Oficinas, Cds and Instructional Books

Oﬁcinas, CDs and Instructional Books. Teaching, Multiplying and Shaping Maracatu de Baque Virado in the period 1988–2010

Paper for the Seminar Musik(forschung) in Lateinamerika, held by Regine Allgayer-Kaufmann in the Summer Term 2010 at the Institut f¨urMusikwissenschaft, Universit¨atWien.

Second version, revised by the author. (First version: November 30, 2010.)

Timon Thalwitzer∗ January 15, 2015

∗Percussionist, mathematician and ethnomusicologist at the Department Of Musicology at the University of Vienna. [email protected] Thalwitzer: Maracatu de Baque Virado 2

Contents

1 Introduction3

2 Maracatu de Baque Virado. An Historical Outline4 2.1 1666–1988...... 4 2.2 1988–2010...... 5

3 Teaching Maracatu de Baque Virado 10 3.1 Instructional Literature and Videos...... 10 3.1.1 Batuque/Pecussion Ensemble...... 11 3.1.2 Drum Set...... 13 3.1.3 Pandeiro ...... 15 3.1.4 Atabaque/Timbal ...... 17 3.1.5 Remark...... 17 3.2 Workshops...... 18

4 References 22 4.1 Literature on Maracatu de Baque Virado ...... 22 4.2 Instructional Material...... 24 4.3 Weblinks...... 25 Thalwitzer: Maracatu de Baque Virado 3

1 Introduction

In February 2010, I had the opportunity to take part in an excursion to the Carnaval Multicultural do Recife1, as part of my studies at the Institute for Musicology of the University of Vienna, Austria. In Recife, I came in contact for the first time with maracatu de baque virado, also called maracatu-na¸cão or maracatu-na¸cão, a music now extremely visible and popular in Recife. It is commonly differentiated from a few other manifestations that are also referred to as maracatu, like maracatu de baque solto2 in Recife, or maracatu cearense in Fortaleza3. Since I liked the music very much, I started to do research on it. I soon learned that

1. There is quite a vivid maracatu scene not only in Recife, but in the rest of the world as well. In particular, I can now conﬁrm this for my home continent, for Europe.

2. As few as twenty years ago, the situation was dramatically diﬀerent.

This paper focusses on these past two decades. After summarizing the history of maracatu de baque virado up to 1988 in a few sentences (Sec- tion 2.1), I will mention some of the things that in my opinion have proved important for understanding the historical developments of this music since then (Section 2.2). Special focus in this overview lies on what I consider relevant for the main part of this paper, presented in Section3. In it, I want to highlight one of the areas I think of as crucial for the current state of maracatu, in particular outside Recife: the pedagogics of maracatu de baque virado. My thesis is that commercially released instructional material (Sec- tion 3.1) and maracatu workshops (Section 3.2), mainly held by Brazilian percussionists outside Brazil, along with audio and video recordings (which are not treated speciﬁcally in this paper), have utmost inﬂuence on maracatu groups and musicians interested in maracatu de baque virado outside Brazil. I cannot “prove” this thesis within the scope of this article, but I do hope to give ideas of where one could start, if interested in those topics, and point at how I came to my belief.

1Portuguese, “Multicultural Carnival of Recife.” Recife is the capital of Pernambuco, a state in northeastern Brazil. This and all following translations are by the author. 2Port. “maracatu of the free beat”, or “maracatu without beat”, also called maracatu rural (“maracatu of the countryside”) or maracatu de orquestra (“orchestral maracatu”). 3Capital of the Northeast-Brazilian state Cear´a. Thalwitzer: Maracatu de Baque Virado 4

2 Maracatu de Baque Virado. An Historical Outline

As I am not giving an introduction here to what is maracatu de baque virado, I recommend the following sources as introductory material for readers completely unacquainted with maracatu: the classic Maracatus do Recife by CésarGuerra Peixe [Guerra-Peixe 1980], the article O Carnaval do Recife e a Forma¸cãodo Folclore Negro no Brasil by Yoshihiro Arai [Arai 1994], the article The Pernambuco Carnival and its Formal Organisations: Music as Expression of Hierarchies and Power in Brazil by Tiago de Oliveira Pinto [Pinto 1994], the article Maracatus de Baque Virado ou Na¸cão by Claudia de Assis Rocha Lima [Lima 2008], the article Turned-Around Beat. Maracatu de Baque Virado and Chico Science [Crook 2001] and the book Music of North- east Brazil [Crook 2009, pp. 90–105] by Larry Crook, the Batuque Book Maracatu by Climériode Oliveira Santos and Tarc´ısioSoares Resende [San- tos and Resende 2009], the catalogue Recife. Na¸cãoAfricana. Catálogo da Cultura Afro-Brasileira [Recife. Na¸cãoAfricana. . . 2008], and the articles about Brazil by Gerard Béhaguein the music dictionaries New Grove [Behague´ 2001, p. 289] and Musik in Geschichte und Gegenwart [Behague´ 1995, pp. 117–118]. One can easily find plenty of resources on the internet as well; see, for example, the Portuguese Wikipedia page on Maracatu-Na¸cão [Wikipedia: Maracatu-Na¸cão 2010], or the website maracatu.org.br [Ma- racatu.org.br 2009]. I want to give a very brief overview of the history of maracatu-na¸cão in Recife (and Olinda4). As its roots date back to the 17th century, obviously a lot of space would be needed to cover this topic appropriately. As I can first and foremost only report what I observed of the maracatu in the 2010 carnaval in Recife, as well as repeat what can be found in the limited literature available, I am certainly not the right person for this task.

2.1 1666–1988 The pre-history of the maracatu-na¸c˜ao is usually considered to start with “the colonial practices [. . . ] called the Rei de Angola (King of Angola) and the Rei de Congo (King of Congo)”, the earliest written account for which stems from the year 1666 [Crook 2009, p. 92]. In those rituals, queens and kings (of Angola, the Congo and other nations) were elected by the African slaves that had been imported to colonial Brazil by the hegemonic Portuguese since 1538. These royalties “served as intermediaries between

4A city next, and culturally connected, to Recife. Thalwitzer: Maracatu de Baque Virado 5 the white masters and the enslaved and help keep order as they presided over religious and secular activities of the black population [Crook 2001, p. 234].” The celebrations for the coronations included music and dance. If not already somewhat earlier, then certainly after slavery in Brazil was abolished on May 13, 1888, when Princesa Isabel signed the Lei Aurea´ 5, the institution lost its original meaning. But now the various maracatus-na¸cão had the possibility to officially enter Recife’s carnival street parades. However, although “[p]revalent in nineteenth- and twentieth-century Re- cife, maracatu de na¸cão went into decline after around 1960. In 1967, only three groups remained [Metz 2008, p. 64].” Yoshihiro Arai gives the following number of maracatu de baque virado groups officially registered for parading in the carival in the period “1961–65”6: five [Arai 1994, p. 117]. In the next two decades, not too much changed about the situation. But for whatever reasons, starting in the late 1980s and continuing up to the present, some drastic developments have taken place. These developments are especially remarkable when considering that in the long history of maracatu, it had never gained much attention or interest outside the Recife/Olinda area, neither within Brazil, nor in the rest of the world. The theoretical reflections up to that time had been very little.7 I also know of no work specifically treating maracatu that appeared before 1990 in any language other than Portuguese.

2.2 1988–2010 In 1988, according to Jerry D. Metz, there were nine groups performing maracatu de baque virado in Recife/Olinda [Metz 2008, p. 64]. According to Arai, eight were officially registered in the Recife carnival [Arai 1994, p. 117]. 17 years later, in 2005, Climériode Oliveira Santos estimated that there were 65 maracatu de baque virado groups active in Pernambuco [Santos and Resende 2009, p. 29]. In 2006, historians Isabel Christina Martins Guillen and Ivaldo Marciano de Fran¸caLima wrote: “Os maracatus-na¸cão fazem enorme sucesso no cénariocultural da cidade do Recife na atualidade 5The Port. “golden law” was the official abolition of slavery in Brazil. 6It is not clear to which year he is referring, or if he is suggesting that it was the exact same number in all five years. 7The two most noteworthy studies on maracatu that appeared before the 1980s and which are still cited frequently today are Maracatus do Recife by Guerra-Peixe (1955) [Guerra-Peixe 1980] and O Folclore no Carnaval do Recife, written by Katarina Real in 1967. Thalwitzer: Maracatu de Baque Virado 6

[Guillen and Lima 2006, p. 183].”8 Meanwhile, during the almost two decades 1988–2010, many noteworthy developments took place in the maracatu world. The following list includes some events and facts that I think helped fos- ter, or were somehow connected to, what could be called a veritable maracatu “boom” that has been occurring during the last twenty years, within as well as outside Brazil.

• In 1988 and 1989, the two well-known and very traditional maracatus- na¸cãoNa¸cãodo Maracatu Porto Rico and Maracatu Elefante “came via organized tours to Europe [...] and helped increase both local and international interest in the tradition [Crook 2001, p. 239].” • On December 15, 1989, the maracatu group Na¸cãoPernambuco was founded in Olinda ([Naçao˜ Pernambuco n.d.], [Lima 2008]). The group recorded one the first (if not the first) commercial CD with maracatu music in the history of the genre (self-titled, released 1993, see [Crook 2001, p. 239]). It was the first maracatu group that toured ex- tensively outside Brazil. It collaborated with, and performed opening shows for, a range of renowned Brazilian and international pop artists.

• 1991 saw the formation of Chico Science & Na¸cãoZumi9, a band that mixed local musical traditions of Pernambuco (namely most promi- nently maracatu de baque virado, but also ciranda, embolada and others) with international influences coming from hip-hop, rock, metal etc., and which soon was to become one of the most successful artists out of Pernambuco ever. They are generally regarded as the leaders of the musical movement called mangue beat. In performances, they used three drummers playing alfaia drums in the center of the stage, giving plenty of visibility to an identifying symbol of maracatu-na¸cão.

• Between 1993 and 1995 (when the group moved their new home base to the Alto Jos´edo Pinho neighborhood), the Maracatu-Na¸c˜aoEs- trela Brilhante do Recife was re-organized. Under the famous leader of their percussion section, mestre10 Walter Ferreira de Fran¸ca11, who was

8Port. “At the moment, the maracatu nations have enormous success in the cultural scene of the city of Recife.” 9For further information, see [Galinsky 2002], [Crook 2001] or [Nac¸ao˜ Zumbi n.d.]. 10Port. “master”. In Brazil, this is the term used for leaders of maracatu groups,, samba groups, capoeira groups, etc. 11often referred to simply as (Mestre) Walter Thalwitzer: Maracatu de Baque Virado 7

coming from a samba-background12, some major innovations were introduced to Estrela Brilhante in the mid-1990s that should have huge impact on the whole maracatu-na¸cão scene in Recife, and maybe an even stronger one on the maracatu workshops that would soon be held more and more frequently all around the globe. These innovations included: New Instruments: Estrela Brilhante was the first maracatu to use abês.13 Within the maracatu de baque virado groups in the 2010 carnaval, these instruments were already more common than the type of shakers that used to be played instead before: ganzás.14 Brakes Walter introduced certain “conven¸cões”15 or “brakes”16, now a trademark of Estrela Brilhante’s music, that had previously been unusual in maracatu, but common in samba. Female batuqueiros: Traditionally, no female batuqueiros17 were al- lowed in the maracatus-na¸cão. In the mid 1990s, three female students from the UFPE18—Neide Valdes and the two sisters Vir- ginia and Cristina Barbosa—who were interested in maracatu- na¸cão wanted to carry out some studies about it and learn to play it. They approached Estrela Brilhante and Walter accepted them happily into the na¸cão, because he thought that it would (and, according to him, did) stir the interest of the media and public [Galinsky 2002, pp. 84–85]. Today, at least a few women are playing in most of the maracatus-na¸cão, and there is one group, Baque Mulher19, consisting of women only. Interestingly, although women are now found at all positions of the maracatu batuque, there is one instrument played almost exclusively by women: the abê.20 12More specifically, he was member of the Gigantes do Samba, the oldest, best-known and (as far as the annual “official” carnival competitions are concerned) most successful samba school out of Recife. 13Interview with percussionist Cal do Rap, conducted on February 5, 2010. Cal do Rap, musician and long-term Estrela Brilhante member, said that he was among the first group of percussionists within Estrela Brilhante who played these new shakers. 14Other names for this instrument include maraca, mineiro and mineirinho. Another instrument that is now used by a number of groups was introduced by the Na¸cãodo Maracatu Porto Rico: the timbal. 15Port. “conventions”. 16Port. “breaks”. 17Port. “percussionists” in maracatu-parlance. 18Universidade Federal de Pernambuco (Federal University of Pernambuco). 19Port., which roughly translates to “Woman’s Beat”. 20Some member of one of the maracatus-na¸cão in Recife remarked to me that this was Thalwitzer: Maracatu de Baque Virado 8

White, middle-class and formally trained batuqueiros: The en- trance of the three mentioned women into Estrela Brilhante had a second major significance: they were some of the first formally educated musicians from the middle-class to enter a na¸cãodo maracatu. Plus, they were not from the Alto Josédo Pinho neighborhood but from another part of Recife further away. Up to that point, almost all of members of the maracatus-na¸cão in Re- cife were dark-skinned, from lower-class social background and directly from the neighborhood where the respective maracatu was based. Later on, a lot more formally educated musicians from Re- cife participated in maracatus-na¸cão, in this way learning about the folk traditions of their hometown, and in some cases then used the knowledge in other musical projects (e.g. percussionist Eder´ “O” Rocha, of the band Mestre Ambrósio, or Jorge Martins da Silva, of the band Cascabulho). Also, more and more people from the white middle-class became interested in maracatu de baque virado. There are now numerous workshop classes around the city, specifically designed for this social group. Systemizing the maracatu: Finally, and perhaps most relevant to the topic of this paper, Walter designed a pedagogical concept for the maracatu, in a way standardizing it. According to anthropol- ogist Ernesto Ignacio de Carvalho, “A cartilha Estrela Brilhante de baque virado émais ou menos a base do que foi ensinado por váriascidades do Brasil e do mundo desde o movimento das oficinas de maracatu, a partir do final da décadade 90 [Carvalho 2007, p. 118].”21 He conceived a system of five exactly specified alfaia rhythms, to each of which he assigned a name. Before I came to Recife, I saw a video on YouTube.com in which percussionist Eder´ “O” Rocha explains these exact five rhythms [Rocher 2008], using the same names as Walter. In Recife, we conducted an interview with Hugo Leonardo, mestre of the Na¸cão do Maracatu Leãoda Campina. When we asked him to explain the various rhythms that there are in maracatu-na¸cão, he performed and named those exact five rhythms for us. In the carnaval parades, they constituted by far the greatest part of what I heard from the various na¸cões. Philip Galinsky, in his book Maracatu due to the fact that the abê is somehow associated with femininity, due to its shape. 21Port. “The primer “Estrela Brilhante” of the baque virado is more or less the basis for what has been taught in various cities in Brazil and the world since the movement of the “maracatu workshops” has taken place, starting at the end of the 90s.” Thalwitzer: Maracatu de Baque Virado 9

Atômico [Galinsky 2002] on the mangue movement, which is one of the most extensive English works on the topic, cites those exact rhythms (again, with the same names) as musical examples of what maracatu de baque virado is.22 A maracatu workshop I attended, held by Brazilian percussionist Tarc´ısioSoares Resende (author of the successful instructional-type “Batuque” book [San- tos and Resende 2009]), held in Vienna, Austria in June 2010 (compare Section 3.2), was also based on those rhythms. I came to assume that they constitute “the traditional repertoire” of the maracatu de baque virado in Recife. Only through the paper from Carvalho cited above did I learn that they came together as a pedagogical concept, probably partly for the many new batuqueiros who entered, or visited, Estrela Brilhante during the last twenty years. For many musicians, students and other “outsiders” who wanted to learn about maracatu, Estrela Brilhante, one of the best- known and, to the ears of many, best maracatus-na¸cão, was the group of their choice. These people so often reproduced what they had learned, that this heritage indeed seems to make up a large part of what maracatu is today. Many of the maracatus-na¸cão now active were founded only after Walter coined his system and may have drawn from his clear-cut, compact and well-conceived concept when their repertoires came together.

• Following Na¸cãoPernambuco, many of the more traditional maracatus- na¸cão recorded CDs, making their music more accessible in- and outside Recife (e.g. Estrela Brilhante do Recife, Estrela Brilhante de Iga- rassu, Encanto da Alegria, LeãoCoroado, Porto Rico, Cambinda Es- trela).

• Founded in 1993, the Maracatu Stern der Elbe from Hamburg, Germany was probably the ﬁrst European maracatu group.

• Since 2002 [Guillen and Lima 2006, p. 183], renown Brazilian percussionist Nan´aVasconcelos conducts hundreds of batuqueiros of various maracatus-na¸c˜ao at the “Arbetura do Caranval do Recife”23, which takes place friday night before Ash Wednesday at Marco Zero, the largest public square in Recife, and which is one of the most visible events of the carnaval celebrations. 22It should be noted that, contrary to the other examples, Galinsky is citing Walter as his source for the rhythms. 23Port. “Opening of the Carnival of Recife”. Thalwitzer: Maracatu de Baque Virado 10

• The French maracatu group Maca´ıba and other European maracatu groups now organize Encontros Europeu de Maracatus24, the third and fourth of which took place on July 5–6, 2008 in Nantes (215 participants from 15 music groups), and on July 2–4, 2010 in Paris (more than 300 particiants) respectively.

• There are now maracatu groups and workshops in major cities around the globe.

3 Teaching Maracatu de Baque Virado

Within Recife, educational material seems to have very little importance. Although maracatu-workshops have become more common there during the past decade, in the rather traditional maracatus-na¸cão the music is transmit- ted orally. When we asked Hugo Leonardo, mestre of the Na¸cãodo Maracatu Leãoda Campina25, how children are taught when they enter the group, he answered that the young kids, when they hold an alfaia in their hands for the first time, maybe at age four or five, already know how to play all the rhythms.26 They are capable of this because they have seen and heard how to do it many times before. In other words, there is no active teaching, the tradition is passed on by imitating what the older ones are doing. Contrary to that, it is in my opinion reasonable to consider maracatu educational literature and videos, as well as other audio and video recordings and workshops, very important for how maracatu is received and practiced outside Brazil. I would argue that since there is no maracatu tradition outside Brazil (or, to be more exact, only a very recent one), these kind of sources constitute a significant pool of information for non-Brazilians interested in maracatu, in particular for those who did not have the chance to study the music in Recife themselves. (Compare the remark on the sales of the Batuque Book, cited below on p. 11.)

3.1 Instructional Literature and Videos I strongly doubt that many instructional books or articles dealing with the music of maracatu appeared before the 1990s.27 However, I found a consid-

24Port. “European Maracatu meetings”. 25Port. “Maracatu Nation Lion of the Land”. 26Formal interview, conducted on February 6, 2010, in Ibura (Recife), at Le˜aoda Camp- ina’s home base. 27One of the few exceptions is [Rocca 1986]. Thalwitzer: Maracatu de Baque Virado 11 erable number of educational products released since then, of which I want to give an overview here. Apart from three books and the DVD presented in Section 3.1.1 that give actual scores/transcriptions of music played by maracatu batuques28, there is a number of explicitly designated musical teaching books and videos for drum set and various other percussion instruments that contain chapters on maracatu de baque virado. The authors usually explain how they would adapt maracatu (and, for that matter, typically also other Brazilian musical styles) for the respective instrument. In Sections 3.1.2–3.1.4, some examples of this approach are presented, ordered by instrument.

3.1.1 Batuque/Pecussion Ensemble Although maracatu de baque virado is music traditionally performed by a percussion ensemble, I have not found many publications dealing with this kind of instrumentation. Far more have been published for drum set or pandeiro. This might be due to the fact that in the “Western” hemisphere, far more people and musicians (potential buyers) have access to these instruments than to a whole percussion ensemble.

• Climériode Oliveira Santos and Tarc´ısio Soares Resende: Maracatu Batuque Book ([Santos and Resende 2009], book & CD-ROM, 156 pages, Portuguese and English). There is one book dedicated entirely to maracatu (de baque virado as well as de baque solto) which is of instructional character due to its many musical scores, made from recordings and also included on the accompanying CD-ROM. The scores are note literal note-by-note transcriptions. They are not close to scientific ac- curacy. They rather give simplified, compact and workable summaries of what is happening in the recorded performances and are thus well- suited as e.g. material for performing percussion groups. Written by Climériode Oliveira Santos29 and Tarc´ısioSoares Resende30, the Ma- racatu Batuque Book is bilingual (Portuguese and English) throughout and hence one of the most comprehensive works on maracatu available in any language other than Portuguese. In 2007, Ernesto Ignacio de Carvalho explained that the “Maracatu Batuque Book foi recentemente comprado em grandes quantidades na Inglaterra, onde um grupo de

28Port., a common term for maracatu percussion ensembles. 29A Brazilian ethnomusicologist and musician, a former student of Prof. Carlos Sandroni at the Federal University of Pernambuco. 30A Brazilian professional percussionist and teacher, who is also holding maracatu workshops in Brazil and abroad; compare Section 3.2. Thalwitzer: Maracatu de Baque Virado 12

percussionistas pretende adotá-locomo método de ensino de percussão em escola. [Carvalho 2007, p. 131]”31 As the first edition of the book sold out, its second edition is the one currently available.

• Climériode Oliveira Santos and Tarc´ısioSoares Resende: Maracatu- Na¸cão. Brazil’s Heartbeat ([Santos and Resende 2010], DVD, 114 minutes, Portuguese with English, French and Spanish subtitles). There also is a DVD by the same authors which expands on the concept of the book. It contains a documentary on maracatu, transcriptions, a section in which mestres Afonso Aguiar of Maracatu LeãoCoroado32, Shacon Viana of Maracatu Porto Rico and Seu Toinho of Maracatu Encanto de Alegria33 talk about and demonstrate rhythms typical for their respective groups, a section on the construction of alfaias, as well as a feature on non-traditional and innovative maracatu percussion groups in- and outside Brazil.

• Gilson de Assis: Brazilian Percussion ([Assis 2002], book & CD, 141 pages, German). Another percussion instructional book that features a section on maracatu de baque virado. In Assis’ Brazilian Percussion, several Brazilian percussion styles are described and “typical” patterns are presented. Music examples are included as percussion scores and on an audio CD. The Chapter “Maracatu de Baque Virado in Pernam- buco” [Assis 2002, Kapitel 3 (pp. 95–104), CD tracks 32–38] consists of a very short introduction to the history and instruments of maracatu, as well as the score to a whole “maracatu-piece”, featuring the sections “Intro”, “Genereller Groove”34, “Break 1”, “Break 2” and “Schluss- break”35. Similarly to the scores from the Batuque Book, this score is of instructional character rather than representing accurately some rendition of maracatu de baque virado from Recife.

• Fernando Antonio Ferreira de Souza: Manual de Percuss˜aodos Ritmos Pernambucanos36 (2010, Portuguese). Finally, this is another item that I have not yet had a chance to examine myself. The book contains sec-

31Port. “Recently, the Batuque Book was purchased in great quantities in England, where a group of percussionists intends to employ it as an instructional method for teaching percussion in school.” 32Port. “Maracatu Crowned Lion”. 33Port. “Maracatu House of Joy”. 34German, “general groove”. 35Ger. “ending break”. 36Port. “Percussion Manual of Rhythms from Pernambuco”. Thalwitzer: Maracatu de Baque Virado 13

tions on “Gonguê”37 “Alfaia”, “Caixa”38,“Ganzá/Mineiro/Caracaxá”, “Maracatu” and “Maracatu de Baque Virado”.

3.1.2 Drum Set Numerous works describing how maracatu can be interpreted on the drum set are available. This has probably two reasons: ﬁrstly, the drum set is a hugely popular instrument in the “Western” hemisphere, and secondly, it has a very wide range of sounds and is thus well-suited for simulating percussion styles fairly closely that are originally played on other instruments. Here are four publications that I could get my hands on personally:

• Dirk Brand: 1000 faces of drum styles ([Brand 1997], book & CD, 300 pages, German). The section on maracatu [Brand 1997, pp. 106–107] is very brief. The patterns the author suggests seem to be connected to maracatu de baque virado only losely. Or, to say the least, they seem to be derived in a very “free” manner. He merely very superﬁcially touches upon which instruments are actually used in maracatu, or how he developed his patterns. In particular, he mentions how he imitates “den normalerweise von den Agogo Bells gespielten Part”39 on the ride cymbal in one example [Brand 1997, p. 107], and how another pattern imitates “auf den Toms den Rhythmus der Zabumba [Brand 1997, p. 106].”40 As he nevertheless suggests that the presented examples are more or less directly transcribed from maracatu performances, the value of this whole contribution seems questionable to me.41

• Helge Rosenbaum: Brazilian Drumming ([Rosenbaum 2007], book & CD, 194 pages, German). This contains the most complete treatment of how to adapt maracatu to the drum set that I have seen so far. Rosenbaum’s well-conceived approach starts with a generic maracatu percussion score. He proceeds with a discussion of how the parts of the

37A large single Bell made of metal, which is used by practically all maracatus-na¸cão. 38The small snare-drum-like drums used in maracatu-na¸cão. 39Ger. “the part usually played by the agogo bells”, possibly having the single bell in mind which is more often referred to as gonguê in Recife. 40Ger. “on the toms the rhythm of the zabumba”, apparently meaning the bass drum usually called alfaia in maracatu context. 41Later, on June 22, 2011, at a product presentation of the electronic musical instruments manufacturer “Roland”, which took place at the music store “Klangfarbe” in Vi- enna, I had a chance to converse with Dirk Brand. He told me that some Brazilian drum set player (which he could not specifically name anymore) showed him those drum set patterns many years ago, during his studies at the Berklee College of Music, located in Boston, Massachusettes, U.S.A. Thalwitzer: Maracatu de Baque Virado 14

diﬀerent maracatu instruments could be applied to various instruments of the drum set in several ways, deriving a number of drum set grooves that seem to emulate the style fairly convincingly [Rosenbaum 2007, pp. 18–19, 28, 41, 144–149, CD tracks 4, 71–75]. Interestingly, the book also includes a short section on mangue beat (´ala Chico Science & Na¸coZumbi)[Rosenbaum 2007, p. 150, CD track 76]. This pop music genre makes use of maracatu elements as well as the drum set as a “native” instrument. This is one of the very few places I have seen in any musical instructional work where mangue beat is mentioned.

• In Vera Cruz Island. Brazilian Rhythms for Dumset ([Figueiredo and Oliveira 2009], book & 2 CDs, 106 pages, English), Brazilian drummer Vera Figueiredo presents a couple of songs, written and recorded specifically for that occasion, that make use of various Brazilian as well as international popular music traditions. Transcriptions of the drum set parts she plays are included. The first of the songs, Vera Cruz Island, includes some maracatuesque sections. She also explains very briefly how she derives her drum set patterns from maracatu music [Figueiredo and Oliveira 2009, pp. 11–17]. According to her, the song is “based on the Maracatu groove [Figueiredo and Oliveira 2009, p. 11]” (compare Section 3.1.5), and the pattern she plays is “one of the closest possible drumset grooves to the maracatu ensemble [Figueiredo and Oliveira 2009, p. 12]”. • Eduardo Guedes: Maracatu: Maraca 2.0—Applying Pullouts and Con- trol Strokes in Brazilian Rhythms42 ([Guedes 2009], article, 3 pages, English). Published online on the webpage of Hudson music, this brief article explores the possibilities of applying two well-known concepts from drum set technique (“pullouts” and “control strokes”) to some grooves the author takes from the maracatu section of his book Brazil for Drum Set. Vol. 1: Northeast—Nordeste—Noreste (see the notes on the book below).

There are several more similar publications that I have not had a chance to read yet. I still want to include them in this list in order to give a more complete picture:

42This title is referring to the article Future Sounds 2.0 [Garibaldi 2007] by famous drum set player David Garibald. Guedes originally developed the idea of writing his article through the study of the one by Garibaldi. In it, Garibaldi explains the concepts of “pullouts” and “control strokes” in funk drumming. A “pullout” is a soft note followed by a loud note, played with the same hand. A “control stroke” is a loud note followed by a soft note, played with the same hand. Thalwitzer: Maracatu de Baque Virado 15

• Duduka da Fonseca, Bob Weiner: Brazilian Rhythms for Drumset, ([Fonseca and Weiner 1991], Drummer’s Collective Series, Man- hattan Music, U.S.A., book & 2 CDs, English). The title of the book says it all. Section 4 (pp. 67–68) is on maracatu. According to the German Wikipedia, this book has become a “Standardwerk f¨urSchlagzeuger [...], die sich f¨urbrasilianische Musik interessieren [Wikipedia: Duduka da Fonseca 2010]”43.

• Ed Uribe: The Essence of Brazilian Percussion & Drum Set ([Uribe 2006], book & CD, 144 pages, English). Taking a similar approach as the other publications presented here, the book includes a very short chapter on maracatu (pp. 136–137).

• Alberto Netto: Brazilian Rhythms for Drum Set and Percussion (2003, Berklee Press, U.S.A., book & CD, 120 pages, English). Same story, the segment about maracatu (pp. 94–96) is included in Section 6: Afro- Brazilian Rhythms. On the CD, a percussion ensemble example (track 72) and two drum set examples (track 73) are included. The introductory track 1 is a “maracatu piece” as well, performed on piano, bass, drums and percussion.

• Eduardo Guedes: Brazil for Drum Set. Vol. 1: Northeast—Nordeste— Noreste (2008, Tunesguedes Publishing, Astoria, New York, USA, book & CD, 80 pages, English/Portuguese/Spanish). Written by Brazilian drum set player, percussionist and educator Eduardo Guedes, this pub- lication contains a comprehensive chapter (Section 2, pp. 33–46) and a score, called “Maracatu: Estrela Brilhante” (p. 67), on maracatu.

• Pete Sweeney: Drum Atlas Brazil. Your Passport to a new world of music (2009, Alfred Publishing U.S.A., Book & CD, English). On the cover, it says: “Translations of traditional rhythms for the modern drumset”. In Chapter 6 (“Additional Brazilian Styles”), there is a page on maracatu (p. 46).

3.1.3 Pandeiro Maybe due to the fact that the pandeiro is arguably as “typical Brazilian” as maracatu, most instructional works for this instrument seem to at least brieﬂy touch upon maracatu. The pandeiro, like the drum set, has a wide range of sounds, making it versatile and suitable for the adaption of many percussion styles not usually played on it.

43Ger. “standard reference for drummers interested in Brazilian music”. Thalwitzer: Maracatu de Baque Virado 16

• Marcos Suzano: Pandeiro Brasileiro.44 A Complete Lesson with Marcos Suzano ([Suzano 2008], DVD, 140 minutes, Portuguese with English, French, German and Spanish subtitles). Marcus Suzano is one of the most renown pandeiro artists living and is usually cited with having revolutionized the technique of the instrument by utilizing innovative hand movement patterns. In particular, he often plays bass accents with the fingers, where before usually the thumb was used. Likewise, he frequently starts patterns with his fingers instead of the thumb. This modern and now very popular approach is, as he explains on the DVD, especially well suited for maracatu grooves with their typical heavy off-beat bass accents.

• Helge Rosenbaum: Brazilian Drumming ([Rosenbaum 2007], book & CD, German). Despite of the main focus of this earlier mentioned book being the drum set, Rosenbaum herein also presents one possibility to play maracatu on the pandeiro [Rosenbaum 2007, p. 41]. Again, there are several more related educational products that I have not held in hands personally yet. Examples include: • Paulinho Silva: Pandeiro Popular Brasileiro. Video-Aula de Pandeiro 1, 2 e 345 (DVD; Portuguese, with English, Spanish and French subtitles). This release by Paulinho Silva, a former student of Marcos Suzano, has a section where Paulinho demonstrates his versions of some popular Brazilian rhythms for pandeiro, among others maracatu.

• Vina Lacerda: Pandeirada Brasileira (book & MP3-CD, 133 pages, English and Portuguese), and Pandeirada Brasileira—Pocket Edition (book & DVD, English). These releases both contain some material on maracatu adaptions for pandeiro.

• Jonathan Gregory: A Comprehensive Guide to Brazilian Pandeiro (2007, 2nd edition, book, 76 pages, English). There are short sections on maracatu (p. 60) and—noteworthy—on mangue beat (p. 61).

• Luiz Roberto Sampaio, Victor Camargo Bub: Pandeiro Brasileiro. Vol- ume 1 and Luiz Roberto Sampaio: Pandeiro Brasileiro. Volume 246 (each consisting of a book—in Portuguese only—and a DVD in En- glish, French, Spanish, Japanese and Portuguese). These two releases touch upon maracatu as well.

44Port. “Brazilian pandeiro”. 45Port. “Popular Brazilian Pandeiro. Pandeiro Video Lesson 1, 2 and 3”. 46Port. “Brazilian Pandeiro. Volume 1” resp. “2”. Thalwitzer: Maracatu de Baque Virado 17

4 j j j ã 4 . œ ! œ . ! œ . ! œ . . Figure 1: The maracatu rhythm sometimes called “Arrasto”.

3.1.4 Atabaque/Timbal • Gilson de Assis: Brazilian Conga (Atabaque). Traditional and Modern Rhythms from Brazil for 1, 2 or 3 Congas and Timbau ([Assis 2006], book & CD, 125 pages, English/Portuguese/German). This book includes nine diﬀerent ways of how Brazilian percussionist Gilson de Assis would interpret maracatu on 1, 2, or 3 congas [Assis 2006, pp. 80–81, CD track 39]. The author does not give any accompanying commentary or explanations.

3.1.5 Remark One if the things I found interesting, when I was looking through all these examples, was the frequent occurrence of one specific rhythm, used as a starting point in many cases. It is the one called “Arrasto”47 by mestre Walter Ferreira de Fran¸caof Estrela Brilhante de Recife48, depicted in Figure1. Compared to other rhythms found as often or even more frequently in the performances of Recife maracatu groups, this particular one is favored by many of the authors mentioned in this section. Sometimes it is juxtaposed with other alfaia rhythms (Helge Rosenbaum [Rosenbaum 2007], Gilson de Assis [Assis 2006]), but often it is presented in a rather uncritical manner as “the”, or as an especially typical maracatu rhythm (Dirk Brand [Brand 1997], Vera Figueiredo [Figueiredo and Oliveira 2009], Eduardo Guedes [Guedes 2009], Marcos Suzano [Suzano 2008]). One can only speculate about why this rhythm is featured so disproportionally. My attempt for an explanation is the following: When I started listening to maracatu, what caught my ear immediately as the most striking rhythmic feature of the music was the frequent prominent and heavy accentuation of the second of the four sixteenth notes in a quarter note. This kind of off-beat accent can happen in different ways and on different beats within the four/four bar, depending on the performed rhythm. But all of the maracatu de baque virado rhythms feature it in some way or another. The rhythm depicted in Figure1 highlights this characteristic in a very condensed manner.

47Port. “limping” or “dragging”. 48for a discussion of the naming of this rhythm, see [Carvalho 2007, pp. 120–121]. Thalwitzer: Maracatu de Baque Virado 18

Another argument (although one that would hold for a couple a other maracatu rhythms as well) is that the rhythm from Figure1, played with a bass sound, combines very nicely with a rock/pop-type, high-pitched back- beat on beats two and four of the bar. This is an approach pursued by most of the authors who try to adapt the maracatu grooves to drum set or pandeiro, and which yields a syncopated groove sounding like a funk or mangue beat pattern.

3.2 Workshops Since the 1990s, maracatu workshops are held in- and outside Brazil. As mentioned before, Ernesto Ignacio de Carvalho speaks of a veritable “movimento das “oficinas de maracatu” [Carvalho 2007, p. 118]”49 in this regard. In many cases, the maracatu groups outside Pernambuco were initiated by workshops held by percussionists either from Pernambuco or who had stud- ied maracatu there. As the maracatu tradition outside Brazil is still very young and the density of active groups rather low, I claim that workshops in many cases provide the first, or most direct/first-hand exposure to this music for people who have not heard or seen it on location in Recife before. For these reasons, I think that maracatu workshops are one of the princi- pal and most influential means by which maracatu is distributed, popularized and multiplied in the world, especially outside Pernambuco and even more so outside Brazil. Consequently, I find it important to give account of these events. Usually, workshops are intended mainly as a temporary thing, to transmit a specific knowledge, during a specific time interval, and no one involved has necessarily any desire to give further account of it. Accordingly, documenta- tion of them is in most cases hard to find or inexistent. It must thus remain quite a formidable task, which I cannot tackle within the scope of this paper, to give a somewhat complete picture of maracatu workshops that have been held all around the world since the 1990s. For illustration, I still want to put down some words about at least a few of them that I came across coinciden- tally during my still brief occupation with maracatu. Naturally, these are all examples from a fairly limited time interval and a fairly restricted area.

• Various Workshops with Nininho (Europe 2008–2010). Better known as (mestre) Nininho, Brazilian percussionist Joséda Silva As- sun¸cão,after playing in the renown group Maracatu-Na¸cãoPernambuco for some time, has been leader of Maracatu Badia from Olinda since

49Port. “movement of maracatu workshops”. Thalwitzer: Maracatu de Baque Virado 19

the late 1990s. Badia is a group that initially consisted only of women (apart from Nininho)50, which is fairly unusual for a maracatu group in the Recife/Olinda area51. Also, Badia plays a decidedly non-traditional style of maracatu, mixing it with all sort of inﬂuences. Therefore, Nin- inho assigned the name “Maracatu de Baque Livre”52 as a trademark to their kind of music. Klaus Urban53 brought to my attention that Nin- inho has been holding workshop “tours” in several cities around Europe on an annual basis since 2008, usually lasting a couple of weeks.54

• Maracatu Workshop mit55 Luciano Ciranda (Vienna, Austria, 2010). Between February and May 2010, Brazilian dancer, percussionist, singer and composer Luciano Ciranda, now living in Vienna, was holding workshops in the “Initiativenraum” of the Werkst¨atten- und Kulturhaus56 (WUK), teaching mainly maracatu, but also other Afro-Brazilian styles like afox´e, coco, or ciranda. These workshops were scheduled once or twice a month.57 I wanted to attend the last of them, scheduled for May 23, 2010. Unfortunately, it was cancelled on short notice, hence I cannot say anything about what was taught at these workshop classes.

• Quebra Baque Austria (Vienna, Austria, 2010). In 2003, Tarc´ısio Soares Resende, one of the authors of the aforementioned Maracatu Batuque Book [Santos and Resende 2009] and and the Batuque DVD Maracatu Na¸c˜ao.Brazil’s Heartbeat, founded the group Maracatu Que- bra Baque in Recife. One of its members is Priscilla Borel58. In collaboration with the organization iKUSZ59, it was planned to bring her to

50See, for example, [Galinsky 2002, p. 180]. 51In fact, until now there has probably been only one other such group, namely Baque Mulher (Port. “Women’s Beat”). 52Port. “Maracatu of the Free Beat”. 53Leader of the German maracatu de baque livre group Encontro, and manager of Kalango, one of the largest mail order companies specialized in Brazilian instruments in Europe. 54Personal communication with Klaus Urban on April 21 and May 25, 2010. Also see [Suhner n.d.]. 55Ger. “with”. 56Ger. “house of workshops and culture”. 57The date schedule was February 27, March 27, April 3 and 10, May 9 and 23. This information comes from the flyer for these workshops, as well as from two resources on the internet that I found: [WUK n.d.] and [Akinyosoye 2010]. 58Singer, musician, dancer and former long-term member of Maracatu Estrela Brilhante. Native of Recife. 59Internationales Zentrum fürKunst-Kultur-Science & Soziales (Ger. “international centre for culture-art-science & social affairs”). A Verein (Ger. “society”) founded in 2009 Thalwitzer: Maracatu de Baque Virado 20

Vienna, Austria, to hold a two day workshop, under the name Quebra Baque, on October 31–November 1, 2010, at WUK’s Initiativenraum (see above). Unfortunately, the workshop was canncelled on short notice. In 2010, in a new attempt, iKUSZ invited Tarc´ısioResende. He spent a few weeks in Vienna and helped found Maracatu Quebra Baque Austria. Between May 17 and July 7, 2010, Resende led the group and held workshops, rehearsals, public rehearsal and live performances with a group of circa 10–20 participants. Their first public appearance was on June 11. Quebra Baque Austria is still rehearsing and playing live shows now. For mid 2011, it is planned to invite Resende another time.60 I attended one of the rehearsals61 and one public live performance62. The instruments used were gonguê, ganzá, abê, caixa63, timbals, alfaias and voice. Apart from one ensemble break and a few variations in the alfaia parts, I knew practically all of the patterns and songs that Resende taught from maracatu groups in Recife. He also explicitly cited some maracatus-na¸cão like Maracatu-Na¸cãoEncanto da Alegria or Na¸cãodo Maracatu Porto Rico as being the authors of certain parts or songs. Still, the way the arrangements were put together differed significantly from what I had heard from traditional maracatus-na¸cão from Recife. With Quebra Baque Austria, it was mostly relatively long predetermined successions of different parts, starting with some introduction and then, conducted by certain rudimentary signs from Resende, moving from one rhythm to the next or to specific breaks played by the ensemble, without stops in between. In Recife, especially as far as the traditional maracatus-na¸cão are concerned, I rarely heard long, arranged renditions like that, which comprised several different rhythms. Accompanying one toada64 with one certain rhythm (be it, with all sorts of variations, improvised by individual players) seemed to be far more common. This is a case in point supporting and based in Vienna, Austria. See [Spengler 2009]. 60All information is from the websites of iKUSZ [Spengler 2009], Quebra Baque Aus- tria [Quebra Baque Austria 2008] as well as from printed flyers and posters for the various events. 61On June 30, 2010. 62On July 2, 2010, in the Wiener Prater. 63In fact, as caixas they used industrially manufactured instruments originally produced as snare drums of a drum set. A logical choice, as they sound relatively similar to the caixas and tatróis used in Reife, and are available much more easily in Vienna. 64Port. “song”. Thalwitzer: Maracatu de Baque Virado 21

the central thesis of Ernesto Ignacio de Carvalho Diálogo de negros, monólogo de brancos [Carvalho 2007]. He believes that there are significant differences between “traditional” maracatu performances of Recife’s maracatus-na¸cão, that have a certain interactive character to them, and maracatu as it is for instance typically found in performances by percussion workshop groups, that have more of a rehearsed and con- certante character to them. One other thing that caught my attention at the Quebra Baque Austria rehearsal was the way Tarc´ısioResende explained how the left hand strokes on the alfaia should be executed. He said that the beater should remain in contact with the drum head after the stroke, that it should be pushed or buried into it. I found that peculiar because firstly, I have never seen anybody play the alfaia like that in Recife; secondly, the dampened sound quality that results did not match the image I had thus far of how an maracatu alfaia “should” sound; and thirdly, because personally, being a percussionist myself, I find it uncomfortable to play a drum by constantly pushing the sticks into the drum head. Anyhow, very few of the people present at the rehearsal actually played the alfaia that way, neither the few Brazilians who were there and obviously already had some experience with the music, nor the Austrians who were in some cases still struggling a lot with the patterns.

• Masters Nation (Europe 2010). Organised by Gandaia65, between October 30 and November 30, 2010, the “Masters Nation” project took place in 14 cities in Central and Northern Europe66. Three mestres of old and renown maracatus-na¸cão from Recife were invited to hold workshops, seminars and concerts on altogether 21 days/events in the various cities (sometimes more than one day in one city). Most of the individual events were organized in collaboration with, or were booked by, a local maracatu group. The participating mestres in 2010 were Afonso Aguiar (of Maracatu LeãoCoroado), Arlindo Carneiro dos San- tos (of Maracatu Cambinda Africano) and Gilmar de Santana Batista (of Maracatu Estrela Brilhante de Igarassú67). The organizers are hop-

65According to their website, GANDAIA is an Arts Organisation focused on the devel- opment of Brazilian culture through music, dance, drumming, costume design, travel and cultural interchange [Gandaia n.d.]. They are based in the UK. 66These were: Paris, Nantes, Montpellier, Toulouse and Bordeux in France; Manchester, London and Oxford in England; Belfast in Northern Ireland; Malmo and Stockholm in Sweden; Barcelona in Spain; Milan in Italy; Berlin in Germany. 67For further information on this group, see [Estrela Brilhante Igarrasu´ n.d.(a)] or [Estrela Brilhante Igarrasu´ n.d.(b)]. Thalwitzer: Maracatu de Baque Virado 22

ing to establish this as a permanent annual event, and to invite three diﬀerent mestres every year. According to their homepage, “Masters Nation II” is currently already in the phase of pre-production [Mas- ters Nation 2010].

These are but a few examples of maracatu workshops I personally came in touch with during the last couple of months. I hope they serve as an illustration for how much more there would be to ﬁnd if one would consider a larger area, other continents, or if going back further into the past. I hope that they also give an idea of the kind of impact they have on maracatu in Europe. With that in mind, I think that it is no exaggeration to speak of a “movimento das oﬁcinas de maracatu”. Having said that, it becomes clear that workshops are probably one of the most important factors that have shaped the characteristics and developments of maracatu music in the world outside the Recife/Olinda area (which is a fairly big part of the world) since the 1990s.

4 References

4.1 Literature on Maracatu de Baque Virado Arai, Yoshihiro (1992). “Recife no karunavaru to kokujin fôkuroano keisei”. In: Tôsui-surubunka: Chûnanbei no shûkyôto shakai. Ed. by Hirochika Nakamaki. 32 pages, illustrated, Japanese. Tokyo, Japan: Heibonsha, pp. 85–116. — (1994). “O Carnaval do Recife e a Forma¸cãodo Folclore Negro no Brasil68”. In: Senri Ethnological Reports 1. Originally published as [Arai 1992]. 24 pages, illustrated, Portuguese (translation from Japanese by Sandra M. Murayama), pp. 115–138. Behague´ , Gerard H. (1995). “Brasilien69”. In: Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädieder Musik, begründetvon Friedrich Blume70. Ed. by Ludwig Finscher. 2nd Edition. Vol. Sachteil 2 (Böh– Enc). 30 pages, illustrated, German (translation from English by Eike Wernhard). Gemeinschaftsausgabe der Verlage Bärenreiter (Kassel, Basel, London, New York, Prag) und J.B. Metzler (Stuttgart, Weimar), pp. 100– 129. 68Port. “The Recife carnival and the formation of the black folclore in Brazil”. 69Ger. “Brazil”. 70Ger. “Music in History and Present. General Encyclopedia of Music, founded by Friedrich Blume”. Thalwitzer: Maracatu de Baque Virado 23

Behague´ , Gerard H. (2001). “Brazil”. In: The New Grove Dictionary of Music and Musicians. Ed. by Stanley Sadie. 2nd Edition. Vol. Four (Borowski–Canobbio). 32 pages, illustrated, English. London: Macmillan Publisher Limited, pp. 268–297. Carvalho, Ernesto Igancio de (2007). “Diálogode negros, monólogode brancos: Transforma¸cõesmusicais no maracatu de baque virado71”. 145 pages, illustrated, Portuguese. Disserta¸cão(PhD-thesis). Recife, Pernam- buco, Brazil: Univesidade Federal de Pernambuco, Centro de Filosofia e CiênciasHumanias, Departamento de CiênciasSociais, Programa de Pós-Gradua¸cãoem Antropologia. Crook, Larry (2001). “Turned-Around Beat. Maracatu de Baque Virado and Chico Science”. In: Brazilian Popular Music and Globalization. Ed. by Charles A. Perrone and Christopher Dunn. 12 pages, illustrated, En- glish. Gainesville, Florida, U.S.A.: University of Florida Press. Chap. 14, pp. 233–244. — (2009). Focus: Music of Northestern Brazil. 2nd edition (1st edition: 2005). Focus on World Music. Book & CD, 284 pages, illustrated, English. New York, U.S.A.: Routledge. isbn: 978-0-415-96065-6. Galinsky, Philip (2002). Maracatu Atômico. Tradition, Modernity, and Post- modernity in the Mangue Movement of Recife, Brazil. Vol. 3. Current Research in Ethnomusicology. Outstanding Dissertations. 228 pages, illustrated, English. New York, U.S.A., and London, England: Routledge. Guerra-Peixe, César(1980). Maracatus do Recife72. Ed. by Rossini Tal- vares de Lima. 2nd edition (1st edition: 1955). Vol. XIV. Cole¸cãoRecife. 173 pages, illustrated, Portuguese. Recife, Pernambuco, Brazil: Irmãos Vitale. Guillen, Isabel Cristina Martins and Ivaldo Marciano de Fran¸ca Lima (2006). “Os Maracatus-Na¸cãodo Recife e a Espectaculariza¸cãoda Cul- tura Popular (1960–1990)73”. In: Sæculum—Revista de História 14. 16 pages, Portuguese, pp. 183–198. Metz, Jerry D. (2008). “Cultural Geographies of Afro-Brazilian Symbolic Practice: Tradition and Change in Maracatu de Na¸cão(Recife, Pernam-

71Port.“Dialogue of the Blacks, Monologue of the Whites: Transformations and Musical Appropriations in the Maracatu de Baque Virado”. 72Port. “The maracatus of Recife”. 73Port. “The maracatus-na¸c˜ao of Recife and the Spectacularization of Popular Culture (1960–1990)”. Thalwitzer: Maracatu de Baque Virado 24

buco, Brazil)”. In: Latin American Music Review 29.1. 32 pages, English, pp. 64–95. Pinto, Tiago de Oliveira (1994). “The Pernambuco Carnival and its Formal Organisations: Music as Expression of Hierarchies and Power in Brazil”. In: Yearbook for Traditional Music 26. 19 pages, illustrated, English (containing a Portuguese summary), pp. 20–38. Recife. Na¸cãoAfricana. . . (2008). Recife. Na¸cãoAfricana. Catálogo da Cul- tura Afro-Brasileira74. Portuguese. Recife, Pernambuco, Brazil: Prefeitura do Recife.

4.2 Instructional Material Assis, Gilson de (2002). Brazilian Percussion. Book & CD, 144 pages, illustrated, German. Rottenburg, Germany: Advance Music. isbn: 3-89221- 063-2. — (2006). Brazilian Conga (Atabaque). Traditional and Modern Rhythms from Brazil for 1, 2 or 3 Congas and Timbau. Book & CD, 128 pages, illustrated, English, Spanish, and German. Rottenburg, Germany: Advance Music. isbn: 3-89221-072-1. Brand, Dirk (1997). 1000 Faces of Drum Styles. Das Lexikon der Drum- stile mit ¨uber 40 Play-Alongs75. Book & CD, 300 pages, German. Br¨uhl, Germany: AMA Verlag. isbn: 3-927190-93-4. Figueiredo, Vera and Daniel Oliveira (2009). Vera Cruz Island. Brazilian Rhythms for Drumset. Ed. by Joe Bergamini. Book & 2 CDs, 106 pages, illustrated, English. Hudson Music. isbn: 1-4234-6982-8. Fonseca, Duduka da and Bob Weiner (1991). Brazilian Rhythms for Drum- set. Ed. by Daniel Thress. Drummers Collective Series. Book & 2 CDs, 80 pages, illustrated, English. Van Nuys, California, U.S.A.: Alfred Pub- lishing Co., Inc. isbn: 0-7692-0987-4. Garibaldi, David (2007). “Future Sounds 2.0”. In: Modern Drummer 31.4 (April). 3 pages, illustrated, English, pp. 110–112. issn: 0194-4533. Guedes, Eduardo (2009). Maracatu: Maraca 2.0—Applying “Pullouts” and “Control Strokes” in Brazilian Rhythms. Published on the website of Hud- son Music, uploaded on 2009-05-14. 3 pages, illustrated, English, webpage

74Port. “Recife. African Nation. Catalogue of Afro-Brazilian Culture”. 75Ger. “1000 Faces of Drum Styles. The Lexicon of Drum Styles with over 40 Play- Alongs”. Thalwitzer: Maracatu de Baque Virado 25

last accessed: 2013-03-29. url: http://www.hudsonmusic.com/hudson /2056/education/articles/maracatu-maraca-2-0/. Rocca, Edgar Nunes “Bituca” (1986). Ritmos Brasileiros e seus instrumen- tos de percussão.Com adap¸cõespara Bateria76. Uma visãobrasileira no ensino da música77. 104 pages, illustrated, Portuguese. Rio de Janeiro: Escola Brasileira de Música. Rosenbaum, Helge (2007). Brazilian Drumming. Brasilianische Stile für Drumset und Percussion78. Book & CD, 194 pages, illustrated, German. Germany: Leu-Verlag. isbn: 978-3-89775-102-6. Santos, Climério de Oliveira and Tarc´ısioSoares Resende (2009). Batuque Book Maracatu: Baque Virado e Baque Solto. 2nd edition (1st edition: 2005). Cole¸cãoBatuque Book—Pernambuco 1. Book & CD-ROM, 154 pages, illustrated, Portuguese, containing a complete English translation by Peter Malcolm Keays. Recife, Pernambuco, Brazil: edi¸cãodo autor79. isbn: 978-85-905347-2-3. — (2010). Maracatu Na¸cão.Brazil’s Heartbeat. DVD & booklet, 114 minutes, Portuguese (containing English, French and Spanish subtitles). Recife, Pernambuco, Brazil: self-published. Suzano, Marcos (2008). Pandeiro Brasileiro. A Complete Lesson with Mar- cos Suzano. DVD & booklet, 140 minutes, Portuguese, with English, French, German, and Spanish subtitles. Tann, Germany: Kalango Pro- ductions. Uribe, Ed (2006). The Essence of Brazilian Percussion & Drum Set. Reprint (1st edition: 1993). Book & CD, 144 pages, English. U.S.A.: Alfred Pub- lishing Co., Inc. isbn: 0-7692-2024-X.

4.3 Weblinks Akinyosoye, Clara (2010). Maracatu—Eine neue Form des brasilianischen Musikstils in Osterreich¨ 80. Published on the website of the Afrikanet on 2010-03-27. German, webpage last accessed: 2010-11-30. url: http://w ww.afrikanet.info/menu/kultur/datum/2010/03/27/maracatu-eine -neue-form-des-brasilianischen-musikstils-in-oesterreich/.

76Port. “Brazilian Rhythms and Their Percussion Instruments. With Adaptions for Drum Set”. 77Port. “A Brazilian Perspective in Music Education”. 78Ger. “Brazilian Drumming. Brazilian Styles for Drum Set and Percussion”. 79Port. “self-published”. 80Ger. “Maracatu—A new Form of the Brazilian music style in Austria”. Thalwitzer: Maracatu de Baque Virado 26

Estrela Brilhante de Igarrasu´ (n.d.[a]). Website of the group. Por- tuguese, website last accessed: 2010-11-30. url: http://www.estrelabr ilhantedeigarassu.com/. — (n.d.[b]). MySpace site of the group. Portuguese, website last accessed: 2010-11-30. url: http://www.myspace.com/maracatuestrelabrilhan tedeigarassu. Gandaia (n.d.). Website of the organisation. English, website last accessed: 2010-11-30. url: http://gandaia.org/. Lima, Claudia Maria Assis de Rocha (2008). Maracatus de Baque Virado ou Na¸cão. Published on the website of the Funda¸cãoJoaquim Nabuco. Portuguese, webpage last accessed: 2013-03-29. url: http://www.funda j.gov.br/geral/textos%20online/cultura/maracatus.pdf. Maracatu.org.br (2009). Maracatu.org.br. Um Portal para reunir Grupos e Na¸cõesde Maracatu de Baque Virado81. Website of the project “Ma- racatu.org.br”. Portuguese, website last accessed: 2010-11-30. url: http ://maracatu.org.br/. Masters Nation (2010). Page on the “Masters Nation” project, published on the website of Gandaia [Gandaia n.d.]. English, webpage last accessed: 2010-11-29. url: http://gandaia.org/page11.htm. Naçao˜ Pernambuco (n.d.). Website of the group. Portuguese, website last accessed: 2010-11-30. url: http://www.nacaopernambuco.xpg.com.br. Naçao˜ Zumbi (n.d.). Website of the band. Portuguese, website last accessed: 2010-11-30. url: http://www.nacaozumbi.com.br/. Quebra Baque Austria (2008). Website of the group. German, website last checked: 2013-03-29. url: http://maracatu.at/. Rocher, Eder ”O” (2008). Video uploaded to YouTube on 2008-09-08. 03:58 min, Portuguese, website last accessed: 2013-03-29. url: http://www.y outube.com/watch?v=uppBVWp7s9Y. Spengler, Andreas (2009). Website of the organization iKUSZ—Internatio- nales Zentrum fürKunst—Kultur—Science & Soziales 82. German, website last accessed: 2010-11-30. url: http://www.ikusz.org/.

81Port. “Maracatu.org.br. A Portal for Uniting Maracatu de Baque Virado Groups and Na¸c˜oes”. 82Ger. “International Centre for Art—Culture—Science & Social Issues”. Thalwitzer: Maracatu de Baque Virado 27

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83Ger. “The Suisse platform for Afrobrazilian rhythms from Pernambuco”.