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Maracatu Rural: sweet of the mouth and joy of the eyes
By Isis Juliana | Sotaque Brasileiro, Number 5, Summer 2004
Under the hot sun a figure shines, with a carnation hanging from his mouth, colourful wigs, a heavy shawl embroidered with sequins, dancing in rhythmic steps along with an infectious drumming. Would it be a character of a new Japanese design? Partly yes. It is a hero, though. Certainly, not one of those manufactured by the media. It is a character known as caboclo with spear, he brings a huge historic and cultural Brazilian richness: the Maracatu Rural.
Figura do Caboclo, Maracatu Rural |
A The city of Maracatu Rural is located 80 km from Recife, in a municipal district called Nazaré da Mata. In the middle of the sugarcane region, the simple men who work cutting cane exchange their battered clothes and straw hats with colourful ribbons and huge wigs. There are about 30 Maracatu groups that focus on the small Nazaré da Mata. Among the natives, young and old, who share the same excitement and pride of wearing their colorful shawls, self-manufactured according to tradition.
As exclusive manifestation of Pernambuco, there are two types of Maracatu: the baque solto, known as Maracatu Rural and the baque virado, a legacy of the King of Congo. According to historian Leonardo Dantas Silva, in his Maracatu essay: African Presence in Carnival of Recife, published in 1988 by the Joaquim Nabuco Centre for Folklore Studies Foundation, the coronation processions were the origins of the musical merriment of Maracatu. The Portuguese colonists encouraged the institution of black kings and queens protected by the brotherhoods of Our Lady of the Rosary and St. Benedict, with the intention of commanding the administration of blacks brought to Brazil as slaves since 1538. With the abolition of slavery, Maracatu began parading in the days of the Holy Kings, in the feasts of Our Lady of the Rosary and the carnival.
But, the history of the Maracatu Rural is different. The crisis that preceded World War II brought a wave of migration from rural areas to Recife. The Maracatu Rural, also known as Maracatu of Orchestra or Trombone, appeared at that time through the merger of various frolics of the interior of Pernambuco, especially from the sugar cane region, and so have nothing to do with the master institution of the King of Congo.
The Maracatu Rural combines an attractive blend of music, poetry, religion, joy and above all, lots of colour and animation. A presentation of Maracatu Rural constitutes a fiery ritual. The choreography is directed by a master who uses a whistle to coordinate the event. At every sound of the whistle, the orchestra becomes silent and the caboclos bow solemnly, in reverence. The Master then recites the praises, improvising verses that address regional issues and honour members of the group, authorities and the place where they are performing.
At the end of each carol, the orchestra starts the music and the natives shake their spears. The spear is made of wood and has a sharp point, measuring 30 cm. The members hold it with both hands and play it upwards, down, sideways, away from the crowd, as they run, jump and dance. Among the typical steps there is a fictional duel that reminds, with the beating of spears, of the sword and cane dances.
The Maracatu Rural shakes from sophisticated halls to popular areas whilst always preserving the tradition of rhythm. In a world bombarded by media-made heroes, in a remote village with barren soil punished by the burning sun, there is a true hero with the greatness of spirit capable of perpetuating the cultural roots of our Brazil.
Though he has no x-ray vision, through him we see our past. He has sufficient powers to perpetuate our history. With ornaments worthy of kings and queens, he infects the crowd with joy. And some days after the festivities of Carnival, he is back wearing his shabby clothes and his straw hat, and dives into the struggle of the day-to-day grind with a mission to harvest the cane that will sweeten the mouths of the world.
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