @1899adgg1997tbmd @grimmparanormalinvestigations

[selektakoletiva]

MARCELO D2 E A ANCESTRALIDADE DE FUTURO!

Com 13 discos de estúdio na bagagem - 4 com o Planet e 9 em carreira solo - já né segredo que Marcelo D2 ocupa um espaço notório na música popular e na cultura Hip-Hop pelo mundão. Acontece que em seu novo trabalho, ele ultrapassa barreiras, fura otas bolhas e se consagra ainda mais como um dos grandes arquitetos da música brasileira.

Intitulado "IBORU, Que Sejam Ouvidas Nossas Súplicas", Marcelo D2 nos leva por uma jornada musical de puro suingue, com o afrofuturismo batendo na alta, como sempre falara Chico Vulgo.

O disco começa com a voz de Wander Pires te transportando pra avenida quase que espontaneamente. 'Por baixo', numa crescente, um instrumental drumless do lendário Barba Negra (aka O Terrível Ladrão de Loops), versos afiados de D2 e uma fala de sua coroa. Apenas o início de uma saga que vai flutuando entre a boniteza e a concretude dos fatos como são. Trazendo a beleza da crueza e do povo, como o timbre de Nega Duda que vem logo em seguida. A genuína cultura de rua e dos morros, favelas e do subúrbio carioca.

Das rodas que varam da noite ao clarão do dia; ad infinitum. Os terreirões de Umbanda e Candomblé, os Bate-Bolas, Rosinhas e Malandros que transitam pelas ruas encantadas de um Rio de Janeiro que não passa na retrospectiva da Globo, não está nos trends, ou em capas de jornais. Essas são algumas das várias personas carioca que inspiram IBORU. Que inclusive, dia 28 deste mesmo mês de Junho, ganhará seu complemento audiovisual. Um curta que contará a história fictícia do encontro de João da Baiana, Clementina de Jesus e Pixinguinha, nos idos dos anos de 1923. O curta, assim como a estética do disco, foi toda assinada pela mágica Luiza Machado e o próprio Marcelo, diálogo que vem ampliando ainda mais a arte do rapper carioca. A produção fica por conta da produtora da família D2 - PUPILA DILATADA.

O elenco de músicos e compositores de "IBORU, Que Sejam Ouvidas As Nossas Súplicas", chega a ser baixaria de tanto talento junto. A começar pela cozinha, composta por bambas da velha escola e da nova geração, tudo junto e misturado; Marcio Alexandre, Zero, Miúdo, Jorge Luiz, João e Marcelinho Moreira. Nas cordas, temos João Lopes (banjo), Maycon Ananias (cordas geral), Gabe Noel (violoncelo), Wanderson Martins e o craque Rodrigo Campos (ambos no cavaquinho). Violões de 6 e 7 cordas, no nome de Kiko e Fejuca, camisa 10 que contribui também batucando no couro e arranjando no cavaco.

Nos sopros, Thiago França (sax), Marlon Sete e Pedro Garcia no trombone e voz. Na bateria, o novo expoente da bateria brasileira, Thiaguinho Silva. O côro é comandado pela Luiza Machado, sua parceira de vida e arte, que entoa unissomo com as vozes de Jussara, Jurema, Hodari, Betina, Luiza e Camila de Alexandre, e o talentoso Luccas Carlos.

Falando em voz e coro, vale ressaltar a parceria louvável entre Luiz Antonio Simas e Marcelo D2. Desde o último disco de estúdio com intervenções e trocando prosas juntos sobre ancestralidade, resistência e identidade. Também estão no catálogo grandioso de compositores João Martins, Inácio Rios, Diogo Nogueira, Igor Leal, Fred Camacho, Neném Chama, Carlos Caetano, Márcio Alexandre, Cabelo, Douglas Lemos, Moa Luz e Otacilio da Mangueira. É mole?

Todo esse time consegue criar uma atmosfera de uma vibração coletiva incrível, que dialoga o asfalto com o morro de uma forma ímpar. O grave do surdão e do 808 suingando com o hihat, que por sua vez unifica-se com as palmas e o tamborim... isso é o Nave e mais uma sequências de beats absurdos. Uma parceria que já vinha dando certo desde "A Arte do Barulho". E pelo visto, continua. Numa parceria luxuosa que vem se estreitando nos últimos anos, Nave e Kiko Dinucci - que traz suas picotadas lombradas, guitarras levemente sujas, uma viola elegantíssima - se entendem em grau, número e frequências.

A produção é algo instantaneamente clássico - o que já faz pensar nesse disco do OGI que vem aí. Mas isso é papo de futuro, pra outro momento.

Ah, jamais podemos esquecer de mencionar a co-produção e mixagem, que ficou na assinatura de nada mais/nada menos que o gênio e cumpade de longa data de Marcelo, Mario Caldatto. É óbvio que a qualidade de sempre foi entregue.

Dito isso e abordado o time, agora vamos as participações; Nega Duda, Metá Metá, BNegão, Mumuzinho, Alcione, Xande de Pilares, Zeca Pagodinho e o imortal Mateus Aleluia. Há homenagens a Romildo Bastos (Padre Miguel) e mestre Monarco (Portela) a sua maneira afrosambadélica.

Essa fusão chega ao ápice quando IBORU traz a cultura Hip-Hop pra dentro duma quadra de Padre Miguel com adlibs de Westside Gunn em um partido alto feito de beats, palmas, trombone e guitarra. Ou com um batuque e naipe de sopros junto a MPC, como fez no seu último trabalho com Um Punhado De Bambas no Cacique de Ramos - que aliás, outro excelente trabalho que transcende as fronteiras convencionais e cria uma experiência auditiva e cativante, como faz novamente nesse trabalho.

É junto de baluartes, ídolos e bambas que D2 aprendeu boa parte do que sabe do samba. Zeca e Arlindo são reverenciados em mais de um momento do disco. Beth, João Nogueira, Dona Ivone, Luiz Carlos, Candeia, Cartola, Martinho, Paulinho e o pessoal do Fundo de Quintal. Entre muitos outros. É bonito ver o artista em seu auge, com a pura satisfação de fazer o que gosta, evoluindo e não se prendendo a velhos chavões e modos operandi. Além de toda essa gratidão de quem aprendeu com os verdadeios movimentadores da massa e da cultura popular.

E se você se pergunta da outra parte, nunca se esqueça que antes de D2, era o Sinistro, com sua vivência pelas quebradas do mundaréu. Rio 40 graus. De Padre Miguel, Cascadura, Madureira, do Andaraí, Humaitá e das vielas do centrão. Lapa, Gamboa, Cinelandia. Vivência que Peixoto teve nos camelos com seu camarada Skunk. Das chamas que circundavam a capital carioca nos anos 90.

No final, "IBORU" vai além do siginificado em iorubá, do Ifá, e muito mais do que título de disco ou uma simples combinação de gêneros musicais; é uma verdadeira celebração da diversidade e da riqueza da cultura brasileira. Destaca temas relevantes e urgentes, como a desigualdade social e a resiliência das comunidades marginalizadas. Ancestralidade de futuro.

Ao mesmo tempo e paralelo a concretude lírica e dos batuques de fine estirpe, a nuance abstrata das melodias se faz valer em loops, samples e um instrumental finesse. A sinestesia e o campo lúdico do disco é forte, e isso tem muito a ver com o imaginário popular, fé e outros pagodes da vida que circundam a vida do brasileiro - que assim como Marcelo, se recria e se renova a cada nova batalha. "Provando e comprovando a sua versatilidade", já diria seu saudoso amigo Bezerra da Silva, que eu sei que assim como os outros bambas mencionados aqui neste texto, no disco, e durante a vida do Sinistro, também benzeu e abençoou "IBORU" até vir ao mundo terreno, há uma semana atrás, dia 14 de Junho.

E faz uma semana que é festa no Orum...

ALÔ, MEU POVO! A HORA É ESSA!!!

[zhanteimi]

Iara Rennó – Oríkì

Iara Rennó – Oríkì

Brazil, 2022, vanguarda paulista / jazz fusion / afro-jazz / candomblé music This delightfully-complex yet easy-on-the-ear album was 13 years in the making and finds its roots in a sound installation at the Afro Brasil Museum in São Paulo. Basically, Rennó was brought in to provide 12 compositions dedicated to each of twelve orixá, deities of the African diaspora, meant to be played as an…

[celticbotanart]

*CRACKS FINGERS* MY BRAZILIAN TIME TO SHINE SO

Here in Brasil we have massive Afro-rooted religions dedicated to these gods they call Orishas / Orixás, mainly Umbanda and Candomblé, because we have the biggest black population outside the African continent. These religions have a lot of poetry and musicality in their ways of showing their reverence, which is so cool. Each person who follows these religions have their own "guide", an Orixá they are "born under" and is their protector; you celebrate your Orixá by doing all sorts of things, offering them their favorite food, wearing their colors (each Orixá has their own), and so on.

Also here in Brasil, we have a music genre called "Axé" ("a-SHEH", not "Axe the deodorant ffs - our X has the sound of SH not Z like you guys). As the name suggests, it's ALSO derived from the same African roots, it is also a word used in religious contexts, sort of like a greeting / blessing.

I'm telling all this because! Back in the 70's this Brazilian musical group Os Tincoãs wrote this song called "Deixa a Gira Girar" (which is hard to translate, but "gira" is like the name of the religious cerimonies these religions hold, it's the movement of the spirits and so on). It's a song celebrating the Orixás, they mention the most well-known of them (Iansã, Xangô, Iemanjá, etc). This one isnt the genre of Axé but it features a heavy African influence in the sound and instruments. It's a good song BUT I'm here to talk about ANOTHER version (and one I personally like a lot more haha). Little bit more of context before the song, though - in Yoruba mythology and religion the personification of storms, winds and lightning is Iansan / Iansã / Oyá, and she's typically represented like a woman with her face covered, dressed all in red, holding a sword:

And then singer Ana Mametto released her version of "Deixa a Gira Girar", which she very much obviously dedicated to Iansã, which seems to be her Orixá guide.

The song features not only her and her band performing, but also someone dressed in red just like Iansã, and both Ana and that person dance together, as if the deity was present with her. The genre here is the Axé I was talking about.

The song also features the sound of storm and thunder, one of Iansã's domains. I'll just say this.

It's badass, guys.

So YEAH, TL;DR, the giant woman commander of lightning and storm is probably Iansã, Orixá of Lightning, Winds and Storms

(also, if you think that this description also sounds a lot like Storm from X-Men.... you're probably right - I can't be 100% certain but I'm PRETTY SURE Storm was based on Oyá / Yorubá lore)

Thunderstorms are nature’s most fuckable events

[roomchailimited]

Salvador’s Soul: Afro-Brazilian Culture and Carnival in Bahia

Salvador, the vibrant capital of Bahia in northeastern Brazil, pulses with a unique cultural heartbeat, steeped in Afro-Brazilian heritage, mesmerizing rhythms, and colorful celebrations. Often referred to as the “Capital of Happiness,” Salvador’s rich history, lively streets, and famous Carnival make it a destination like no other. Here’s a guide to experiencing the soulful essence of Salvador, from its Afro-Brazilian traditions to the iconic Carnival that fills the city with life.

Begin your journey in Pelourinho, Salvador’s Historic Center, a UNESCO World Heritage site that reflects Brazil’s colonial past and African roots. Cobblestone streets wind past pastel-colored houses, while beautiful churches showcase intricate baroque architecture. Pelourinho, which once held a dark history as the location of slave markets, now stands as a symbol of resilience and cultural celebration. It’s also a hub for capoeira (the Brazilian martial art and dance) performances and Afro-Brazilian drumming groups like Olodum, filling the air with rhythmic beats and energy.

Explore Salvador’s deep-rooted Afro-Brazilian spirituality at Bonfim Church and the Candomblé temples. Bonfim Church, famous for its Senhor do Bonfim celebrations, is a site where Catholic and Afro-Brazilian traditions merge. Tying colorful ribbons on the church’s gates is a local custom symbolizing faith and wishes. For a closer look at Afro-Brazilian spirituality, consider visiting a Candomblé temple. Candomblé, an Afro-Brazilian religion brought by enslaved Africans, is a powerful spiritual practice that honors African deities, or orixás. Witnessing a Candomblé ceremony is a memorable way to gain insight into the city’s deep cultural roots.

For a taste of Bahia’s culinary wonders, head to the São Joaquim Market. This bustling market is a sensory journey filled with exotic fruits, aromatic spices, and fresh seafood. Sample the iconic Bahian dish acarajé, a savory fritter made from black-eyed peas and filled with vatapá, a spicy shrimp paste. This dish, often sold by Baianas dressed in traditional white lace dresses, is a local favorite with roots in West African cuisine.

Visit the beaches of Salvador to experience the relaxed Bahian lifestyle. The city is home to some of Brazil’s most scenic beaches, like Porto da Barra, where locals and visitors alike soak up the sun and enjoy the tranquil waters. A bit further from the center, Itapuã Beach offers a more laid-back vibe, surrounded by palm trees and fresh seafood vendors. Spending time at these beaches offers a glimpse into Salvador’s connection to the sea and its coastal heritage.

No visit to Salvador would be complete without experiencing its legendary Carnival, one of the world’s largest street parties. Held annually in February or early March, Salvador’s Carnival differs from the Rio spectacle with a unique Afro-Brazilian focus. The streets come alive with blocos (street bands), electric trios (mobile stages with live bands), and samba-reggae rhythms. Olodum, a prominent Afro-Brazilian drum group, leads vibrant parades that fill the city with energy and pride. Dancing through the streets with locals, or simply watching the vibrant parades, is an unforgettable way to experience Salvador’s joyous spirit.

For those interested in art and history, visit the Afro-Brazilian Museum in Pelourinho. The museum highlights African influences on Brazilian culture, with displays of traditional artifacts, orixá statues, and artwork by Afro-Brazilian artists. It’s a fascinating space to learn more about how African heritage has shaped everything from Salvador’s art to its religion and festivals.

End your day in the lively neighborhood of Rio Vermelho, a cultural and culinary hotspot. Known for its energetic nightlife, Rio Vermelho is home to vibrant bars, seafood restaurants, and live music venues. Try the local moqueca, a coconut-based fish stew seasoned with dendê (palm oil), and enjoy live samba and bossa nova music. This neighborhood captures Salvador’s free-spirited, festive essence, making it a perfect place to unwind after a day of exploration.

Salvador offers travelers a journey through history, culture, and celebration, unlike anywhere else in Brazil. From its Afro-Brazilian roots to its world-famous Carnival, the city embodies a spirit of resilience, joy, and pride in its heritage.

For those looking to make the most of a trip to Salvador, agencies like Roomchai Limited, Bahia Adventure, and Brazil EcoJourneys provide tailored tours, immersive experiences, and guided visits to Salvador’s cultural highlights. These agencies offer opportunities to explore Salvador’s soul deeply, from intimate Candomblé ceremonies to culinary tours and Carnival experiences.

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Jonathan Ferr: Redefining Brazilian Jazz with Urban Rhythms and Afro-Futurism

Jonathan Ferr is a multifaceted artist—pianist, composer, filmmaker, fashion icon, and dedicated consciousness raiser—who is at the forefront of Brazil’s urban jazz movement. A true pioneer, Ferr crosses social and musical boundaries by blending elements of hip-hop, R&B, candomblé ritual, Afro-futurism, and the timeless, universal African spirits that John Coltrane evoked in A Love Supreme into…

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“I think with sadness of all the books I've read, all the places I've seen, all the knowledge I've amassed and that will be no more. All the music, all the paintings, all the culture, so many places: and suddenly nothing. They made no honey, those things, they can provide no one with any nourishment. At the most, if my books are still read, the reader will think: There wasn't much she didn't see! But that unique sum of things, the experience that I lived, with all its order and its randomness— the Opera of Peking, the arena of Huelva, the candomblé in Bahía, the dunes of El-Oued, Wabansia Avenue, the dawns in Provence, Tiryns, Castro talking to five hundred thousand Cubans, a sulphur sky over a sea of clouds, the purple holly, the white nights of Leningrad, the bells of the Liberation, an orange moon over the Piraeus, a red sun rising over the desert, Torello, Rome, all he things I've talked about, others I have left unspoken - there is no place where it will all live again.”

- Simone Se Beauvoir; The Force of Circumstance

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Candomble Documentary

The documentary "Candomblé," directed by Pierre Verger, delves into the rich and vibrant Afro-Brazilian religious tradition of Candomblé, which combines elements of African spirituality with Catholicism and indigenous Brazilian beliefs. The film explores the intricate rituals, music, dance, and the deeply rooted spiritual practices that define this religion, providing insight into its historical development and cultural significance in Brazil. Through interviews with practitioners and vivid depictions of ceremonies, the documentary offers a comprehensive look at how Candomblé serves as a vital link to African heritage and a source of community and identity for its followers.

I found the "Candomblé" documentary to be an enlightening and culturally immersive experience. It beautifully captured the essence of Candomblé's vibrant ceremonies and the profound spiritual connections of its practitioners. The film's respectful and detailed portrayal provided a deeper understanding of how this syncretic religion thrives in modern Brazil, preserving African traditions while adapting to new contexts. The heartfelt interviews and the mesmerizing footage of rituals were particularly impactful, offering a window into the strength and resilience of a community maintaining its cultural and spiritual roots despite historical and contemporary challenges. The documentary left me with a greater appreciation for the diversity and richness of global religious practices and the enduring power of faith and tradition.