CURATION
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from this page:
by Matrix
Network Node
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Name:
Boi Unidos de Santa Fé
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City/Place:
São Luis, Maranhão
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Country:
Brazil
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Location & Map:
2ª Segunda Trav. D'Jard Ramos Martins, nº 05, Bairro de Fátima, São Luís, MA - 65.030-450 [open map]
Life & Work
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Bio:
No Maranhão, a partir dos anos 40 do século XX, ocorreu uma intensa migração do interior do estado para a capital. Homens e mulheres, provenientes da baixada, começaram a se estabelecer nas margens de São Luís, especialmente no que hoje é conhecido como Bairro de Fátima, uma localidade próxima ao centro da capital. Apesar da mudança de cidade, as lembranças e alguns costumes dos conterrâneos permaneceram intactos. Ao deixarem sua terra natal, entes queridos e objetivos pessoais, levaram consigo as experiências vividas, suas tradições, crenças e cultura. Foi assim que surgiu o sotaque do Bumba-Meu-Boi da Baixada em São Luís.
A Fundação da Associação Cultural Santa Fé foi coordenada por José de Jesus Figueiredo, conhecido como 'Mestre Zé Olhinho', Raimundo Miguel Ferreira (Mestre Raimundinho) e João Madeira Ribeiro (falecido), boieiros dedicados e apaixonados pelo sotaque da Baixada. Juntos, decidiram criá-la com seus próprios esforços, investindo parte de seus salários, com grande empenho para garantir o melhor desempenho quando a brincadeira saía às ruas.
Atualmente, a diretoria é composta por 18 membros, o cordão conta com 40 integrantes, há 20 Índios, 35 Índias, 35 Cazumbás, 20 Batuqueiros e um grupo atuante de aproximadamente 25 pessoas de apoio.
Referência no Bairro de Fátima, onde está localizado seu Barracão Sede, o Boi Unidos de Santa Fé possui 8 CDs, 1 DVD e 1 participação em DVD gravados. Tem uma destacada participação nas festividades culturais do estado, sendo muito requisitado para apresentações em arraiais públicos e particulares, levando a beleza de seu espetáculo, com a batida vibrante e forte das matracas e pandeirões, ressoando com orgulho suas harmoniosas toadas.
O Boi Unidos de Santa Fé, assim como a maioria das festas populares nacionais, se desenvolve na forma de Brincada de Roda. O ritual inicia com a entrada dos Bois, Mãe Catirina, Pai Francisco, Burrinha e Cazumbás, estes últimos desempenhando a função de 'proteção de terreiro', seguidos pelos Cantadores acompanhados pelos Batuqueiros, Índios, Índias e Baiantes.
A brincadeira segue com o Cazumbá e seu chocalho, um personagem misterioso e engraçado, percorrendo o terreiro de forma ora espalhada, ora enfileirada. Os Índios e Índias evoluem dentro do cordão, destacando a força matriz da nação brasileira, pulando vigorosamente em seus trajes de penas, colares e lanças. Os Baiantes têm a função de delimitar as margens da brincadeira com seus imponentes chapéus de penas e fitas, além de suas roupas brilhantes, matracas estribilhantes e refrões animados.
Os Cantadores dão vida ao sotaque da brincadeira, entoando toadas e contando histórias, por vezes relembrando a baixada maranhense deixada para trás na infância e juventude. Os Batuqueiros mantêm o ritmo com a força e precisão das batidas dos pandeiros e o cadenciado ritmo do tambor onça.
E, finalmente, os Bois, personagens principais que dão nome ao folguedo, "rolam" com os vaqueiros em uma harmoniosa sincronia, apresentando sequências bailadas belas e envolventes, se aproximando e se afastando. Pai Francisco e Catirina observam de longe o precioso amo - o boi, escapando das chifradas do personagem/animal, enquanto a Burrinha, com seu trote acelerado e meio desajeitado, nos lembra de forma mais enfática a vida do nordestino e do amazônico, perambulando à margem e ajudando a conduzir a roda da brincadeira.
Por fim, ou por motivo de existir, temos a Assistência, verdadeira inspiração de uma atividade artística em qualquer modalidade. Acreditamos que a Assistência não deve ser limitada apenas à apreciação. Para uma atividade popular que se pretende "popular", ela deixa de ser verdadeiramente popular se o povo não tiver acesso a ela. Portanto, em nossas brincadeiras, é estritamente necessário um momento de interação entre brincantes e assistência, criando uma autêntica atitude de inclusão ao que é considerado pertencente ao povo.
English:
In Maranhão, from the 1940s onwards, there was a strong migration from the state to the capital. Coming from the lowlands, people from different cities and villages started settling on the outskirts of São Luís, especially in what is now known as the Fátima neighborhood, a location close to the center of the capital. As is customary, compatriots change cities, but not their memories and some customs. They leave their land, loved ones, and personal goals but carry with them what they experienced— their customs, beliefs, and culture. This is how the accent of the Bumba-Meu-Boi from the Lowlands emerged in São Luís.
The Foundation of the Santa Fé Cultural Association took place under the coordination of José de Jesus Figueiredo, popularly known as 'Mestre Zé Olhinho,' Raimundo Miguel Ferreira (Mestre Raimundinho), and João Madeira Ribeiro (deceased). These dedicated and passionate boieiros of the Lowlands, gathered together, decided to create it at their own expense, spending a portion of their salaries, extremely committed to making the best when the festivities took to the streets.
Currently, the board consists of 18 members, with 40 participants in the cord, 20 Indigenous men, 35 Indigenous women, 35 Cazumbás, 20 Drummers, and an active support group of approximately 25 people.
A reference in the Fátima neighborhood, where its Headquarters is located, Boi Unidos de Santa Fé has 8 CDs, 1 DVD, and 1 participation in a recorded DVD. It has a prominent role in the cultural festivities of the state, highly sought after for performances in public and private celebrations, bringing the beauty of its spectacle, where the beat of the matracas and pandeirões is strong and vibrant, resonating with pride, harmonious toadas.
Boi Unidos de Santa Fé, like the majority of national popular festivals, develops in the form of a Brincada de Roda. The ritual begins with the entrance of the Bulls, Mother Catirina, Father Francisco, Burrinha, and Cazumbás, the latter in the role of 'terreiro protection,' followed by the Singers accompanied by the Drummers, Indians, Indian women, and Baiantes.
The play unfolds with Cazumbá and his rattle, a mysterious and funny character, swirling through the yard, sometimes scattered, sometimes in line. The Indians and Indian women, entrenched, evolve within the cord, highlighting the core strength of the Brazilian nation, "jumping" vigorously in their feathered costumes, necklaces, and spears. The Baiantes are given the task of limiting the boundaries of the play with their imposing feathered hats and ribbons, as well as their glittering clothes, resounding matracas, and refrain singing.
The Singers give an outline to the accent of the play, singing toadas and telling stories, sometimes recalling the Maranhão lowlands left long ago in childhood and youth. The Drummers maintain the rhythm with the strength and precision of the beats of the tambourines and the steady rhythm of the onça drum.
And finally, we have the Bulls, the main characters that give the name to the festivity, "rolling" with the cowboys in harmonious synchrony, developing beautiful and engaging danced sequences in approaches and separations. Father Francisco and Catirina watch from afar the precious possession - the bull, escaping the horn attacks of the character/animal, with the pregnant woman desiring to eat the bull's tongue, annoying her husband. The Burrinha, with her trot, accelerated and somewhat awkward, reminds us, with greater emphasis, of the life of the Northeastern and Amazonian, marginally wandering and helping to lead the play's circle.
Finally, or for the reason of existence, we have the Assistance, the true inspiration of an artistic activity in any form. We have the habit and belief that Assistance cannot and should not be limited only to appreciation. For a popular activity that aims to be "popular," it ceases to be so if the people do not have access to it. Therefore, in our plays, a moment of interaction between participants and the audience is strictly necessary when the circle flows between all, a legitimate attitude of inclusion in what is considered belonging to the people.
Contact Information
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Whatsapp:
+55 (98) 98712-0925
Clips (more may be added)
Uncoiling from a vast Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian, cultural matrix...
EX TERRA BRASILIS
The Integrated Global Creative Economy
Creators worldwide closely united by the graph-theoretical mathematics of...
The Small World Phenomenon
The creative universe becomes a creative village wherein all are within steps of all.
Inspired in the sensorial immanence of Borges' transfinites-inspired Alephs.
The Aleph / O Aleph
O God! I could be bounded in a nutshell, and count myself a king of infinite space...
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; recorded "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): World's premier klezmer violinist
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
Tap the grey crosses next to the categories on somebody's Matrix Page to recommend that person for that category.
(These crosses are only visible when you are logged in)
The crosses will turn green.
That person/category will appear in your My Curation & Recommendations.
You will appear in that person's Incoming Curation and Recommendations.
By the small world phenomenon (6 degrees of separation in the general population), you will not only be one step from the recommended person, you will tend to some small number of steps from everybody inside the Matrix.
All is closer than we imagine.
Salvador is our base. If you plan to visit Bahia, there are some things you should probably know and you should first visit:
www.salvadorbahiabrazil.com
Conceived under a Spiritus Mundi ranging from the quilombos and senzalas of Cachoeira and Santo Amaro to Havana and the provinces of Cuba to the wards of New Orleans to the South Side of Chicago to the sidewalks of Harlem to the townships of South Africa to the villages of Ireland to the Roma camps of France and Belgium to the Vienna of Beethoven to the shtetls of Eastern Europe...*
Sodré
*...in conversation with Raymundo Sodré, who summed up the irony in this sequence by opining for the ages: "Where there's misery, there's music!" Thus A Massa, anthem for the trod-upon folk of Brazil, which blasted from every radio between the Amazon and Brazil's industrial south until Sodré was silenced, threatened with death and forced into exile...
And thus a platform whereupon all creators tend to accessible proximity to all other creators, irrespective of degree of fame, location, or the censor.
Matrix Ground Zero is the Recôncavo, bewitching and bewitched, contouring the resplendent Bay of All Saints (end of clip below, before credits), absolute center of terrestrial gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's ineffable Black Rome (seat of the Integrated Global Creative Economy* and where Bule Bule is seated below, around the corner from where we built this matrix as an extension of our record shop).
Assis Valente's (of Santo Amaro, Bahia) "Brasil Pandeiro" filmed by Betão Aguiar
Betão Aguiar
("Black Rome" is an appellation per Caetano, via Mãe Aninha of Ilê Axé Opô Afonjá.)
*Darius Mans holds a Ph.D. in Economics from MIT, and lives between Washington D.C. and Salvador da Bahia.
Between 2000 and 2004 he served as the World Bank’s Country Director for Mozambique and Angola. In that capacity, Darius led a team which generated $150 million in annual lending to Mozambique, including support for public private partnerships in infrastructure which catalyzed over $1 billion in private investment.
Darius was an economist with the Board of Governors of the Federal Reserve System, where he worked closely with the U.S. Treasury and the IMF to establish a framework to avoid debt repudiation and to restructure private commercial debt in Brazil and Chile.
He taught Economics at the University of Maryland and was a consultant to KPMG on infrastructure projects in Latin America.
Replete with Brazilian greatness, but we listened to Miles Davis and Jimmy Cliff in there too; visitors are David Dye & Kim Junod for NPR/WXPN
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
This list is random, and incomplete. Reload the page for another list.
Susan Rogers
Alicia Svigals
Julian Lloyd Webber
Clarice Assad
Bule Bule
Caetano Veloso
Darius Mans
Sparrow/Pardal Roberts
RÁDIO MATRIX