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Maracatu
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MARACATU NAçãO


Maracatu nação (also known as ''maracatu de baque virado'') is an Afro-Brazilian performance genre. The term, often shortened simply to ''nação'' ("nation", pl. ''nações''), refers not only to the performance, but to the performing groups themselves.

''Maracatu nação''’s origins lie in the investiture ceremonies of the ''Reis do Congo'' (Kings of Congo), who were Slaves that occupied leadership roles within the slave community. When slavery was abolished in Brazil in 1888 , the institution of the Kings of Congo ceased to exist. Nonetheless, ''nações'' continued to choose symbolic leaders and evoke coronation ceremonies for those leaders. Although a ''maracatu'' performance is secular, traditional ''nações'' are grouped around Candomblé or Jurema (Afro-Brazilian religions) ''terreiros'' (bases) and the principles of Candomblé infuse their activities.

Traditional ''nações'' perform by parading with a drumming group of 80-100, a singer and chorus, and a coterie of dancers and Stock Character s including the king and queen. Dancers and stock characters dress and behave to imitate the Portuguese royal court of the Baroque period.

The performance also enacts pre-colonial Africa n traditions, like parading the ''calunga'', a doll representing tribal deities that is kept throughout the year in a special place in the Nação's headquarters. The ''calungas'', 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 ''calunga'' is sacred and carrying this spiritual figurehead of the group is a great responsibility for the female ''Dama de Paço''' (Lady-in-Waiting) of the cortège.

The musical ensemble consists of ''alfaia'' (a large wooden rope-tuned Drum ), ''gonguê'' (a metal Cowbell ), ''tarol'' (a shallow Snare Drum ), ''caixa-de-guerra'' (another type of snare drum), ''abê'' (a gourd shaker enveloped in beads), and ''mineiro'' (a metal cylindrical shaker filled with metal shot or small dried seeds). Song form is Call And Response between a Solo singer and (usually) a female Chorus .

Today there are around 20 ''nações'' operating in the cities of Recife and Olinda . Although one or two have an unbroken line of activity going back to the 1800’s, most have been set up in recent decades. Each year they perform during the Carnival period in Recife and Olinda. Maracatu Nação Pernambuco, while not a traditional ''maracatu'', was primarily responsible for introducing the genre to overseas audiences in the 1990s .


MARACATU RURAL


Maracatu rural is also known as ''maracatu de baque solto'', ''maracatu de orquestra'', and ''maracatu de trombone''. It is rooted in the Pernambucan interior and 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 involved with the native-influenced '' Catimbó '' religion. ''Maracatu rural'' has a high participation rate with dozens of groups operating all over the state.