Folia De Reis, a Brazilian Spiritual Journey Through Song Welson Alves Tremura

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2004 With an Open Heart: Folia De Reis, a Brazilian Spiritual Journey Through Song Welson Alves Tremura

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SCHOOL OF MUSIC

WITH AN OPEN HEART: FOLIA DE REIS, A BRAZILIAN SPIRITUAL JOURNEY THROUGH SONG

WELSON ALVES TREMURA

A Dissertation submitted to the School of Music in partial fulfillment of the Requirements for the degree of Doctor of Philosophy

Degree Awarded: Spring Semester, 2004

Welson Alves Tremura defended on April 5, 2004.

______Dale A. Olsen Professor Directing Dissertation

______Anthony Oliver-Smith Outside Committee Member

______Michael B. Bakan Committee Member

______Larry Crook Committee Member

The Office of Graduate Studies has verified and approved the above named committee members.

ii The folia de reis high-pitched voices singing in the distance are memories of a childhood of music and celebrations that go back to the early 1970s when playing soccer in a field not larger than a basketball court or flying a kite were the highest point of most children in that part of Brazil. The folia groups could be heard in the distance with the tala or high pitch voice singing the last part of the refrain. These sounds could typically be heard echoing throughout the surrounding neighborhoods of Olímpia, São Paulo during the second half of the month of December and early part of January. The folia de reis, named Miranda, from the neighborhood of São José, has a critical linkage to my father, Nelson Tremura, and his work in Olímpia. My study of folia de reis is in homage to him and his relationship with the tradition. During my early childhood from 1962 to 1972, he was the Principal in the local Public School “Grupo Escolar da Vila São José.” His position gained him many friends in the neighborhood. Nelson was a fine violin player and was often invited to perform with the community. Also, through his music he met most of the members of the folia de reis groups and eventually was asked to participate in the tradition. His playing was claimed to be sweet and harmonious and he often performed during the journeys of the folia de reis Miranda. Also, in 1967, the group recorded in a professional studio and released a record on the Chanteclair label (listen to audio tracks four and five on the accompanying compact disc to hear the folia de reis Miranda’s 1967 recordings). My work with the folia de reis groups in Olímpia is part of my life experience and memories of childhood that became the center of my own curiosity throughout my years of graduate school. My father’s personal involvement with the folia de reis Miranda contributed to my own curiosity in the tradition. He is my inspiration and the light behind my thoughts. To him I dedicate this dissertation.

iii ACKNOWLEDGEMENTS

There are so many people that I would like to recognize in this study that it would be impossible to list all of them. Above all, I thank my mother, Aurora, and my father, Nelson. I will always remember my father’s figure, and his light still shines upon my thoughts and feelings. My wife Renata is my source of energy and through her and my beautiful children Donovan, Heitor, Rodrigo, and my newborn Thiago, I will continue the journey of faith in the history of the Magi. The people listed below have made my study a reality and supported the idea that music is a spectacular vehicle of communication between humans and the “divine.” I have included those people that I directly worked with during fieldwork and through the process of writing this dissertation. Now all of them are part of my experience, and for this reason, they are also part of my knowledge. I will never forget the real meaning of Christmas after spending from Christmas Eve through Christmas day in 1996 next to a nativity scene adoring and admiring the true creators of the folia de reis tradition. I am enlightened from the experience learned from all participants in the tradition. Each one of you is unique and special in what you practice and believe. A special mention must be given to Professor José Sant’anna, a man that inspires the folia tradition himself. He was the founder of the “Festival do Folclore” in the city of Olímpia, São Paulo and was the heart behind all folk celebrations in that region. After more than thirty-three yearly festivals, Sant’anna carried the same enthusiasm and love for Brazil’s folk celebrations. Unfortunately in 1999 due to heart failure and other complications, he is we now next to God, the creator, re-affirming the faith and belief in the Three Kings. Thank you Professor Sant’anna. Thank you Companhia de Reis Miranda: Márcio Reis Carvalho, Antônio Aparecido de Miranda, Jesus Francisco de Miranda, Luiz de Miranda, Maria Jesus de Miranda, and Luiz Batista de Carvalho Sobrinho; from the community, Professora Iseh

iv Bueno de Camargo and Professor Rothschild Mathias Netto; from Companhia de Reis Magos do Oriente: Pacífico de Souza e Silva and José Francisco Ferreira; from Companhia de Reis Fernandes: Celso Fernandes, Nilson Fernandes, Sebastião Hostalio Togneri, Mario Lúcio Togneri, Paulo Togneri, Rubens José de Carvalho, José Nunes, Preto Vicento, Osório Batista Rodriguez, Afonso Rodriguez, Ricardo Fernandes Nardelli, and Andreto Ceolin; from Folia de reis Estrela da Redenção: Adelício Paula dos Santos, Lourival Correa, Indomar dos Santos, Narciso Pedro dos Santos, Vanderlei Cristovão Machado, Rubens Correa, Osvaldo da Silva, Milton Gonçalves Marques, and Nilson Primo dos Santos; and thank you mestre Joaquim Moreira da Silva. Thank you my dear professor Dr. Dale Olsen who has patiently mentored and guided me in the dissertation process, enabling me to progress and succeed with my writing in the English language. Thank you to Dr. Michael Bakan whose guidance has been so helpful. Thank you my colleague and friend Dr. Larry Crook who understands this process and has always been supportive. Also thank you my friend and colleague Dr. Martha Ellen Davis, an incredible mind and superior advisor. Your ideas and suggestions enhanced my knowledge, and your guidance helping to organize this dissertation made my work a true reflection of my thoughts. Thank you April Burk; as an editor you have given me a different perspective of how folia de reis texts should be translated. Also, Dr. Eric Kramer and Dr. Anthony Oliver-Smith, your anthropological approaches of tradition and ideas about ritual were great assets and inspiration. Thank you Kea Herron for your great suggestions and for reading my draft. The tradition of the Three Kings continues to be the source of inspiration to many families and neighborhoods throughout Brazil. My gratitude to these carriers of the folia de reis tradition in their effort to continue the search for more and deeper understanding of the true meaning of Christmas. Human faith and song are the authentic vehicles of communication between humans and the divine. Perhaps through this relationship mankind and the divine are finding equilibrium and the true purpose of the birth of Jesus will be fulfilled.

v TABLE OF CONTENTS

LIST OF FIGURES ...... ix

LIST OF TABLES...... xii

LIST OF SONG TEXTS...... xiii

ABSTRACT...... xiv

CHAPTER

1 INTRODUCTION ...... 1

Research Objectives...... 3 Methodology...... 4 Folia de Reis Literature Survey...... 6 Importance of this Study ...... 8

2 DEFINITION OF FOLIA DE REIS AND HISTORY OF THE MAGI CULT...... 11

The Folia ...... 12 The Reis—also Called Magi...... 14 The West Asian Origin of the Magi ...... 15 The Magi According to Christianity...... 17 The Magi in European Iconography...... 20 The Magi in Other Performance Contexts: The Autos Sacramentales...... 38 Conclusion ...... 39

3 FOLIA DE REIS IN BRAZIL: FOLK INTERPRETATIONS FROM RURAL OLÍMPIA...... 41

The Identity of the Three Kings...... 42 Traditional Contexts for Folia de Reis in the State of São Paulo, Region of Olímpia46 The Origins of Folklore Studies in Brazil...... 53 Conclusion ...... 54

4 SPIRITUAL, MUSICAL, AND SOCIAL RELATIONSHIPS WITHIN FOLIA DE REIS IN OLÍMPIA ...... 56

Folia de Reis and the Catholic Church as Social and Spiritual Units ...... 57

vi Music and Social / Spiritual Relationships...... 59 Folia de Reis Groups ...... 61 Participants of Folia de Reis...... 65 Palhaços as Tricksters, Antagonists or Heroes: A Special Relationship ...... 70

5 RITUAL PROCEDURE...... 81

The Folia de Reis Journey ...... 81 Internal Changes ...... 87 External Changes...... 89 Conclusion ...... 90

6 MATERIAL CULTURE OF FOLIA DE REIS ...... 92

Bandeira Sagrada (Sacred Banner)...... 93 Garments...... 96 Musical Instruments...... 99 Organization ...... 109 Conclusion ...... 111

7 MUSICAL STYLES OF FOLIA DE REIS...... 113

Introduction...... 113 The Three Major Styles of Folia de Reis in the Olímpia Region...... 115 The Paulista Style...... 116 The Mineiro Style...... 117 The Baiano Style ...... 118 Melodic, Harmonic, and Rhythmic Characteristics of Folia de Reis Music.....121 Rehearsals...... 124 Conclusion ...... 125

8 FOLIA DE REIS SONG TEXTS: THE JOURNEY AS MUSICAL WORD...... 127

Introduction...... 127 The Importance of Song Texts in the Folia de Reis Tradition ...... 127 The Creative Process of Composing Song Texts ...... 130 Framework for Analysis: A Religious / Social / Behavioral Continuum ...... 131 Song Text Analyses ...... 132 Conclusion ...... 150

9 CASE STUDY OF THE FESTIVAL DO FOLCLORE IN OLÍMPIA (OLÍMPIA FOLKLORE FESTIVAL) ...... 153

vii Brief History of Olímpia...... 153 Olímpia Folklore Festival: Philosophy and Mission...... 155 The Foundations ...... 156 Olímpia Folklore Festival: Time and Space...... 157 Olímpia Folklore Festival: “Inside” versus “Outside” Performance Groups....161

10 SUMMARY AND CONCLUSION: RELIGIOSITY VERSUS SECULARIZATION IN FOLIA DE REIS TRADITION...... 166

The Commodification and “Stagelorization” of Folia de Reis...... 167 Social Considerations ...... 176

APPENDIX

A MUSICAL SCORES...... 178

B AUDIO EXAMPLES ...... 179

C FOLIA DE REIS SONG TEXTS ...... 180

D FIELDWORK INTERVIEWS ...... 245

GLOSSARY ...... 312

REFERENCES ...... 318

BIOGRAPHICAL SKETCH ...... 321

viii LIST OF FIGURES

2.1 (from Microsoft Encarta Encyclopedia CD-ROM, 1993)...... 17

2. 2 (from Beckwith 1966)...... 22

2.3 (from Beckwith 1966)...... 23

2. 4 (from Beckwith 1966)...... 24

2. 5 (from Beckwith 1966)...... 25

2. 6 (Plates I – VII from Brockwell 1911)...... 29

2. 7 Eight paintings from the Renaissance, depicting the Magi (from Schwartz 1993)...... 32

3. 1 Flooding in Olímpia, 1998 (photo by the author)...... 48

3. 2 Dynamic elements in folia de reis interrelationship (diagrams by the author)...... 50

4. 1 (A – E) Collection of masks (from the folklore magazine “Museu do Folclore” – Olímpia, 1978)...... 74

4. 2 A folia de reis Miranda palhaço departing from a home with a chicken hanging from his sword, 1997...... 79

5. 1 Folia de reis Miranda in Olímpia. The group with the banner is leaving the rural area and continuing its journey (1997)...... 82

5. 2 Journey ceremony with folia de reis members singing to the nativity scene in the background (Christmas eve, 1996)...... 84

5. 3 Folia de reis participants’ cookout barbecue at the festeiro’s house (Kings Day, 1997)...... 86

5. 4 A group of children and the community follows a folia de reis group to the festeiro’s house (Ida Iolanda, 1997)...... 87

ix 5. 5 Prisicila stands in front of her mother during practice (picture from Antonio Higa)...... 88

6. 1 Companhia de reis Miranda family member holding the banner in front of the mestre’s house, 1997...... 93

6. 2 Festeiro Paul and son Marco carrying the banner, 1998...... 97

6. 3 Three palhaços in Olímpia returning from the journey, 1997...... 98

6. 4 Folia de reis bumbo drum (photo by author)...... 103

6. 5 Folia de reis tarol drum (photo by author)...... 103

6. 6 Folia de reis baiano style with flautinha, viola, violão, and pandeiro performed during a home visitation (photo by author)...... 103

6. 7 Folia de reis mineiro style with bumbo, violão, viola, and cavaquinho performed at the mestre’s house before leaving for the journey (photo by author)...... 103

6. 8 Caixa player stands outside a house during the journey (photo by author)...... 104

6. 9 Cebolão tuning...... 105

6. 10 Boiadeira tuning...... 106

6. 11 Rio abaixo tuning...... 106

6. 12 Natural tuning...... 106

7.1 Styles of folia de reis music by region (Américo Filho, 1972)...... 115

9. 1 Map of Brazil (from Brasil Geográfico)...... 154

9. 2 Partial view of the city of Olímpia showing the Church of Our Lady (right). ....158

9. 3 Air view of Olímpia’s folk activity square and pavilions (1998)...... 159

9. 4 The museum displays a palhaço’s costume and a traditional folia de reis banner...... 160

9. 5 Olímpia Folklore Festival’s logo (from Sant’anna’s “Edição Especial Comemorativa do 7 Festival do Folclore”)...... 163

x 10. 1 Tremura’s representation of folia de reis cycle of faith...... 175

xi LIST OF TABLES

4. 1 Folia de reis groups in Olímpia by group name, leader, and district...... 63

6. 1 Folia de reis musical instruments by type and regional style...... 99

xii LIST OF SONG TEXTS

Song Text 1...... 133

Song Text 2...... 136

Song Text 3...... 139

Song Text 4...... 141

Song Text 5...... 142

Song Text 6...... 145

Song Text 7...... 147

Song Text 8...... 148

xiii ABSTRACT

The folia de reis is a popular Brazilian tradition of folk Catholicism that involves a group of participants who, between Christmas and Epiphany, go on a journey asking for alms for social-religious purposes. The tradition refers to musical ensembles comprising predominantly low-income rural workers from various regions of Brazil. Instrumentalists, singers, and other participants travel from house to house and farm to farm, singing and praising the birth of Christ. The folia de reis celebrates and reenacts the Biblical journey of the Three Kings to Bethlehem and back to their homeland guided by the Star of Bethlehem. The folia de reis tradition under investigation in this research is a tradition that traces its origins back to colonial Brazil and to the Iberian Peninsula. As they travel from Christmas Eve through Epiphany (January 6), their singing journey blesses the families, which they visit in exchange for food or money. The folia de reis tradition is classified as “popular Catholicism” (Catholic ritual practice external to the interests of the Catholic Church) and it is quite widely diffused in the southern, central, and northern regions of Brazil, primarily in the rural communities. From the early Portuguese sources through the manifestations in twenty-first century, one theme is common to folia de reis: the Three Kings are important personages among the rural populations of Brazil. The primary focus of this dissertation is the relationship between music and religion as expressed in folia de reis songs and its participants’ personal faith. My analysis of the relationship between song and faith is partially based on how folia de reis group members strengthen their spiritual world by praying and singing their songs along the journey to express devotion and fulfill their obligations to the Three Kings. It also relies on comparison with other studies by Alceu Maynard Araújo (1949), Zaíde Maciel de Castro and Aracy do Prado Couto (1961), Guilherme Porto (1982), and Suzel Reily

xiv

(1996). Through the study and understanding of music and song texts, including musical instruments and other aspects of folia de reis material culture, I argue that the folia de reis tradition, empowered by all its characteristics (music, text, costumes, etc.) has the power to strengthen faith and forge community bonds in both its traditional religious context and its newer staged context of the Olímpia Folklore Festival.

xv CHAPTER 1

INTRODUCTION

The folia de reis is a folk Catholic tradition in Brazil aimed at celebrating the adoration of baby Jesus by the Three Kings Gaspar, Melchior, and Balthazar is celebrated. Its origins can be traced back to colonial Brazil and to the Iberian Peninsula. The ritual of the folia de reis is based on Saint Mathew’s (2: 1-12) biblical passage, which narrates the visit of “wise men” to the Christ Child. According to Guilherme Porto (1982), the folia de reis tradition migrated to Brazil from Mediterranean Europe during the colonial period of Brazil. In Portugal, there are references to groups having performed songs during King’s Day (January 6) in the districts of Beira-Alta, Beira-Baixa, and Trás-os Montes (Porto 1982:32). Accounting of folias mention a group of men dressed in elaborated stylized clothing and accompanied by musical instruments such as accordions, tambourines, and drums. The starting point of the folia tradition in Brazil is generally associated with the Portuguese settlers and the waves of farm workers coming to the large capitanias (the first large administrative provinces of Brazil). The Portuguese jornada das pastorinhas (journey of the shepherdesses) that included songs and prayers is the Portuguese event closest to the Brazilian folia de reis. The jornada das pastorinhas shares some of the characteristics of the folia de reis, such as visiting the homes during the Christmas season and collecting money and other contributions for social purposes. In Brazil the celebration of the Three Kings through music and prayers has been diversified and transformed according to local communities. From the 1500s through the twenty-first century the Three Kings have been important personages among the rural populations of Portugal and Brazil, and their

journey is always celebrated in the same manner. The folia de reis involves a group of participants with different roles who go on a journey between Christmas and Epiphany asking for alms for social-religious purposes. These offerings are often used to promote a final celebration on January 6 and to assist participants of the community. The tradition consists of musical ensembles made up of predominantly low-income country workers from various regions of Brazil. Musicians, singers, and others travel from house to house and farm to farm singing and praising the birth of Christ. Folia de reis participants celebrate and reenact the Biblical journey of the Three Kings to Bethlehem and back to their homeland. As they travel, they bless the families they visit by singing in exchange for food or money. For many Brazilians living in remote areas, the folia de reis tradition is the core vision of their worldview and of their understanding of life. Their isolation from mainstream national Brazil has given them a special understanding of their world, influenced mainly by daily chores and a bucolic life style. Indeed, the adoration of Jesus through music is their center of their life or axis mundi. Part of this study will be based on my memories of my father, who lived from 1931 to 1983. Throughout much of his life, he performed in the folia de reis tradition in Olímpia, São Paulo. In the early 1960s, the folia de reis group known as Miranda invited my father to play the violin with them. At the time, he was the local secondary school principal at the main public school of the area, “Grupo Escolar Dona Anita Costa,” located in a neighborhood where most residents worked in the public sector or on the nearby farms. The city’s close layout allowed my father to have personal, daily contact with the neighborhood. It was not long before everyone in the community knew of his musical ability on the violin. In addition, the close contact my father had with the children and their parents was the beginning of a long relationship with the local residents and therefore with the folia de reis tradition in that neighborhood. Furthermore, his participation in the Olímpia Folklore Festival and a professional recording he made in 1967 created new possibilities for him to play violin for other folia de reis groups in the

region. As a tribute to him, it is my mission to reveal the beauty of the folia de reis tradition and the purpose of its ritual, music, and folklore. In Brazil folia de reis musical tradition is known under many names: folia de santo reis, reisado, folia dos três reis santos, terno de reis, santos reis, and companhia de reis, and folia de reis. Although the folia de reis tradition is a musical and religious phenomenon that can be found in rural and urban areas of Brazil, the primary local for the tradition is in the rural countryside of Olímpia. In this study, I discuss the social process of cultural reproduction involving both continuity and changes (ritual versus stage performances). This enables me to link the traditional (sacred) to the popular (secular) through folia de reis musical performances. Participants in the tradition enhance their individual and social experiences through their musical and social contributions. Understanding how the musical experiences reflect participants’ attitude toward life and how these experiences carry and give continuity to the tradition is also important to enhance the understanding of folk Catholicism.

Research Objectives

My first objective is to examine the relationship between music and faith in the folia de reis as it is expressed through song texts. Catholic musical traditions exist independently of the Catholic Church in Brazil. Among rural inhabitants in Brazil, the sense of being Catholic is frequently connected to faith learned through cultural practices outside ecclesiastical teachings. While folia de reis devotees are Catholic they also maintain many beliefs unconnected to official Church worship. Such characteristics are part of a long historical process of colonization. Many of the early settlers in São Paulo’s interior region were not literate. Superstitious behavior dictated the way faith and other social matters were interpreted and understood. The Church often assumes a tolerant position toward the folia de reis tradition (although the level of tolerance depends on the local priest).

My second objective is to examine the religious impact of the folia de reis tradition in the city of Olímpia, located in the interior of São Paulo state. I will address how this music affects the daily lives of the folia de reis participants in this town during the sacred journey and their participation in the Olímpia Folklore Festival (Festival do Folclore de Olímpia), the latter side by side with non traditional groups. I argue that the folia de reis tradition, empowered by all its characteristics (music, musical instruments, song texts, costumes, etc.), has the power to strengthen faith and forge community bonds in both traditional religious context and its newer staged context at the Olímpia Folklore Festival. The rural status of the participants in the folia de reis tradition clearly illustrates social stratification among Brazilians. One aspect of the folia de reis tradition is that the group participants live in the same neighborhood or district. Neighborhood associations are a common aspect of life in Olímpia and other small cities in Brazil. It is therefore important to examine how the preservation of folia de reis music and folklore has facilitated the combination of different musical styles and the participation in the Olímpia Folklore Festival. The participatory experience of each folião or folia de reis individual in the tradition engenders social values of community cohesion. In this dissertation I focus on the music culture of the folia de reis tradition and its relationship to the Catholic faith as a way of promoting Christian values for the participants and their community, whether the performance is the “journey” or the “stage.” Methodology

My field research took place in the region of Olímpia (1996-2000), which includes the cities of Olímpia, São José do Rio Preto, Jales, Potirendaba, Ibirá, and Ida Iolanda in the northern region of São Paulo state, Brazil. My involvement with the folia de reis tradition goes back to my early years when I watched and participated in several folkloric groups during the Olímpia Folklore Festival. Therefore, the project is based to

some extent on the perspective of “insider” knowledge, although the primary research method is conventionally ethnomusicological, that is, founded in field work investigation. This research involves interviews in Brazil with important representatives of the folia de reis tradition. In addition, I made audio and visual recordings of rehearsals, performances, and festivals, especially during the traditional folia de reis journeys in December. Through sound recording transcriptions and analyses, I describe and compare the different styles of folia de reis music, an activity which helps to explain and differentiate the variety of different regional musical styles and the social-spiritual meaning of their song texts. I describe costumes and study their function and symbolism. I also describe the musical instruments used and study the cultural concept of corporal movement executed by the participants, exploring different timbres and other aspects of performance aesthetics. To clarify the folia de reis ritual, I include a glossary with the principal terms of the folia de reis tradition and their meanings. A distressing aspect of the study of folkloric traditions in their historical context is the lack of written records. I expect the results of this research to bring new perspectives to the study of folkloric musical genres associated with the faith of the rural people in Brazil. I have organized this dissertation into ten chapters. In Chapter 1 I introduce the folia de reis as a folk tradition, viewed within its cultural and global context, and define my research objectives and methodologies. In Chapter 2 I describe the folia de reis tradition and discuss the history of the Magi cult. Chapter 3 discusses the development of folia de reis tradition in Brazil, and Chapter 4 discusses the social and spiritual relationships of folia de reis tradition. In Chapter 5 I explain the ritual procedure and organization of folia de reis. Chapter 6 studies the material culture of folia de reis tradition, such as musical instruments and costumes, while Chapter 7 discusses the musical styles of folia de reis tradition with musical transcriptions. In Chapter 8 I explain the relationship of faith through song texts and their importance to ritual (translations, comparisons, and analysis), giving special attention to the language spoken by the rural

participants used in the song texts of the folia de reis songs. In Chapter 9 I discuss folia de reis in rural Brazil and present with a case study from Olímpia, detailing its development in the region, the sacred journey, and its association with the Olímpia Folklore Festival. Finally in Chapter 10 I synthesize and conclude by re-examining the concepts of faith and secularization of the folia de reis tradition. All translations are mine, unless otherwise indicated. An extensive list of song texts is included as an appendix with this dissertation; these are important to my study because they characterize recurring occurrences in folia de reis ritual journey. Spoken rural Portuguese in São Paulo varies from standard Portuguese and its written form reflects this variation. I recorded and transcribed all the music myself.

Folia de Reis Literature Survey

Although many scholars have studied the musical folk traditions of Brazil, much of the research is concerned with the urban areas of Rio de Janeiro, São Paulo, and Salvador da Bahia. Furthermore, publications on Brazilian folklore and music are mostly in Portuguese and are not widely known in North America, and most available sources about folia de reis in Portuguese by Brazilian scholars are descriptive in nature. The three primary studies of the folia de reis written in Portuguese are Araújo’s Folia de reis de Cunha (1949), Castro’s and Couto’s Folia de reis (1961), and Tavares de Lima’s Folguedos Populares do Brasil (1962). Although written by eminent Brazilian scholars, these studies primarily focus in on descriptive ethnographic field work, and do not conform to the social and analytical constructs of modern ethnomusicology with its concern for broad-based interpretive strategies and methods of investigation informed by anthropological theory. During the early 1960s Alan P. Merriam, in The Anthropology of Music (1964, 123-144) established that music is symbolic and reflects the organization of society. In this sense, music is a means of understanding people and behavior, and as such is a valuable tool in the analysis of culture and society. In Brazil, studies of the folia de reis

have lacked this ethnomusicological approach. Porto (1982), in As Folia de reis no Sul de Minas (The Folia de reis in Southern Minas Gerais), analyzes the performance aspects of the folia de reis. While his study is fairly recent and is valuable for its transcriptions and analyses of song text, it does not explain music as a social phenomenon. Moreover, Porto’s work does not address problems faced by the folia de reis tradition in the context of modern Brazilian social and economic conditions. The most advanced work on the subject is by Suzel Reily, a Brazilian scholar who analyzes the political implications of folia de reis musical performance in southeastern Brazil. In her recent study of the folia de reis tradition (Political Implications of Musical Performance), she discusses the three major styles of folia de reis in Brazil, and elaborates on the significance of the music-making process as a powerful tool in governing the lives of its participants (1995:72-102). Contrary to previous works on the study of folia de reis, Reily’s study tracks important aspects of class transformation and affirms the powerful experience embodied in the tenets of this Christian tradition. My study not only reinforces Reily’s views on the relationship among folia de reis participants and Brazilian society, but also attempts to explain how music and faith regulates the way people live in rural Brazil. After I began writing this dissertation, Suzel Reily (2002) released a new book on the Magi (Voices of The Magi), which is a solid study of contemporary Magi traditions in Brazil. My study differs from hers, however, because of its historical and iconographical information, methodology, and my approach to the tradition as a musician who grew up listening and attending folia de reis journeys during my childhood in Olímpia. Also, I examine the folia de reis tradition within the scope of its song texts which are tools for reaffirming faith within the community. The only other source about the “Three Kings” as folklore in South America to my knowledge is La Adoracion de Los Reyes Magos (1988) by Margot Beyersdorff. It is unique in that it is a study of the adoration of the Three Kings in the Spanish and Quechua literature. Beyersdorff discusses aspects of folk Catholicism in Peru, and connects the Catholic Church with various forms of early Christian traditions in the

Americas. Her study establishes an example of an early relationship between the Church and the peasant people of Cuzco in Peru, as she explains (my translation): The earlier plays that took up the theme of the “Adoration” of the Magi must have been very widespread among the peoples of the southern regions of Peru and Bolivia. Priests of indigenous communities, such as Father Palomino, wrote basic scripts as well as completed booklets in the same notebooks in which they drafted their sermons and composed sacred poetry. However, because these manuscripts were delicate and frequently handled by many people they have now been forgotten or lost. However, we can investigate the nature of these early documents containing references to historical documents, unknown [or unpublished] manuscripts, and a few other sources from the colonial period. Fortunately, they were printed (Beyersdorff 1988:13).

The documentation mentioned in the study of La Adoracion de los Reyes Magos by Beyersdorff confirms the early connection of the adoration of the Three Kings around 1550 with the Catholic Church in Peru. Such a relationship is almost non-existent in Brazil with the folia de reis. The lack of documentation on the connection of the folia de reis tradition with the early Catholic Church practices in Brazil is still a problem to be resolved. My study of the folia de reis will add to the literature of Magi studies, and will help to create a better understanding among the Catholic folk traditions in the Americas.

Importance of this Study

The study of the connection between faith and song can provide a revealing view of the folia de reis tradition within Christian belief, and can narrow the gap between religion and music and enhance the understanding of faith and music in a folk setting. The study of music in the context of ceremonies of Catholic rural people and their search for identity is an area in need of study. This dissertation on the folia de reis tradition and its relationship with the local culture of Olímpia provides valuable information on the

development of regional identity through music in the interior of Brazil. In the process of creating and developing their own styles, folia de reis participants bring family values and a sense of obligation to the community in which they live. Although rural-urban migration is bringing people to larger cities and creating a different environment for the music people play, within the egalitarian context of the vilas or neighborhoods, the folia de reis tradition continues its social obligation by sustaining life through faith and identity through their musical performances. The tradition offers its participants a sense of being (i.e., a sense of belonging) and helps the local community remain bonded to the fundamentals of Christian faith, sharing and providing for one another. In a more focused and comparative view, my study of the folia de reis introduces new theoretical positions on the study of migrating rural societies and folk festivals. As part of social relations and folk participation, the folia de reis tradition traces characteristics of early family relations in rural Brazil and the gender roles of its participants (see Chapter 5). I emphasize in this study more discrete levels of relations among men and women, providing evidence of how the family relationships contribute to the existence of the tradition. My approach to this study is to explain the relationship between people in hierarchical political and social roles within an egalitarian system of beliefs (community common faith in the Three Kings). I seek to elucidate and enhance the study of the relations between folk music and folk religion. It would be impossible to write about the folia de reis tradition without examining the music. My research design focuses on examining how music can be used as an instrument of religion and how the celebration of faith through song texts strengthens human relations. Folia de reis music making articulates people’s recognition of their obligations to one another. The power of their musical experience seems to be sustained in the foundations of an ethic in which human relations are based on commitment and reciprocity. The music of the folia de reis tradition has strong connections with the local people of the mid-interior of Brazil. Folia de reis music not only strengthens ties between

people and the communities in which they live, it also enhances the quality of life of participating families. Through music making, participants spend a great amount of time preparing, rehearsing, and making their annual journey. These moments are precious to all family members. In fact, participants experience an intense sense of sharing, giving, and receiving during the Christmas holidays. During this season, everyone seems to be more content with life and willing to go an extra step to accomplish a goal or to help another human being. The tradition offers its participants a sense of well being and maintains the local community bonds to the Christian faith as expressed by the angels of God who sang at the birth of Christ: “Glory to God in the highest and peace to his people on earth.”

CHAPTER 2

DEFINITION OF FOLIA DE REIS AND HISTORY OF THE MAGI CULT

Then entered in those Wise men three Full reverently on bended knee, And offered there in his presence Their gold and myrrh and frankincense Noel! Noel! Noel! Noel! Born is the King of Israel. Old Carol (Moulton 1917:1)

My aim in this chapter is to examine historical and ethnographic data that will accomplish a number of goals. First, I will clarify the meanings of the terms folia and reis. Second, I will explain the mystical character of the Magi by tracing them to the religious beliefs of ancient eastern lands, especially Persia. Third, I will suggest the interrelationship between the folia and/or the Magi tradition with other arts such as music, painting, sculpture, and theatre. The role of the Magi (plural of “magus” a magician or wise man in ancient Persia) in Matthew’s nativity story (the Gospel according to Saint Matthew) is mysterious and puzzling. The Magi appear as if in a fairy tale at the site of Christ’s birth, each one offering a gift representing Jesus’ destiny: gold for a king, frankincense for a priest, and myrrh for a healer. Most scholars state that the Nativity stories were not part of the earliest Christian traditions; instead, they were the result of curiosity among Christians. Believing Jesus to be both human and divine, they sought to understand how and when He came to be. The stories of the birth of Christ and the nativity scene are depicted

differently in different parts of the Christian world. The Magi and the scenario of how and where Jesus’ birth took place are intriguing aspects of the Christian tradition. Participants in the Brazilian folia de reis tradition write and sing songs according to their own historical and religious personal views of where and in what circumstances Jesus was born.

The Folia

An examination of existing literature dealing with the origin of the folia reveals that, like many other folkloric manifestations, the folia has its roots in various Portuguese traditions. The many names found for the folia are part of an ancient and complex tradition introduced to Brazil by the Portuguese. From the early times of Christianity, it was a custom among Christians to celebrate the birth of Christ. Pope Saint Telésforo, one of the successors of Saint Peter, officially recognized these festivities in the year 138 A.D. Prior to this official recognition; the celebration did not have a specific date, occurring sometimes in January and sometimes in April. Pope Julius I assigned December 25 as the official date (Araújo 1949). The first Portuguese use of the word folia refers to song. The writer Gil Vicente in his pastoral poem Auto da Sibila Cassandra of 1505 (Cascudo 1980:336) mentions characters singing a folia. Gil Vicente, like many other writers in the early sixteenth century, incorporated themes from medieval stories and liturgical drama. Examples of these plays include Visitação, ou Monólogo do Vaqueiro (Visitation or Herdsman’s Monologue) of 1502, Auto Pastoril de Castellano (The Castilian Pastoral Play) of 1503, Auto da Fé (Play of Faith) of 1510, among many others (Parker 1967:29). According to Richard Hudson (1982:690), Francisco de Salinas used the word folia in 1577 to refer to a melody in his De Musica Libri Septem. The following example is a Portuguese citation written in the sixteenth century by Gil Vicente:

Em Portugal vi eu já In Portugal I have seen Em cada casa pandeiro In each house a tambourine E gaita em cada palheiro; And a bagpipe in each barn; E de vinto anos a cá But for the last twenty years, Ná há ni gaita nem gaiteiro. No bagpipe or piper.

A cada porta hum terreiro, At each door a dance area Cada aldeia dez Folias Each town ten Folias Cada casa atabaqueiro; Each house a drumbeater E agora Jeremias And now Jeremias Ele nosso tamborileiro. He our drummer.

The word folia also referred to an old Portuguese fast dance accompanied by musical instruments such as pandeiro or adufe (type of tambourine) and voices. The folia in Portugal was also associated with a male chorus that wore devotional signs while carrying the image of saints in procession. These festivities took place during the celebration of the Festa do Divino Espírito Santo or celebration of the Divine Holy Spirit (Cascudo 1980:335). Several Portuguese writers place the word folia in more than one context. Braga (1885:285-286), for example, refers to the folia as any celebration in the Catholic calendar. Because of the strong Catholic influence, these celebrations were popular among people in the Iberian Peninsula and are part of the cultural inheritance left by the Portuguese in Brazil (Dias 1944:85). In Brazil the word folia is used to describe many types of celebration. It is also used to represent sacred festivities, such as folia de reis, folia do divino (the Holy Spirit folia), and folia de Nossa Senhora (the Virgin Mary folia). Folia is also used to indicate any secular or folk celebration, like the folia de carnaval (Carnival folia). The closest word to folia in the English language is “party”, which is associated with a festive

activity. I include in this study a citation from the local newspaper Diário da Região dated February 10, 2001, with the word folia used in the Portuguese language as a synonym for excitement or celebration: O carnaval começa hoje com muita Carnaval celebration starts today with folia e promete ser o melhor de todos much excitement and promises os tempos. to be the best of all times.

The Reis—also Called Magi

The Portuguese word “reis” (kings) refers to folk celebrations in countries such as Portugal, Spain, France, Italy, Belgium, and Germany (Cascudo 1980:668). These celebrations were dedicated to the three Magi during their purported visit to the baby Jesus at his birth. The celebrations continue today in the Iberian Peninsula and Brazil. The words reis, reisada, reisado, and divino are closely related to one another, and are very often interpreted as referring to the same thing. The celebratory concept of “de Reis” (of the King), Three Kings, Magi, or Wise Men is associated with early Iberian folk tradition and is devoted to the pilgrimage of several important people to visit the birth of Jesus. In the Iberian Peninsula this tradition was first identified with members of local communities who, between December 25 and January 6, dressed as Kings, visited friends, and asked for food. The Portuguese terms reisado, reisada, or reiseiro are additional names for the group or groups that sing and dance before January 6; in Portugal they are usually called reisado. While reis and reisado are part of the same Portuguese tradition, in both Portugal and Brazil reisado (reisada) is also a song form. A reisado can be sung or organized in a series of religious processions (Chaves 1942:144). The most common term for the Three Kings, however, is Magi (usually capitalized), a word that probably referred to a particular culture. The word “Magi” comes from the Persian (Farsi) word magus, meaning “magician, a member of a priestly caste of ancient Medes” (Schwartz 1993). Historically, the Magi were an “indigenous

priestly tribe much resembling the Brahmans, who worked their way into the priesthood of the Persian religion, probably after the reform of Zoroaster had (somewhat feebly) influenced it” (Moulton 1917:9). Another definition of the word Magi is used in the work of Castro and Couto (1961:73); translated from the word mag (sic) or magush, Magi means “the divine intermediary.” In tracing the history of the Magi with reference to the folia de reis, we must consider the many distinctions found in the tradition of the adoration of the Three Kings. How can these three personages be described? Were they real people? If so, were they astrologers, diviners, interpreters of dreams, magicians, mystics, prophets, shepherds, wise men, holy men, or real kings? Why did they come from distant lands in the East to celebrate the birth of Christ in Bethlehem? To answer these questions, we must investigate who the Magi were and what they represented during early Biblical times. Answering these questions will not only help to understand the character of members of folia de reis groups, but will bring to light an important characteristic of the social behavior among participants in the ritual and tradition. Furthermore, it will open another dimension to the understanding of the importance of the birth of Christ in local tradition. While answers may be moot, we can more easily group the significance of these three figures with the issues involved by presenting and analyzing the historical evidence.

The West Asian Origin of the Magi

According to the Biographical Dictionary of the Saints (1969) the development of the Magi tradition began in Persia and may be related to Zoroastrianism (Holweck 1969:639), a religion based on an ancient form of nature worship founded by the prophet Zoroaster (his dates are variously given as 630-553, 628-551, and 618-541 B.C.).

Zoroastrians practiced a ritual that involved pouring libations of milk, oil, and honey over a flame while chanting prayers and hymns. Gradually, the religion

incorporated Babylonian elements, including astrology, demonology, and magic (Schwartz 1993), three characteristics that may have influenced the Magi. Scholars (Upham 1873, Moultan 1917, Zaehner 1956) of the Magi, however have determined that a Persian Magi culture existed that was different from Zoroasterism. According to them, the Magi were one of the six tribes that made up the population of Media, an ancient country of West Asia that corresponded to the northern section of present-day Iran (Figure 2-1). These inhabitants, who were known as Medes, and their neighbors, the Persians, spoke Indo-Iranian languages that were closely related to old Persian. Historians know very little about the Median culture except that a polytheistic religion was practiced and a priestly caste called the Magi existed. The folia de reis is based on the Magi and their history as part of the folk Catholic belief system. Many of the textual characteristics and issues related to popular faith found in folia de reis music have been based on historical information. According to folia de reis popular belief, the Magi were the first pagans to become Christians, and after returning to their homeland, they brought good tidings to the people, fulfilling their mission of uniting all humanity. As participants look back on the history of the Magi, they conclude that the Magi, as an example of relations to hierarchy, demonstrated their faith in the Child’s superior status over their presents of gold, frankincense, and myrrh, which were symbols of royalty. Despite all the riches of the world, folia de reis practice relies on the assumption that humans like the Magi must recognize the spiritual values over the material world.

MEDIA

Figure 2.1 (from Microsoft Encarta Encyclopedia CD-ROM, 1993).

The Magi According to Christianity

Almost two thousand years ago, according to a story that is lovingly narrated over and over every year by Christians, a company of Eastern kings, priests, astrologers, magicians, or wise men made a long journey to the Holy City of Jerusalem: “Now when Jesus was born in Bethlehem of Judea in the days of Herod the king, behold, there came wise men (“Magi” in New International Version) from the east to Jerusalem” (Matthew 2:1, King James Version). These men were possibly pilgrims who came in the days of Herod the King saying, “Where is he that is born King of the Jews? for we have seen his star in the east [“when it rose” in New International Version], and are come to worship him” (Matthew 2:1-2, King James Version). By adding “from the east,” Saint Matthew thereby suggested that they were pilgrims belonging to a sacred or priestly order in

Persia. For more than a century before the Christian era, the world beyond the Tigris River was not very familiar to the Greeks or the Romans. Incessant wars restricted Roman armies to the Euphrates, or the Tigris Rivers, and their legions never climbed the peaks of the Zagros Mountains that protect the western frontier of Persia. The Zagros Mountain range is a complex of many parallel ranges separated by valleys and plains, some of which are covered in perpetual snow. Anyone coming from the Eastern side of these mountains into Israel was considered “from the east” (Upham 1856:5--8). In the Roman World, it was commonly held that magic originated with the priests of the Persians, and those who practiced magic were called Magi. The lines from Saint Matthew’s Gospel are the only mention of the Magi or Wise Men in the Holy Scriptures. They do not figure in the Gospels of John, Luke, or Mark. In addition, Matthew does not mention their number. The only reference to number is to the gifts of the Magi: “The number of three has generally been associated with the three presents mentioned: gold, frankincense, and myrrh” (Tournier 1982:254). Moreover, in Psalms 72 there is a passage, which claimed that the Messiah would be visited by Kings who would offer their gifts before Him: “Let him reign from sea to sea, and from the Euphrates River to the ends of the earth. The desert nomads shall bow before him; his enemies shall face downward in the dust. Kings along the Mediterranean coast—the kings of Tarshish and the islands—and those from Sheba and from Seba—all will bring their gifts. Yes, kings from everywhere! All will bow before him! All will serve him” (Psalm 72:6-11). Castro and Couto (1961:73) portray the Magi as shepherds with great control over their sheep. Also according to them, Saint Thomas Aquinas (1225-74) considered the Magi to have the knowledge of astrology, which links them with the apparition of the star of Bethlehem. The Story of the Three Kings by John of Hildesheim (1375), a friar of the Carmelite order, introduces the Three Kings as royalty. He explains that the reason they

were called Magi originally was because of ignorance on the part of non believers and envy on the part of the Jews. The discussion concerning the origin of the Three Kings started in early medieval times and it was very controversial, as Freeman (1955:66) explains: “Saint Jerome (about 340-420 A.D.) furthered the idea of a ‘black Ethiopian’ by suggesting that the Magi represented the three sons of Noah, and thereby, the three races of man.” Not only did the Magi appear to be different in character, but also it is evident that the answer for their identity was based on personal interpretation and understanding of the tradition of the adoration of the Magi. Ludolph of Saxony (cited in Freeman 1955:66), a contemporary of Hildesheim, in his popular Vita Christi (Life of Christ), argues more reasonably: “The three pagan Kings were called Magi not because they were magicians but because of the great science of astrology which was theirs. Those whom the Hebrews called scribes and the Greeks, philosophers, and the Latins, wise men, the Persians called Magi. And the reason that they were called Kings is that in those days it was the custom for the philosophers and wise men to be rulers.…” The Magi had special customs and beliefs of their own, some of which they brought with them into their adopted cults. The title “Magi,” in its oldest sense, was distinctive and honorable, as Upham (1873:3) writes: “Before the rise of the Roman power, in the days of the old Persian Empire (558-331 B.C.), the Greeks knew the Magi well, as the imperial priesthood of what was then the Great Empire of the earth. After that Empire was destroyed by Alexander the Great, they continued to know them well, so long as they themselves ruled over Persia. This lasted but about a century; and, like the English in India, the Greeks in Persia attempted no radical changes in religion.” The word “Magi” however, was somehow misinterpreted during the course of history, as Upham (1873: 5) again explains: “In the Roman World it was common opinion, that in very ancient times, magic originated with the priests of the Persians; and in the Roman World those who practiced magic assumed the name of Magi.” According to this conviction, the

word “Magi” came into common use in a way that was related to the distinctive name of the Persian priesthood; it was, therefore, misused as “magician.” The actual names for the Three Kings are also a mystery. Christian tradition from about the seventh century names them as Melchior, Gaspar, and Balthazar. These names are found with various spellings at different times and in different places and are derived from legends and apocryphal writings. (Apocryphal comes from the Greek, meaning secret or spurious which contains group of several books, not considered canonical, included in the Septuagint and the Vulgate as part of the Old Testament, but usually omitted from Protestant editions of the Bible): “The Codex Egberti has two: Pudizar and Melchias; a Paris Ms. [manuscript] of the seventh and eighth century, three: Bithisarea, Melchior, and at Gathaspa; later on: Caspar, Melchior, and Balthassar” (Holweck 1969:639). The bodies of the Three Kings after death are said to have been brought to Constantinople by Empress Helen, mother of Constantine, then taken to Milan, and finally to Cologne in 1162 by Frederick Barbarossa. Since that time they have often been called the Three Kings of Cologne (Freeman 1955:68).

The Magi in European Iconography

The Magi figures can also be found in different sites throughout Europe. Just as the Epiphany was from early times one of the greatest feasts of the Church, the adoration of the Magi was one of the most popular themes in early Christian and medieval art. According to Beckwith (1966:1), “The scene appears in wall-painting in the earliest Roman catacombs, in the fourth and fifth-century in Santa Maria Maggiore at Rome, on ivory carvings and gold medallions executed in the sixth-century at Constantinople and in various parts of the Near East.” Iconographies of the journey of the Magi are good sources for information on the common understanding of the birth of Christ. For instance, in Luke’s gospel, Joseph and Mary traveled to Bethlehem from their home in Nazareth to be counted in a census “of all the inhabited earth” ordered by Caesar Augustus. An

interesting observation is that none the iconographical information associated with the iconographies ever depicts the Gospel of Luke, but only describe the views in the Gospel of Matthew (1:1-2). In Brazil, the story of the nativity scene described in Luke and Mathew’s Gospel is found stamped on the banner of folia de reis (see Chapter 6). The iconographical representation not only describes the folia de reis personal liking for the paintings, but also allows the participants to fabricate their own understanding about the characters present at the site of Christ’s birth. Additionally, while the Gospel story has inspired devotion and faith through the centuries, it sparks curiosity and interpretations of the story told at the site of Christ’s birth. From the number of gifts, the age of the Magi, and their skin colors, these images and depictions reflect the folia de reis views on race and the story of the first Noel (the first Christmas in French). In a Sacramentary at Bamberg, Germany, the adoration of the Magi takes place in front of an architectural screen (figure 2-2), as Beckwith (1966:33) writes: “The adoration of the Magi before an architectural screen can be traced back to Carolingian examples, cf. the mid ninth-century ivory book cover, executed at Mertz, Paris, Bibl. Nat. Lat. 9393” (Goldschimidt. op. cit. I, No. 72).

Figure 2. 2 (from Beckwith 1966).

In England, a wall painting with the procession of the Kings (Figure 2-3) is found at the Church of Clayton in Sussex, a former county on the English Channel in southeastern England (Beckwith 1966:21). The Church is a pre-Conquest structure, but the wall paintings appear to date towards the end of the eleventh century.

Figure 2.3 (from Beckwith 1966).

The iconography of the Virgin and Child seated under an arch receiving the adoration of the Magi can be traced to Ottonian models (this term is derived from Otto III, son of Otto II, born in Kessel, Germany). An example of the adoration of the Magi is found at Reichenau, at the Court School of Otto III in Munich (Figure 2.4). This work is found in the Gospel Book of Otto III (997-1000).

Figure 2. 4 (from Beckwith 1966).

One of the earliest representations of the Magi in Spain dates from the first half of the twelfth century. It is from a carving in the Church of Santa Maria at Uncastillo, Zaragoza, where a stone tympanum includes a relief of the adoration of the Magi on the north portal of the Church (Figure 2.5).

Figure 2. 5 (from Beckwith 1966).

The paintings of the Franco-Flemish Jan Mabuse between 1497 and 1507 provide a notion of who these three men were, who came from the east to adore the baby Jesus. Through the description found in these paintings, Brockwell (1911) was able to describe several characteristics of the physical appearance and dress of the Three Kings. Because his description (1911:1-6) is so clear, poetic, and relevant to this study, I include it here almost in its entirety:

The scene is laid amid the ruins of a quasi-real Gothic Palace, the dislodged walls of stone and brick symbolize, together with the upturned tiles of the pavement, the downfall of the pagan dispensation of the Birth of Christ (Plate I). The virgin is seated in the center, and seen nearly in full face towards the spectator. Her hair falls in curly locks on to her shoulders; her downcast eyes regard the Infant Christ whom she holds on her right knee. She is clad in a dark red under-skirt and loose sleeved blue rope, cut sufficiently low at the breast to show a little fine linen beneath; her robe, held in position at the neck by small gold ornaments, envelops her person, and falls in numerous ample folds and sharp

arbitrary breaks to the pavement, which occupies the full breadth of the foreground. With her left hand she holds the stem of a pyx or chalice containing gold coins. The Divine Child, with a cruciform nimbus floriated, holds one of the coins in His left hand as a token of His acceptance of the gift of gold just offered by Jaspar (or Gaspar), King of Tarsus.

The oldest of the Magi, represented as a man with gray hair, a cloven- shaven face, and a wart on his cheek (Plate II.), kneels on the right. He is seen almost in profile to the left, his hands joined in adoration. He wears a gold- patterned damask robe, and a dark red loose-falling mantle, the latter ornamented with sprays of floral design, and lined and edged with fur; round his neck he wears a gold collar, set alternately with sapphires and rubies. Before him, in the centre of the tiled pavement foreground, lies his elaborated sculptured scepter or mace, adorned with the figure of Moses, holding in his hands the open Book of the Law. On the ground at his side is placed his crimson cap, lined and trimmed with fur (Plate III); round it is a chain of gold with links set with jewels, while the brim is edged with seed pearls. Near by, on the edge of the Virgin’s robe, is placed, as if by accident, the cover of the chalice. It is inscribed: ROI IASPAR. On the right, behind and beyond King Jaspar, stands forward Melchior, attired in a highly ornamental tight-fitting coat of gold, and in a sea-green robe edged with two rows of pearls (Plate IV.); a gold flecked girdle passes around his waist, his brocaded loose-sleeved, ermine-lined mantle falls to the ground in ample folds, the sleeves being three times tied with black silk chords. His rich red peaked bonnet is lined with blue and decked with pearls, his fancifully bejeweled crown being super-posed upon it. Melchior, who is long-haired and bearded, and should make an offering of frankincense, holds before him in his outstretched, strong-lined right hand a highly ornamental monstrance; his left hand falls by his side.

From the left of his very varied and thickly peopled composition advances Balthazar, the dusky King of Saba, with scanty beard (Plate V.). He is attired in a rich gold-shot tunic woven with floral designs; his ample fur-lined red mantle, the sides of which are attached across the chest by a ribbon of juicy green, is edged with a highly ornamental border of rubies, sapphires, and black pearls. The puce- colored scarf wound round his waist and hanging down by his left side, together with the loose-fitting orange garment covering his lower limbs, intensifies the effect of his splendid appearance. He holds out before him in both hands, in token of his traditional offering of myrrh, and elaborate Gothic monstrance (or reliquary) of gold, with puti at the summit. The foot of the vessel is reverently protected from his touch by a long, white silk shawl, which is passed round his neck in stole-like fashion; it has fringed ends and hangs down elegantly before him; the border of the shawl is embroidered in pink, with light blue characters denoting the legend: SALVE REGINA, and in continuation to the right, letters which, with some element of dough, may be interpreted: MDVII.

King Balthazar wears a sumptuous headdress of dark blue velvet wrought with gold floral designs, the gilt rim edged with rubies mounted in gold, and pearls set in white rosettes that are placed in a blue field (Plate VI). Beneath this regal headdress he wears a copious head covering of precious dark blue material, trimmed with a red border; on it is inscribed in waving line the artist's characteristic signature IENNI. GOSSART. OG. MABU. From the lower edge of his red border depends a row of pearl ornaments. On the summit of the crown may be read his name: BALTASAR. Between the standing figure of Balthazar and the seated form of the Virgin, but placed some distance away and in the background, may be observed St. Joseph, bearded and clad in simple robe; he enters silently upon the scene and leans his left hand on his

staff and his right against the portal at his side; he gazes fervently upwards towards the sky. On the extreme left of this well-knit composition, and far removed from the six principal figures, are dimly observed, behind a two light window, a middle aged man wearing a bronze-colored and turban-like head-covering. High above their heads luxuriant plants are already growing in the clinks of the downfallen brick edifice, and a withered tree raises its branches.

More towards the front are grouped three courtiers in attendance upon Balthazar. The mantle of the King of Saba is held up by a youth standing on a raised step; he wears a light blue and green patterned and quartered robe with dark red sleeves; a red and gold pouch at his side, and a red cap tied with blue strings and bejeweled in front. By his left side is a middle-aged Oriental man-at-arms with his lilac-purple turban piled high on his cranium (Plate VII); his fur-lined robe is left open at the neck to show a gold-trimmed under-robe; round his neck he wears his torque or metal gorgeret inscribed with part of the artist’s name: IENNINE GOS.

The plates (see Figure 2.6) in which Mabuse describes the Magi are highly ornamented. His descriptions reflect the elegant northern European views on the scene of the adoration of the Magi. In contrast, the southern European painters and sculptors seemed to have presented a more simplistic view of this particular event. This is perhaps associated with the perception that northern Europeans had a wealthier life style than southern Europeans. The adoration of the Magi seemed to be a fairly popular theme for painters in northern and southern Europe during the early fifteenth century. These iconographic representations are evidence of the development of the Magi tradition in Europe. The tradition was carried into Brazil where the event of the adoration of the Magi is very often depicted as bucolic and placed outdoors, usually at a crèche (manger scene).

All seven plates are found in Brockell’s “The Adoration of the Magi by Jan Mabuse” (1911) and are reproduced here in Figure 2.6.

Plate Plate I II Figure 2. 6 (Plates I – VII from Brockwell 1911).

Plate III Plate IV

Plate VI Plate V

Plate VII

Schwartz (1993) lists several other painters who represented the theme of the adoration of the Magi (including Gentile de Fabriano, Rogier van der Weyden, Masaccio, Domenico Veneziano, Sandro Botticelli, Hieronymus Bosch, and Diego Rodríguez de Silva y Velázquez) and provides internet links to photographic examples. A number of these are included here (Figure 2.7) to exemplify the perception early iconography had over people in Europe as well as to create a body of material that the reader can use for comparison with Brazilian folia de reis costumes and other regalia depicted in this dissertation. What will become obvious is that northern European (and northern Italian) depiction of the nativity scene emphasize rich clothing, fancy settings, and a general opulence, while Portuguese and Spanish depictions emphasizes the humility and simplicity of Jesus’ birth.

Rogier Van der Weyden – Flemish, c.1452-55 Gentile da Fabriano – Florence, 1423 http://www.abcgallery.com/W/weyden/weyden.html http://www.kfki.hu/~arthp/html/g/gentile/

Figure 2. 7 Eight paintings from the Renaissance, depicting the Magi (from Schwartz 1993).

Masaccio – Florence, 1426 http://www.kfki.hu/~arthp/html/m/masaccio/

Domenico Veneziano – Florence, 1440-43 http://www.kfki.hu/~arthp/html/d/domenico/venezian/

Franco Botticelli – Florence, c1475 http://www.kfki.hu/~arthp/html/b/botticel/index.html

Hieronymus Bosch – Netherlands, 1510 http://www.kfki.hu/~arthp/html/b/bosch/index.html

Benozzo Gozzoli – Florence, 1440-41 Diego Rodriguez de Silva y Velázquez – Sevilla, 1619 http://www.kfki.hu/~arthp/html/g/gozzoli/1early/ http://www.kfki.hu/~arthp/html/v/velazque/

Gentile da Fabriano (circa 1370-1427) was an Italian painter in the International Gothic style. Originally named Gentile di Niccolò di Giovanni di Massio, he was born in Fabriano, Ancona Province. Much of his work has been lost, but what remains shows the

influence of the French and Flemish edition of the International Gothic style then current in Lombardy. His work is characterized by sparkling color and graceful figures with animated and smiling faces. Gentile was active in a number of Italian cities. In Venice in 1411, for example, he executed frescoes for the Ducal Palace and greatly influenced Pisanello and the early Venetian school. In Florence in 1423 he painted his masterpiece, “Adoration of the Magi” (in the Uffizi gallery), and in Rome in 1427 he painted frescoes illustrating the life of Saint John the Baptist (in Saint John Lateran Church) and the Holy Family (in Santa Maria Maggiore Church). Rogier van der Weyden (circa 1399-1464), the leading Flemish painter of the mid fifteenth century, is known principally for his sensitive, deeply moving renderings of religious themes. Most notably is his late masterpiece, “Adoration of the Magi” (in the Alte Pinakothek, Munich). Masaccio (1401-27?) is the first great painter of the Italian Renaissance. He inaugurated a new naturalistic approach to painting that was concerned less with details and ornamentation than with simplicity and unity, and less with flat surfaces than with the illusion of three dimensionality. Together with Brunelleschi and Donatello, he was a founder of the Renaissance. Only four unquestionably attributable works of Masaccio survive, although various other paintings have been attributed in whole or in part to him. Masaccio, originally named Tommaso Cassai, was born in San Giovanni Valdarno, near Florence, on December 21, 1401. His “Adoration of the Magi” (now in the Staatliche Museen, Berlin), was a simple, unadorned edition of a theme that was treated by other painters in a more decorative, and ornamental manner. Domenico Veneziano (circa 1405-61), an Italian painter, was one of the chief innovators in early Renaissance painting in Florence. While many of his paintings have been lost and others are of doubtful attribution, three works remain that illustrate his style. The Carnesecchi Tabernacle (circa 1440, in the National Gallery, London), a fresco, is an early work that reveals the influence of the earlier Florentine Master Masaccio. The “Adoration of the Magi” (circa 1440, in the Staatliche Museen, Berlin)

contains a well-developed landscape background that was unique in Florentine art of the time and paved the way for further Renaissance landscape developments. The Santa Lucia dei Magnoli Altarpiece (circa 1445, in the Uffizi Gallery, Florence), painted in pale, cool colors and bathed in strong, white light, has a clarity and lightness that was Domenico's most important contribution to Florentine art and was an alternative to the heavy monumental characteristic of Masaccio's style. Sandro Botticelli (real name Alessandro di Mariano dei Filipepi, 1445-1510), was one of the leading painters of the Florentine Renaissance. He spent almost all of his life working for the great families of Florence, especially the Medici. He painted portraits of them, such as “Giuliano de' Medici” (1475-76, in the National Gallery of Art, Washington, D.C.) and the “Adoration of the Magi” (1476-77, in the Uffizi gallery, Florence), in which members of the Medici family appear. Hieronymus Bosch (circa 1450-1516), was one of the most famous Flemish artists of the sixteenth century. He was known for his large, enigmatic panels illustrating complex religious subjects with fantastic, demonic imagery. Two of his most popular works are the “Adoration of the Magi” and “Christ Carrying the Cross.” Diego Rodríguez de Silva y Velázquez (1599-1660), Spain’s greatest baroque artist, belongs to the triumvirate of Spanish painters which also includes Francisco de Goya and El Greco. In his “Adoration of the Magi” (1619, in the Prado, Madrid), the artist painted his own family in the guise of Biblical figures, including a self-portrait as well. Another important iconographic representation of the adoration of the Magi is found in the Chapel of the Magi in the Medici Palace in Florence, Italy, which Cosimo il Vecchio built (starting about 1444). The Chapel is famous for the series of wall paintings by Benozzo Gozzoli (1420-97), including “Angels in Adoration” in the rectangular apse and “Journey of the Magi” in the large hall. Painted during the years subsequent to 1459, they are the masterpieces of this painter.

These paintings and sculptures are representations of the adoration of the Magi in Europe during the Renaissance period, which covers roughly two-hundred years between 1400 and 1600 (Schwartz 1993). Paintings and iconographical examples are reliable evidences of the adoration of the Magi throughout history. They tell us that the depiction of the adoration of the Magi represents an old Christian virtue: faith in God. Faith is revealed not only with sacred books but also through the visual representation and characterization of historical events. Through these paintings people in the Renaissance and throughout subsequent history created perceptions of the Magi. The painters’ perceptions of the birth of Christ throughout history brings in one more concept in the understanding of the mystery surrounding the character and origin of the Magi described in Matthew’s gospel: participants in the folia de reis tradition through the Magi’s intermediation with the divine believe one can achieve anything in life. Because the folia de reis is an oral tradition, they also rely on visual information, such as paintings and figures to create their religious organization. The illustrations of the nativity scene in Figure 7.2 are not only examples of historical paintings describing the nativity scene, but are sources of material painted on folia de reis banners. The Magi, because of their special place within the cosmological hierarchy have the power of healing sickness and of giving and promoting wealth. Their power is unlimited, say the participants. Folia de reis tradition dictates that the power, which can be acquired through personal faith, cannot be used for promoting personal revenge or to take advantage of others. It is very important that a participant accept the Magi with good intentions and with an open heart.

The Magi in Other Performance Contexts: The Autos Sacramentales

In Catholic theology, the auto sacramental is considered a sacred sign instituted or adopted by the Church as a devotional aid. The auto developed from medieval liturgical dramas and became a typically Spanish form in the sixteenth century. During the Middle Ages the practice was very popular among the inhabitants of the Iberian Peninsula. In Spain it was considered a vehicle for socialization and reaffirmation of faith among Christians. One of the most common auto sacramental was a dramatization of the pilgrimage of the Three Kings to Bethlehem which took place mostly in the streets of small cities or villages. This auto had names such as “Auto de los Reyes Magos,” “Los Pastores,” and “Comedia de la historia y adoraçión de los tres Rreyes [sic] Magos.” These were local versions of how people understood the Magi and how the story of the adoration was narrated. Some of them were written by great Spanish and Portuguese poets, such as Lope de Vega, Calderón, Gil Vicente, and Cristóbal Galan. “Comedia de la historia y adoraçión de los tres Rreyes Magos” (Theatrical production concerning the history and adoration of the Three Magi Kings) is one of the nine plays preserved in the Biblioteca Nacional in Madrid, Spain. It reflects the popularity of early religious drama in Spain. Although many of the early Latin versions of it exist, there are few with extant Spanish texts (Young 1933:2-10). As indicated by the title, this religious play dealt with the coming of the Magi from the east and their adoration of the Christ child. It may be inferred from various sources dating from the early 1400s that the Three Kings play was presented annually, either in processions or on stage. “Miguel Lucas de Iranzo in his chronicle of Enrique IV mentions ‘la representación de los tres Reyes Magos in 1461 at the Kings Palace in Jaén, and describes in detail the performance of 1462, and mentions another performance of ‘la historia de quando los Reyes vinieron a adorar y dar sus presentes a nuestro señor Jesus Christo in 1464” (Tyre 1938:9). Tyre also mentions that the only other known Spanish text composed prior to ‘Rreyes is the incomplete twelfth-century “Auto de los Reyes Magos,”

published by Amador de los Rios. In view of the fact that the “Auto de los Reyes Magos” was written about four hundred years prior to the early Renaissance plays, and there is little similarity between the two. It is quite improbable that the “Comedia de la historia y adoraçión de los tres Rreyes Magos” was influenced by it (Tyre 1938:10). Tyre also briefly refers to other plays and indicates that they were performed frequently in the Iberian Peninsula. Two Catalán plays, both entitled “Consueta dels tres reys de Orient” (The Visit of the Three Kings), were discovered by Gabriel Llarés Quintana in Mallorca in 1887. In addition, Hergemenildo Corbató published the sixteenth century play “Misteri del Rey Herodes” (The Mystery of King Herod) in the early twentieth century. Corbató concludes that this play, which also includes magus lore, is believed to be of French origin (Tyre 1938:11). In Brazil the auto sacramental was simply referred to as auto pastoril and was introduced by the Portuguese missionaries. The auto pastoril portrayed the journey of the Magi to Bethlehem, and was often performed in front of a church or next to a crèche (a small or large modeled representation or tableau of Mary, Joseph, and others around the crib of Jesus in the stable at Bethlehem, as is displayed in homes or erected for exhibition in a community at Christmas season). These journeys were part of the sacred theater and were dramatized during colonial times. Another aspect of the auto pastoril, is that they were sung by a choir composed of members who participated in the pilgrimage (Cascudo 1980:588-589). As such the auto pastoril it is possibly one of the origins of the folia de reis in Brazil. The tradition has assimilated regional styles according to the region in which it developed; that is, the folia de reis has become a community expression according to the participating families in the tradition.

Conclusion

This chapter has explored the many possibilities for the Three Kings’ origin associated with the birth of Jesus Christ and has presented an historical analysis of the

words folia and reis. Even though scholars may see the Magi’s story interpretative, it represents the people’s view and their acceptance becomes the truth. In this way, the participants in the folia de reis tradition in rural Brazil validate the story of the Nativity as they were told, and the tradition is reinforced through paintings, sculpture, architecture, and other historical attributes. The popular depiction of the Christmas crèche described in Luke’s Gospel is, in Brazilian folia, interpreted as the truth among participants. In the folia de reis Song Text 50 in appendix C, “Birth,” Mary and Joseph arrived late in Bethlehem and, finding no room at the inn, spent the night in a stable or the cave where Jesus was born. The history of the Magi and how they came to Jesus is also part of the story explained by the Gospel of Matthew. However, this Gospel seems to give a much different picture of events surrounding Christ’s birth, following a less mystical course. In this scenario, the Magi came from the east, following a star, which has been considered to be an alignment of planets or a comet. In either scenario, Christians agree that the Bethlehem star was a unique astronomical event. These assumptions and historical events reflect the deep-rooted aspects which surround the birth of Christ and the Magi’s real story. In any case, the story described in this chapter through pictures, paintings, stories, scenarios, and carvings is still being used in folia de reis tradition and is the inspiration for songwriters and leaders of certain Brazilian communities. The next chapter discusses how the folia de reis tradition was introduced in Brazil. It analyzes the origins of the Three Kings and their heritage according to the participants in the tradition. I also discuss how a folia de reis group is formed, with personal vows and commitments to the Three Kings.

CHAPTER 3

FOLIA DE REIS IN BRAZIL: FOLK INTERPRETATIONS FROM RURAL OLÍMPIA

The folia de reis is an ancient Iberian-derived Brazilian tradition classified by Brazilian anthropologists as “Catolicismo Popular” (Brandão1977:18), ‘popular’ or ‘folk Catholicism’. Beginning in the Brazilian colonial period, this folkloric tradition has depended on an eclectic mix of ethnic groups. From the time of the first Portuguese settlers in the early 1500s to the arrival of the coffee culture in the 1800s and the opening of roads to the central plateau, for example, several colônias or settlements were created to expand the labor in the plantations and to explore the abundant natural resources in the interior of the State of Minas Gerais. The ethnic foundation of rural Brazil was formed at least two hundred years prior to the coffee boom of the 1890s, according to Júnior (1964:11): Already from the late sixteenth century numerous contacts were established between Portuguese settlers and several indigenous groups. From the middle of that same century another ethnic group joined the mix: the black African. Brought as slaves from different parts of Africa, they became a substantial part of these integrations, multiplying the relations between the Portuguese and the indigenous groups, the Portuguese and the black Africans, the black Africans and the indigenous groups, intensifying the contact. With the abolition of slavery in 1888, the need for labor in agriculture increased. The solution to finding workers was partially met when the government decreed a law that would allow immigrants from overseas to settle the land. During that period a vast number of immigrants came to work in the grandes fazendas or large state farms.

Economic reasons linked with the expansion of agricultural products motivated these settlers to aggregate in small communities, creating an ideal location for cultural amalgamation. The settlements were the perfect environment for the development of the folia de reis tradition. “In these settlements, the original peasantry, the descendants of African slaves and immigrant families often lived side by side, and even intermarried with relative frequency” (Reily 1996:192). Today, the descendants of these settlers have many thoughts and opinions about the folia de reis.

The Identity of the Three Kings

For participants in the folia de reis tradition, the question of the origin of the Three Kings is often debatable. It is common to find participants in this tradition describing the origin of the Three Kings according to their own background. As discussed earlier, the Three Kings have several names and were frequently associated with different peoples, giving them a multiethnic identity. The existence of Three Kings with different backgrounds may have changed the perspectives of the participants of the folia de reis tradition in Brazil. The Three Kings are commonly known in Brazil as Belchior (or Brechó or Melchior, among other variations), Gaspar, and Baltazar. According to Reily’s field interview (1996:200): Belchior was African; Balthazar was German; Gaspar was Turkish, In the city of Adam.

According to popular tradition in Brazil, the origin of the Three Kings represents several ethnic groups which are essentially from different parts of the world, such as Italy, Germany, and several countries in Africa. They symbolically come to represent the racial diversity of the Brazilian population. The origin of the Three Kings for the foliões

(folia de reis members) is the result of personal experiences of interethnic contact between the participants in the tradition. The participants learn from their respective families who the Three Kings were, and just as they came from different places, they brought different gifts. The folia de reis in Brazil manifests a universal character of the world’s Christianity. Given its approximately 400 years of strong Native American, European, and African influence, Brazil developed a cultural identity based on the hybridity of these three broad racial groups. The folia de reis, as it is understood today, however, emerged in the last century, and it is rare to find folia de reis associations older then 50 to 70 years of age. The origin of the folia de reis tradition is not always perceived in the same way by its participants. Perhaps because of age differences, each folia de reis group has its own version of the story of the Three Kings. Nevertheless, the groups seem to agree that the historical facts narrated about the birth of Jesus are based on the experience and faith learned through tradition and experience. Members narrate stories on the adoration and birth of Christ to anyone that wants to know the origin of the tradition. Joaquim Moreira da Silva, mestre (master or leader) of folia de reis in the city of Santa Fé do Sul, São Paulo, narrated the following story (about the journey of the Three Kings) during a field work interview in 1999: In the year of the birth of Our Lord Jesus Christ, January 6, the Three Kings Gaspar, Belchior, and Baltazar arrived around midday on the backs of camels. After a long journey from the Middle East that lasted twelve days, and guided by an unusual star, they arrived in the city of Bethlehem. With the Three Kings were a Captain and a Colonel from King Herod´s palace. These soldiers came disguised as the personal security guard of the King’s territory. These camouflaged soldiers had in mind the cruel mission ordered by King Herod: to kill the Child! The soldiers also searched for the foreign travelers who initially had stopped by the palace looking for information on the child. The

King of Judea was irritated to know that his position as King of the world was going to be shaken by the King of the Jews. The same star that had earlier extinguished Jerusalem’s city entrance shone again soon after the Three Kings left the city. This beautiful and large star that also had been seen by the Three Kings in the Middle East the night the Son of Mary was born shone once more in front of them, and from the sky guided the Three Kings to a stable in Bethlehem. After the Three Kings arrived and dismounted their camels, they walked in and found the little boy Jesus, Mary, and Joseph. The Child seemed to be like other children; however the Three Kings knew that this Child was somehow different. They acknowledged the New King they had been searching for. They kneeled before the Child and adored Him. “Dear Lord we are very happy to find you,” said the Three Kings. Soon afterward they gave myrrh to the man, gold to the King, and frankincense to God. Joseph and Mary, happy and thankful for the gifts, blessed the Three Kings. The captain and the colonel, after seeing so much humility in this act and through the Holy Ghost’s aid, forgot the cruel mission they had first planned. They followed the mission of the Three Kings; kneeling and adoring the Child they asked for forgiveness. Through Mary, they were forgiven and found salvation. Through the evening the soldiers wrapped themselves in warm clothes and the next day continued their journey to their homeland. The Three Kings, tired after their long journey, went to sleep. During their sleep a dream came to them. They heard a voice saying not to go back to Herod the king because they would be punished as traitors. The Three Kings did not forget their dream and chose a different route to return, avoiding the palace. What might have happened to the captain and the colonel if they had returned to Herod saying they had found the Child but did not kill Him? Or if they had returned saying that they found the King of the Jews and the King of the

world, the promised Messiah, the Father for salvation! Herod discovered that he was betrayed and ordered the assassination of all infants less than two years of age (as written in Saint Mathews, 2-16). The soldiers renounced the benefits of the palace…and exchanged their duties as soldiers for the true love of the Father, and of little Jesus, son of Mary. They followed the path of Three Kings. The Three Kings’ education and intelligence gave them the title of Kings. The Three Kings asked the Virgin Mary for consent to celebrate a feast in honor of the day they had arrived. The request was accepted. However, lacking resources, sufficient time, and physical space, it was not possible to celebrate at the stable. The Three Kings were also astrologists, musicians, and singers. During their trip home the Three Kings, followed by the Captain and the Colonel, stopped in different places to sing their hymns. They solicited donations to collect funds to celebrate the day in which they had the honor of meeting the Father of Salvation, Our Lord Jesus Christ. Singing was the way of acknowledging each donation received. The day they arrived home, their wives were very pleased to know that they were safe and sound. After seeing that they had come from a distance, the wives,…very excited, were glad to see every one coming back, especially after knowing that they had followed an unusual star with no idea where it would take them nor when they would return. This was highly emotional and a very exciting moment for the Three Kings. Their journey was successful for everyone because saw everyone happy. In celebration of happiness and success, together they commemorated their victory day. As long as they lived, every year the Three Kings repeated the same scene in which they found Jesus the infant, Saint Joseph, and the Virgin Mary in a stable. Many people who believed in the enchanted encounter of the Three Kings with the Sacred Family during their journey to Bethlehem followed their example. Through decades and hundreds of years this celebration continues to grow and to

expand. Today it has reached the five continents.

This story is common throughout the region and is used to reinforce the tradition’s interpretations of the Three Kings in the nativity story. The folia de reis tradition thrives and is sustained through participants’ faith and commitment to the tradition. Stories such as this as narrated by the participants in the tradition demonstrate that folia de reis tradition is often the result of a religious experience and is learned from parents, family members, or friends. The acknowledgment of divine intervention through achievement or the receipt of a blessing is sometimes understood as a miracle of God. The participants in the tradition are always extremely thankful for all they have and also grateful to the Three Kings for the grace they receive. In any event, the exchange of gifts and the miracle of divine curing through faith of the participants ensure the foundation of the folia de reis tradition. Essentially, the participants are immersed in the folia de reis tradition for two main reasons: (a) they can obtain blessings through prayer and song; and (b) they give and receive gifts which strengthen their faith in the Three Kings. “Those who—like the Three Kings—give freely of their wealth, promote life. Those who strive to accumulate it will ultimately subject everyone to Herod's fate, death” (Reily 1995:99).

Traditional Contexts for Folia de Reis in the State of São Paulo, Region of Olímpia

According to Father Luiz Antônio Gouveia at the Nossa Senhora Aparecida Church in Olímpia (personal interview, 1997) “the Catholic Church (in the early colonial period) used the folia de reis tradition to gain acceptance among people in the rural areas. However, other European priests later came to Brazil and influenced the way many Brazilians lived their lives. They did not accept the folia de reis tradition, and even today Italian priests may offer some resistance. The only priests who did not object and, in fact, sympathized with the folia de reis, were the Brazilian priests.” Every year for the opening ceremony for the Olímpia Folklore Festival (see Chapter 9), Father Gouveia welcomes

the local folia de reis groups into his Church for a special opening celebration mass (missa de abertura). In Olímpia the folia de reis tradition came from the northern state of Minas Gerais. There are no written records of exactly when it migrated to Olímpia, but the local members and the local Portuguese schoolteacher José Sant*Anna believe that it came from the state of Minas Gerais with farm workers during the nineteenth century (Sant’anna 1971). However, travelers have mentioned evidence of the folia de reis’ existence during colonial times in Olímpia. Also, the city of Olímpia is the center of many rural communities that migrated from the coffee farms and small colonies during the rural migration of the 1960s. One aspect that distinguishes Olímpia from other cities of the region is that it has received many rural workers from different regions of Brazil, who brought with them an eclectic and diverse way of celebrating the folia de reis tradition. The folia de reis celebration is one of the most popular events in the state of São Paulo among rural workers, and in Olímpia it receives special attention during the Christmas holiday and on some other days of the year. The followers of this tradition offer “to pay a vow” made to the Kings in exchange for “grace” received. Their obligation “payback” includes a giro sagrado (‘sacred journey’ or giro ‘journey’) conducted by the folia de reis groups in the region of Olímpia. This journey takes place from December 24 on Christmas Eve through January 6 (Kings Day). The sacred journey can sometimes be extended to the end of January. The rainy season starts in middle November in southern Brazil and does not end until late February. Because rivers surround the region and the terrain does not offer appropriate drainage, during this time of the year intensive flooding is expected (Figure 3.1). During their sacred journey from December 25 through January 6, the folia de reis groups often wait until some of the rain has passed to start a journey. Thus, the time for the journey depends on the weather and on the availability of their members according to the type of work of each participant. There are folia de reis groups solely constituted of

rural workers, such as the Companhia de Santos Reis Estrela da Paz. To schedule their sacred journey, this group depends on the local farmers to give their employees time off during the religious holidays. By contrast, the Companhia de Reis Magos do Oriente consists mostly of city employees who are able to have the journey scheduled ahead of time.

Figure 3. 1 Flooding in Olímpia, 1998 (photo by the author).

Each folia de reis group provides its personal story of the origin of the folia de reis tradition. Because folia de reis is connected with family traditions, the development of each group depends on the faith and devotion of its participants. In fact, it is not uncommon to find indirect participants (community residents not connected to the tradition) in the community participating in a folia de reis ritual. These people might decide to start their own folia de reis group based on a personal need or situation.

Sebastião Hostalio Togneri (Tião) explains how and why the Companhia de Reis Fernandes started (personal interview, 1997): I have been a member of the Companhia de Reis Fernandes from Vila Cizoto for the past thirty years. Fernandes is the name of my father-in-law. The group started with him thirty-one years ago as a vow made by my father-in-law to the Three Kings. Celso Fernandes, my father-in-law, had a little boy with an infectious tumor in his head. The doctors at that time could not do much to help the child. My father-in-law made a vow to the Three Kings. The vow was to participate in folia de reis for the next seven years and to put all the money received into a celebration if the boy would be cured. After those seven years, several families in their neighborhood, accomplishing their own vows, asked him to maintain the folia de reis. That was thirty-one years ago. In small communities throughout Brazil it is not uncommon to hear oral stories like this one provided by Mr. Togneri. Perhaps because of the closeness to an agrarian life and simple family life rituals, individuals in these communities are more likely to respond to difficult situations by engaging in devotional activities. A commitment or vow made by a participant is the main reason to start a folia de reis group. Moreover, the closeness among individuals in rural communities has facilitated a more effective association, increasing the chance of a long lasting and effective relationship. The most common reason to become a member of a group or to start a group is revealed in the expression “pagar promessa” or to pay back a vow often made to the Three Kings. According to the tradition, one can achieve anything in life if one has faith. However, one must be faithful from the heart. This sentiment was expressed by José Francisco Ferreira, leader of folia de reis (personal interview, 1996):

Essa promessa veio lá de Goiás! A This promise came from the State coisa sai lá do coração. of Goiás! The thing [faith] comes from the heart.

The dynamics and tensions among faith, grace and a vow are can be illustrated as the circles of force in which folia de reis tradition thrives (3-2). The presence, tension, linkage, and attainment of these three core elements are fundamental to the existence of the tradition. The dynamics of the folia de reis tradition reveal that faith is not only good for the spirit but also good for the body; it exchanges blessings for reality, like healing a sick member of the family or becoming successful in life.

VOW

FAITH BLESSING

Figure 3. 2 Dynamic elements in folia de reis interrelationship (diagrams by the author).

The formation of a folia de reis through a vow is linked to several aspects of the local culture. Motivations are often personal and based on faith learned from tradition. The vow experience is often personal and unrevealed to other participants. As Mr. Togneri explained, the experience of sharing a vow is not always exclusive and can be

shared if its intent is for the good of their community. Folia de reis participants may or may not share this type of experience. Remarkably, some participants believe that a vow may not be fulfilled if shared with others. The beliefs surrounding the break of a vow have created an additional characteristic of the Three Kings, and many participants believe that the Three Kings are “avengers.” This belief is based on stories of individuals who broke their vows and were castigated or never achieved what they wanted. Each participant chooses his or her own grace to be achieved. Through music and prayers, which regulate the inner workings of each group, a participant aims to establish a close relationship with the divine. The Santos Reis or Holy Kings, as they are sometimes referred to, are the interveners with Jesus, the Holy family, and ultimately God. According to the tradition, a vow can be granted if made with faith in the Three Kings. Moreover, disease or sickness in the family can move participants to start a folia de reis group to ask for healing. In the following interview the language spoken (caipira or country language) expresses the folia de reis member’s faith and thoughts through the passion of his narration (English translation only). The faithful hold that the Three Kings have the power to cure and to heal people with infirmities. José Francisco Ferreira, who is responsible for the Companhia de Santos Reis Estrêla da Paz in Olímpia, narrates his reasons for being a follower of the tradition (the following episode takes place between Mr. Ferreira’s home and a closed sugar cane plantation in Olímpia, 1990): I have been struggling for several years now! This company of mine, about nine years ago now, was a promise that I made. That last year my oldest son, Pelé, was a young child. And how it was a doom of destiny!...We had a long journey. We went and came back without returning home [referring to the pilgrimage]. A messenger came bringing clothing and helping with other things...However, I was there; the folia de reis participants were there! I could not keep this child at home and so he came. The child said, “Father, I will return home at the same time as you. However, he got home a little earlier. On the fifth of December of that particular year he got sick and I sent him home. Several

hours later in the evening, he came back working, cutting cane in the fields. He looked tired and I had to send him home again; he looked like he had a problem. I was singing in the Santa Efigênia neighborhood at my old friend João Copo’s home when my wife came rushing in to tell me that my boy was lying in bed, but looking like he was not even there. I could not see my son...it was not a “medical thing” said my wife. I went there [referring to a nativity scene at his home] and asked God to save him. I also asked the Three Kings if it were not yet his time to go, I would put his picture on the banner and for the rest of my life would pray a rosary every year that I was able. I also would take the folia de reis to perform. It is not easy to talk about this [tears come out of Mr. Ferreira’s eyes]. I went back to my friend’s house. I was praying to the birth of Jesus and looked into the horizon to see my son coming flying [expression used to describe his child running toward him]. I could not resist, water came down [referring to his tears of happiness]. I asked my contramestre (second individual in line in the folia de reis tradition) to finish the singing. I weakly leaned on an outside fence and prayed to God again. I felt better and we both returned home. I looked back and there was my boy with his cap on his head. For this reason I will never leave the tradition. However, when I die the promise goes with me, it only belongs to me! The vow is a process used to ensure continuity of the tradition and to establish new folia de reis groups. The groups are formed primarily by members of the direct family, although other family members, such as cousins, uncles, and close friends, can sometimes be the carriers of the tradition as well. Because of the physical and psychological closeness of families and friends, members of the same neighborhood could be the leaders of the tradition as well. A strong sense of community and sharing is established among all the participants.

The Origins of Folklore Studies in Brazil

The first organized study of folk culture in Brazil goes back to the late nineteenth century when the writer Silvio Romero described some of the basic references of folk traditions and introduced awareness of nationalism (Silvio Romero, História da Literatura Brasileira, late nineteenth century). Nationalism does not have to be an objective thesis of the literature, or a search for a title; today we must study our people in their origins, in their unknown creations, defining their most emotional intimacy and artistic visions. We must undertake the study of our own poetry and popular beliefs with the conviction of their ethnological value and from anonymity we must comprehend the spirit of a nation. One interesting phenomenon in the study of folk creativity is the blending of cultures in countries which colonial development took place. Not an exclusive characteristic of newer countries, societies have been mixing since the most remote antiquity. It is in the modern age where the lands recently populated that we noticed these facts more evidently. Fables, chants, tales, myths, the language, and even dances reveals mixtures from diverse origins. Romero’s comments on Brazilian nationalism in the early 1900’s not only propose a revision of fundamental elements of the culture, but also hypothetically argue that colonial regions through their history have always embraced some type of miscegenation. The celebration of miscegenation in nationalist thought assumed its most developed form in the acculturation of folk elements such as tales, folk songs, fables, and others. In addition, through the consolidation of the Brazilian democracy in the middle 1980s, folkloric manifestations provided a more stable ground for cultural elements to combine and associate. Not only is the music of folia de reis a result of this miscegenation and combination suggested by Romero; it also contributes to the development of a more homogenous society in rural Brazil. The use of themes and techniques drawn from rural folklore for the composition of folk music not only

influenced the development of the folk traditions in Brazil, but also provided the ideal ground for these elements to flourish. Folkloric traditions historically have been marginalized by mainstream society; people have had to search constantly for ways to organize. For the most part and for political reasons, these folk organizations have been at the mercy of politicians, always depending on state or federal funds for support. Only through a few “well intentioned” politicians did these organizations begin to appear. In Brazil the study of folk traditions is still fairly young. The Comissão Nacional do Folclore Brasileiro (National Commission of Brazilian Folklore), was created in 1959 to recognize and organize all the folkloric activities around the country. This federal commission supported the creation of new legislation to be adopted and applied toward the development of cultural studies in all the states of the union. In August 4, 1967, the governor of São Paulo state, Roberto Costa de Abreu Sodré, signed a decree regulating the folkloric activities in São Paulo state. This document designated August as the official month to commemorate São Paulo’s folk traditions (Decree 48 310). Later, in the same month, Rossini Tavares de Lima, José Sant’anna, and Laura Della Mônica, among others, established the Comissão Estadual de Folclore e Artesanato Artístico (State Commission for Folklore and Artistic Crafts). This commission was chosen to catalog, organize, and sponsor all folk activities in São Paulo state. Several regions of São Paulo, however disputed the right to be the center for folk festivals. This was an important step made by federal and state governments in regard to promoting folklore and its studies in southern Brazil.

Conclusion

In this chapter, I have presented historical, ethnographic, and political data on the folia de reis tradition in Brazil’s São Paulo state, in the region of Olímpia, followed by a discussion of folklore studies in Brazil that led to the perpetuation of modern folk festivals in São Paulo state, including the city of Olímpia. I have shown that the faith of

the folia de reis participants is of primary concern, and is the major reason why the tradition continues into the twenty-first century. The faith of the participants in the folia de reis tradition does not depend on the reenactment of the Three Kings’s journey; it is more of an act of Christian love and submission to the Creator. As such, it is just as relevant on the folk festival stage as it is in the pathways of rural Brazil, as will be shown in Chapter 10. The members and followers of the folia de reis tradition are committed to giving thanks to the Three Kings and to expressing the ideas of giving and receiving. Their belief system is founded on reciprocity, and only those who give thanks will receive the blessings of God and enjoy his kingdom. The development of this study on the Brazilian folia de reis will continue to establish a link between folk religion and the Catholic faith, and will also explore the concept of faith through musical performance among the members of the tradition in Olímpia, Brazil. Following the mendicant tradition, all groups, independently of style, conduct ritual house-to-house visitations during the Christmas season in which the Kings’ blessings are exchanged for donations; following the folkloric tradition, many groups perform on the stage. Both performance and tradition are based on the performers’ faith. Social differences among folia de reis groups give them personal characteristics that identify and distinguish them from each other. Among these characteristics are (1) type of clothes, (2) styles of folia de reis music, (3) and number of giros or journeys. The next chapter will describe many of these characteristics of folia de reis material culture, and will relate them to the personal and collective faith of the participants.

CHAPTER 4

SPIRITUAL, MUSICAL, AND SOCIAL RELATIONSHIPS WITHIN FOLIA DE REIS IN OLÍMPIA

Music traditions associated with folk Catholicism exist independently of the institutional supervision and coordination of the Catholic Church in Brazil. The folia de reis tradition is an example of this phenomenon. Among rural groups in Brazil, the sense of being Catholic is connected to many cultural traditions outside the Church. Devotees believe in mainstream Catholicism but also maintain beliefs and traditions unconnected to the institutionalized Church. Folia de reis tradition is therefore a religious folk tradition that is characterized by two important relationships: spiritual versus mundane acts and a connection between music and social spiritual experience. Both help to shape the world and the musical experiences by the participants in folia de reis tradition. The religious aspect of the folia de reis tradition constitutes the primary characteristic of the tradition and the bonding element that links the family with an awareness of the world. According to Porto (1982:64), the folia de reis tradition has three fundamental components. First, the thematic content of the folia de reis is based on biblical events, found in the second chapter of Matthew’s Gospel: the visit of the Three Kings to Jesus and Herod’s persecution of all infants. Second, the sole reason for the existence of a folia de reis is religious. The participants of folia de reis are not involved for private gain; on the contrary, to be a folião (group participant) requires many social sacrifices, such as to stay away from home during long periods of time or to miss several days of work, which compromises their job security. Lastly, the folia de reis tradition is directly connected to the story of the birth of Christ. The connection is not solely based

on the official Roman Catholic calendar, but on a series of events that have arisen through stories and popular knowledge learned from the apocryphal Bible. These aspects differentiate folia de reis tradition from other forms of folk Catholicism, and assure its continued existence.

Folia de Reis and the Catholic Church as Social and Spiritual Units

The Igreja de Nossa Senhora Aparecida (Church of Our Lady) and the Igreja da Matriz de São João Batista (Principal Church of Saint John the Baptist) are the two main Catholic churches in Olímpia. Through the years, many new priests have experienced the folia de reis tradition in the region, although priests in general are not fully aware of the great amount of folk-related activities in Olímpia. Father Luiz Antônio Gouveia of Igreja de Nossa Senhora Aparecida clarifies the local Church’s view of the folia de reis tradition (personal interview, 1997): Our Church is large in many ways. Because of the many regions (and the many Catholic churches in Brazil), even our own college education is done in a way where some accept more and some accept less. However, it is apparent that the Church does not see the folia de reis as something apocryphal or something profane. The problem lies in the Brazilian population, which is very superstitious! The Church advises us to guide our members, explaining the folia de reis with its biblical roots, like the Three Kings. However people add culture and more followers. The problem starts when someone uses the folia de reis for other things, for other purposes, for gain. The Church does not appear concerned or threatened by the tradition. On the contrary, Father Gouveia seemed more preoccupied with the prospect of the tradition taking a different route from its original mission and being used to take advantage of other people. Among the participants in the tradition there are reports of dishonest folia de reis groups collecting donations and keeping the gifts or cash to themselves. In the

past, for example, the local bishop advised the local Church to oversee the folia de reis’ handling of the donations during the journey. In general, however, the Church’s view is left to the local priest who arbitrates how the tradition is organized in his district. Priests who received their sacerdotal education in Brazil seem to be less tolerant of changes and cultural differences then those educated abroad. For the Catholic Church, the Three Kings are considered conflicting characters. One group in the Church claims that the Three Kings have been deprived of their Christianity because their character is not clearly understood throughout history or the Kings have been interpreted as Herod’s soldiers. Another group uses the representation of Three Kings to explain the three main races of the world: Mongoloid, Caucasoid, and Negroid (relative to Brazil’s relationship to people of Asian, European, and African descent, respectively). This conflicting argument is problematic to some, but is part of the current thinking among religious authorities such as priests and bishops. Furthermore, because of the image of Three Kings is used to support the idea that Jesus died not only for his people in Judea, but for all races. This further supports the existence of Christian belief in love for all humankind. The acceptance of the Three Kings by the Church can also help explain the Church’s universal characteristic claimed by the local priest, as well as confirm the Three Kings as being as important as Saints for the participants in the tradition. The Church continues to maintain that the Three Kings had a close linkage with Jesus and the Holy family, reinforcing the spiritual relationship between humans and divine. The story of the baby Jesus being born in a manger and the Magi’s gesture of gifts are important for the discernment of the Three Kings by Church members. The Three Kings’ gesture of redemption at the site of Christ’s birth is esteemed by the local community as a symbol of acceptance into the Holy family. The local Catholic Church in Olímpia does not interfere in the conduct of the devotees in the folia de reis tradition; in fact the church considers it an expression of faith and devotion sanctified by popular

acclaim. Folia de reis groups share a similar relationship with the Three Kings. Through prayers one can reach the Three Kings and achieve important things in life. Music and Social / Spiritual Relationships

The symbolic journey of the folia de reis is unimaginable without music and prayer. Music during the journey is part of the participants’ communal experiences. It is an aspect that illuminates the purpose of their performance, which is enact the journey of the Three Kings when Jesus Christ was born, uniting the participants of the group. Songs are particularly essential for establishing religious and social relationships. Songs texts exist to explain the belief system and narrate the Bible story of Christ’s birth. They have profound meaning for the participants. The songs performed during the journey are manifestations of individual and group faith based upon folk Christian beliefs. They express how the folia de reis participants view their own belief system and how singing and praying through the rhyme of the verses might change people’s perception of life. Through singing and repeating their Christian song repertoire, participants of the group believe their request will be heard. Musically as well, the Olímpia folia de reis groups are autonomous. The melodies or toadas (tunes) are based on the mestre’s unique creativity and talent. The leaders of each folia de reis group must have the experience and the talent to compose and improvise song texts, as well as to know the story of the birth of Christ from the Bible and from apocryphal writings. The leader’s contribution to the music and the knowledge of Biblical facts are extremely important to the overall presentation of a particular group. The melodies are generally composed and known prior to the journey, but the song texts are often improvised and created according to each site visited. The prayerful character of the song texts and the accumulation of the voices repeated over and over create a powerful effect, taking participants on a special spiritual journey that parallels their physical journey. Musical specialists are concentrated among close relatives and friends. The repertoire presented during the journey is meaningful for the individuals in a

particular folia de reis group and for the entire social group because it defines, explains, and sets the standard for belief and faith. A folia de reis group plays and sings several toadas during its entire journey. The songs are usually written in strophic form with a refrain repeated by the group. The performance of these melodies is the musical and social essence of folia de reis, because all members participate by singing and playing. Through music they establish spiritual bonds among the group. The mestre writes melodies according to his ability to compose and improvise music. However, other participants of the group also compose and propose songs to the mestre for his approval. Allowing all participants to be directly involved in the music making process helps to create and ethos of solidarity and egalitarianism among everyone stimulates respect for all. During the music making process the group emphasizes its social organization based on each participant’s orientation and experience. A younger member singing the refrain may not have the depth of knowledge of the music and text equivalent to the leader of the group. However, despite a young member’s status within the group, the tradition accommodates his involvement in the music making process and encourages his participation. Such respect and cordiality help to strengthen participants’ faith in the tradition. Individuals are engaged in the music making process based on a peaceful atmosphere generated by common feelings and belief in the tradition. Musical mistakes are disregarded if participants are willing to accept responsibility for them. Although other participants of the group can voice concerns or anything else deemed important to the musical aesthetic of the group, commitment to the group’s leadership is always evident. Successful folia de reis groups must have cordial and respectful relationships among all participants. The respectful and cooperative mood among participants is indispensable for a successful journey.

Folia de Reis Groups

All folia de reis groups organize themselves through a series of events such as meeting at the leader’s home, selecting the houses for their journey, deciding when to start and finish the journey, and planning for the final celebration. It is generally assumed that, to fulfill ones vow to the Three Kings, as individuals must participate for a period of seven consecutive years. After that length of time, the promise has been fulfilled and one can stop. Each year a group must elect a festeiro (celebration leader) to help organize the final celebration. This individual, sometimes referred to as the dono da festa, literally “owner of the party,” organizes by having all aspects of the folia. In most areas, the festeiro is a wealthy member of the community and directly committed to the success of the event. Prior to the journey each folia group has already chosen its festeiro for that year. The decision is based on his ability to offer assistance to the group and administer the funds for the final celebration, as well as on his vow to the Three Kings. He can be directly involved with the group, guiding and offering assistance throughout the event. Since the role of the festeiro is financially challenging, folia de reis families create roles and obligations for their participants to aid the festeiro and his immediate family. Because of these economic considerations, the choosing of a wealthy festeiro also serves to establish links that cut across class divisions. The following interview (1997) with festeiro and singer José Claudio Ferreira from Companhia de Reis Tradição de Família in São José do Rio Preto explains the festeiro’s role: The funds received are often used to subsidize our trips and they are also used to help with the celebration. It is for the Three Kings cause! The guests are ordinary people because the Kings’ celebration is open to the public. Anyone can take part. I would like to tell you a story about how this group began! My father was a mestre with the Companhia de Reis; he died seventeen years ago and left this

group for me to take care of. Originally we had planned to take care of the group for only seven years. Then my son, who is today a young clown, came and for three years was in surgery due to an intestinal problem. After speaking with my wife, after five years with the group, my son had surgery. My wife made a vow to the Three Kings that we would never stop carrying the banner. We were blessed, and today he is strong and participates as a clown within the tradition. In fact all my children are with the group. Every group has the autonomy to use its funds as it wishes. In the rural areas people often donate chickens, pigs, calves, or other produce from their farms; these can be used to feed the community during the final celebration (festa da porteira aberta). The experience requires the participants to express gratitude for all donations. Each donation is recognized while singing the verses of gratitude. As they give thanks, the folia de reis participants reiterate the Three Kings’ blessings and the reciprocal concept where all donations are in turn acknowledged with some type of gift. The city of Olímpia, like any other growing city in the interior of southern Brazil, has a large number of workers living in the surrounding neighborhoods. Many of them are individuals who grew up in rural areas and later migrated to the city, and they are the people that continue the folia de reis tradition. There are currently twenty-three tripulações or folia de reis groups in Olímpia, representing several districts of the city. Financially supported by the local community and registered since 1984 with the local Folklore Commission, they play the important role of representing the tradition in this region of rural workers and their families. The tripulações do not have a fixed number of participants and their membership can vary from 11 to 20 people. Occasionally professionals such as dentists, teachers, and others from the community join the ensembles for performances. Table 4.1 is a list of folia de reis groups in Olímpia, featuring the names of the groups, their leaders, and the home districts of the groups:

Table 4. 1 Folia de reis groups in Olímpia by group name, leader, and district. Name Leader District 1. Companhia de santos reis Antônio Miranda Bairro de São José “Estrela da Guia” (“Guiding Star”) 2. Companhia de reis “Estrela do Francisco Batista de Vila Mouco Oriente” (“Eastern Star”) Carvalho 3. Companhia de reis “Presépio de Celso Fernandes Jardim Paulista Jesus” (“Jesus’ Crèche”) 4. Companhia de santos reis João José dos Santos Vila Mouco “Maria Santíssima” (“Sanctified Mary”) 5. Companhia de reis “Menino José Gomes Bairro Água Jesus” (“Child Jesus”) Parada 6. Companhia de santos reis Sebastião Doniséti da Vila Raia “Lapinha de Belém” (“Shelter of Silva Bethlehem”) 7. Folia de reis “Estrela de Belém” Santina Cardoso Jardim Paulista (“Star of Bethlehem”) 8. Folia de santos reis “Estrela do Adelis de Paula dos Jardim Santa Natal” (“Star of Christmas”) Santos Ifigênia 9. Folia de santos reis “Gruta de Pedro Delamodarmo Bairro de São José Belém” (“Grotto of Bethlehem”) 10. Folia de reis “Estrela da Paz” José Francisco Ferreira Jardim Santa (“Star of Peace”) Ifigênia 11. Folia de reis “Divino Salvador” Valdevino de Souza Jardim Santa (“Divine Saviour”) Ifigênia

Table 4. 1 Continued Name Leader District 12. Folia de reis “Ouro, Incenso e José Gomes Bairro das Posses Mirra” (“Gold, Incense, and Myrrh”) 13. Folia de santos reis “Presépio Antônio Ângelo Garcia Jardim Paulista de Belém” (“Crèche of Bethlehem”) 14. Folia de santos reis “Jesus, Nélson Pedro dos Santos Jardim Santa Maria e José” (“Jesus, Mary, Ifigênia and Joseph”) 15. Folia de reis “Manjedoura Maria Albertino Patrimônio de São Santa” (“Holy Manger”) João Batista 16. Folia de reis “Presépio Vivo” Clêmencia Perrôni Patrimônio de São (“Live Crèche”) João Batista 17. Folia de reis “Céu de Belém” Valdevino Lacerda Patrimônio de São (“Sky of Bethlehem”) João Batista 18. Folia de reis “Caminho de Edávia Barbosa de Jesus Patrimônio de São Belém” (“Route to Bethlehem”) Giudice João Batista 19. Folia de santos reis “Gaspar, Antônio Miranda Distrito de Ribeiro Belquior e Balthazar” (“Casper, dos Santos Melchior, and Balthazar”) 20. Folia de reis “Reis do Oriente” Pacífico de Souza e Bairro de São José (“Kings of the Orient”) Silva 21. Folia de reis “Deus- Menino” Jesuína de Souza Silva Jardim Cisoto (“God Child”) 22. Folia de reis “Menino- Deus” Antônio Coutinho Distrito de (“God Child”) Baguaçu

Table 4. 1 Continued Name Leader District 23. Folia de reis “Nascimento de José Aiusso Bairro Galiléia Jesus” (“Jesus’ Birth”)

The folia de reis groups in Olímpia have primary and secondary names. Because a secondary meaning of the word folia is “party”, many groups refer to themselves first as companhias de reis instead of folia de reis. It is also common to name a folia de reis group after the name of the leader or a respectable sponsor for the group. For example, the companhia de santos reis “Estrela da Guia” (Table 4.1, number 1) is locally known as the folia de reis Miranda because the group’s sponsor is the Miranda family. Another example is the folia de reis “Ouro, Incenso e Mirra” (Table 4.1, number 12) which is locally known as the folia de reis “Das Posses” in reference to their home neighborhood. The sponsors are usually farmers or landlords unrelated to the family. Recently, however, participants of the folia de reis groups have been substituting religious or Biblical names for family names. For example the folia de reis Reis do Oriente (Kings of the East) is sometimes called folia de reis Pacífico in reference to its leader’s first name (Table 4.1, number 20). The different number of sponsors and the individual nuclear family taking on the role of the keepers of the tradition have given more credibility and recognition to the groups. Moreover, the folia de reis groups in Olímpia are independently structured; they have autonomy and do not relate to one another. In fact, groups only know of each other’s existence by their first names. Participants of Folia de Reis

The style of a folia de reis group depends on its participants, although the names and specific functions (tasks) of each participant vary from region to region, and even the names of the functions differ. Due to an array of diverse cultural experiences, the folia de reis communities claim functions based on interpersonal experiences. Despite the differences in terminology, an important aspect is that all folia de reis participants adopt

similar objectives within the tradition, based on their faith and devotion through the celebration of the birth of Christ. The process of becoming a participant in the folia de reis tradition is based on the personal commitment that each individual makes to the tradition. Because folia de reis tradition is typically linked to participants from the same family, individuals who are not related to the family must show additional ad herence to the will of the group, devotion to the Three Kings, faith, and religious principles. These commitments could be as simple as helping to organize or to become involved with the group functions, such as playing an instrument or organizing social activities related to the journey. Faith is also strengthened by perpetuating and singing to the symbolic elements present in the community such as the nativity scene, banner, pictures of saints, picture of the Catholic Pope, and any other sacred object. The faith in the tradition is strengthened by its participants when these sacred elements become the center of attention through their prayers and vows. Furthermore, the gifts and reciprocity of the Three Kings symbolize the folia de reis tradition’s mission in the world, which distinguishes folia de reis from other rural celebrations. The concept of reciprocity unites the folia de reis community and teaches love and respect for all. The sense of being a participant in the folia de reis tradition is tied to the ability of each participant to identify individually with a particular group. Folia de reis participants can be divided into two types: direct and indirect. Direct participants are members of a particular family, relatives, in-laws, and close friends, who must sing, play a musical instrument, or have an assigned role with the group. They are the carriers of the tradition and are committed to the journey. The names of direct participants include: the mestre (embaixador, capitão)—the leader

the contramestre—the associate leader

the ajudante—the helper

the contrato—the alto or third voice

the quarta voz—the fourth voice

the quinta voz—the fifth voice

the tala (tico, contra tico, requinta, tripa, turina)—the last voice

the mandareiro (portador da notícia, emissario)—the messenger

the macuqueiro (macuco, saqueiro)—the money collector

the bandeireiro—the banner carrier

the palhaços (paiaço, bastião, marungo, mascarado, capitão, coronel)— the clowns (because they usually consist of three individuals, they are referred to in the plural)

Indirect participants consist of anyone who crosses the path of the folia de reis and accepts the banner. They must make a vow to the Magi if they wish to take part. Examples of indirect participants are the families visited during the journey, the people that follow (walk along) with the folia de reis during the journey, the festeiro, who can also be a direct participant, and often children who are entertained by the palhaços. All groups are organized hierarchically by family tradition; the mestre often leads the group, having the responsibility for the final result of their journey and organizing for the participants and sometimes even crafting the banner. He is responsible for the folia de reis group and for keeping the tradition alive. Almost everything depends on him; he is the organizer, song leader, and the leading viola (ten string guitar with double courses) player. The mestre usually carries all donations made in cash. One of his most important functions in the group is to lead the other singers in improvising lyrics. He is also referred to as the embaixador (ambassador) (Brandão 1977:4) and sometimes as capitão (captain). “It is frequently said that the embaixador must have a special dom (natural gift) which

manifests itself in his musical and poetic competence, in his ability to remember the correct procedures of a series of rituals associated with the tradition, and above all in his ability to confront Herods, the evil forces companhias often face on their journeys” (Reily 2002:66). In the ritual he is the one who sings next to the contramestre. The contramestre (also meaning second voice) responds to the mestre’s call and organizes the entrance of the other voices. The contramestre also often plays the viola or, in some cases, he accompanies the group on a violão. The contramestre is the second musician in line after the mestre, responsible also for assuring that all the participating musicians are prepared to sing and repeat the chorus after the mestre. The ajudante of the contramestre is the third important personage of the folia de reis. As the helper, he can also play the viola; he supports the harmony and the vocals by doubling the vocal part of the contramestre. The contralto, also called contrato (folk spelling) or third voice of the folia de reis, is sung by the fourth man in the group. The contrato sings in duet with the contramestre at the end of musical phrases, and together they are the voices that answer the call of the first voice. The contrato frequently plays the cavaquinho (a Brazilian four- stringed instrument shaped like a small guitar). The quarta and quinta are the fourth and fifth voices, which are added to the end of the refrain. They may or may not play a musical instrument, depending on the availability of instruments and the approval of the mestre. The tala is the last or top voice of the chorus and normally does not play an instrument. Added to the last strophe of each stanza, this voice is known, depending on the region, as tico, contra tico, requinta, tripa, or turina. The voice register of the tala, usually sung in falsetto, is reminiscent of the castrati voices of the early Italian Baroque period. The mandareiros (those who select the houses to visit) are “researchers” for the folia de reis groups. Prior to the journey, mandareiros find out which families are in need of or would like to receive the banner during their journey. The mandareiro is also

known as the portador da notícia (messenger) or emissario (emissary). During the journey of the folia de reis, the mandareiro resolves any problems involving the performance space. In many vilas (country neighborhoods) throughout the interior of Brazil, for example, the houses are too small to accommodate the entire group. It is common, therefore, to see half of the group standing and singing in the varanda (front of the house) while the rest of the group is performing inside the house. The macuqueiro or macuco is the member of the group who collects all donations except money. The macuqueiro’s function can be interchanged with that of the palhaço. The folia de reis depends on the macuco for labor, such as carrying the gifts sometimes referred as “prendas” and finding a place to sleep during the journey. Because of the appreciation of other participants for his hard work, the macuco is always served first during meals as a sign of respect. Roderjan (1981:40) explains that the macuco is also referred to as saqueiro (the one with the bag) in the State of Paraná. This bag is used to collect money and other valuables donated to folia de reis participants during the journey. The bag carried by the saqueiro is similar in size and style to the bag used for collection in the Catholic offertory. The bandeireiro, also called alferes, alferes da bandeira, and bandeirista, carries the banner and is in the center of the group. During the journey the bandeireiro stays close to the host family and faces the participants of the group. The banner symbolizes the Magi’s journey and visit to the site of Christ’s birth, and clearly identifies the tradition and the characteristics of the group. Palhaços (clowns) are sometimes called mascarados (masked ones) or bastiões (plural for bastião) by people in other regions, the misspelled nickname for the sword or wood stick they carry. The names and nicknames for the palhaços are regional and associated with their family history and regional significance. Given the palhaços’ obscure character, their connection with the nativity story, and what they represent for the local community, I will discuss them in detail in this chapter because they epitomize social and spiritual relationships within the folia de reis tradition. Furthermore, the

palhaços can be exemplified by numbers, representation, movement, belief, costume and mask, and practical function, according to their significance within the folia de reis ritual. The palhaços are the most ambiguous participants of the folia de reis group. Castro and Couto (1961:24) note that the palhaços, according to folk belief, represent the soldiers of Herod pursuing the Holy Child. The number of palhaços may vary across groups and communities. Some people view them as the Three Kings dressed as palhaços. Some associate them with the number three. A child may be dressed as palhacinho (little palhaço) if a particular participant is “paying” a promise. In contrast, the recent television show Artes Populares on the Culture Channel of Rio de Janeiro presented a folia de reis group exhibiting a larger number (twelve) of palhaços. Their participants claimed that having several palhaços in their group has attracted attention from outside participants of the community as well as made the tradition more popular. In this case the community associates the palhaços with the number of soldiers Herod sent in search of baby Jesus. They claim that folia de reis groups should not restrict the number of palhaços, because the number of soldiers Herod sent to find the site of Christ’s birth has never been specified.

Palhaços as Tricksters, Antagonists or Heroes: A Special Relationship

The palhaços often represent dubious characters, like “tricksters” throughout many regions of the world where festivals occur. For some, the clowns only entertain the community and are part of the community celebration, while for others they are frightening and associated with evil. I observed, while traveling or performing with folia de reis groups, that some children hid behind their parents and others laughed when the palhaços approached. These different understandings of the identity and character of the palhaços reinforce the tradition that the palhaços’ behavior is unique to each particular community. Several explanations were given to me in the interviews with the folia de reis groups in the region of Olímpia that specifically describe and define the palhaços.

According to these groups, palhaços can be any of the following: Herod’s soldiers disguised as palhaços who are carrying the bastão or sword all the time for self defense or protection from other soldiers; the Three Kings disguised as palhaços who hid their faces with masks so they were able to safely leave and return to their place of origin (according to Saint Matthew, the Three Kings explained, “We came to visit baby Jesus,” and this information seemed to be enough for the carriers of the tradition to believe the Three Kings should hide their faces and disguise themselves); or merely “entertainers” (palhaços are there to make people enjoy the acrobatic movements and the clown costumes are to entertain people and make the celebration less ceremonial). Some folia de reis groups do not include palhaços because they are not considered to be part of the sacred journey of the Three Kings. “Why should palhaços be included on a sacred journey?” I asked of mestre José Francisco Ferreira from Companhia de Santos Reis Estrêla da Paz. He acknowledged that palhaços should not be included in the story of the journey of the Magi and the role of a clown should be limited to entertainment. Likewise, Jesus Francisco de Miranda, mestre with the Miranda folia de reis group in Olímpia, explained the following about his conception of the palhaços (personal interview, 1997): People are born or inclined to do that. We have two very smart palhaços that are familiar as the mestres with the story of the Kings. The palhaços’ job is to care for the banners (Our Lady, Jesus Child, Our…); they also represent the group. The palhaço says: “Hello, hello sir! Do you accept our banner? Do you accept our group? To whom would you wish us to sing? To the banner only or to other participants inside the house?” Sometimes they do have a deed to fulfill. The palhaço has his moments of fun and entertainment inside a house. In our region (in reference to the northern São Paulo state) people seem not to understand that well. In the past, people used to lock the palhaços inside a bedroom. Sometimes you can request that they make movements. If they move a reward is given. The palhaço has the mission to look and search for a nativity

scene inside a house, removing his mask and walking on his knees. It is understood that the Three Kings went to visit the little boy Jesus. At that time they knew that King Herod was searching for the young God. The Three Kings were the first people to visit. They came from different paths and played children’s games to disguise themselves. During that time even a child massacre occurred. The palhaços are indeed very good people! They make their own clothes. When we visit a home where there is a dead person, they [the palhaços] always take off their masks.

According to Francisco de Miranda, the palhaços fulfill several community obligations with the tradition. These obligations are particular to each community. The rules and behavior of the palhaços in the folia de reis tradition are established within each family and the community’s view of their surrounding world. When the palhaços are associated in some cases with Herod and his soldiers they often disguise their identity to the public, because of Herod’s evil act. The mysterious attitude surrounding them gives their personalities a dubious interpretation. People interpret and define palhaços according to their own perception of the folia de reis reenactment of the story of the Three Kings journey and visit to the crèche. The palhaços’ character within the folia de reis tradition suggests that they are based in an interpersonal understanding of the story. The figure representation of the individual has been portrayed as comic, serious, scary, evil, fun, mischievous, and entertaining. The myths surrounding their story and what they represent for the community are part of the mysterious character they have within the tradition. During important segments of the journey, such as visiting a house, the clowns mediate the role of the group within the house they visit. They speak in the name of the group, invite musicians and players to the house, and ask permission to sing. The dance-like acrobatic movements performed by the palhaços while folia de reis music is being played are often called marmelada (marmalade), goiabada (guava candy), and corta-jaca (jackfruit cutting), referring to the palhaço’s dance-like physical

movements. Other regions refer to their movements as chula, which is a Portuguese word for early dances. The movements are performed during the journey after leaving a home. Because of their entertaining appeal, children and community participants also make requests for the palhaços to show off their abilities. One of the movements, corta-jaca, is quite elaborate, requiring more physical abilities by the palhaços. This movement is comical and interactive. Through teasing and playing with one another the palhaços make movements, sit on the floor, roll over, and even walk upside down on their hands. This happens at the same time that the violão plays the folia de reis melody and when the group processes from one home to the next. The palhaços are in some respects the main attraction of the folia de reis tradition, and several beliefs and superstitions surrounding them have become part of folia de reis folklore. For example, during the journey the palhaços should not walk ahead of the banner. Also, when the troupe is singing inside a house, the palhaços should stay outside unless invited in (Castro 1961:25). When the group visits a house with a nativity scene, the palhaços must take off their masks, and during the nighttime hours of the journey, they should stay near the banner to be protected against evil forces. While the palhaços are the most out-of-the-ordinary participants of folia de reis group, they also represent the secular element of a sacred tradition. Because of the lack of financial resources, the palhaços dress according to the community’s ability to afford the materials and other ornaments for the costumes (see Chapter 6). Social behavior and acting are directly linked to the perception of what the palhaços represent in the story of the Three Kings for each specific community. The individual behind the palhaço’s mask dictates the way one sees and understands his function within folia de reis tradition. The origin of the masks used by the palhaços is non-biblical and each community interprets its meaning based on personal perception of the characters and the story version of the nativity. In addition to the above folk evaluations by folia de reis participants, my analytical evaluations suggest other interpretations for the use and meaning of folia de

reis masks. These different views are based on mask design, shape, color, and size. I will first argue that the palhaços’ masks are associated with the Three Kings. This interpretation, which idealizes them as heroes, is supported by an interview conducted with the mestre of the Companhia de Reis Fernandes in Olímpia in 1997 (Interview 3.2): The Three Kings were shepherds disguised as palhaços when Jesus was born. The hidden faces behind the masks kept Herod from finding them. The Three Kings were able to alert Saint Joseph about Herod’s plan to kill baby Jesus. From this perspective, the shepherds disguised as palhaços could have been the Three Kings hidden behind masks. Because the Three Kings are often depicted in terms of their ethnic origin, the masks with different designs, skin color, hair color, beard type, mustache type, and hat type suggest their connection with the Three Kings. This is also a link to the identity of these three visitors who came from distant lands. For example, masks A1 and A2 indicate that one of the Three Kings could be from Asia, because their facial characteristics, color of their mask and eye shape suggests an Asian character. Masks B1 and B2 suggests a King that could be from Africa because of his skin color and round nose (Balthazar is traditionally viewed as a black King, and his mask is constructed with darker cloth or paper material to closer portray its African identity), and masks C1 and C2 depict a King that could be from Europe because of light skin color.

A1 A2 Figure 4. 1 (A – E) Collection of masks (from the folklore magazine “Museu do Folclore” – Olímpia, 1978).

B1 B2

C1 C2

D1 D2

E1 E2

From this perspective, the folia de reis tradition asserts that, to safely return to their homelands, the Three Kings hid their faces behind the masks to prevent being identified by Herod’s soldiers. This is another reason why the palhaços’ masks are unique to each folia de reis group. Like the Three Kings as shepherds, the palhaços’ masks are a reflection of their experience as influenced by the nativity. My second argument reinforces the most accepted view among the participants in the folia de reis tradition: that the masks represent Herod’s soldiers or spies. From this point of view, the masks are a component of Herod’s soldiers’ attire, which disguises the soldiers’ identity while they were searching for baby Jesus. To support my argument I will describe how the masks are constructed. The masks are generally made of cowhide, are laid on top of a metal net or glued onto cardboard. The masks are part of the palhaços’ fardas or regimentals, which the palhaços use during the journey. They are constructed to fit the specific size and measurement of each participant, and designed according to the interpretation given by each folia de reis group, which is another reason for not having two palhaços’ masks alike. To the consistency of the overall look, the uniform the palhaços wear during the journey is an extravagant, extraordinarily bright outfit with long sleeves and pants made of flowery fabric, which is an affordable cloth material commonly found in the region.

The palhaços’ masks in D1 and D2 are constructed without crowns. Instead, these masks have references to the solar system with the sun in the center (D1), and stars stamped around the conical hat reminiscent of that of the Magi (D2). This interpretation is supported by historical information that the Magi were also considered astrologers and magicians by the Persians (see Chapter 2). Supporting my above argument that the mask is associated with Herod’s soldiers is another interpretation on the construction of the masks that reflects the indirect participants’ point of view. However, in this context, the purpose of the masks is to scare away evil and to provide entertainment. In Figure 4.1, E1 and E2, the palhaços’ masks have exaggerated features giving a frightening appearance to scare evil away. From this interpretation, participants in the folia de reis tradition believe that despite the “scary” look of the masks, the soldiers behind the masks were also soldiers disguised as palhaços who redeemed and converted to Christianity after seeing baby Jesus at the nativity scene; consequently, they are “good” people. The palhaços lead the way for the folia de reis participants as they walk through their journey. The masks are tools, within the folia de reis context, to allow the tradition to accomplish certain things that otherwise would be difficult to do. The hidden faces allow the palhaços to get into personal issues of the family they visit, and to comment regarding something in the house or about anyone in the house without showing their identity. The palhaços behind the masks are anonymous during the visit, allowing the folia de reis group to minimize embarrassment when asking for donations. Most of the time family members laugh and go along with the palhaços’ mischievousness. However, there are circumstances when family members challenge or refute some of the palhaços’ contentions. According to the tradition, good palhaços should be able to bring the folia de reis group in and out of a house without causing a disturbance and with respect for the homeowner’s desire and request for songs. This leaves the palhaços at the mercy of each homeowner’s personal scrutiny.

The ambiguity surrounding the palhaços’ character and interpretations of their identity is common in folia de reis events. In communities where a relative donates money in honor of a family member who has passed way, the palhaços can only touch that donation with their sword, otherwise they could face death. This association suggests that palhaços are Herod’s soldiers and are consequently evil. By associating the palhaços with evil, the community suggests that evil cannot dwell in the same place with good; the masks suggest that palhaços are bad individuals, and as in theater, they play that part. In addition to the importance of the masks of the palhaços’ attire, other accruements are also relevant to the understanding of the palhaços personalization. For example, some of wooden swords the palhaços carry have bees’ wax on their ends. This theatrical device suggests that palhaços, when associated with Herod’s soldiers, are bad individuals and should not directly touch any cash donations. The practice suggests that all cash donations should be handled by the “good” participants. This is a case in which the money or other donation is to be handled by the macuco member. Figure 4.2 shows a palhaço leaving a house with chicken hanging upside down on the palhaços sword. The chicken was given as a contribution for the final celebration. As the photo suggests, each donation is distinct, determined by the specific situation. However, there is common acknowledgement that folia de reis participants spend more time in a single home visitation when bulk donations are offered. The donation, often an exchange for a blessing, is part of the folia de reis ritual script, which the palhaços may or may not touch.

Figure 4. 2 A folia de reis Miranda palhaço departing from a home with a chicken hanging from his sword, 1997.

The contributions offered to folia de reis groups are symbolic of the gifts (gold, frankincense, and myrrh) the Three Kings offered to baby Jesus and his Holy family. The folia de reis groups, in exchange for the contributions, sing to thank the family. The donations are viewed as an exchange for blessings. Through this gesture the folia de reis tradition reiterates the Three Kings’ blessings and the commitment with each family they visit. The family receiving the blessings donates chickens, pigs, calves, or any product they might have from their gardens. These items are often used for the final celebration on January 6 or donated to instituições de caridade (charity institutions). The mysterious aspect of the palhaços is related to each individual’s perception of the world surrounding them. In my opinion, however, based on my participant observation and analyses, the differing opinions regarding the identity of the palhaços do

not change the basic concept of the tradition involving the reenactment of the Christian story and what the palhaços represent for their community. The communal reassignment of the participants’ roles in the folia de reis tradition and the Biblical reenactment of the nativity story provide a continuous spiritual experience for all participants. To understand the mission of the Three Kings, Brazilian rural societies recreate their ideal universe in the different interpretations of palhaços and their masks, the contrasting spiritual experiences among folia de reis groups, and the associations with different ethnicities. The folia de reis tradition sustains its social significance through ritual. The following chapter presents an explanation of ritual procedures and purposes and demonstrates spatial organization in folia the reis tradition.

CHAPTER 5

RITUAL PROCEDURE

The Folia de Reis Journey

The folia de reis journey or giro (going around) is a reenactment of the trip made by the Three Kings from their respective homelands to the site of Christ’s birth. The members of the folia de reis group usually gather as a family unit, and on December 24 (Christmas Eve) depart after midnight with the mission to bring Saint Mathew’s scriptures to life. Their mission, which lasts until January 6 (King’s day), is to evoke feelings of passion and adoration for Jesus. Most journeys of folia de reis groups occur in the rural areas (in the city of Olímpia folia de reis traditions are rural, although there are few instances where the groups also travel to the surrounding urban neighborhoods). The rural folia de reis groups are from the nearby farms of Fazenda Baculerê and Fazenda Corredeira. Each of these groups walks and visits the families close to their areas. In some circumstances the groups travel to other areas, most at the request of one of the participants. Some urban areas of Olímpia also have several folia de reis groups that make journeys simultaneously. Through my previous visits to the area, I have identified three folia de reis at the Vila Cizoto neighborhood, four at Bairro de São José, and three at Santa Ifigênia; the other groups are from the nearby districts of Baguaçu and Ribeiro dos Santos. Although the journey traditionally begins on Christmas Eve, each rural folia de reis group decides the appropriate time to begin its journey based on local conditions. The availability and working hours of the participants dictate to the mestre the

appropriate time and date to start their ritual. The route, of the journey, depends exclusively on the relationship of the members of the group with the community they visit. Some groups choose a route near their own neighborhood; some travel to the country areas or explore the surrounding cities. However, most urban folia de reis stay close to their own neighborhoods, while the rural groups on the outskirts visit the surrounding farms and villages nearby (see Figure 5.1).

Figure 5. 1 Folia de reis Miranda in Olímpia. The group with the banner is leaving the rural area and continuing its journey (1997).

The journey officially starts when the banner is brought to everyone’s presence at the festeiro’s immediate family on Christmas Eve. The locals refer this first day of the journey as the tirada da bandeira (the taking of the banner). From that moment until the last home is visited the banner travels in the hands of the bandeireiro. The mandareiro (see Chapter 4) prepares each member of the group for the journey and makes sure everyone is informed of the plan for the day. He reminds participants of the location of each home the folia de reis plans to visit, advises them how to get there, and explains the procedures to follow after their arrival.

At that moment, family members are introduced in a semi-formal gathering to the community participants, spouses, and children. With their musical instruments at their side, they say the “Our Father” prayer while standing in a semi-circle around the nativity scene in the living room. After the prayer, a brief moment of silence is followed by the loud voicing of feelings of devotion by participants. They shout words of praise and give thanks for the special occasion. This profound moment gets everyone’s attention, raising the level of expectation among the participants, and requires participants to focus on the leader and his wife who are praising and singing. Those expecting a blessing or making a vow to the Three Kings become increasingly emotional and expressive as the evening moves along. The following ethnographic description is based on my experience with the folia de reis group “Companhia de Santo Reis Estrela da Guia” in Olímpia, which gathered on Christmas Eve of 1996 at the home of mestre José Francisco Ferreira for a night of thanks and praises (see Figure 5.2). I arrived at the mestre’s house around 9:00 P.M., and one by one the whole group was assembled by midnight. Beginning around midnight on Christmas Eve, a typical folia de reis ceremony takes place in front of a nativity scene and lasts almost four hours. During the ceremony each participant makes at least one request (depending on the number of requests and prayers, a round of prayers can last almost twenty minutes, often repeated for several uninterrupted hours). Furthermore, singers sing a toada de entrada (entrance tune) to give thanks to all participants and recognize everyone’s presence in the early AM hours of December 25th as they come to acknowledge the Three Kings journey to Bethlehem. The family members and folia de reis musicians walk one by one to the nativity scene and to the banner next to the nativity scene. As they walk, each person kisses the banner and returns to his or her original position in the room. The ceremony continues throughout the night, and singing accompanied by musical instruments takes the participants on a spiritual journey, emphasized by the participants’ common behavior of respect for and concentration on the prayers and songs in the room. The vocal and

rhythmic repetition of the songs induces a state of joy in which the participants are often moved to tears. The verses are an essential part of this celebration, and their association with the music and the beat of the drum creates a momentum during which time seems to stop. This journey of faith through singing increases as the music continues and the participants express spiritual feelings toward the Holy family throughout the night. It is also customary to visit and offer presents to friends throughout the early AM hours. The folia de reis participants believe that sharing the story of the Three Kings with members of the community is a gift as well. The group usually rests for a few hours before waking up in the morning and continuing its journey to other homes.

Figure 5. 2 Journey ceremony with folia de reis members singing to the nativity scene in the background (Christmas eve, 1996).

In a similar manner, the next day all group members return to the leader’s home and wait for the mestre and contramestre to tune their viola and violão. Then they began their traditional melodies. The members confirm the route and the number of families they plan to visit on that journey. In a single day a folia de reis group can visit between four to five families, though a visit of two or three families is most common. Because of

the lack of space inside the houses, the songs and prayers sometimes take place outside the home. The length of time spent in each house is determined by the amount of requests made by the head of the household. There are circumstances in which the group can stay an entire morning or afternoon in a single home. For example, if there is a nativity scene or a picture of a saint posted inside the wall of a house, the musicians sing verses of adoration to those images. Each visitation is distinct, based on the specifics of the occasion. Other circumstances that can extend the journey visitation include singing to the family, fulfilling a previous vow made to the Three Kings, or a making a special blessing to a child in need of finding a job. If no specific requests are made of the group, the folia de reis leader sings songs of praise to the family, to their health, or to anything that might represent a sacred object. Certain folia de reis groups perform only one particular style of music (see Chapter 7). This actually helps the mestre and contramestre become acquainted with the verses, facilitating the communication among the musicians in the group. The other time between visits is used to socialize and to talk about the donations received. The journey’s ritual success is based on the ability of the folia de reis group to accomplish its mission of fulfilling the vow to the Three Kings and maintaining Christian values. Through prayers and songs, the journey reminds all participants of their obligation to one another and with the “divine.” The verses often carry words of praise for the Holy Family, the Three Kings, or to Catholic Saints. The meaningful messages enable folia de reis participants to create ideal conditions for a successful journey. The emotional experience resulting from the journey also reinforces the traditional humility toward “holy” figures, strengthening faith and creating an ideal atmosphere for emotional expression. The return of the banner to the festeiro’s house on the last day of the journey, typically on January 6 (King’s day), announces the end of the journey. This part of the celebration metaphorically stands for the arrival of the Three Kings back to their homelands after visiting baby Jesus at the nativity scene. Open to the public, it is based

on the planning and organizational skills of the festeiro. On behalf of the local community, the folia de reis members redistribute the food items they collected during the journey, and use cash donations to promote a large cookout barbecue (see Figure 5.3). There are other neighborhoods, however, where all cash collected by the folia de reis group is given to social institutions. In these areas the festeiro himself takes on the responsibility of providing the food for the barbeque.

Figure 5. 3 Folia de reis participants’ cookout barbecue at the festeiro’s house (Kings Day, 1997).

Because of the popularity of the event and the free food, the final journey celebration attracts hundreds of people from the local and outside communities (see Figure 5-4). It is not uncommon to observe long lines and a multitude of people standing outside the festeiro’s house waiting for a hot meal. Entire families work in the kitchen preparing the food, helping the festeiro’s family to have a successful celebration. The ability to manage all funds and donations received during the journey by the festeiro is

fundamental for a successful ending. Without his or her organizational skills and coherence managing the finances, a final journey celebration of this proportion cannot occur satisfactorily.

Figure 5. 4 A group of children and the community follows a folia de reis group to the festeiro’s house (Ida Iolanda, 1997).

Internal Changes

Some of the long-established principles of the folia de reis journey ritual are changing and there are transformations of its members’ functions within the tradition. Some of these changes can be seen with the Companhia de Reis Arca da Aliança organization from the city of Ibirá in São Paulo (Olímpia region), with which I worked in 1997. The group is formed by members of the Pereira Franco family and was, according to its members, one of the first to accept children, teenagers, and women as direct participants (see Figure 5.5). Priscila, age six, is already a singer and member of the group; behind her stands her mother Evanir, age 35. Other young participants are

Vinicius, age ten; Joceline, age 12; and Evaldo, age16. Guilherme Pereira Franco Filho, leader of Arca da Aliança, explains, “This folia de reis will never die; our sons, grand- sons, and nephews are going to be future mestres, contramestres, guitarists, and lead singers” (personal interview, 1997).

Figure 5. 5 Prisicila stands in front of her mother during practice (picture from Antonio Higa).

Folia de reis groups used to be constituted mostly of men. Recently, however, women have been slowly easing their way into the tradition and the participation of women as singers and instrumentalists is contributing to the tradition’s longevity. According to mestre Franco of folia de reis Arca da Aliança, groups consisting of men only will someday disappear, as he explained: “They [the men] get old and die and the group [dies] with them” (personal interview, 1997). The presence of women, who are often wives or mothers, in the folia de reis tradition has strengthened the relationships between the participants and created a stronger bond among the members.

Moreover, the female voice has enabled the music to be more creative and has added color to the sound. According to mestre Franco, “The high pitched voices of female singers permit a more desirable sound and increase the range of the melodies; also women’s voices are brave [and] strong, with more vibrato than men, and more enthusiastic” (personal interview 1997).

External Changes

The growing Pentecostal and Evangelical Churches in the Olímpia region gained many followers in the decade of 1985 to 1995, and those protestant religions are now becoming a threat to folk Catholicism. Some members of the folia de reis tradition, for example, have converted to Pentecostalism. In the early 1970s a folia de reis group could visit almost anyone in their vila or neighborhood during its journey, but today the new changes are altering the way folk Catholic observances and preparations for the journey are executed. This process of change is sometimes referred to as “modernism” by the locals. As expressed by the members of the community, modernism refers to the growing number of individuals switching or converting to a religion other than Roman Catholicism. The folia de reis group Miranda from the neighborhood of Vila São José in Olímpia, prior to preparing for the journey, now sends its mandareiro to verify if the new families in their neighborhood are in fact Catholics. The new religious activities in the area and the increasing numbers of Pentecostals could eventually transform the process and other aspects of the folia de reis tradition and folk Catholicism in general. There is evidence today, however, that some members of the tradition are allowed to express themselves bi-religiously, that is, to accept the folia de reis tradition as well as to function within a second religion. Members of the tradition are, for the most part, Catholics by birth, status, and/or marriage; however, in some cases they accept some of

the tenets of Espiritismo (Spiritualism) that is popular in the region, such as to communicate with deceased family members through a séance. In the early days of the folia de reis tradition in the region, most participants lived in the rural areas and were not exposed to religions than Catholicism. Today, the actual place where the journey takes place has also changed to accommodate these transformations. Many rural communities have decreased in population and many country workers have migrated to the villas or suburbs of small towns.

Conclusion

The ritual procedure is an essential part of the folk religious tradition in the region of Olímpia. It is observed not only during the Christmas season, but also throughout the entire year when members of the tradition are still paying for promises made during their previous journey. It is also through their encontros anuais (yearly encounters) outside the thirteen days of the journey that folia de reis as a ritual promotes its values throughout the community. Because of its large rural populations, the northern region of São Paulo state has created ideal conditions for these encounters to take place. Entire communities express the desire to have folia de reis groups perform outside the journey, inviting ensembles from outside their communities to perform during these events. The festeiro and the mestre throughout the year contact other communities and reinforce their own commitment to the tradition in search of support and sympathizers. The folia de reis is a folk-religion ritual based on individual experiences that can be traced to the lifestyles of the participants throughout their lives. As Victor Turner discusses in Celebration (1982), culture is constructed not only by cultural evidences, but also through the changes and transformations in which the culture assimilates these changes. In the folia de reis tradition, when participants are asked why they participate, most foliões respond that it is because of their “devotion” to the Three Kings and because they enjoy music-making and participating in the success of the group. The folia de reis

ritual articulates the vision in which the participants recognize their connections to one another. The power of their experience sustains the belief that human relations should be based on reciprocity. Through music, rural communities are able to establish a common link with their cultural heritage. Music not only unites a community but also drives the relations between people and faith. Through the idea that music is part of this ritual of faith and celebration, I conclude that music serves to mediate the relationship between humans and the divine.

CHAPTER 6

MATERIAL CULTURE OF FOLIA DE REIS

The perpetuation of the folia de reis as a folk tradition depends on the existence of the direct and indirect participants who must be motivated to continue the musical- theatrical representation of the nativity story. The activities stemming from faith and commitment to the folia de reis ritual must be fulfilling and rewarding for the participants. The foundation of this experience lies in the material culture that distinguishes a folia de reis group from other folk religious groups. The folia de reis tradition provides not only for the sung narration of the traditional story of the Three Kings, but also for the perpetuation of individual faiths represented by its members’ commitments, memories, and beliefs that as a Christian tradition, must use its artifacts to express its religiosity. Each individual folia de reis group centers its ritual performance around the creativity and ability of its members to make a banner and wear garments associated with their personal view of the world. Furthermore, the group determines its musical instruments and the role of those instruments based on participants’ talent and their personal association with the Three Kings. While song performance provides a sense of participation, the issues surrounding musical instruments offer a wider view of folk representation through music making. Material culture not only identifies one folia de reis group from other folia de reis groups, but also characterizes the roles and obligations and defines individual participation and the perpetuation of rural values among the participants.

Bandeira Sagrada (Sacred Banner)

Every folia de reis group has its own bandeira (banner) that identifies the group and provides for its key symbolic form of activity. The banner not only identifies each folia de reis group, but symbolizes the journey the Three Kings made to Bethlehem and the intention of the members of the group to go on a journey. The banner is usually made of a shiny material with an emblem of the Three Kings and the nativity scene surrounded by the Holy family image stamp embroidered in the center (See Figure 6-1). The banner is a sacred object and should always be handled with dignity and respect. It is always carried in the front of the group at the side of the mestre and the contramestre. Prior to letting a folia de reis group enter a home, the bandeireiro or carrier of the banner presents it to the visited family. It is also customary and part of the local tradition for a folia de reis group to ask for permission in a loud voice before entering a home. The folia de reis group opens its way into a house through the banner.

Figure 6. 1 Companhia de reis Miranda family member holding the banner in front of the mestre’s house, 1997.

The colors used to embellish the banner represent and symbolize the colors adorning the clothes used by the Three Kings at the birth of Christ. Although the colors may vary from group to group, it is common to find a colorful material with bright pigments. The banner is adorned with lace, silk paper, mirrors, and artificial roses resembling those used in ancient Catholic traditions of saint veneration. Many folia de reis participants write personal requests on a piece of paper and attach them to the banner. Pictures of family members are sometimes clipped next to the image of the Holy family. The gesture of attaching family requests and pictures of loved ones reinforces a group’s faith in the Three Kings and personalizes the banner. The banner has five primary functions. First, it represents courtesy and second, the power of the participants. Courtesy is associated with the willingness to be accepted into a home and power is associated with the abilities of the divine family and the Three Kings to carry out good will. Because the participants fear the drawing in the center (see Figure 6.1), the banner’s third function is to serve as a disciplinary instrument during the journey of the folia de reis group. Its fourth function is to serve as protection against evil for the group, with the peaceful images and the presence of the Holy family strengthening and empowering faith. Finally, its fifth function is to serve as the locale for public display of devotion, including as a place where people can place bills (reais, plural for real) for their final celebration. The universal characteristic of the folia de reis tradition is that of welcoming everyone, as long as the indirect participants accept the banner into their home (see Chapter 5). While carrying the banner to a home, the folia de reis group is driven by the expectations of its participants and outside individuals. If outsiders refuse to receive the banner into their house during the journey, they or their family members could be in danger for the rest of the year. According to folia de reis tradition, it is crucial to host the banner inside the home, even if the musicians and the music stay outside. A relationship with the banner is symbolic of a relationship with the Holy family, Jesus, and God. The banner is the symbol and the true representation of the Holy family and acceptance of

God as the Father through Jesus Christ. The folia de reis tradition draws an invisible line between participation in the tradition and accepting God into one’s home. Because the banner is the object of adoration, respect, and superstition during the journey, there are special ways of caring for and using it as the folia de reis group visits individual homes. Each group establishes its own procedures. Sebastião Hostálio Togneri, a member of the Companhia de Reis Fernandes in Olímpia, explained the procedure of his group: “The mestre or leader should always stay at the right side of the banner. The banner carrier does not sing …she passes the banner to the host, who holds it. The palhaço and the contramestre should stay on the left side. The most important figures stay on the right” (personal interview, 1997). Folia de reis participants perceive of themselves as defenders of their banners, organizing themselves in specific ways as regulated by each individual group. Defending the banner is a metaphor for defending the Three Kings and the Holy family from harm at the nativity scene. Family members and their close friends organize folia de reis groups; part of the tradition is to challenge other folia de reis groups to create and improvise song texts and music during the journey. In the 1970s, if a particular folia de reis group could not prove its expertise and knowledge of the Bible story to an opposing group, the loosing group was required to pass its banner to the winning group. These rivalries were also musical challenges, searching for singers and recruiting musicians. Mestre Capitão José Francisco Ferreira from Companhia de Santo Reis Estrela da Guia, explained that in the 1970s, prior to the increased production and use of cars in Brazil, many groups used to cross paths during their journeys. However, today, with the availability of personal transportation, folia de reis groups travel from city to city or from city to countryside without crossing each other’s paths (José Francisco Ferreira, personal interview, Olímpia, 1997).

Garments

Each folia de reis group makes its own garments according to the availability of material and economic circumstances. The musicians and singers dress casually and often the men wear multicolored country-style shirts. There are instances in which the mestre and contramestre may wear a distinguished checked shirt, sort of a sign for seniority and respect. They often perform other genres of music outside the tradition, such as música sertaneja or country music, and are allowed to dress in a slightly different manner from the rest of the group. Because the journey takes place in the early part of summer in the southern hemisphere, garments are made of light materials, such as cotton or polyester. Moraes Filho (1946:48) describes the following dress code for some groups in southern Brazil: “Groups of whites, blacks, and mestizos [are] dressed in white, with jackets adorned with lace, wearing country hats with green straws with rose color and scarlet lace, etc. They dress freely from top to shoulder, covering part of their backs.” Filho depicts the folia de reis wearing white garments, which is most typically associated with folia do Divino Espirito Santo (of the Divine Holy Ghost). Resembling the folia de reis, the folia do Divino Espírito Santo takes place fifty days after Easter and lasts for a whole week, and participants dressed in white make reference to the Holy Ghost. In Figure 6.2, the festeiro Paulo from Ida Iolanda (in the Olímpia region) has made a vow to the Three Kings and through his willingness to fulfill his obligation is completely involved with the ritual procedure. His crown (and those worn by others) becomes part of the festeiro’s personalization and the attire of one of the Kings during the final celebration on January 6. Paulo holds the banner as a sign of respect and faith and sings the folia de reis toada, “How to sing in the First Arch on the day of Celebration” (see Song Text Example 35). His son Marco (twelve years old), also dressed as King (reizinho or little king), stands next to him, resembling a coroinha or priest helper in the Catholic Church. The resemblance of Marco’s garments to those of a Catholic priest helper, as well as his father’s portrayal as one of the Three Kings, demonstrate the link

between the Catholic Church and the folk tradition of the folia de reis.

Figure 6. 2 Festeiro Paul and son Marco carrying the banner, 1998.

The palhaços’ garments are symbolically associated with the personal identities of the clowns, as are their masks (see Chapter 4). The garments, like their representation, are controversial and particular to each folia de reis group (see Chapter 6). To provide freedom of movement, palhaços’ garments are made of cotton and other lightweight materials. These light materials facilitate body movement and breathing. The shirts have elastic in the wrists and the pants have elastic in the waist. Youngsters are especially attracted to the antics of the palhaços, but at the same time they are scared by their attire, known as fardas “regiments” and resembling long- sleeved pajamas made of colorful materials satirizing Herod’s soldiers. The palhaço’s costume includes a facão, a wooden stick resembling a sword or long knife carried by

Herod’s soldiers. The facão is always carried by the palhaços for use during their droll movements (Figure 6.3).

Figure 6. 3 Three palhaços in Olímpia returning from the journey, 1997.

There are five colors often associated with the garments of the folia de reis tradition: white, blue, green, yellow, and red. These colors come from the traditional belief associated with sculptures, paintings, and other historical information and European iconography (see Chapter 2). According to the folia de reis tradition, white stands for Saint Joseph, blue is for the Virgin Mary, green is associated with myrrh from King Gasper, yellow connects with gold and King Belchior, and red symbolizes King Balthazar and incense. Black is never used in the tradition because of its association with Herod and wickedness.

Musical Instruments

The musical instruments of folia de reis groups are essential for distinguishing regional performance styles. The instruments are used to provide harmony and rhythmic accompaniment for the singers and to give motion to the group while they walk during the journey, especially for the palhaços who use the rhythms of the percussive instruments to make their dance-like movements. Moreover, they are distinguished by the type of toadas performed during the folia de reis journey. The continuous use of musical instruments by the participants to accompany their vocal petitions strengthens the communal experience of folia de reis participants and establishes their musical identity. A total of sixteen musical instruments have been documented for folia de reis tradition. They are presented in Table 6.1 according to the classification of musical instruments by early twentieth century scholars Erich von Hornbostel and Curt Sachs. In addition to the four major categories of type, the folia de reis instruments are distinguished by regional style and identified by the roles played by the instruments within each category. Following the table are photographs of several of the most common instruments.

Table 6. 1 Folia de reis musical instruments by type and regional style.

Name Type Regional Style Chordophones Viola (Figure 6.6) A small guitar (plucked Folia de reis mineiro, lute) with a neck length of paulista and occasionally 580 mm with 10 strings in 5 baiano styles courses of double strings ( 3 sets tuned-in octaves and 2 sets tuned in unison)

Table 6. 1. Continued Name Type Regional Style Violão (Figure 6.6) A traditional classical guitar Folia de reis mineiro, (plucked lute) with 6 strings paulista, and occasionally and a neck length of 650 baiano styles mm Violino Traditional western violin Folia de reis mineiro style (bowed lute) Cavaquinho (Figure 6.7) A small steel string guitar Folia de reis mineiro and (plucked lute) with 4 paulista styles courses of single strings, similar to a ukulele Bandolim Traditional western Folia de reis mineiro style mandolin (plucked lute) with 4 courses of double strings, all strings in double unison tuned like a violin, and played with a pick Aerophones Flautinha (Figure 6.6) Vertical duct cane flute Folia de reis baiano style with 6 finger holes Clarinete(a) Western clarinet (single Folia de reis mineiro style reed) Sanfona Western accordion Folia de reis mineiro, (multiple single reed) with paulista, and occasionally different sizes and as many baiano styles as 80 buttons (basses) on the left

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Table 6. 1. Continued Name Type Regional Style Membranophones Pandeiro (Figure 6.4) A small single-headed Folia de reis mineiro, frame drum with jingles paulista, and baiano styles (like Western tambourine) Bumbo (Figure 6.4) Double-headed bass drum Folia de reis mineiro and played with a single paulista styles wooden mallet Zabumba Thinner (than for the Folia de reis baiano style Bumbo) double-headed cylindrical bass drum played with a wooden mallet in one hand and a thin bamboo stick in the other Tarol (Figure 6.5) Small double-headed drum Folia de reis mineiro, played with two wooden paulista, and occasionally mallets baiano styles Caixa (Figure 6.8) Double-headed cylindrical Folia de reis mineiro, drum with a snare (snare paulista, and baiano styles drum), played with two mallets

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Table 6.1 Continued Name Type Regional Style Idiophones Triângulo Metal triangle, played with Folia de reis mineiro and a metal stick baiano styles Reco-reco Metal, bamboo, or wooden Folia de reis mineiro and scraper baiano styles

Note: Based on the classification of musical instruments by early twentieth century scholars Erich von Hornbostel and Curt Sachs [Zeitschrift für Musik, 1914].

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Figure 6. 4 Folia de reis bumbo drum (photo by author). Figure 6. 5 Folia de reis tarol drum (photo by author).

Figure 6. 7 Folia de reis mineiro style with bumbo, violão, viola, and cavaquinho Figure 6. 6 Folia de reis baiano style with flautinha, performed at the mestre’s house before leaving viola, violão, and pandeiro performed during a home for the journey (photo by author). visitation (photo by author).

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Figure 6. 8 Caixa player stands outside a house during the journey (photo by author).

In the folia de reis paulista style (see Chapter 7), most groups have at least one viola and one violão in their group. These two string instruments accompany the singers and are fundamental for the folia de reis toadas (“tunes”). Players strum these instruments with or without a pick. Frequently the viola player plucks a brief introduction just to illustrate a refrain or present an important musical passage. The viola and the violão are common instruments among the people of Brazil’s interior and have contributed immensely to the development of the folia de reis tradition. Furthermore, the viola and violão, which are frequently played by the mestres and contramestres, receive special consideration from all participants. A musical instrument hierarchy follows that of musician leadership roles. The viola, also called viola caipira (country viola), to be distinguished from the orchestral viola (which is a bowed lute like a large violin), is without doubt the most

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prestigious musical instrument within folia de reis groups. Members of the tradition recognize it as the principal musical instrument in folia de reis tradition and, according to popular belief, it was first played by King Gaspar. The double-course ten strings of the viola are tuned in a variety of ways of according to a particular style or regional preference. The most common type of tuning found within the folia de reis groups I visited is the E major open tuning known as cebolão. This open tuning is an open E major chord with the fifth degree on the bass (see Figure 6-9 and 6-10). The preference for this tuning is based on the idea that all voices will be able to sing higher if the violas are tuned in this manner (key of E major), thus allowing the singers to sing the high notes of the tala (high voice) with much expression and sweetness. Also E Major open tuning facilitates hand movements and the change of chords while playing the viola. Recently, viola makers, luthiers, and solo artists have transposed the tuning a whole step down to D Major; they claim that having an open A string in the lower range blends better with the violão. In this case, the thicknesses or gages for each pair of strings are redesigned to accommodate a more flexile tuning. From the lowest to the highest open pair of strings the viola cebolão tuning is: 5th pair of strings—B–b; 4th pair of strings—E–e; 3rd pair of strings—G#–g#; 2nd pair of strings—b–b; and 1st pair of strings—e–e.

Figure 6. 9 Cebolão tuning.

Another popular tuning is viola boiadeira, which adds an open A to the 5th pair of strings. This tuning is believed to blend better with the violão, facilitating a smoother accompaniment and chord progression. Viola boiadeira tuning is: 5th pair of strings—A– a; 4th pair of strings—E–e; 3rd pair of strings—G#–g#; 2nd pair of strings—b–b; and 1st pair of strings—e–e.

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Figure 6. 10 Boiadeira tuning.

Because of its open-tuning configuration in a unusual key for folia de reis singers the viola rio abaixo tuning is rarely used by the folia de reis groups (see Figure 6-11). However, some viola players use this tuning to create variations within an existing melody. Viola rio abaixo tuning is: 5th pair of strings—G–g; 4th pair of strings—D–d; 3rd pair of strings—G–g; 2nd pair of strings—B–b; and 1st pair of strings—d–d.

Figure 6. 11 Rio abaixo tuning.

The viola natural tuning is sometimes associated with the popular folia de reis paulista style (see Figure 6-12). This tuning system duplicates the traditional violão tuning, consequently making it possible for the violão player to play a viola and a viola player to play the violão. Viola natural tuning is: 5th pair of strings—A–a; 4th pair of strings—D–d; 3rd pair of strings—G–g; 2nd pair of strings—b–b; and 1st pair of strings— e–e.

Figure 6. 12 Natural tuning.

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These tunings account for the diverse sonorities found on the viola, thus allowing folia de reis groups to be distinguished by the type of viola tunings they use. The different tunings not only affect how a folia de reis group sounds, but also identify and distinguish one group from the other. Up to the early 1970s, viola music was always associated with country music. However, with the modernization and popularization of other folk styles, such as cururu, cateretê, and pagode, the viola acquired a respected status among trained musicians. The Escola Livre de Música in São Paulo (similar to a conservatory) recently created a traditional viola ensemble with approximately thirty five musicians. The ensemble, locally called “orquestra de violas,” performs a variety of numbers from traditional folk, country, and classical repertoires, including variations of folia de reis music. This unique combination of violas performing the traditional music of folia de reis with different tunings adds a new dimension to the tradition and expands the possibilities for the viola as an instrument for larger ensembles. According to my folia de reis informants, two other musical instruments should always be present in folia de reis to accompany the viola: a pandeiro (see Picture 6.6) and a caixa (see Picture 6.8). When played together, these three instruments are able to provide the necessary accompaniment for most of the vocal repertoires in folia de reis music. The pandeiro, common to samba and other African Brazilian rhythmical genres, participates in folia de reis music with a special playing technique. Pandeiro players are able to get a tremolo effect by rubbing their thumb in the center of the instrument and moving it toward the rim. There are a few instances in which a slight variation is allowed without compromising the beat. The caixa (“box”) snare drum plays accompaniment patterns and is responsible for maintaining the rhythm and creating rhythmic motion for the palhaços to move. Because of its loud volume, the caixeiro or caixa player frequently stays behind the group while accompanying the toadas throughout the journey. There are different sizes and types of caixas, though the most common in folia de reis tradition is constructed on a wooden frame with a double-headed cowhide membrane, plus a single

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string of gut on the bottom for a snare. This type of caixa produces a low pitch sound, which is ideal to accompany folia de reis music. Other musical instruments, sometimes referred to as supporting instruments, are also important to the folia de reis music ritual. The bumbo, sometimes called tambor (lower drum) (see Picture 6.4), is responsible for keeping the pulsation for each measure. It often plays triplets and syncopated beats, and its low pitch intonation and strong accents are rhythmic references that help the musicians to stay together while walking and playing. Another supporting instrument is the violin. It is sometimes used to double the singers’ melody or just to embellish a phrase, although folia de reis groups can perform without it. The folia de reis Miranda, which mainly performs in the mineiro style, chose a violin to enhance the melody on the toada “Anjo Lindo” (Beautiful Angel) (Audio Example 4). This example, recorded in 1967, features my father Nelson Tremura on the violin doubling the melody and sometimes creating counter melodies or embellishments. Other string instruments such as the cavaquinho are also used to provide rhythmic accompaniment. The cavaquinho’s two common tunings are D-G-b-d, which is an open G Major chord with the 5th degree on the lowest note, and D-G-b-e, which is the same as the fours first strings of the violão one octave above. Both tunings are quite common among cavaquinho players and are often used in folia de reis music, mainly the paulista style. Audio Example 6 (“Viajantes de Belém”) features a cavaquinho playing the melodic introduction. The flautinhas (“little flutes”) are used to ornament and to create counter melodies in a similar fashion to the violin. These instruments enrich the melody and create a more profound meaning for the text. Porto (1982:25) notes that flautinhas can compete with singers and for practical reasons are not popular among some folia de reis groups, such as those who play in the mineiro style. In contrast, other styles such as the baiano prefer flautinhas and percussion to guitars.

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The sanfona can be used to provide accompaniment or to play the melodic line with the singers. The accordion is perhaps the newest instrument introduced into the folia de reis tradition. Because of its association with secular forms of folk music and dance of the northeast such as the baião, forró, and ciranda; and the south such as the xote and fandango, it has disturbed the more traditional folia de reis participants. Unlike popular belief, in which King Gaspar plays the viola, Belchior plays the snare drum, and Balthazar plays the tambourine, there are no associations in the tradition linking the Three Kings with the accordion.

Organization

Musical instruments in folia de reis tradition reinforce the hierarchical position of its participants and set the spatial organization for its members during ritual. The order of the instruments in the journey does not always follow an exact formation. Though commonly prearranged by the mestre, they represent hierarchical leadership, which is not only established by the musical instrument itself, but also by the participants’ personal qualities and ritual knowledge. The mestre and contramestre, despite the instruments or the style they play, are always ahead of the rest of the group and close to the banner. The following spatial organization shows approximately where the participants stand during the ritual journey (see Figure 6.13).

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Figure 6. 13 Folia de reis spatial order of its participants

Every folia de reis group has a banner to regulate the disposition of its members. The members exchange and adapt their positions to accommodate the musical organization, musical instruments, and the size of the group. The number of musicians and their roles within each folia de reis are defined by the musical style and the combination of musical instruments performed.

Musicians playing string instruments are classed above the percussive instruments. Singers and instrumentalists move around to get the best physical space for sound. Since the vocal lines should be heard above the rest of the instrumental parts, it is

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logical to have them positioned toward the front, near the banner. Percussive instruments, such as the snare drum and the bass drum, are the loudest and are kept toward the back of the ensemble. The refrain singers always sing toward the center of the group, mainly in the direction of the mestre and contramestre. Regardless of the musical style, all musicians face the banner, which is held by the head of the household during the journey.

Conclusion

In folia de reis tradition, material culture links individuals to a common belief and helps the participants to tell their story of the Three Kings. The banner invokes the Three Kings, transferring their principles and conduct to those participants who follow the Holy story. The participants’ costumes explain some of the characteristics of their users, and their musical instruments empower the leaders of the community to continue their practices. In folia de reis tradition, participants perceive themselves as the representatives on earth of the Three Kings, and their contribution to the story is to continue supplying the messages of good will and reciprocity. Moreover, inspired by the moral principles personified in the figures of the Three Kings, participants narrate stories that are essential to explain their social behavior and their faith. Some folia de reis groups claim that the violão and the viola were truly the first musical instruments played by the Three Kings on their way back to the east and that this created the first folia de reis group on earth. By associating a specific musical instrument with a particular King, participants choose and relate to the Three Kings based on their ability to fulfill their personal and communal obligations. The participants, through the music-making process and their choice of instrumentation, like the Three Kings, give freely of their wealth and become messengers of peace. Ultimately, the idea of music making is also to reinforce participants’ commitment to religious truths and, like the Three Kings, to acquire a special status among humans.

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Within my framework of study, folia de reis participants, despite their ethnic and background differences, have common elements that unify and identify their musical style within other forms of folk music in Brazil. Because of their autonomous character, folia de reis groups have operated and expressed their faith completely independently from the institutionalized church, consequently creating regional styles based on the personal musical experiences of their participants. The next chapter discusses the principal styles of folia de reis music and analyzes the music and musical instruments within each style.

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CHAPTER 7

MUSICAL STYLES OF FOLIA DE REIS

Introduction

The songs in the folia de reis tradition are referred to as toadas, meaning tunes, melodies, or songs. Because of similarities with the Catholic Church songs since Vatican II (opened under Pope John XXIII in 1962 and closed by Pope Paul VI in 1965, this proclamation stated that Gregorian chant was especially suited to the Roman liturgy, but other kinds of devotional music must not be excluded), toadas are often similar in structure, especially in regard to chord progression, to the music played in folk masses throughout rural Brazil. In addition, some of the features found in folia de reis music, such as the use of different types of plucked lutes, have characteristics similar to those of the early Portuguese song forms. The method of playing and singing, combined with the choice of instruments, distinguishes one folia de reis group from another and identifies regional styles. However, a particular folia de reis group can play more than one style as long as its leader is familiar with the music. The music and musical expressions in the folia de reis tradition are often associated with the region where each folia de reis resides, and three major styles exist: (1) paulista, from São Paulo state or the southeast tradition; (2) mineiro, from Minas Gerais state; and (3) baiano, from Bahia state or northeastern Brazil. The distinctions between these styles are based on melodic structures, arrangements, predilection of musicians for instrument types, the size of the ensemble, and the preferences of the leader of the group. The paulista style is antiphonal and led by two singers; the mineiro style toada emphasizes cumulative vocal arrangements, similar to a choral organization; while

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the baiano style, which is structurally similar to the paulista style, is slightly faster than the other two but characterized by its percussive, syncopated, and rhythmic approach. The styles of folia de reis music, although associated with their regions, are found in many different localities within the southern state of São Paulo. The map in Figure 7.1 illustrates the cities in São Paulo state that the Brazilian government lists as centers of folk tradition and folia de reis music. The region of Olímpia is listed second in the top left corner of Figure 7.1. The styles of folia de reis music indicated on this map are not static, and one style can be found where another exists. However, for geographical reasons, the mineiro style always seems to be stronger near the northern border of Minas Gerais state. The cities in western São Paulo state seem to have a concentration of the paulista style.

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Olímpia

Mineiro & Paulista

Styles Mineiro Style

Mineiro & Baiano

Styles

Figure 7.1 Styles of folia de reis music by region (Américo Filho, 1972).

The Three Major Styles of Folia de Reis in the Olímpia Region

The different musical styles of the folia de reis tradition relate to the backgrounds and other particularities of the musicians, the region, and the participants from which the

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tradition thrives. The styles employ solo instruments, vocal parts, and antiphonal singers for responses and refrains. Furthermore, they coexist side by side in these regions and, because they are based on rhythmical, vocal, and melodic organization, the same folia de reis group can perform them interchangeably. However, it is through the unusual vocal arrangements and combinations that these forms are characterized and the styles are identified. The Paulista Style

In the paulista style, the lead singers are often called embaixadores (ambassadors) instead of mestres, perhaps because of their leading role as the authorized representatives for the Three Kings. The style is commonly associated with country music in the interior of São Paulo state, and is related to música caipira (Brazilian country music). The viola and violão are the primary accompanying instruments and a third melodic instrument, such as sanfona or cavaquinho, is added for variety and texture. The melody, sung by the embaixador, is often in the upper register to make it easier to hear. The second voice, sung by the contramestre, is in parallel thirds above the melody. The singers of the other voices are referred to as respostas (response) because their function is only to repeat the melodic structure sung by the lead singers in an antiphonal style (Audio Example 6). Reily (2002:49) writes that, “Quite possibly, antiphonal styles are prevalent in southeastern popular Catholic traditions because this format [paulista] provides a concise means of sonically representing fundamental notions held by the peasantry regarding cosmological relationships, which places humans in a vertical relationship to the supernatural mediated by saints.” From this point of view, the responsorial echoing and repeating of the melodic phrase over and over in the paulista style is analogous to the rural communities and neighborhood relationships near São Paulo’s cities (Musical Score 7.1). These rural societies use toadas to communicate their faith by allowing their participants to equally express their religiosity. This practice allows the lead singers to improvise and compose new verses as the group repeats and reinforces the verses

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performed during its journey (measures 11 – 27). This style is also reminiscent of the popular dupla caipira (country duo) style among rural workers. Because the blending of the voices is aesthetically necessary for folia de reis participants, they distinguish and learn each vocal part from that of the lead singers. The Mineiro Style

In the mineiro style, singing is spontaneous and the aesthetics of sound are often based on the ability of the singers to blend their voices. In this tradition the voices enter one by one and with each entrance the sound texture becomes progressively denser. One must listen to the mestre and contramestre as their voices make successive entrances during the toada to combine their voices before the following voices enter at the end of the refrain. In the toada “Tirada da Bandeira” (Audio Example 1), the doubling of the voices creates a thick vocal texture (during this recording, the mestre was not present and his nephew Antonio, the ajudante, sang his vocal line). The fifth and sixth voices (quinta and tala) sing the high notes. They often double the octave for the first and second voices, which can be difficult for a male voice to reach. While in certain regions it is not uncommon to hear women or children singing these parts, more often a male singer with that range usually sings them. The viola is the preferred instrument in this style. Some groups use several violas to accompany the mestre. The viola with its cebolão tuning (see Chapter 6) configuration is an ideal instrument for doubling the voices and creating thick textures. Because there are no strict rules dictating who should sing at the end of each refrain, the participants are encouraged to double their parts and to add more voices and instruments as needed. The voices in the mineiro style are organized according to the toada structure that includes the following vocal characteristics (Musical Score 7.2): (1) the first voice brings in the melody sung by the ajudante (measure 7); (2) the melody is repeated and the text doubled (measure 29); (3) the second voice (contramestre) sings the response to the song text, usually a parallel third above the melody (measure 30); (4) the contrato sings the

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third voice joining the group only for the last part of the refrain and introducing a new section of the toada (measure 38); (5) the fourth voice sings the quarta (measure 42); (6) and the fifth voice (quinta) and the last voice (tala) respectively double the mestre and contramestre in their respective octaves (measure 45). Moreover, in this style the lower the vocal part (the melody), the higher the place of the singer within the hierarchical structure of the group. That is because the strong male voice and its song text message can be better understood when sung in the lower register, facilitating the mestre’s leadership. Furthermore, the journey requires each musician and singer to be in top physical form. In this example, the lower register also helps the group to sing together for twelve days. The other vocal lines follow the social organization of the folia de reis tradition, in which each participant contributes to the whole. This is a typical example of family-oriented organization, where participants follow the figure of their leader. The mineiro style allows the singers and musicians to develop the music toward a “climax” at the end of each refrain with an open E major chord, returning thereafter to the point of origin. The repetition and doubling of the voices create a powerful sound that can be emotional for participants. Because it involves a larger number of singers singing in four- to six-part harmony, this format is common in the mineiro style and considered more complex than the paulista and the baiano styles. The great number of vocal lines of the mineiro style has allowed folia de reis groups to be heard from long distances while on their journey. The Baiano Style Although Bahia is a state in northeast Brazil, the baiano (literally, from the State of Bahia) style of folia de reis music is found among folia de reis groups in southern Brazil. The term “baiano” can be misleading, however because in southern Brazil most rural people refer to anyone from the northeast region, as a baiano, causing confusion and leading to a misinterpretation of the baiano style of folia de reis. The baiano style has a slightly different instrumentation than the paulista and mineiro styles, because of the use of flautinhas. The music is highly syncopated and

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places more emphasis on drums and other percussive instruments. In addition, the toada singers often answer the mestre in a call-and-response fashion. The term “baiano” developed in Minas Gerais and southern São Paulo states for folia de reis and other types of music and dance because of the strong African influence in the region and not necessarily because of the inhabitants of Bahia state. For example, two African-Brazilian traditions in particular have strongly influenced other styles of folk music in the region including the folia de reis tradition. These are several groups of congadas and moçambiques (African-Brazilian dance troupes that perform at festivals in honor of Our Lady of the Rosary, Saint Benedict, and other saints associated with African descendants) that can be found in Olímpia and in the cities of Uberlândia and Uberaba (southern Minas Gerais state). The mestre of Olímpia city’s Companhia de Santo Reis Estrela da Guia, José Francisco Ferreira, told me that while his folia de reis group takes its traditional Christmas journey in December, during the rest of the year, he organizes his own congada of Saint Benedict (Congada de São Benedito) to preserve his African heritage (personal interview, 1997). Mestre’s Ferreira preference for the baiano style in folia de reis music is an extension of his strong African heritage plus his strong devotion to the Three Kings (Chapter 3). The folia de reis baiano style is found within other groups in the region. The group Reis do Oriente in Olímpia. Led by mestre Pacífico de Souza e Silva, the group uses the pandeiro (tambourine), instead of the viola and violão commonly found in the mineiro style (Audio Example 2). The melody emphasizes parallel thirds and its highly percussive accompaniment allows the palhaços to move freely (Musical Score 7.3). In the baiano style of folia de reis music the melody can be exchanged between flautinhas and voices (measures 1 – 6). The rhythm is highly syncopated and the instrumental part focuses on the melodic and rhythmic accompaniment, with less emphasis than the mineiro style in the vocal part. The baiano style also defines its musical structure from its two-line stanza song text organization, whereby two vocal lines are sung in parallel thirds with an elaborated

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drum accompaniment. song text, an excerpt from “louvação a casa,” shows an example of the baiano style that contains two verses of baiano style written in call-and-response vocal organization. The complete song text for “louvação a casa” (prayers to the house) is in the Appendix C, Song Text 52. The mestre and contramestre are the only two voices singing the main melodic line. The other members of the group sing the response. The form for this song text is “abb”, where the response is provided by repeating the “abb” form twice. Also, flautinhas can replace the singers and play the response, exchanging the melody back and forth with the singers as in call-and-response.

Os Três Reis saiu pro mundo(a) The Three Kings departed into the world (a) Começei pra viajar (b) And I started to travel (b) Comecei pra viajar (b) And I started to travel (b)

Alegremente cantando (a) Happily singing (a) Resolveu lhe visitar (b) Decided to visit your home (b) Resolveu lhe visitar (b) Decided to visit your home (b)

Song Text 7. 1 Example of baiano style.

The song text is improvised and developed according to the performance circumstances. The mestre creates the verses to fulfill requests made by the participants, to ask for blessings, and to mediate on behalf of the Three Kings. The song text in this example describes the Three Kings traveling throughout the world and their ability to bless the houses they visited. The choice of style with which to perform or conduct the folia de reis ritual, then, is particular to each individual group and linked with the background of the musicians. Folia de reis groups and musicians are also associated with the style of toada they

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perform. The folia de reis Miranda of Olímpia for example is known as a folia de reis mineira, because it rarely performs in another style than the mineiro style. Personal preference for a particular style is also known to play an important role when deciding the music to perform during the folia de reis journey. To facilitate the group’s performances during the journey, the group often repeats the same toada style throughout the twelve days of visitation. However, for specific reasons, such as a personal request by the host family or to fulfill a member’s personal obligation to the Three Kings, folia de reis groups might play more than one style in the same journey. Personal solicitations such as these are not frequent; furthermore, musical instruments and voices are not always flexible enough to accommodate last minute changes of style.

Melodic, Harmonic, and Rhythmic Characteristics of Folia de Reis Music

The melodies performed in each style are based on folk rhythms. The framework for categorizing melodies within the folia de reis tradition is called the toada regional (regional melodies), which defines three main styles: toada paulista, toada mineira, and toada baiana. A slight variation of the melody or any new rhythmic variation can also cause local musicians to name these variations descriptively, such as toada rasqueada (arpeggiated), when the violão accompaniment has rough strumming; toada de cateretê, when the rhythm is syncopated; or toada batida, when guitarists and singers define and end the melodic phrase with a strong marcato accent. Musical Score 7.4 (Appendix A – Musical Scores) is a violão transcription of folia de reis music with several arpeggiated patterns throughout the piece. The metrical lines of the song text and the use of quatrain verse stanzas also identify a particular style. In the Olímpia region and throughout the northern region of São Paulo state these styles are associated with a variety of folia de reis groups. A possible reason for the presence of different styles in a single region is obligatory internal migration by seasonal rural workers in southern Brazil.

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The folia de reis leaders write their toadas according to their ability to compose music; other members of the group are also encouraged to write them. The plucking of these melodies on the viola and the chord changes are the basis for numerous rhythmic variations and associations within a particular folia de reis style. Two of the most common chord progressions within the different styles of folia de reis music are I – V7 – IV – I (in C Major: C – G7 – F – C) and I – V7 – IV – V7 – I (in C Major: C – C7 – F – G7 – C). These two harmonic progressions are common to many styles of folia de reis music and similar to those found in today’s Catholic folk masses. Other harmonic progressions are also used within the folia de reis groups, such as the following harmonic progression transcribed from the Miranda folia de reis group in the city of Olímpia (mineiro style): I – V7 – I – V – II7 – V – I – I7 – IV – I – V7 – I (in C Major: C – G7 – C – G – D 7 – G – C – C7 – F – C – G7 – C). Such rich harmonic variation and modulation allows a folia de reis group to be creative with its vocal lines. The harmonic progressions in folia de reis music are also influenced by the construction of the viola. The traditional viola is built on a neck scale length of 580 millimeters, which is short in relation to the traditional violão neck, which averages 650 millimeters. This creates less tension on the structure of the viola than the violão when tuning to the standard A = 440 Hertz, facilitating the playing of the viola in D or E open tuning, and allowing the viola player to be creative with his harmonic variations. The varied possibilities for tuning the viola instrument add a special way of dealing with the sonorities and configurations of the chord progressions in folia de reis tradition. When played in first position, for example, the strings are in open position (loose strings), permitting easy harmonic progressions in first and second inversions. The configuration and use of the viola in this position enables folia de reis musicians to freely express their verses, allowing more independence for creation and improvisation. Also, based on the neck scale and the finger configuration of the viola, composers can write music that sounds modal. The viola, unlike the traditional violão and without much effort from the

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player, allows more experimentation with sonority, possibilities for tunings, and easy modulations within the first five frets. The musical example “Tirada de Bandeira” (Music Score 7.2) in the mineiro style is based on viola cebolão tuning. Viola players particularly appreciate viola cebolão because it uses an open E major tuning, which gives the musicians more flexibility with the chord progressions, more freedom to concentrate on singing, and more creativity with the song text. Independent from its association with the paulista, mineiro, and baiano regional styles, folia de reis music is structurally divided into two basic formats. In the first, the mestre leads the melody while the contramestre sings the melody in the traditional country style using nasal sonority in parallel thirds and sixths. The two lead singers start a seven-syllable text, while the other two singers from the group (ajudante and contrato) provide the musical response (dar resposta), singing the same melodic line or completing the strophic verse with two other verses of the same text (Audio Example 3). The song text sung by the mestre and contramestre can be improvised and is based on their previous experiences in singing duets. Because the responding singers do not know exactly what is going to be sung, they try to follow the words as closely as they can, but sometimes end up mumbling the words. This is referred to as perseguindo as palavras (chasing the words). The second format, which utilizes a larger number of singers, allows only the mestre to sing the two initial verses of the quatrain, while the contramestre and ajudante respond in duet to the melody. The other voices come in one by one, followed by a third voice, the fourth, and the tala superimposed on the first voice (Chapter 4). Some folia de reis groups are able to split all the different voices to great effect and consider the high notes sung by the tala to be aesthetically desirable. The tala voice should be sung with chest voice rather than falsetto to give more body to the sound. Because of the difficulty of reaching the high notes, many folia de reis groups use women or children to sing in their natural chest voices (see Chapter 5). The phenomenon of superimposing voices on

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top of other voices all the way to the end of the verse is common in the mineiro style, which is one of the most popular styles of folia de reis singing (Audio Example 1).

Rehearsals

Although most folia de reis groups claim they do not practice their music before the journey, they often gather during other times of the year for meetings or family reunions. Folia de reis groups also frequently accept requests from a member of the community to sing or pray on the occasion of illness and other circumstances. During these meetings, music flows without much regard for mistakes or aesthetic perfection. In fact, everyone seems pleased just to have family and friends together. On December 15, 1997, a special family meeting took place at the house of Antônio Miranda, a contramestre for the folia de reis Miranda. The ensemble wanted to show me what they would sing during the upcoming journey. That afternoon several family members came from the neighborhood and sat around the living room to sing an old toada. They repeated the melody over and over until everyone felt comfortable with their vocal parts. This process of learning was based on the notion that participants must practice repeatedly to learn and trust their instincts to remember their parts. There were no instructions during practice. In fact, the session was more of a social gathering than anything else. Indeed, if someone missed a part or made an error, no one stopped to fix the problem. The aesthetics of folia de reis music during such meetings suggest that music as text is more important than music as sound. Although mistakes happen, prayers are the focal point of the tradition, which suggests that the music has become subservient to these practices. The participants’ experiences, including those of indirect participants who do not sing, also benefit from the social interaction and throughout the journey are often assisting with transportation or helping to carry the banner. These experiences

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reflect the fraternal feelings generated by folia de reis participants throughout the region of Olímpia. Conclusion

There are no fundamental differences between the folia de reis styles other than the musical organization and the different polyphonic forms. Throughout the year, however, each folia de reis group seems to focus on one style over others. Every year in the city of São José do Rio Preto (in the Olímpia region), the folia de reis group Estrela da Guia organizes an annual meeting or encontro in the month of November prior to its journey. During this annual meeting, the invited groups in the region present each other with a sample of the style they have been playing and singing. The event serves as a religious tool to promote their folk religious values and music within the community. The encontro also allows everyone to see, analyze, and get ideas from other folia de reis groups about their personal journey experiences from the previous year and about their future plans. These meetings are typically sponsored by the local festeiro or a philanthropic organization. Given the centrality of the family in the lives of the participants, each style of folia de reis coexists side by side and relies on the individual family for its subsistence. Through the formal and informal instruction and communal obligations of the mestre, the folia de reis groups express their music and choose a particular style. This is one reason why starting a folia de reis group requires not only religious experiences but also musical experiences within the neighborhood where participants have been raised. Urban influences, through modern musical instruments and modern lifestyles, have challenged the existence of folia de reis styles. However, the folia de reis tradition of religious commitment seems to have resisted these forces. Due to folia de reis styles, families continue to sing and play their music during every journey, linking all the styles to a common organizational procedure. Where musical style can be analyzed according to its geographical derivation (e.g., paulista, mineiro, and baiano styles), song texts can be

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analyzed according to their meaning, value, and purpose. In the next chapter, I present a number of folia de reis song texts and discuss their importance for the understanding of folia de reis as ritual.

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CHAPTER 8

FOLIA DE REIS SONG TEXTS: THE JOURNEY AS MUSICAL WORD

Introduction

In this chapter I discuss the importance of song texts in the folia de reis tradition, and show how words transmit and define folia de reis purpose and structure. In particular, I will show how song texts serve as links of faith between direct and indirect participants (see Chapter 4), and how folia de reis group members strengthen their spiritual world by praying and singing their songs along the journey to express devotion and fulfill their obligations to the Three Kings. Moreover, the Song Texts of the musical journey reveal and address social obligations and conduct of the folia de reis groups’ participants.

The Importance of Song Texts in the Folia de Reis Tradition

Folia de reis song texts are tools for linking music and faith because they are musical prayers. They have two main purposes: (1) to communicate faith and (2) to reaffirm faith within the community. Folia de reis song texts communicate faith by carrying the community’s religious beliefs in the concepts and tenets of the folia de reis tradition. Through singing and the repetition of words, folia de reis participants are emotionally moved and may experience a transcendent spiritual experience. The song texts may remind them of a deceased family member or a blessing received, which are aspects of spiritual healing through music (see Chapter 3). These experiences, which are signifiers of the strength of participants’ beliefs, reinforce the notion that the act of singing affirms the faith of the community. These experiences are likely to happen only

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in the presence of a state of grace and through submissive gestures of humility toward the banner and its embroidered “Holy figures.” Physical gestures such as nodding the head or slightly lifting up a hand while singing are signs of this experience. They are embodied signs of heightened emotion that depict the feelings generated by the participants’ faith. Indirect participants sing along with the direct participants, sharing the folia de reis experience with one another and strengthening their Christian beliefs as well. The emotions resulting from this vocal experience remind the participants of their common experiences and social bonds. The words expressed in folia de reis song texts engage the participants in embodying the Three Kings as mediators for their requests and prayers. Faith in the tradition is reaffirmed every time such positive feelings and joyful moments are encountered throughout the journey. While singing, the participants are immersed in a world of prayers and positive attitudes about themselves as a community of believers. These positive sentiments, which are enhanced during the journey, are an extension of the participant’s strong family values. Furthermore, the song texts narrate the intrinsic relationship between humans and the divine through the verbalization of faith in God. There are circumstances in which a folia de reis group improvises a song text based on the family’s request. The first step during the journey is to gather around the festeiro’s house to sing and pick up the banner for traveling. Each journey is unique in that the music and song texts are based on what the group observes at each particular house they visit. For instance, in a house with pictures of saints or family members on the wall or a nativity scene, a folia de reis group takes extra time to sing and create verses based on those observations. The head of the family household, typically a man, might ask the folia de reis group to perform and sing for a relative who has recently passed away or a family member who is ill and requires a special blessing. Sebastião Togneri, contramestre from Companhia de Reis Fernandes, explained how his family members had sung in the past on behalf of a deceased relative, requesting support for the family from the Three Kings. By bringing the Three Kings into this context, the folia de reis group not only confirms

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its role as messengers of faith, but also provides the family with the service of being messengers of God. The memories of the deceased loved one, shared by family members, provide comfort, creating the illusion of reencountering departed loved ones. The song texts define and reconstruct the folia de reis ritual in the same manner within all folia de reis groups (that is, memories and fragments of everyday life are frequently voiced through the song texts). Throughout their ritual of singing and commitment to the Three Kings, participants remember their own cosmos and metaphorically reenact the Three Kings journey to Bethlehem. Because of their social and spiritual significance, the song texts bring meaning to the community and reinforce faith in the tradition. Throughout the ritual, sacred and secular themes are revealed, and Biblical “teachings” are referenced by the participants in textual messages expressed in songs. The folia de reis ritual creates sacred spaces within the secular settings of individual homes belonging to the indirect participants. The visited homes are the primary locations for these experiences. The messages within the song texts not only establish the psychic space in which all participants express their faith, but also bless and renew the physical spaces where these associations between humans and the divine take place. In addition to the inclusion of religious matters within the song texts, participants find social meaning for their lives through their symbolic interaction with the Three Kings. The song texts mediate between spiritual and mundane world by containing scenarios, which the Three Kings act out in the name of the participants, according to the participants’ individual needs. As embodied in the banner, the Three Kings are believed to be the closest link between the divine and humans because they were the first humans outside the Holy family who recognized the divinity of Jesus as a savior. Thus, the folia de reis song texts also express the literal meaning of the Three Kings tradition, thereby allowing other cultural facets, such as social behavior, social control, and even physical healing (see also Chapter 3) to be revealed. Participants actually use their relationship with the Three Kings when asking for protection or exchanging gifts.

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The Creative Process of Composing Song Texts

The song texts and songs of the folia de reis tradition are orally transmitted, although there are folia de reis groups that prefer to sing from written lyrics (tabelas). The mestre of each folia de reis group writes, leads, and sings his songs according to his creative abilities. His song texts reflect the expressions of a particular folia de reis group. He relies on his knowledge of the Bible and apocryphal writings to create song texts. Depending on the particular needs of each community, the texts make the participants aware of their role in the tradition. The themes are usually pastoral in nature and describe the belief system, social structure, ritual procedures, and the roles of the participants— issues related to daily life. The mestre of each folia de reis group writes song texts for specific events that characterize his community’s life, creating modules of verses to define the participants’ beliefs. Through music-making, folia de reis participants reinforce this creative process expressing their lifestyles, telling the community what they believe, and perpetuating their messages of faith through their songs. Each folia de reis group has its own way of organizing song texts with music. This process relies on the availability of musicians in the family and friends in the community. While mestre Joaquim Moreira da Silva, a well-known writer of folia de reis song texts in the Olímpia region, creates song texts for many occasions, as well as for associations he makes with things or people around him, his compositions relate folia de reis social behavior by conveying how participants are expected to behave during special occasions and affirm faith though the various affirmations and recommendations for how to proceed during the journey. The folia de reis groups in the region of Olímpia sing mestre Silva’s song texts while combining and rearranging the verses according to their personal preferences. Because the song texts are inspirational and based on the mestre’s personal knowledge of Biblical facts, there is considerable room for text variation, just as there is musical (that is, melodic, harmonic, rhythmic) variety. Each folia de reis group possesses a vast repertoire of themes associated with local situations and reality. The

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themes, however, always narrate the participants’ common beliefs related to the nativity story and other matters of personal behavior during the journey, such as making a vow to the Three Kings for bettering their lives. Throughout the journey participants maintain an open dialogue through the song texts as arranged by the mestre, which describe and explain each situation according to the ritual and purpose. A last-minute request for a visit to a home can trigger a mestre to compose new song texts to comply with the immediate reality of a request. Some families, for example, will wait until the last minute to request that a group bless their home and family, usually after hearing that a neighboring home has been blessed. However, a last-minute request is not a standard practice, as it puts an extra burden on the mestre and musicians. As I discussed in Chapter 4, it is the responsibility of the mandareiro (messenger) to find the families in need of a blessing to avoid last-minute requests.

Framework for Analysis: A Religious / Social / Behavioral Continuum

What are the contents and social concepts referenced in folia de reis song texts? As we have seen, the folia de reis song texts describe individual life situations of those connected with the tradition. They also define the folia de reis tradition and enlighten the participant’s faith. Song text content analysis reveals an organization of and provides explanations for a number of stages of the folia de reis event within its traditional Christmas time context. For purposes of analysis, I place these stages on a seven-point continuum from religious belief to social conduct. I call each point an “analytical topic” and they are presented here as a list, with one very important caveat – these topics are intertwined and do not function as individual concepts: 1. Belief. This is the foundation of the tradition (raison d’être). 2. Faith. A system of religious belief (in the doctrines or teachings of religion). Without personal faith there is no belief.

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3. Ritual. This is the established procedure of re-enacting the Three Kings’ journey and their planned stages. Also, set apart from everyday life, the ritual might include obligations and the participants’ commitment to the journey’s success. 4. Family. This is not only limited to kinship (biological family), but also associated to the family of believers (religious family). 5. Social Expectations. This is related to the participants’ behavioral expectations to their families. It is also the community response to the folia de reis tradition. It teaches respect for one another. 6. Social Conduct. This addresses participants’ concerns and attitudes. It explains the role of the participants in society and the purpose of their mission as messengers of the Three Kings on earth. 7. Gratitude. This is a moment where the participants achieve a balanced vision of an ideal world mediated by material and spiritual exchanges. This organizational scheme of analytical topics clarifies the meaning of religiosity in the tradition and illustrates behavioral expectations for all participants in the folia de reis ritual as regulated by the Three Kings. They are woven like threads throughout the folia de reis song texts. The following eight song text analyses adhere to this organizational scheme.

Song Text Analyses

I collected the following eight song texts during my field work in the region of Olímpia in 1997-1998. Together they represent a hypothetical journey because they are a composite of many events of the ritual folia de reis journey that I documented between 1997 and 1998. (Mestre Joaquim Moreira da Silva is the writer of all the following songs). Each song text relates to a specific situation or event that takes place during a journey. They contain examples of how the seven “analytical topics” are contextualized

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in the song texts. The song texts are not always explicit, and allusions are couched in metaphors, insinuations, rhymes, and proverbs. During the organization of the journey, the participants make numerous recommendations related to the importance of remembering the text and paying attention to the mestre’s leadership. The sequence of events parallels the different stages and physical places of the journey. Almost all song texts begin with a reference to a social situation encountered during the journey. Songs are sung in response to specific events, the musicians’ acknowledgment of each other, and, ultimately, the mestre’s signal. Song Text 1 was performed prior to the journey at the festeiro´s house on Christmas Eve and marks the beginning of the journey activities for the year. It brings the mestre to everyone’s attention and announces the moment when people join the group to recognize the Holy members of the tradition. I also denote the folia de reis preoccupation with representing the sacred experience in its physical space to all participants.

Song Text 1

Verse Portuguese Lyrics English Translation 1 Em nome de Deus começo In the Lord’s name I begin Nesta abençoada hora In this blessed hour Pai, Filho, Espírito Santo Father, Son, and Holy Ghost São José e Nossa Senhora Saint Joseph and Our Lady 2 Pai, Filho, Espírito Santo Father, Son, and Holy Ghost Dê-me vóz para cantar Strengthen my voice to sing E também um ajudante And provide me with a helper Para vim me ajudar To come and help me 3 Louvado seja meu Deus Blessed is my Lord Meu coração alegrou My heart is content Aqui está o contramestre Here is the contramestre Os Três Reis do Céu mandou Sent by the Three heavenly Kings

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Song Text 1. Continued Verse Portuguese Lyrics English Translation 4 Meu divino Santos Reis My divine Three Kings Peço agora o ajudante I now ask the helper Na hora que precisar When the time comes Sua vós é importante His voice is important 5 Venha agora estou chamando Come, now I am calling for you O contrato e o caixeiro The third voice and snare drummer Traz os vossos instrumentos Bring your instruments Peçam licença primeiro But first ask for acceptance 6 Cantador da quarta voz Singer of the fourth voice O da cinco e o da seis The fifth and the sixth Nesta hora de alegria At this happy hour Vêm cantar para os Três Reis Come and sing to the Three Kings 7 Capitão e Coronel Captain and colonel Não repare meu chamar Do not mind my call Se estiverem em condições But if you are available Também queiram apresentar Come and introduce yourselves 8 Numa bonita harmonia In beautiful harmony Com licença do festeiro With the celebration leader’s permission Vamos dar o primeiro viva Let’s give the first salute Aos Três Santos verdadeiro To the Three true saints 9 Viva Deus primeiramente Salute to God first Belchior e o Reis Gaspar Belchior and King Gaspar São José e Santa Maria Saint Joseph and Virgin Mary Viva o Rei Baltazar Salute to King Balthazar 10 Viva os Reis do Oriente Salute to the Kings from the Orient E a linda estrela Guia And to the beautiful guiding star

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Song Text 1. Continued Verse Portuguese Lyrics English Translation São José e Nossa Senhora Saint Joseph and Our Lady E o Filho de Maria And to the Son of Mary

The first line “Em nome de Deus” establishes both the divine link and the authority of the mestre. Moreover, by recognizing in the first verse the presence of the Holy Trinity within the ritual, participants establish a link with the divine, which corresponds to analytical topics 1-3 (Belief, Faith, Ritual). The ritual begins with the first song, when everyone stands facing the banner just before departing. Musicians such as the caixeiro (snare player) and the contrato (third voice) are invited, via the song text to join the group prior to leaving the house with the banner (verse 5, line 2). Also, as a sign of humility, it is customary to ask permission of God, the Holy family, and the Three Kings, respectively, before the saída com a bandeira (departure with the banner) (verses 1 and 3). At that moment, before finishing the song, the participants move in a procession towards the front door for departure. The Three Kings are remembered and the participants ask for all voices to join the group (verse 4, lines 1 and 2; verse 6, lines 1 and 2). The palhaços (see Chapter 4) can be referred to as captain and colonel due to their costumes and resemblance to a figure of authority (verse 7, line 1). There is also a moment when all participants are getting familiar with the melody and the mestre commands attention (verse 8, line 3). Furthermore, folia de reis tradition customarily follows a hierarchical order when making textual references to God, Jesus, Mary and Joseph, and the Three Kings, respectively, although in this song text example, King Belchior and King Gaspar are placed before the Holy family and King Balthazar is placed last for rhyming purposes (verse 9, lines 1-4). In the last verse, the participants are almost ready for departure and after introducing everyone they (the participants) like; the Three Kings must follow the Holy star (estrela guia) to encounter Jesus (verse 10, lines 1-4). Transporting the banner from the festeiro’s house to the actual journey is referred to as

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the first symbolic act of faith in the folia de reis ritual, because it recognizes the legitimacy of the ritual through its initial prayers and invitation. Song Text 2 is also sung during preparation for departure, and it specifically expresses gratitude for the altar where the banner is placed while waiting for the late participants to arrive. Indeed, gratitude is the basic ritual expression of faith. Here is an example of the gratitude thread expressed at the very beginning of the journey. Customarily the banner is placed next to the nativity scene or another sacred object inside the house to show respect and submission to the sacred affairs of the journey. The folia de expression of gratitude for sacred objects and plastic flowers and roses that adorn them is a demonstration of faith. In the folia de reis tradition, roses are not merely decorative, they are symbolic of the Virgin Mary’s purity and beauty. The folia de reis groups make associations with many sacred objects, places, and religious events. Sacred objects and images are highlighted in song text.

Song Text 2 Verse Portuguese Lyrics English Translation 1 Em nome de Santos Reis In the name of the Holy Kings Vamos tornar a cantar We are going to sing again Para salvar a bandeira Giving thanks for the banner E também o lindo altar And for the beautiful altar 2 Com licença dos Três Reis With the permission of the Three Kings Do festeiro e da festeira And the celebration leader and festeira Vamos salvar o altar Let us give thanks for the altar E a nossa santa bandeira And for our saint banner 3 Salvamos com devoção We salute with devotion São José e Santa Maria Saint Joseph and Virgin Mary A bandeira e os Três Reis The banner and the Three Kings E o vosso santo dia And your saint day

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Song Text 2. Continued Verse Portuguese Lyrics English Translation 4 Salvo os cinco mistérios I give thanks for the five mysteries Daquele Rosário bento Of that blessed Rosary O sagrado catecismo The sacred catechism E os seus dez mandamentos And its ten commandments 5 Salvo a Mãe Aparecida I give thanks to Mother Aparecida Com seu manto côr de anil With her dark blue cape Rainha dos brasileiros Queen of the Brazilians Padroeira do Brasil Patron Saint of Brazil 6 Virgem Mãe Aparecida Virgin Mother Aparecida Residente lá no norte You reside in the north Tenha dó dos seus devotos Have mercy on your devotees Nos mande saúde e sorte Bless us with health and good fortune 7 Todos os santos do altar All the saints from the altar Vamos salvar de uma vez We are united to give thanks Em nome da Virgem Santa In the name of the Virgin Mary E os poderes de Santos Reis And for the power of the Three Kings 8 Salvo as flores de papel I give thanks for the paper flowers E as rosas perfumadas And the perfumed roses Efeitos do lindo altar That adorn this beautiful altar E da bandeira sagrada. And this sacred banner

Song Text 2 expresses the tradition’s associations with family, which corresponds to analytical topic 4 (family) and religious commitment in the proposed topic 1 (belief). The folia de reis groups interchangeably refer to the Three Kings as Saint Kings or “Holy” Kings (Santo Reis and Três Reis), elevating their status and confirming the traditional principles of hierarchy (verse 1, line 1). Next to the altar the banner is the most

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venerated physical object throughout the ceremony (verse 1, lines 3 and 4) and the participants must pay attention to its placement and spatial arrangement (see Chapter 6). When asking for blessings, the folia de reis group is always conscious of remembering and recognizing all participants’ contributions to the ritual; therefore, the group constantly repeats itself in regard to the banner and the altar (verse 2, lines 3 and 4; verse 3, line 3; verse 7, line 1; and verse 8, lines 3 and 4) These are folia de reis two most important sacred objects. The folia de reis tradition constantly reminds all participants of their obligations to the Catholic Church and its teachings, bringing to song text the principal themes associated with the Five Mysteries (also called “mysteries of light,” associated with Jesus’ public life), Rosary, catechism, and the Ten Commandments (verse 4, lines 1-4). The Virgin Mary, or Virgem Mãe Aparecida, is remembered in text (verse 6, line 1) because folia de reis devotees (as well as thousands of the Catholic believers) frequently travel to Aparecida do Norte, a city between São Paulo and Rio de Janeiro, to repay for received blessings (pagar promessas) or just to workshop the Holy Virgin (verse 5, line 1; verse 6, line 1 – 2). Song Text 3 is an invitation to the Rosary. The word Rosary has two important meanings: one refers to the physical object itself, which is comprised of a string of beads, a medal, and a cross. Secondly, it is the act of praying for which this physical object is used. One does not need the object itself in order to say the prayer of the Rosary, but the beads serve as a guide and to keep in memory the counting for the number of “Apostles Creed,” “Our Fathers,” “Hail Marys,” and “Glory be to the Fathers” recited during the journey. The song starts moments after the group has sung to the banner inside the first visited house, after saying thanks to the visited family. After a moment of silence, the musicians put their instruments to their sides, the singers bow their heads, and the participants join them to pray a Rosary for the Three Kings. It is customary to recite the verses before singing them to music. Throughout the journey, emotion increases as the song texts reach the participants with various meanings and messages.

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Song Text 3 Verse Portuguese Lyrics English Translation 1 Nosso querido festeiro Our dear celebration leader O altar os Reis salvaram The Kings have given thanks at the altar Agora faço um convite Now I invite you Os Três Reis é que mandaram The request of the Three Kings 2 Eu convido o capelão I invite the chaplain E também seus companheiros And also his peers Para rezar o Santo Terço To pray to the Rosary (1/3 of the Rosary) Aos Três santos verdadeiros To the Three true saints (Three Kings) 3 Convido todos os devotos I invite all devotees Que aquí estão presentes That are here today Para rezar o Santo Terço To pray to the Rosary Aos Três Reis do Oriente To the Three Kings from the Orient 4 Vamos pedir aos Três Reis Let us ask the Three Kings No mundo vamos passear As we go out in the world Pediremos a estrela guia We will ask a guiding star Para nos iluminar To illuminate our path 5 Este mundo é muito bom This world is very good Mas é muito perigoso But it holds many dangers Tem bastante gente bôa There are many good people Mas tem alguns invejosos But also some envious people 6 Cantando também pedimos In our songs we request Aos Três Reis do Oriente Of the Three Kings from the Orient Conservar as nossas vozes To preserve our voices Para não ficar doente And our good health 7 Pai, Filho, Espírito Santo Father, Son, and the Holy Ghost Os meus versos terminaram My verses are finished

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Song Text 3. Continued Verse Portuguese Lyrics English Translation Agora rezamos o Terço Now we pray to the Rosary Os Três Reis do céu mandaram As requested by the heavenly Three Kings

Song Text 3 recognizes folia de reis tradition in regard to both ritual and obligations, which corresponds to analytical topic 3 (ritual). The song text portrays the extension of gratitude for each participant in the ritual, articulating the subtle message that, like the Three Kings, all participants must be give thanks for what they have. The song reminds participants to take a moment for reflection and to request protection (verses 4 and 6). The festeiro’s invitation to the ritual publicly acknowledges his role and assures his responsibility in organizing the final celebration (see Chapter 4). He is also the first participant who is commanded by song text to start the prayers (verse 1, line 1). During the visits to individual homes, the folia de reis group search for participants with experience in leading the Rosary. The word “invite” is understood as a command and the participant rarely refuses it (verse 2, line 1). It is a sign of disrespect to deny a request made in song text by the mestre, and many participants are requested to pray and follow the chaplain’s prayers (verse 3, line 1). Fortunately, the folia de reis journey (in January) occurs in the middle of summer in Brazil, This warm weather is conducive to extended vocal performances. A single-day journey can require four to six hours of singing; thus, it is customary to request that singers preserve their voices while not singing. The Three Kings are beseeched to preserve ther singer’s voices (verse 6, line 3). As song texts do not have an established length, the mestre often relies on the response of the participants to include or exclude verses, adjusting to each particular situation (verse 7, line 2). Song Text 4 relates to the participants’ request of the Three Kings to intervene in their everyday life. In this section, participants become highly emotional during the singing performance. Also, at this moment in the ritual, participants’ are focused on their

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personal relationship with the Three Kings and the Holy family through their sacred objects on earth (the banner).

Song Text 4 Verse Portuguese Lyrics English Translation 1 Bendito louvado seja Holy and blessed be São José e Santa Maria Saint Joseph and Virgin Mary Deus Menino e os Três Reis Baby Jesus and the Three Kings E a linda Estrela Guia And the beautiful guiding star 2 Ofereço a Santo Reis I offer to the Saint Kings (Holy Kings) Nossa santa oração Our Holy prayers Tenha dó de nós devotos Have mercy on your devotees Mande do Céu a benção Send your blessings from Heaven 3 Em nome de Santos Reis In the name of the Holy Kings Agradeço ao capelão I give thanks to the chaplain Por rezar o Santo Terço For praying the Rosary Com bastante devoção With so much devotion 4 A todos que aqui oraram To all that have offered prayers here Aos Três Reis do Oriente To the Three Kings of the Orient A bandeira deixa sorte The banner give good fortune E saúde de presente And blessings of health to those present 5 Capitão e coronel Captain and colonel Outro viva vamos dar Another salutation we will give Viva a santa bandeira Hurrah to the Holy banner Quem com nós vai passear That now travels with us

Song Text 4 expresses gratitude for the prayers, which corresponds to analytical topic 7 (gratitude), and, in the name of the Three Kings, folia de reis participants fulfill their ritual obligation when asking for mercy in exchange for their prayers (verse 2, lines

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1-4). In verse 4 the song text refers to the participants’ health and good fortune; the message directly affects the participants’ emotions, because throughout the rest of the journey, individuals become more aware of the power that the banner has over their physical lives. A significant example of folia de reis ritual accomplishment is the blessing being materialized into physical rewards through the promoting of health and good fortune to all participants (verse 4, lines 3 and 4). Ultimately the exchanges of gifts and blessings not only strengthen the folia de reis tradition as a communal activity, but also confirm a meaningful state of happiness and equilibrium among all participants (verse 5, line 2). Song Text 5 takes place towards the end of the journey after the folia de reis group visits several homes. It enables the banner, usually in the festeiro’s hand during the ritual, to be passed around to the participants in the room at each visited house. When they stop passing the banner around, the group starts singing to the festeiros, requesting that the bandeireiro to prepare the banner for departure. Furthermore, during this late part of the ritual, social obligations are remembered in song text. The festeiro is remembered by the other participants to start thinking about the next year’s journey, his replacement or his desire to continue as a gerente of the group, and his choice of subordinates or helpers.

Song Text 5 Verse Portuguese Lyrics English Translation 1 Agora nobre festeiro Now, noble celebration leader Não repare eu mandar Grant us leave A nossa santa bandeira To take the Holy banner Tire ela do altar From the altar 2 A porta do Céu abriu Heaven’s gate opened Alegou o mundo inteiro The entire world is rejoicing Nossa bandeira saiu Our banner is departing

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Song Text 5. Continued Verse Portuguese Lyrics English Translation Está nas mãos do festeiro Carried out by the celebration leader 3 Com ela vamos viajar With whom we shall travel Por onde os devotos moram To where the devotees dwell Cumprir o que foi escrito Fulfilling what was written Por Deus e Nossa Senhora By God and Our Lady 4 Segurando a bandeira Holding the banner Dos Três Reis do Oriente Of the Three Kings from the Orient O senhor nos apresente You may appoint Quem vai ser nosso grente Our next manager 5 O festeiro apresentou The celebration leader appointed Seu fulano para Gerente Somebody as manager O ciclano é o Escrivão Somebody else as records clerk Vai prestar conta-corrente Going to pay homage 6 Coronel e Capitão The captain and colonel Pergunte para o festeiro Ask the celebration leader Qual é o dia da festa What is the date of the celebration Dos Três Santos verdadeiros Of the Three true Saints 7 Para fazer o convite To request an invitation A quem vamos visitar To those we wish to visit Pergunte a hora do Terço Ask the time of the Rosary E da bandeira chegar And when to expect the banner 8 Viva nossos Três Reis Santos Hurrah to our Three Holy Kings E o dia seis de Janeiro And the sixth of January Outro viva a rainha Another hurrah to the queen E viva nosso festeiro And hurrah to the celebration leader

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Song Text 5 textualizes the folia de reis tradition’s mission on earth and the implications for those who follow that tradition, which corresponds to topic 1 (belief). It also corresponds to topic 6 (social conduct) because it renews the roles assigned to the participants and their expectations during the journey. It shows how the role of folia de reis participants are represented and assigned (verse 5, lines 2 and 3). The names and assignments for the participants, however, are not always explicit. From the beginning of the journey, the folia de reis tradition includes awareness of the positions to be filled for the upcoming years, but it isn’t until later in the journey that the chosen individuals are announced by their first names. In verse 5, lines 3 and 4, the celebration leader knows the names in his mind, but prefers to call them by their job titles. The mandareiro (see Chapter 4) is reminded in song text exactly what time the Rosary should take place (verse 7, line 3). The folia de reis final celebration takes place on Kings’ Day (January 6th, commemorating the manifestation of Jesus Christ to the gentiles in the persons of the Three Kings). The final celebration day is remembered not only through song text, but also through informal conversations among the participants during the journey (verse 8, line 2). The festeiro (celebration leader) is also assisted by his wife (festeira), who takes the role of opening their home for the final day celebration, helps to organize the event, and assist her husband (see Figure 5-3) (verse 8, line 3). The song text also reinforces the imagery associated with the banner and the participants’ obligations (verse 1, line 3; verse 4, line 1; verse 7, line 3). Song Text 6 is about the arrival of the folia de reis group as announced by the mandareiro. It defines the expectations of the folia de reis tradition in regard to the participants’ planned activities for the journey. Because in recent years many folia de reis participants have access to automobiles they now frequently have spent the nights in their own homes. However, prior to the 1960s, the participants slept in the homes they visited, which created expectations from all involved in regard to their obligations to one another (personal communication with Aurora Tremura, June 2003). These expectations included where to sleep, what to eat, where to shower or use the restrooms, and other issues

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regarding personal hygiene. Today however, their arrival is planned prior to the visit, and each participant, including the homeowner, is aware of the plans for the evening. In this song text example, the folia de reis group arrives to a home and requests of the family to stay overnight. There are reciprocal expectations from the folia de reis group in regard to where they are sleeping, as well as from the house owner in regard to the blessings he and his family are going to receive from this experience.

Song Text 6 Verse Portuguese Lyrics English Translation 1 A nossa bandeira Our banner Aqui fez outra parada Has made another stop here Pra salvar mais um devoto To salute another devotee Que encontramos na chegada Whom we met upon arrival 2 Por aqui estão chegando At this place we are arriving A bandeira e companhia The banner and the group Como vai nobre senhor How are you noble sir E sua nobre família And your noble family 3 Espero que estejam bem I hope you are well Com saúde e todos fortes With good health and strength A nossa santa bandeira Our saint banner Pra família trouxe sorte Brings good will to your family 4 Eu e meus companheiros Myself and my companions Com a bandeira viajando As we traveled with this banner Para os Reis do Oriente In the name of the Three Kings from the Orient Alegres vamos cantando Contented we sing 5 Para chegar em Belém To arrive in Bethlehem Os Três Reis pediu licença The Three Kings request permission

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Song Text 6. Continued Verse Portuguese Lyrics English Translation Com licença do senhor Permission from you Quero entrar na residência To come into your home 6 O senhor leva a bandeira You Sir, carry our banner Nós iremos acompanhando We shall accompany you Os Três Reis entram na frente The Three Kings shall enter in the front of O seu lar abençoando Your blessed home

Song Text 6 defines the roles and expectations of participants in the folia de reis tradition as proposed in the analytical topics 5 (social expectations) and 6 (social conduct). Expressed in song text (verse 3, line 4), the folia de reis tradition brings luck to the families they visit. Like the story of the Three Kings who asked permission of Joseph and Mary to visit baby Jesus at the nativity scene, the folia de reis group also must ask permission to enter into a home (verse 5, line 4). The banner carried by the bandeireiro is the first object to enter the house, immediately followed by the mestre, contramestre, and the rest of the group. The banner and its symbolic meaning is also associated with the Three Kings power for delivering health and good health to those who follow them (verse 3, line 2). The emblem of the Three Kings and the nativity scene surrounded by the Holy Family embroidered in the center of the banner is the sacred image that endorses the group to enter the house (verse 6, line 3). Song text 7 is sung before the group rests. At this time the folia de reis group expresses its gratitude and happiness for the shelter it receives. During the evening musicians and family members discuss the best spot in the house to keep the musical instruments. Many rural families in the region have homes with an attached shed that also can be used for storage or sleep. Signifying its importance, the banner always stays in the house. The palhaço is a defender of the banner, and his behavior is rewarded when he fulfills his obligation (see Chapter 4). When requested by the house owner, a palhaço can

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carry the banner to the inside of the house. The palhaço is then the center of attention, and his insulting remarks are rather humorous, although his obligation is also to fulfill a vow and to enlighten the ritual. Song Text 7 Verse Portuguese Lyrics English Translation 1 Louvado seja meu Deus Blessed be my God O devoto aceitou The devotee has accepted Os Três Reis ficaram contentes The Three Kings are content Meu coração se alegrou My heart is full of happiness 2 Todos os nossos instrumentos All of our instruments O senhor queira guardar Can be stored away Amanhã quando eu pedir Tomorrow I will ask for them Por favor queira entegrar Could you please return them 3 A farda do coronel The colonel uniform E também do capitão And also from the captain Pro senhor vou entregar To you I am going to deliver Guarde a máscara e o facão Put away the mask and the knife 4 Depois que a santa bandeira After our saint banner Abençoar a companhia Blesses this group O senhor queira guardar Will you put it away A estrêla da nossa guia The star and our guide 5 Da nossa Santa bandeira From our Saintly banner Com amor e muita fé With love and strong faith Vamos nós pedir a benção We ask for blessings Até amanhã se Deus quiser See you in the morning, God willing 6 Meus colegas e companheiros Dear companions and friends Meus versos estão terminados My verses are now ending Boa noite e bom descanso Good night and rest well

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Song Text 7. Continued Verse Portuguese Lyrics English Translation Por hoje estão dispensados For now you are free from obligation 7 Terminamos dando um viva We give a final hurrah Todos com muita alegria All with much happiness Até amanhã se Deus quiser See you in the morning, God willing Quando vier um novo dia Until the next day

Song text 7 depicts the roles and expectations of the participants as well as their success for achieving them, which correspond to topic 5 (social expectations) and topic 6 (social conduct). It acknowledges the long day’s journey and recommends that the participants rest be for the next day (verse 6, line 3; verse 7, line 3). The text requests that the musical instruments be stored safely throughout the night. It is not uncommon for groups to have 10 to 15 participants traveling, which creates a challenge for accommodating everyone (verse 2, line 1). The final verse closes the singing for that evening, and all participants rest until the early morning hours of the following day (verse 6, line 2; verse 7, line 3). Song text 8 is about thanksgiving. It offers a moment of gratitude by the participants to the host family for a received donation or gift. In general, homes with a large number of family members and with older children receive the most attention during the journey. These families are able to provide a folia de reis group with larger quantities of gifts and consequently receive more attention for their contributions. As folia de reis participants give thanks for the gifts, they also reiterate the Three Kings’ blessings and contentment with fulfilling the circle of faith (see Chapter 10).

Song Text 8 Verse Portuguese Lyrics English Translation 1 Em nome da companhia In the name of this group Pra bandeira fez presente That carried the banner

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Song Text 8. Continued Verse Portuguese Lyrics English Translation O nosso muito obrigado Our profound gratitude Ficamos muito contente We are very pleased 2 Eu fiquei muito feliz I became very happy Com todos meus companheiros As did my fellow friends Deus aumente a sua sorte God improves your luck E também o seu dinheiro And grants you wealth 3 Agradeço o seu presente I thank you for the gift Deus lhe dê felicidade May God give you happiness Deus aumente o seu valor May God increase your wealth E também nossa amizade And strengthen our friendship

Song Text 8 recognizes folia de reis tradition in regard to both mission and obligations regarded in song text analytical topics numbers 2, 3, and 7 (faith, ritual, and gratitude, respectively). The obligations of reciprocity between the donor and the beneficiary require the participants to verbalize, in song text, gratitude for any gift they received during the journey. The positive reaction of all the participants in regard to a gift assures the success of their mission (verse 1, line 4). Happiness is perceived as a result of the emotional impact of the received gift by the folia de reis group, which in response triggers the group to sing this song text (verse 3, lines 1 and 2). The gift is an exchange for his or her contentment with the tradition and the continuous visitations by the group throughout the journey assures the community the importance of this exchange, therefore contributing to strengthening friendships and promoting positive experiences to all (verse 3, line 4). Through song texts, the folia de reis group speaks on behalf of the Three Kings (even though associations within the hierarchical order are not limited to Three Kings alone, but also include the Holy Trinity and Jesus, the Three Kings are the closest

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associations to the living world.) Through the invitation to all physical and social activities constructed in terms of the specifics of the moment, the folia de reis tradition symbolically manifests not only the roles of the Three Kings on earth, but also embodies their very voices. This enables a direct contact with the divine and establishes trust among the participants.

Conclusion

Folia de reis song texts embody social expectations through their descriptive messages. Through the song texts, the folia de reis tradition enables a context to exist for building a world of exchanges and for reaffirming the people’s faith in the Three Kings. The social balance is reached through this world of exchanges. The gifts received during the journey fulfill the needs of individuals to provide a foundation for reciprocity. Folia de reis participants explain the world according to the conditions in which they live. As Reily (1996:197) suggests, “Even though folia de reis prophecies are often constructed around a set of motifs of wide acceptance in the Christian world, the performers’ understanding of the texts may be idiosyncratic.” What is said in the song texts, and its implications for the entire community, make the experience personal because it evokes distinctive sentiments of faith among the participants. It is communal because all participants generally share these sentiments. It can be thought of as both an internal and an external experience in which the participants find the sacred in themselves and contribute to others’ efforts to find their own. The folia de reis tradition asserts through narratives, possibly from the apocryphal writing of the second century, that the Three Kings suffered and encountered many obstacles before arriving at the stable with the Holy family and that, like the Three Kings, the participants will encounter difficult obstacles throughout their lives (Reis 1998:27). Ultimately, folia de reis song texts construct a communal vision of the world regulated by the participants’ view of humanity. In the process of creating and developing

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their view, folia de reis participants bring their Christian values to the community in which they live, enhancing solidarity among all. Music reinforces these values and provides a personal experience when a folia de reis group sings to individuals who request their home to be protected against evil (see attached Song Text # 49). Folia de reis experiences are transformed in vows, and vows are exchanged in blessings through the participants’ long-term commitment to the tradition. By participating in the exchange, folia de reis participants acquire a blessed status. In a similar fashion, through song texts, mankind is reached through the Three King’s blessings. The commitment of reciprocity with the Three Kings sets the ground for song texts, which inspires the mestre and others in the group to express their religiosity through their music, thus fulfilling their enchanted vision of the world. Mestre Adelício Paula dos Santos from the Companhia de Reis Santos explained this to me in the following way: “To all of us [participants], folia de reis is devotion! In the beginning it was a vow; but after you begin there is no stopping. When I hear the songs…something pulls me in. To me folia de reis is one’s faith, and I feel good about it. You cannot get away from it” (personal interview, 1998). Mestre Santos’s statement reflects and emphasizes one of the tradition’s core features: faith in the folia de reis tradition enables and reiterates the human pursuit of happiness. The song texts encode social meanings and values responsible for a lifelong pledge, fulfilling the obligations through contentment. In transferring the description of the nativity story to discourse, the participants often interpret the efficiency and the representation of the song texts into their personal life. The ritual relationship is constructed by verbalizing the song texts’ sacred message to create a sacred space in which the faithful renew their link with the divine. By arranging meetings between the mundane and the divine through the Three Kings, folia de reis tradition formalizes that relationship and promotes the journey. Consequently, the journey formalizes the song text messages by transforming the physical space into a frame of mind in which the folia de reis group members become the Three Kings’ voices

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on earth. While singing is the primary medium for sustaining this relationship, the dynamics of folia de reis tradition are developed with everyday local experiences and through personal objects, such as figures, memories, and desires for a better life. The participants bring these different sensorial experiences with them so that their ritual experience is not only based on the song texts they sing, but also on the motifs they find meaningful to them. Accordingly, I will now turn to the folklore festival in Olímpia and discuss the folia de reis tradition’s participation and involvement with the festival in the past thirty years.

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CHAPTER 9

CASE STUDY OF THE FESTIVAL DO FOLCLORE IN OLÍMPIA (OLÍMPIA FOLKLORE FESTIVAL)

Brief History of Olímpia

During the late nineteenth century (1890s) many landholders in São Paulo northern area felt threatened by migrants arriving from bordering state of Minas Gerais. The migrants came in search of productive land and natural resources, mainly native wood. Local authorities lacked the power to stop them and the migrants established small communities along the riverbanks of the Turvo and Ribeirão Cachoeirinha Rivers (near the border with Minas Gerais). At the time, the region was inhabited by a diverse group of native people, including Guaranis, Caiapós, and Carijós. In constant war among themselves, however, the native people were forced to other regions of the country with the arrival of the northern migrants (Neto 1978:18). The first days of the city of Olímpia go back to this time (1892), when the district of Bebedouro had complete jurisdiction over the entire region. During that time two British engineers, Robert John Reid and William Leather Barrow, migrated to the area and bought a large piece of land where Olímpia is now located. The region, called Sertão dos Olhos D’Água (Spring Water Frontiers), is surrounded by small rivers and was inhabited by peasants and farmers who were scattered along the river banks and beyond, many living in remote locations, from swampy areas to the interior of forests. Tropical diseases and a high rate of infant mortality were prevalent due to unhealthy living conditions found around the region. The two British men, plus a group of local landholders, were concerned about the large number of families living in these isolated areas under precarious conditions (for example, without any medical care), and agreed to donate part of their land for the

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creation of a village where all the families could be settled. This village then became the city of Olímpia, which is officially located in the northwest region of the State of São Paulo (Lat. 20' 22"S & Lon. 48'54"W) (See Figure 9.1)

• Olimpia

Figure 9. 1 Map of Brazil (from Brasil Geográfico).

As a major contributor to the development of the region and to the creation of this new city, the first official landholder to donate his portion of land was Joaquim Miguel dos Santos; others followed in support. On March 2, 1903, dos Santos donated approximately one hundred square miles of land to the city and named it after the patron saint of the region, São João Batista dos Olhos D*Água (Saint John the Baptist of the Water Spring). In 1906, John Reed, who was a close friend of the family, requested that

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the name of the village be changed to Olímpia in honor of Maria Olímpia, the daughter of Joaquim Miguel dos Santos (Neto 1978:18-21). Today, the city of Olímpia receives national attention for its annual Folklore Festival and for its traditional folia de reis groups. As a center of folkloric activities in Brazil, Olímpia attracts close to one hundred folk groups chosen from the five main regions of Brazil (south, southeast, central, north, and northeast) to present their music and dance every August. The organizational skills and nearly forty years of experience of the community leaders have enabled them to find solutions to logistic problems (e.g., lodging, meals, and transportation) thereby making their annual festival a success.

Olímpia Folklore Festival: Philosophy and Mission

The Festival do Folclore de Olímpia (FEFOL) (Olímpia Folklore Festival) is a Nationally important event aimed at maintaining traditional cultural values in Brazil. It is also an opportunity for the local folia de reis groups to perform and parade for an audience of thousands of people. It brings neighborhoods, villages, and cities together, bonding communities and people from different regions and backgrounds. Olímpia’s proximity to the Minas Gerais in particular (approximately 35 miles from the border with Minas Gerais) and its relationship to a community of rural migrants from many regions of Brazil, has favored the entrance of families with diverse musical backgrounds into the festival. “…Olímpia is one of the cities in Brazil that promotes folklore and research to the highest degree,” wrote Rossini Tavares de Lima (cited in Guiotto 1992:21). The Olímpia Folklore Festival, initiated by José Sant’anna in 1965, celebrates many folk traditions of Brazil. For almost four decades the festival has been a large event featuring all varieties of folk music and social events. The festival’s purposes are to celebrate folk values and traditions, to promote and cultivate folk groups from different regions, to commemorate the month of August as a

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month of folklore, to encourage appreciation for folk values, and to support research. The festival is the culminating yearly event in the region, where rural local communities celebrate and share their values. People in the local community regard the festival as a vehicle for renewing relationships among friends and family. Members of the community share the festival as an open arena for socializing and enjoyment.

The Foundations

From 1956 to 1964, José Sant’anna (d.1999), a schoolteacher and organizer of the first festival, worked in the Colégio Olímpia public school teaching Portuguese, literature, and civics. Professor Sant’anna, as he liked to be called, overwhelmed the local community with his desire to start a folklore festival based on his appreciation and fondness for folk traditions. A few years later, through dedication and perseverance, he became a respected individual and a national authority in folkloric matters (Guioto 1992:36). The local community showed great appreciation and support for his aspirations. Professor Sant’anna and his students, whom he educated to appreciate local and national values, became collaborators and organizers for the first Olímpia Folklore Festival in 1965. Furthermore, Professor Sant’anna and his students founded the Departamento de Folclore de Olímpia (DEFO or Olímpia Folklore Department). Created by the city of Olímpia to promote the Folklore Festival, the DEFO established linkages among folk groups within the community and promoted folk values among lower socioeconomic classes. In 1965, the same group of students, led by Professor Sant’anna, organized a surprise parade with the local folk groups. The whole community watched the parade and it was a success. In the following year the organizers continued to expand the numbers of groups participating in the event, and political connections with local, state, and federal

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authorities were made to ensure success. In that same year, the city of Olímpia received the title of “Capital City of Folklore,” given by the state government.

Olímpia Folklore Festival: Time and Space

The Olímpia Folklore festival is presently held during the third week of August. The weeklong celebration brings together local folk music, dance traditions, and music and dance groups from different regions of the country to perform. The festival also attracts a great number of vendors selling everything from cotton candy to crafts and offering a carnival and several other entertaining activities such as street processions, concerts in the downtown area, and a small musical celebration for the patron saint of Olímpia, Saint John the Baptist. These festivities bring special significance to the community, enhancing local values and engaging members of the community in common activities. Each year the Olímpia Folklore Festival officially begins on the third Saturday of August with a special mass celebrated at the Igreja de Nossa Senhora Aparecida (Church of Our Lady) (see Figure 9.2). Several folk groups, including many folia de reis groups, participate. The main festival activities, however, such as music and dance performances, take place on a stage in the main Festival arena in the evening hours, usually from 8:00 PM to midnight.

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Figure 9. 2 Partial view of the city of Olímpia showing the Church of Our Lady (right).

Historically, events for the Olímpia Folklore Festival took place at two of the city’s downtown squares: Praça Rui Barbosa and the Praça da Matriz. The city’s population growth eventually forced the community to find another location for the festival. However, since 1983, the Praça das Atividades Folclóricas (Folklore Activities Square), an area especially built to host the Olímpia Folklore Festival, has been the new center for activities. The four-acre parcel of land accommodates five large galpões (a galpão is a cement structure covered by ceramic shingled roof without a ceiling) (see Figure 9.3). It also has parking capacity for approximately two thousand cars and two hundred buses. An open arena in the center is for the stage, a removable structure that is built annually for use by all the folk groups. The stage is set with elaborate lighting and dozens of microphones for the performers. In the surrounding pavilions, arts and crafts are displayed and foods are served throughout the evening.

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Figure 9. 3 Air view of Olímpia’s folk activity square and pavilions (1998).

With increasing state and media exposure, the Olímpia Folklore Festival began receiving support from other segments of civil society, such as the Postal Service, which in 1967 presented the first national exposition of stamps using folk themes. The Postal Service produced a series of stamps with themes related to the local folk groups such as the folia de reis and other national folkloric figures. Other themes were taken from tales and fables of Brazilian folk culture, such as Chico Rei (the African king), Iara (the mermaid), Negrinho do Pastoreio (pastoral black boy), and Saci Pererê (the one-legged, red-bonneted dwarf). The commemorative postage collection was later used for distribution during the Olímpia Folklore Festival. Also in 1967, in support of the festival, the city established a museum of folklore with the intention of preserving the city’s memories and to collect artifacts and folk materials from the region. Today the museum holds a large collection of pottery, hand made clothes, folk musical instruments, costumes, handicrafts, paintings, sculptures, pictures, and other materials. The folia de

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reis tradition, through the display of a banner and palhaço costume, is also remembered at Maria Olímpia Museum of Folklore. People attending the festival customarily visit the museum to get acquainted with the city’s history and folklore (see Figure 9.4).

Figure 9. 4 The museum displays a palhaço’s costume and a traditional folia de reis banner.

In 1969, Olímpia’s mayor, Wilquem Manoel Neves, winning a long dispute with leaders from several regions, achieved Olímpia’s designation as a place for all folklore activities in the state. Through an official decree dated May 8, 1970, the governor of São Paulo included Olímpia in the state’s official tourist calendar for folk festivals. The selection of Olímpia in this calendar was mainly based on the variety of folklore celebrations and activities in the region and on the constant work presented by Professor

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José Sant’anna from prior festivals. A published section of the decree in the “Edição Especial Comemorativa do 7 Festival do Folclore” of 1971 stated the following: Considering that the city of Olímpia has already in place its own annual Folklore Festival during the month of August; considering that the folk celebration has the support and participation of several other neighboring cities and has become traditional; considering that the event consists of a very interesting folklore festival that includes such groups as folia de reis, congadas, cateretês, dança de são gonçalo, cavalhada de franca; all these things constitute great attractions for the greater public. Even though the Olímpia Folklore Festival started in 1965, it was in 1970 when it was officially approved and legislated. One year later the Festival received a new title, Festival do Folclore or FEFOL. This new designation enabled the city to promote its festival with the consent and support of local and state authorities.

Olímpia Folklore Festival: “Inside” versus “Outside” Performance Groups

Professor Sant’anna encouraged the participation of folia de reis groups in the folklore festival above all others. He considered the folia de reis groups to be the “heart and soul” and the “inside” tradition of the festival. He viewed the festival as a vehicle to bring the folia de reis tradition to other sectors of society. His desire to make the folia de reis tradition the “heart and soul” of the Olímpia Folklore Festival comes from his personal relationship with the local folia de reis Miranda, dating from his early youth. Toninho Miranda, contramestre of the folia de reis Miranda, when describing his group’s participation in the Festival today, told me, “We [have] always tried to please Sant’anna; after all he was our admirer, friend, and a long time devotee of folia de reis” (personal interview, August 2000). In addition, “outside” (not from the Olímpia region) performance groups have been coming to the Festival since its creation and have had a long established relationship

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with the Olímpia community. To the local community these long-time visiting groups were symbolic of representative particular region. Some performance groups (including smaller ensembles derived from them) and institutions participating in the Olímpia Folklore Festival travel thousands of miles from places like Belém do Pará in the northern Amazon region of Brazil and Rio Grande do Sul, Brazil’s southernmost state. The following list, derived from many different Brazilian traditions, illustrates the diversity of the groups that participated in the 1999 Olímpia Folklore Festival: 1) Northern Brazil: Grupo Parafolclórico “Sabor Marajoara” (Belém, Estado do Pará). 2) Northeastern Brazil: Núcleo Folclórico “Beatriz de Vasconcelos” (Chã Preta, Estado de Alagoas), Grupo Tropeiros da Borborema (Campina Grande, Estado da Paraíba), Grupo Taieiras e Parafuso (Lagarto, Estado de Sergipe), and Grupo Cazumbá de Bumba-meu-Boi (São Luís, Estado do Maranhão). 3) Southern Brazil: Centro de Tradições Gaúchas 20 de Setembro (Xangrilá, Estado do Rio Grande do Sul). 4) Southeastern Brazil: Chipaia de Ouro (Grupo folclórico de Olímpia), Grupo Marinheiros (Franca, Estado de São Paulo), Grupo Caiapó (São José do Rio Pardo, Estado de São Paulo), Grupo Samba Lenço (Mauá, Estado de São Paulo), Folia de reis de Itaú (Ita, Estado de Minas Gerais), Grupo de Fandango de Tamanco Cuitelo (Capão Bonito, Estado de Minas Gerais), Moçambique (Uberlândia, Estado de Minas Gerais), and Terno de Congada Sainha (Santo Antônio da Alegria, Estado de São Paulo). The music performed by these groups during the festival represents far more than the experiences of the folia de reis tradition itself, and their evening performances depict the diversity and multifaceted styles of folk music in Brazil. Nevertheless, the folia de reis tradition remains as the “soul” of the Olímpia Folklore Festival, as symbolized in its logo.

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Olímpia Folklore Festival Logo and Symbology Sant’anna created a logo for the Olímpia Folklore Festival in 1970 to assure the community of its importance and to give Olímpia a distinct character. The logo also provided outsiders with a local view of the folia de reis tradition (see Figure 9.5).

Figure 9. 5 Olímpia Folklore Festival’s logo (from Sant’anna’s “Edição Especial Comemorativa do 7 Festival do Folclore”).

In 1970, the Olímpia Folklore Festival association presented the logo of the folklore festival, along with the following description, which I paraphrase and discuss as follows:

1) The two clowns (palhaços) in the center are emphasized in the folia de reis

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tradition. They perform acrobatic stunts in gratitude for the alms they receive. Because of their masks they bring fear and happiness to the children. The palhaços, whose heads are side-by-side, form at the top of a bull’s head, possibly a Zebu. Zebu is a term which is synonymous with "Bos Indicus," the scientific name for the humped cattle of the world. The major Zebu cattle breeds of the world include Gyr, Guzerat, Indu-Brazilian, Nelore, and Brahman. They originated in India, and are thought to be the world's oldest domesticated cattle. Because of its straight and long horns, a Zebu suggests fear and arrogance. Both the palhaços and the Zebu head are strategically placed to silhouette a viola [10- string country guitar], whose resonating body is formed by the top contour of the sides of the palhaços’ faces. 2) A viola, which is the primary musical instrument of the folia de reis tradition, is shown upside-down to symbolize the bull’s humped back. Placed in center of the head (the brain) it signifies the link or channel of positive energy between humans (folia de reis tradition) and the divine (Three Kings). 3) Two swords (facões or fandangos) are crossed over the bull’s head and symbolize strength. According to folk tradition masked men are Herod’s soldiers disguised as clowns, and their swords represent power (see Chapter 4). The swords also simulate the palhaços’ regimentals crossing over their chests. It also resembles a bull’s harness, which suggests control, through obedience of Christian principles and direction, via the journey made by the Three Kings to Christ’s birth site. 4) The frame that surrounds the logo is a pandeiro or tambourine, which is used among folia de reis groups and sometimes referred to as adufe. Its circular shape and symmetrical design suggests a mandala or enlightened state of mind, which characterizes the folia de reis tradition’s associations and obligations with the circle of faith and interrelationships among participants and the Holy family (see Chapter 3). 5) The colors used as background (blue, red, brown, yellow, and white) are preferred

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by folia de reis participants and are associated with the folia de reis tradition’s rural life style. Folia de reis participants make references to colors and other personal associations with iconographic representations of the Three Kings and the Holy family, such as the blue cape the Virgin Mary wears (see Chapter 6). 6) Cattle, grassland, and agricultural products are the visional world in which the rural folia de reis tradition thrives. The bull’s head depicted by the clown’s body represents nourishment. The most common meal among folia de reis participants during the epiphany is barbecue, which sometimes is the only food served during the final celebration (festa da porteira aberta). The Olímpia Folklore Festival still uses this folia de reis-inspired logo to advertise and attract thousands of tourists every year. The folia de reis tradition is an important representation of nationalized Brazilian folklore from this region, and through this logo, folia de reis, as performed on stage during the Olímpia Folklore Festival, has become an icon of national folklore in the eyes of all participants in the Olímpia Folklore Festival, and the Festival continues to perpetuate the folia de reis tradition as an authentic folk manifestation from the region. Although the logo has strengthened the idea that folia de reis is the “heart and soul” of the Olímpia Folklore Festival, however, the presence of folia de reis groups during the Festival has become a topic creating divergent opinions and views by some participants and community members who recognize the folia de reis tradition as a spiritual experience in contrast to its secular participation during the Festival. The following final chapter analyzes this issue of traditional versus national folklore, plus other important dichotomies between folia de reis as “religious lore” versus folia de reis as “stage lore”.

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CHAPTER 10

SUMMARY AND CONCLUSION: RELIGIOSITY VERSUS SECULARIZATION IN FOLIA DE REIS TRADITION

This final chapter synthesizes my analysis of how the folia de reis tradition operates as a vehicle of faith and fulfills social expectations among its participants. The relationships between faith, music, and ritual analyzed in this dissertation support my argument that folia de reis singing and song texts exert magical power over the participants and contribute toward acceptable community behavior in rural Brazil. The participatory experiences of the folia de reis dancers and musicians in the religious context of the ritual journey (“religious lore”), and the secular context of the Olímpia Folklore Festival (“stage lore”) provide meanings for what the participants call their religious truth and expose other people to the moral and human values inherent in and expressed by the folia de reis tradition. Religious lore in the folia de reis tradition strengthens the human need to contextualize and recreate the Magi’s experience through the folia de reis participants’ expressions of faith and obligations to the divine as fulfilled by the ritual journey. For the dancers and musicians in the folia de reis tradition, these expressions and obligations have been challenged in recent times by a number of external factors (e.g., modernization, politicization, secularization) that threaten traditional folia de reis values. These external factors are felt by many folia de reis groups when they perform during the Olímpia Folklore Festival, a stageloric performance event that raises the following question: How can sacred music as defined by local folia de reis community be performed outside its religious setting and still continue to justify its sacred meanings?

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The Commodification and “Stagelorization” of Folia de Reis

As we have seen in Chapter 9, the Olímpia Folklore Festival is a huge event that attracts thousands of spectators and performers each year. The coordination of presentations on the central stage is done by the festival’s organizers, and little concern is given to traditional performance contexts – this commodification of the folia de reis by administrators is a major concern for the folia de reis groups because of their traditionally religious role at Christmastime. In particular, the Olímpia Folklore Festival evening performances do not follow a strict schedule of events and all participating groups are scheduled to perform according to the directives of the festival organizers. Traditional folia de reis groups, such as the folia de reis Miranda, are scheduled to perform on the same evening with non-traditional and more modern groups called grupos parafolclóricos (“approximating folklore groups”). The grupos parafolclóricos recreate and stylize folk music and dance from their place of origin. For the folia de reis Miranda, this out-of-context folia de reis or stageloric presentation in the Olímpia Folklore Festival disrupts their religious nature (associated with their ritual journey in December and January, see Chapter 5) and creates an uncomfortable experience for some elderly, shy, and “old fashioned” folia de reis Miranda participants. Moreover, some parafolclórico groups are so different that they seem to clash with the folia de reis groups. The outsider bumba-meu-Boi group of Cazumbá from the far northeastern state of Maranhão, for example, often performs next to the insider folia de reis groups. The bumba-meu-boi (bumba-boi and boi-bumbá) is a popular and widespread comic-dramatic dance (theatrical act), which tells the story of the death and resurrection of an ox. It started at the end of the 18th century in the coastal sugar plantations and cattle ranches of northeastern Brazil. The bumba-meu-boi’s modern entertaining character, huge cast of performers, exotic appearance to the local community, elaborated costumes, sexy female dancers, and use of loud percussion have

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always attracted a much larger audience than the local folia de reis group. For many participants in the folia de reis tradition, this creates an uncomfortable situation that had been addressed in the past by Professor Sant’anna, who had a special connection with all participating groups and was able to convince both insider and outsider groups to perform on the same day of the Festival despite their social and religious differences. Today, however, outsider groups participating in the Festival are frequently favored over the local insider and more traditional groups, and although they do not explicitly announce it, the Festival organizers, supported by local politicians, reserve the last two days of the event for outsider groups to perform. They claim that, as exotic performances have the ability to draw much larger audiences, they consequently attract more viewers for their public appearances. Such organization of events has partially eliminated some of the folia de reis members’ discomfort by often separating them in time from the flashy, approximating folklore groups. This type of organization control and commodification is an external factor introduced by the Festival’s administrators and local politicians. It is done primarily for political reasons – to make them (i.e., the administrators and politicians) look good and be rehired and re-elected. The local folia de reis Miranda is also concerned that politicians may exploit and take advantage of the familiarity and lack of “exoticism” of their group and other local folia de reis groups to benefit themselves. Mr. Miranda has pointed out that the Festival organizers have only been able to provide minimal financial support to the local groups, while outsider groups often receive support for lodging, food, and transportation. Furthermore, he feels intimidated by the popularity of the Folklore Festival and concerned about the public’s understanding (or misunderstanding) of the musical practices of their folia de reis tradition. He asserts that their musical tradition should not be exposed to the public in general because they would not fully understand or appreciate it. At the same time that the stageloric forces of modernization seem to be in opposition to the music and dance of the insider folia de reis tradition, local politicians

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seem to understand the power of folk art, especially when it is exposed to an audience of thousands. As a consequence of this paradox, the politicians engage in helping to fund the Festival, although they are really promoting themselves in the process. Contrary to Mr. Miranda’s testimonial, the folia de reis Reis do Oriente (Kings of the Orient), led by mestre Pacífico de Souza e Silva, has participated in the Olímpia Folklore Festival since its beginnings and has a different view regarding their participation. Mestre Silva believes that their participation has enabled his folia de reis group to be appreciated by other communities not previously aware of their existence. He views their participation as an opportunity to expose the folia de reis tradition to larger audiences at local and national levels. The divergence in opinions regarding Festival participation has not discouraged the continuous participation of other folia de reis groups. In fact, in the last five years, an increased number of folia de reis groups from Minas Gerais and other regions (including Olímpia) have been participating. Nor has the participation of parafolclóricos groups caused any type of fusion or modernization with the traditional folia de reis groups. However, a type of hybridization between traditional folia de reis as studied in this dissertation and an outside tradition has existed in Olímpia for about forty years. I am referring to the local folia de reis Estrela da Guia, directed by mestre José Francisco Ferreira. Mestre Ferreira has Afro-Brazilian heritage and incorporates aspects of the congada (an Afro-Brazilian music and dance form) into his folia de reis group (see Chapter 7). Afro-Brazilian characteristics are seen in the way the pandeiro plays the syncopated rhythms and the way he expresses his folia de reis songs in short melodic phrases with group response. Like mestre Ferreira, other African descendants have fused the folia de reis tradition and the congadas to express their own religion and faith. In contrast, the folia de reis Miranda has not incorporated any such external characteristics associated with other traditions, and is strictly governed by family affairs and by association with the Three Kings.

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The consequence of modernizing and politicizing the traditional music of the folia de reis tradition through staged performances in the Olímpia Folklore Festival is a double-edged sword. On one hand, such modernizing and politicizing promotes the diffusion of sacred music to a general audience that has no understanding of their religious practices; on the other hand, they create conflict for some elder participants who feel intimidated by the Festival’s expressive variety. The stagelorization of the folia de reis tradition has additional implications regarding how folia de reis music is conducted during the ritual journey or performed in the Olímpia Folklore Festival. It is not uncommon to find folia de reis groups relying on professional musicians to conduct their ritual journey or to perform during the Olímpia Folklore Festival. The folia de reis Tradição de Família from São José do Rio Preto, for example, relies on professional help from Cristal and Cristalino, a well known traditional country duo, to lead their annual folia de reis journey. The participation of professional musicians in the ritual, as well as in the stage performances, is an example of modernizing folia de reis traditional music. Moreover, this collaboration with professional musicians seems to fulfill the expectations of some folia de reis groups in the region. Because folia de reis participants view music as a state of human grace driven by God-given talent, they use their musical instruments and voices to express their search for happiness and a better life – professional musicians help them to do this better. It also gives them (as a group) more prestige. How is the religious faith as expressed in song during the ritual journey, and the redefinition of song performed by the folia de reis groups on stage, negotiated? The stagelorization of folia de reis traditional songs through the Olímpia Folklore Festival suggests that cultural re-creation is effected through minor song text changes only. Thus, the performance event still represents the continuation of traditional values based on the faith of the participants. It is, as it were, “old wine in a new bottle,” to use a common metaphor.

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The stagelorization of the folia de reis tradition through song text alteration affects the outward appearance of initial religious references associated with the performance of folia de reis groups in the Olímpia Folklore Festival. The following folia de reis songs performed by the folia de reis Viajantes de Belém and folia de reis Unidos dos Marinheiros during the Olímpia Folklore Festival in August of 2002 are examples of folia de reis songs outside their ritual journey context. The folia de reis Viajantes de Belém played their song in the paulista style (see Chapter 7). The purpose of this song was to acknowledge my visit and to ask for blessings. Although the song (in reference to the melody) was performed out of its ritual setting, its basic musical form was retained throughout the performance. As I watched and recorded the evening performance, the following text was improvised by the embaixador (Audio Example 6):

Verse 1 Good evening, Sir, it is my pleasure and happiness You came from far away to see our group Receive God’s blessings The Three Kings and our banner 2 The Holy Kings guide your steps every hour of every day In the city of Olímpia on this blessed day The travelers from Bethlehem are the Three Kings on our banner You [referring to my presence] will be missed by this group.

As discussed in Chapter 8, through the framework for analysis, blessings correspond to the analytical topic 2 (faith) (referred to in verse 1, line 3), which reinforces the presence of God at the stage. The folia de reis tradition’s banner, empowered by its musicians’ and dancers’ personal faith, is able to mediate for the Three Kings (verse 1, line 4). Throughout the evening’s singing ritual, the musicians seemed

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immersed in their own world of prayers and disregarded the distractions of the stage crew adjusting their microphones. The second example was performed by the folia de reis Unidos dos Marinheiros, from Itaú (Minas Gerais State). They did not seem disturbed by the sounds and loud conversations coming from the nearby food stands, but focused on their performance from beginning to end, presenting a traditional toada in the mineiro style (see Chapter 7), which required more microphones for the large number of singers and musicians singing and playing different melodic lines. Their performance was not affected by the technical problems when the stage crew tried to mike their large bumbo drum and several pandeiros (see Chapter 6). Despite these difficulties, they sang their traditional song of appreciation:

Verse 1 Good evening to all of you We have just arrived Approach and see To the Holy Kings we will sing 2 We came from Itaú To the city of Olímpia We bring fond memories Of the beloved Holy Kings 3 We bring happiness To this beautiful festa [Folklore Festival] In the city of Olímpia Memories of Professor Sant’anna 4 The Three Kings of the Orient Bring blessings to Sant’anna

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Verse Blessings to his brother Sant’anna has been missed.

This song text makes reference to gratitude as discussed in Chapter 8’s framework for analysis in topic 7 (gratitude). Through its stage performance the group is motivated to acknowledge and to say thanks to Olímpia through its Folklore Festival (verse 3, line 2). By recognizing in verse where the group is from (verse 2, line 1), it reinforces its ties with the city and previous Festivals (verse 2, line 3). Their participation in the Olímpia Folklore Festival is also remembered by their connection with Sant’anna (verse 3, line 4 and verse 4, line 2). This song text also expresses their preoccupation in maintaining the Three Kings at the center of their world of faith. Even in a stage performance, folia de reis tradition continues to fulfill social obligations and commitment to the Christian faith.

Redefining Faith in the Folia de Reis Tradition The folia de reis participants acknowledge their faith in the Three Kings as their personal lives are transformed through the blessings received throughout their lives. The palhaço Antônio de Souza from folia de reis Magos do Oriente associates his faith with his life-time commitment to his folia de reis group. “What I have is because I have faith. The Three Kings have always helped and given me what I need. I have never been terribly sick. I travel with the Three Kings anywhere they go” (complete interview in field work # 7.1). The folia de reis tradition fulfills its purpose of assuring the participants of benefits and protection as their faith and commitment with the Three Kings are verbally expressed in normal conversations or sung during the journey. Participants believe that because of their faith in the Three Kings, good fortune and health will always follow them. In the process of translating faith into action and vows into received blessings, the tradition strengthens the community and lives of its participants. These parallels reaffirm

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their faith and establish a permanent link with the divine. Mestre Fernandes from Companhia de Reis Fernandes explained his perceptions of the faith he has in the folia de reis tradition: “To fulfill a vow and to bring back the old traditions, all of us must be in touch with the Three Kings. It has been several years; I have spent 45 years of my life in religion [as a Roman Catholic], but only five years making vows. Until the day I die, the [Three] Kings are my guide, protectors, and guardians. As long as I am alive, I am healthy!” (personal interview, 1997). Mestre Fernandes’ faith is constructed through his personal commitment with the Three Kings. He is deeply engaged with the folia de reis tradition. Through his close relationship with the Three Kings he has nourished his self-confidence and self- assurance, creating ideal conditions for promoting life. His vow is not only a commitment to seek blessings, but a source for self-assurance and well-being. Participants in the folia de reis tradition often say, “We cannot be touched while the Three Kings are protecting us.” The Three Kings are perceived by the participants as the first humans to make a connection with Jesus. They believe that the Three Kings suffered in the course of their journey and encountered many obstacles before arriving at Christ’s birthplace. According to the tradition, because the Three Kings experienced hunger and suffering while trying to reach the site where Jesus was born, the folia de reis participants make the Three Kings more compassionate toward human conditions. Having experienced grieving and difficulties, the Three Kings are well suited to intercede with God for those who call upon them in times of need. A crucial part of religion is the ritual as learned behavior. Talal Asad’s Genealogies of Religion (1993:57) refers to every religion as a ritual and a type of routine behavior. In the folia de reis tradition this behavior bases its existence on the circle of faith (see Figure 10.1). The hierarchical relationship is centered in the faith learned from tradition. Within the realm of truths, God sits above the Holy Family and the Three Kings. Gifts are received as blessings through the vows, ultimately promoting life and expanding the meaning of folk religion.

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The folia de reis ritual journey is not only the participants’ behavior of faith in the divine, but is also a social and practical activity to express gratitude for their lives. The relationship between the participants and Jesus, mediated by the Three Kings, seems to be directed toward a simple understanding of the tradition, which is the dramatization of the journey made by the Three Kings to Christ’s birthplace and the interpretation of faith through song. Their social experience as mediated by the journey transforms the life of folia de reis participants and strengthens the bonds among rural communities in Brazil. Through the folia de reis operational world of faith, ordinary life is transformed into a spiritual experience where sacred and secular are transformed from ritual to the stage through the Olímpia Folklore Festival. The folia de reis tradition reinterprets existing Christian values through its traditional songs, mediating their content to the participants.

GOD HOLY FAMILY THREE KINGS

VOWS BLESSINGS

FOLIA DE REIS LIFE SONGS RITUAL JOURNEY

Figure 10. 1Tremura’s representation of folia de reis cycle of faith.

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The folia de reis tradition establishes a cycle of life and a vision of the world governed by God’s view of humanity. It is ruled by Christian values of reciprocity, acceptance, submission, and faith in the divine. Through its songs the folia de reis tradition enables the participants to share a common and reciprocal understanding of their values and, like the Three Kings, the folia de reis groups exchange vows for blessings through the offerings received during the journey. The folia de reis tradition validates its purpose at the moment personal vows are transformed into blessings and blessings into life through healing or good fortune. The ritual journey acquires meaning and has purpose through the songs, transforming the participants’ faith into a system of truth composed of sacred and secular elements.

Social Considerations

In modern rural Brazil, folia de reis participants, compared to other communities, form a wide range of socioeconomic levels separated by a large gap of income and wealth. Historically, rural workers with no access to land of their own have had no choice but to work for the large landowners. Despite the dramatic transformation of Brazil from a peasant to an urban society, in the past fifty years, the structure of land ownership in the countryside has remained profoundly inequitable. Social movements have repeatedly attempted to mobilize the rural populations to fight for access to land and to break down the unequal distribution of land and property. Even though the new leftist government of President Luis Ignacio Lula da Silva (2000–2004) is trying to implement social reforms, many of the issues regarding the partition of land remain unresolved. For the most part, traditional folia de reis participants have distanced themselves from these social movements and their family orientation has not been used as an instrument for political manipulation. The participants have been aggregated and protected under the family umbrella, which has created a buffer for the communities from these social movements.

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And so, too, in the world of traditions, folia de reis tradition reenacts strong moral principles fundamental to peasant societies throughout history. These values are remembered and renewed during the journey and because of them the tradition is able to maintain its close ties with country life and remain somewhat distant from social protests. Perhaps the close family bonds and their humble attitude towards life in general have kept folia de reis participants unnoticeable to the surrounding social changes. Even with increasing urbanization, specialization, job mobility, and labor migration in Brazil, the folia de reis tradition has been able to maintain characteristics of the ritual journey similar to those of earlier times. Perhaps some of these recurring characteristics suggest that the folia de reis tradition has a wide vision of the world as regulated by the Biblical scriptures, a strong family base, and a solid foundation in Christian values.

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APPENDIX A – MUSICAL SCORES

1. Viajantes de Belem (Musical Score 7.1)

2. Tirada de Bandeira (Musical Score 7.2)

3. Toada de Reis (Musical Score 7.3)

4. Esmelingüida (Musical Score 7.4)

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APPENDIX B – AUDIO EXAMPLES

1. Audio example 1

2. Audio example 2

3. Audio example 3

4. Audio example 4

5. Audio example 5

6. Audio example 6

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APPENDIX C – FOLIA DE REIS SONG TEXTS

1. Despedida para sair com a bandeira Departing with the Banner Os Três Reis do Oriente The Three Kings from the orient Estão querendo viaJar They want to travel Vamos despedir cantando Let us sing Para nos arretirar As I depart

Vamos despedir cantando Let us sing as I depart Com amor e muita fé With love and faith P’ra voltar no dia da festa I will return for the celebration Isto é se Deus quiser If this is God’s will

Despedimos com amor I depart with love Como fez Cristo em Belém As Christ did in Bethlehem Quem ficar fique com Deus Those who stay, stay with God E com Deus vamos também God also travels with us

Quero agora agradecer I want to give thanks Com muita satisfação With much satisfaction Os infeites da Bandeira For the banner with its adornments E também dos Fulião And to the participants

Aproveitando seu agradeço I take this opportunity Sua bondosa família To thank your kind family Os agrados que fizeram For the treatment I received Para a nossa companhia At your home

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Encerrando eu convido In conclusion I wish A assistência aducada To reciprocate your generosity P’ra voltar no dia seis By inviting you on the sixth day Assistir a nossa chegada To witness our return

Como fez Cristo em Belém As Christ journeyed in Bethlehem Sairemos passo a passos I depart taking one step at a time Até o dia da festa Until the day of celebration Aqui ficam nossos abraços I wish you a fond fareIll

Cantando peço licença Singing, I ask permission Do festeiro e da festeira Of the festeiro and festeira Pra nos arretirar To take the Holy banner Levando a santa bandeira From your home

Capitão e Coronel Captain and Colonel Está na hora da saída It is time to depart Vamos beijar a bandeira Let us kiss the banner A benção da despedida For a blessed departure

Viva o viva derradeiro Hurrah! Todos com muita alegria I celebrate and rejoice Até o dia da festa For the celebration day Quando chegar o seu dia Is soon to come

2. Saudação ao primeiro devoto Paying respects to first devotee Como vai nobre senhor How are you noble person? Com é que vai passando How have you been doing?

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De saúde como está Are you in good health? E também de fim de ano And your holiday season?

Este primeiro devoto This first devotee Que a bandeira encontrou That the banner encountered Pra salvar e por benção Receives the blessings and respect Nossa bandeira parou Our banner stopped for you

Os Três Reis lhe dê a bença The Three Kings bless you E nós pedimos um presente We request a donation Para festejar o dia To celebrate the day Dos Três Reis lhe pedem oferta The Three Kings will ask for offerings

Mas não pede quantidade It does not matter how much Com prazer With much pleasure nós agradece we thank you Até a boa vontade. And wish you good will

3. Agradecimento Giving thanks Agradeço com prazer I give thanks with pleasure Sua oferta é a primeira Your offering is the first Que ganhou nossos Três Reis The Three Kings have received Na saída da Bandeira During the banner journey

Os Três Reis do Oriente The Three Kings from the Orient E o Senhor São Benedito Also Saint Benedict Lá no seu Livro sagrado Surely has your name Já tem o seu nome escrito In his sacred book

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Em nome de Santos Reis In the name of the Holy Kings O nosso muito obrigado Our profound thanks. Pra o Terço e para a festa To the Rosary and to the celebration O senhor é convidado You are invited

4. Pedindo oferta de uma senhora Requesting an offering from a lady Bôa tarde nobre dama Good afternoon noble dame Tarde com muita alegria Afternoon with much happiness De saúde como estão How is your health? A senhora e a família How are you and your family?

Segurou nossa bandeira You have held our banner Esta devota senhora This lady devotee Os Três Reis vão abençoar The Three Kings will come and bless A casa que ela mora The house in which you live

Devota dos Três Reis Santos Devotee of the Three Holy Kings Agora chegou a vez This is the time De pedir a sua oferta I request your offering Para a festa dos Três Reis. For the Three Kings celebration

5. Como agradecer How to say thank you Fez oferta para a Bandeira You made an offering to the banner Alegre e muito contente Happiness and joy Merece a Santa Benção You deserve the Holy blessing Dos Três Reis do Oriente From the Three Kings from the Orient

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Os Três Reis deixam saúde The Three Kings leave you in good health P’ra senhora é uma beleza A beautiful blessing A saúde neste mundo Health in this world Tá sendo a maior riqueza Is the richest gift

Agradeço a sua oferta I thank you for the offering Em nome de Santos Reis In the name of the Holy Kings A senhora é convidada You are invited Para a festa do dia seis. To the celebration of the sixth day

6. Outra oferta da mesma devota Another offering from the same devotee Dando prova que é devota Giving proof of your faith Do divino Santos Reis In the divine Holy Kings Quando encontra uma Bandeira When you crossed the banner’s path Faz oferta outra vez You made another offering

Assim mesmo é que se faz That is the way it should be Quem adora Santo Reis For those who the Three Kings adore Quando encontra uma bandeira When encountering the Holy banner Faz oferta muitas vezes Making offerings several times

Agradeço a sua oferta I thank you for the offering Deus lhe dê muita alegria God gives you many blessings E também muita saúde And much health in your life P’ra senhora e família To you and to your family

7. Pedindo oferta de uma jovem Asking for offerings from a young lady Pra fazer a sua oferta To make your offer

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Uma linda senhorita A beautiful young lady Segurou nossa bandeira Has held our banner Nesta hora tão bonita At this beautiful hour

A bandeira em suas mãos The banner is in her hands Veja como está contente Observe how happy she is Pra fazer uma linda festa For this beautiful celebration Tá pedindo o seu presente It is asking for donation

8. Agradecendo Giving thanks A sua bonita oferta Your pure and sincere offering Está cobertinha de véu Is enfolded within the veil Os Três Reis tão escrevendo The Three Kings are writing O seu nome la no céu Your name in heaven

Os Três Reis do Oriente The Three Kings from the Orient Todos Três são milagrosos All of them are miraculous P’ra sua felicidade For your happiness Vão lhe dar um bom espôso They will provide a good husband

Agradeço a sua oferta I thank you for your offering Deus lhe dê felicidade God grant you happiness E também muita saúde Also much health E uma bôa mocidade In your young life

9. Para uma criança To a child Nos braços de sua mãe On his mother’s arms O devotinho inocente The innocent devotee

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Pra ajudar fazer a festa Helps with the celebration Também fez o seu presente By offering us a gift

Os Três Reis abençoados The Three blessed Kings Eles vão lhe abençoar They will bless you Pra mamãe vão dar saúde To your mother they will give strength Para ela lhe criar For her to raise you well

Agradeço a sua oferta I thank you for the offering Deus lhe dê bastante sorte God provides you with luck E também muita saúde And also with much health Pra formar um moço forte To make you a strong young men

10. De outra criança dormindo From another child at sleep Lá no berço o devotinho In his crib the young devotee Dormindo sono inocente Sleeping an innocent sleep Com certeza está sonhando He must be dreaming Com os Reis do Oriente Of the Orient Kings

Quando ele for na escola When is time for him go to school No tempo de estudar For his education Os Três Reis são professores The Three Kings are professors Vem do céu pra lecionar Will come from heaven to teach

Agradeço sua oferta I thank you for your offering Deus lhe pague o seu presente God rewards you for this gift Deus lhe dê felicidade God grants you with happiness Pra mamãe viver contente. Which will give joy to your mother

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11. Oferta de um filho no trabalho An offering from a working son O seu filho trabalhando Your son is at work Pra senhora é uma beleza To you, the mother, a marvelous thing É sinal que tem saúde It is a sign of health E saúde é uma riqueza And health is richness

Nós pedimos a São José I request of Saint Joseph Que também foi operário Who was also a laborer Abençoar os seu serviço To bless his job E também o seu salário And also his salary

Agradeço a sua oferta I thank you for the offering Em nome do filho amado In the name of your beloved son Dê lembrança para ele Give him our regards E o nosso muito obrigado And our sincere gratitute

12. Oferta de uma devota doente An offering from an ailing devotee Não esta passando bem You are not doing Ill Esta devota senhora This devotee lady Nós pedimos a Deus com fé I ask God with faith Para os Reis lhe dar melhora For the healing blessings of the Kings

Os Três Reis são milagrosos The Three Kings can work miracles Ninguêm queira duvidar No one has doubt Doente desenganado In poor health and unconscious Eles vem levantar They help you to stand

Agradeço a sua oferta I thank you for your offering

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O Três Reis vão lhe ajudar The Three Kings will help Eles vão lhe dar saúde They will restore your health A senhora vai sarar And you will be cured

13. Oferta de uma senhora An offering from a lady making pagando uma promessa a promise Esta senhora devota This lady devotee Com certeza certa vez In all certainty Por certas coisas do mundo Due to past experiences Se apegou com os Três Reis Developed a close bond with the Kings

Com certeza foi válida Her contentment gives testimony Veja como esta contente To the significance Se ajoelhou com a bandeira She has knelt before the banner Pra fazer o seu presente To make her offering

Esta paga a sua conta You have paid your duties Pode levantar do chão You can stand up Agradeço a sua oferta I thank you for your offering Os Três lhe dê benção The Three Kings give you blessings

14. Três votos de uma Three vows at once at the banner só vez na bandeira Três devotos da bandeira Three devotees of the banner Dos Três Reis do Oriente Of the Three Kings from the Orient Pra ajudar fazer a festa To help with the celebration Juntos fizerem presente They are all present

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Os Três Reis nesta bandeira The Three Kings portrayed in this banner La no céu as Três Marias From Heaven the Três Marias1 Eles guiarão seus passos They will guide your steps Quer de noite quer de dia At night and during the day

Agradeço a sua oferta I thank you for the offering Deus lhe dê muita alegria God grants you much happiness Desejo que ambos vivam I desire to see you living Na mais perfeita harmonia In perfect harmony

15. A quem oferece uma ave To those offering fowl Em nome desta bandeira In the name of this banner Agradeço sua prenda I thank you for the offering Suas aves no terreiro The birds from your land Os Três Reis do céu defenda Are under the protection of the Three Kings

O Senhor São Sebastião Saint Sebastian O Santo que foi guerreiro The Saint that was a knight Vem do céu para defender He will comes from heaven to defend Toda peste do terreiro From sickness on your land

Agradeço a sua prenda I thank you for the offering Deus lhe dê felicidade God give you happiness E aumente suas aves And multiply your fowl Numa grande quantidade In large quantities

1 Constellation from the Southern hemisphere

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16. A quem oferece mantimento To those offering food A oferta do senhor Your offering of food Pro jantar do dia seis Will be dined on the sixth day Serve para servir na mesa To be served at the table Dos devotos dos Três Reis Of the Three King’s devotees

Os Três Reis do Oriente The Three Kings from the Orient E o Divino Sacramento And the Divine Sacrament Vão mandá chuva abundante Are going to send much rain Pra forma seus mantimentos To help with the food supply

Com prazer agradecemos With pleasure I say thanks Pedindo a Santa Tereza Requesting of Saint Theresa Pra lhe dá muita fartura To provide in abundance Pro senhor por na mesa Food for your table

Agradeço a sua oferta I thank you for the offering O nosso muito obrigado And to express our gratitude Pra jantar em nossa mesa I invite you O senhor é convidado To dine at our table

17. Outra da mesma natureza, A similar offering, this time uma novilha a calf Pra tratar dos convidados To provide nourishment for our guests Do Divino Santos Reis Who are devotees of the Holy Kings Vejam só que rica oferta Behold this beautiful offer Que este devoto fez Which was given by this devotee

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Os Três Reis descem do céu The Three Kings descend from heaven Com eles os senhor São Bento Accompanied by Saint Benedict Pra tirar das invernadas To remove from the field Todos bichos peçonhentos All poisonous creatures

Agradeço a sua oferta I thank you for the offering Os Três Reis lhe dê benção The Three Kings will give you blessings Deus aumente sua sorte God improves your luck E toda sua criação Also all of your livestock

18. Uma oferta em segredo A private offering to honor a blessing pagando uma intenção received Exite uma lenda antiga There is an old tale Que devemos acreditar That I should believe in Deus intende a vóz da alma God understands the soul’s voice Não é preciso gritar There is no need to scream

A oferta do senhor An offering to Our Lord Com a voz do coração Made from the heart Os Três Reis estão cientes The Three Kings will know Qual é a sua intenção Your true intentions

Agradeço a sua oferta I thank you for the offering Os Três Reis vão lhe atender The Three Kings will attend Seus problemas bom devoto All your problems devotee Êles podem resolver They can solve all of them

19. De um pai pra um To a father, in memory of his son

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filho em memória Ele estava imaginando He was deep in thought Vejo que ele se lembrou I can see that he is remembering Daquele querido filho Of his dear son Que do mundo Deus levou Who,with God, has left this world

Seu filho ficou doente His son got sick Não teve quem lhe curou No one could really cure him Não foi falta de recurso It was not lack of support É que o seu dia chegou The truth is his time had come

DeseJamos a salvação I wish salvation Ao filho que Deus levou To the son who left with God Levante com a bandeira Hold up the banner Os Três Reis lhe abençoou Which was blessed by the Three Kings

20. De um filho a um pai To a son, in memory of his father em memória Alembrou do vosso pai You now have memories of your father Com certeza tem saudade Certainly you miss him Dos conselhos que lhe dava The advice which he gave you E sua grande bondade And his enormous generosity Os Três Reis levou pro céu The Three Kings took the father to Heaven Quem tá la esta feliz Those up there are happy Jesus sabe o que Êle faz Jesus knows what He is doing Nós não sabemos o que diz I cannot speak for Him

O seu pai esta no céu Your father is in Heaven

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Quem levou foi Santos Reis The Holy Kings escorted him Levante com a bandeira Hold up the banner O senhor fez sua vez It is God’s wish

21. De um filho à sua mãe To a son, in memory of his mother em memória Alembrou de sua mãe You remember your mother Com razão sente saudade Certainly you miss her Das benças que ela lhe dava The blessings she gave you Seus carinhos e a bondade Her swetness and goodwill

Neste mundo a sua mãe Your mother in this world Era rainha do amor Was the queen of love Hoje la no paraíso Today she is in Heaven Sua alma é uma flor Her soul is a flower

Reze à ela um Pai-Nosso Pray for her one Our Father Com amor e devoção With love and much devotion Em nome de sua mãe In the name of your mother Os Três Reis lhe dê benção The Three Kings give you blessings

22. De um filho ao seu pai e sua From a son, in memory of his mãe e um irmão, em memória father, his mother, and his brother Coitado deste devoto Poor is this devotee Quantos golpes já sofreu How many strikes have hit you Não tem pai e não tem mãe You do not have your father, your mother Um irmão também morreu A brother has also passed away

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Devoto dos Três Reis santos Devotee of the Three Holy Kings Um conselho vou lhe dar This advice I will give you Jesus sabe o que faz Jesus knows what He does É preciso conformar It is important to accept

Os Três Reis levou pro céu The Three Kings took them to Heaven Naquele lindo lugar That beautiful place A gente pensando bem If we really think about it Tá feliz é quem tá la Happy are those who are there

23. Como agradecer enfeites How to say thank you for the adornments da bandeira on the banner A bandeira dos Três Reis The banner of the Three Kings Ganhou um lindo presente Has received a beautiful gift Os Três Reis se alegraram The Three Kings are now content VeJa como estão contentes Observe how happy they are

A alma desta devota The soul of this devotee Quando deste mundo for When departing from this world La no céu sera uma rosa In Heaven will be a rose No Jardim do Criador In the Creator’s garden

Enfeitou nossa bandeira You have adorned our banner Ficou muito mais bonita It is now very elegant Agradeço o lindo enfeito I thank you for the beautiful effect Deus lhe pague as suas fitas God rewards for all the ribbons

24. Salvar enfeites no terreiro Recognizing the adornments

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Dando prova que é devoto Displaying proof of your devotion Vêja só o que ele fez See what he has done Enfeitou o seu terreiro He has decorated his land Pra esperar nossos Três Reis To wait for our Three Kings

Salvo as flores do jardim I give thanks for the flowers in the garden E os enfeitos de papel For all the paper decorations Em nome dessa bandeira In the name of this banner Dos Três Reis e São Miguel From the Three Kings and Saint Michael

Já salvamos o lindo enfeito I gave thanks for the beautiful decorations Os Três Reis ja pôs benção The Three Kings have also blessed Agora nos dê licença Now if you please allow us Pra entrá la no salão To come inside the hall

25. Salvar uma Igreja Giving thanks for a Church Deus te salve casa santa God blesses your sacred house Onde Deus fêz a morada Where He dwells Onde mora o Cálice Bento The Holy Grail dwells E a hóstia consagrada And the sacred body of Christ dwells

Salvamos a casa de Deus I bless the house of God Casa de nosso Senhor House of our God Também salvo o Cristianismo I also give thanks for all Christianity E Jesus o criador And Jesus the creator

Salvamos o padroeiro I give thanks for the patron saint Bendito louvado seJa Blessed is he

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Simão Pedro o pescador Simon Peter the fisherman Primeiro chefe da Igreja The first minister of the Church

26. Salvar um cruzeiro Giving thanks for a cross Deus te salve cruz bendita God blesses this blessed cross Mora no campo sereno That stands in the serene field Onde foi crucificado Where He was crucified Bom Jesus o Nazareno Good Jesus from Nazareth

Em nome dos Três Reis santos In the name of the Three Holy Kings Salvamos o lenho sagrado I pray to the sacred wood Onde Jesus morreu Where Jesus died Pra remir nossos pecados For our sins

Salvamos as horas benditas I give thanks to the blessed hours Que Jesus nela viveu That Jesus lived Também salvo as iniciais I also pray for the initials Do grande Rei dos Judeus Of the great King of the Jew

27. Salvar outra romaria de santos Giving thanks to other folia groups in reis quando se encontram journey Nossa bandeira parou Our banner has stopped Temos muito que cantar We have much to sing Encontramos outra bandeira I encountered another banner Neste bonito lugar At this beautiful place

Meus colegas e companheiros My colleagues and friends Esta aí em nossa frente It lies ahead for us

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Outra linda romaria Another beautiful journey Dos Três Reis do Oriente Of the Three Kings from the Orient

Meu colega embaixador My colleague embaixador Com é que vão passando? How have you been? Como estão de saúde? How is your health? Pelo mundo viaJando? Are you world traveling?

O nosso maior desejo Our greatest desire É que esteJam todos fortes Is to have all healthy Na santa paz dos Três Reis In peace with the Three Kings E Aparecida do Norte And Aparecida do Norte

Eu e meus companheiros Myself and my companions Com saúde felizmente Are fortunate in good health Alegre e sempre cantando Happy and always singing Para os Reis do Oriente To the Three Kings from the Orient

Em nome dos Três Reis Santos In the name of the Three Holy Kings Vamos cruzar as bandeiras Let us cross our banners Pra nós poder salvar In expression of thanks Sua santa companheira Your saint companion

As bandeiras se abraçaram The banners have entwined E também as suas fitas Also their laces and ornaments Reparem oh meus senhores Observe dear friends Como elas estão bonitas How beautiful they are

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Os Três Reis pediu licença The Three Kings have requested Quando chegaram em Belém Upon arriving in Bethlehem Pra salvar a sua bandeira To pay their respects to the banner Licença peço também I also ask for this privilege

Salvamos as duas Bandeiras We pay our respect to both banners Belchior e o Rei Gaspar Belchior and the King Gaspar Também os dois bandeireiros And also to the banner carriers E viva o Rei Baltazar Hurrah to King Balthazar

Salvo em nome dos Três Reis I give thanks in the name of the Three Kings O capitão e o coronel To captain and colonel Suas fardas e as espadas Their costumes and sword Os seus quépes ou seus bonés Their hats and caps

Salvo o mestre e o contra mestre I pay our respects to mestre and contra-mestre E todos os seus instrumentos And the musical instruments Toda sua companhia To the entire group E o lindo acompanhamento And the beautiful accompaniment Meu colega embaixador Dear colleague embaixador Os meus versos terminaram Our verses are to end Pode fazer suas vezes It is now your time Os Três Reis foi quem mandaram As the Three Kings have requested

Capitão e coronel Captain and colonel É bonito é natural It is natural and beautiful Dê sue viva ao lindo encontro Say hurrah to this gathering Viva todos em geral Hurrah to all in general

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28. Como cantar novamente How to sing one more time after praising depois de saudação do outro the group that has just sung embaixador, também atualizado Grande mestre de licença Dear mestre with your permission Pra nós tornar a cantar We would like to sing again Queremos lhe agradecer We want to say thank you Pra depois cumprimentar After we say hello

As nossas duas bandeiras Our two banners O bom mestre separou The good mestre has pulled them apart Adorei os eu trabalho I really liked your work Obrigado embaixador Thank you embaixador

Temos muito que andar I have far to walk Por onde os devotos moram In the direction of the devotees’ homes Mas antes faço um convite However, I would like to offer an invitation Apriveitando a boa hora At this good hour

Em nome de meu festeiro In the name of my festeiro Com prazer e alegria With much pleasure and happiness Lhe convido para a festa I invite you to the celebration E toda sua companhia Also your entire group

Nossa festa meu senhor Our celebration, kind dear sir É dia seis de Janeiro Is on January six A sua presença la Your confirmed presence É festa para o festeiro Is the festeiro’s celebration

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Convido vosso festeiro I invite your own festeiro Para com nós festeJar To celebrate with all of us Nosso festeiro lhe espera Our festeiro will wait Nós também vamos esperá We will do the same

Convido vosso festeiro I invite your festeiro Também a sua festeira Also your festeira Para a festa e o terço To the celebration and to the rosary Na chegada da bandeira When the banner arrives

Mais ou menos meio dia Sometime around noon A bandeira vai chegar The banner will arrive Com prazer nós esperamos With much pleasure we will wait Por favor não vão faltar Please do not miss out

Em nome desta bandeira In the name of our banner Peço com muito respeito I request with all respect Para todos perdoar To forgive all of us Nossas faltas e meus defeitos Our faults and my weakness

Desse nosso lindo encontro From this beautiful meeting O senhor queira entregar You may want to deliver Lembrança ao vosso festeiro A souvenir to your festeiro Quando com ele encontrar When again the two of you meet

Para mais abrilhantar To add to this magnificence Esta nossa saudação And to express sincere devotion Ao terminar vossos versos When I finish our verses

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Queremos pegar na mão I want to shake hands

Depois continuaremos Upon which we will continue Com Deus e Nossa Senhora With God and Our Lady Passando com a bandeira Going through with the banner Por onde devotos mora Where the devotees dwell

Capitão e coronel Captain and colonel Dê um viva derradeiro Give us your final lasting hurrah Viva as duas companhias Hurrah to both groups E também os dois festeiros Hurrah to both festeiros

29. Como pedir refeição How to request boarding Louvado seJa meu Deus Blessed be our God Acabamos de chegar I have just arrived Onde a bandeira queria Where our banner led us Neste bonito lugar At this beautiful place

A bandeira entrou salvando The banner came with blessings Os foliões também salvou The foliões all are blessed O senhor com a família You and your family Os Três Reis abençoou The Three Kings have blessed

Em nome dessa bandeira In the name of our flag Que esta na sua mão Which you now hold Vou contar nossa história I will tell our history Queira prestar atenção If you care to to hear it

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Nós andamos pelo mundo We walk aroung the world Com a bandeira dos Três Reis With the Three Kings’ banner Pra pagar uma promessa To fulfill a promise Que o nosso festeiro fez That our festeiro has made

Por saber que é devoto To verify his devotion E que tem bom coração And has a good heart Os Três Reis lhe procuraram The Three Kings searched for him Pro senhor nos dar pensão You provided us with boarding

Peço Janta e peço pouso I request a meal and a bed Para nossa companhia For our group Para nós se descansar So we can rest Até o romper do dia Until morning

Os romeiros dos Três Reis The messengers of the Three Kings São fáceis de hospedar Are easy to host Nós não temos cerimônia We do not ask much Não precisa se apertar Do not go to extra trouble

Comemos o que por na mesa We eat whatever you put on the table Na hora que nos mandar Upon your request Nos tirando do sereno Take us in from the evening mist Dormimos em qualquer lugar We can sleep anywhere

Tudo quanto lhe pedi Everything I have asked Foi em nome dos Três Reis Was in the name of the Three Kings Nos responda se aceitou Will you accept

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O pedido que nós fez The request we made

30. Como cumprimentar de manhã How to salute in the morning Pai, Filho, e Espírito Santo Father, Son, and Holy Spirit Ja raiou o novo dia The new day has begun Em Belém tocou o sino The bell is ringing in Bethlehem Reuniu a companhia It has reunited the group

Hoje quando o sol nasceu Today at sunrise Todo mundo clareou Everyone is illuminated Iluminou sua morada It has lightened your home Onde a bandeira pousou Where the banner has passed through

Como passaram de ontem How have you fared since yesterday Meus colegas folião My dear colleagues folião Pelo jeito que se vê As everyone can see Felizmente todos bão Everyone is just fine

E o senhor dono da casa And the host and house owner Cumprimenta a companhia Salute this group De ontem como passaram How have you fared since yesterday O senhor com a família You and your family

Louvado seJa meu Deus Blessed be my God Felizmente todos bem Everyone is just fine Os Três Reis nos abençoou The Three Kings have blessed us Os anjos que digam amém The angels are saying amen

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31. Como pedir a bandeira How to request a banner E agora meu senhor And now, owner the house Não repare eu perguntar Do not mind the question Onde esta nossa bandeira Where is our banner Que entreguei para guardar Which was given to you to put away

Deve estar em vosso quarto It should be in your bedroom Quero vê-la em suas mãos I want to see it in your hands Traga ela aqui na sala Bring it to the living room Para ela nos dar benção So it can bless us all

Ela é minha professora It is our teacher Sem ela não sei cantar Without it I can not sing Quero ver na nossa frente I want to see it before us Para os Reis nos abençoar So the Kings can bless us all

Louvado seja meu Deus Blessed be my God A porta do céu abriu Heaven’s gates are now open A bandeira apareceu The banner is here Os Três Reis pra nós sorriu The Three Kings are smiling to us

Capitão e coronel Captain and colonel Se estiverem em condição If you could Também queira apresentar Come here also Para a bandeira por benção So the banner can bless you all

Em nome de Santos Reis In the name of the Holy Kings Esta formada a companhia This complete group

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Pediremos na bandeira Requests of this banner A benção do novo dia A new day blessing

Com licença meu senhor With your excuse dear sir Vamos mudar de toada We will change our toada Para nós pedir a benção So we can ask a blessing Desta bandeira sagrada Of this sacred banner

32. Após beijar a bandeira After kissing the banner Nesta hora de alegria In this happy hour Nossa bandeira sagrada Our sacred banner Abençoou a companhia Has blessed this group E os donos desta morada And the hosts of this home

Capitão e coronel Captain and colonel Lhe peço por gentileza I kindly request Pergunte a esse senhor Please ask of this man Quanto foi nossa despesa How much was our expenses

Em nome de Santos Reis In the name of the Holy Kings Quem lhe pede é o gerente Who are requesting is the gerente Pra levar para o festeiro To send the bill to the festeiro A sua conta corrente This current expense

33. Como agradecer cantando How to say thank you singing Oh meu Deus quanta bondade Dear God how much kindness VeJa que devoto bom From this good devotee Não cobrou nossa despesa He has not charged us with anything

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Nosso pouso e refeição For our food and lodging

Vamos agradecer cantando Let’s say thank you through our singing Tudo quanto ele fez Everything he has done for us Para nossa companhia For our group Por gostar de Santos Reis In appreciation for the Holy Kings

Primeiramente agradeço First I say thank you A gostosa refeição For this delightful meal Com toda sinceridade With all of our sincerity Nunca ví coisa tão bom Never seen anything like it

O senhor São Benedito Our Saint Benedict Protetor do cozinheiro The chef’s protector Parece que veio do céu It seems came from heaven Ajudar a fazer o tempeiro To help with the seasoning

Agradeço a refeição I thank you for the meal Tudo quanto pôs na mesa For everything you put on the table Em nome de Santos Reis In the name of the Holy Kings E a Virgem Santa Tereza And Saint Theresa the virgin

Também quero agradecer I also want to thank you O toalhado e os talheres For the tablecloth and silverware A sua boa vontade For your good will E o trabalho das mulheres And the ladies’ work

O café que nos serviu For the coffee you have served us

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E a gostosa sobremesa For the tasty dessert Que lhe paga é Santos Reis The Holy Kings will reward you Dando fartura e riqueza Providing you with abundance and wealth

Nós pedimos aos Três Reis We ask of the Holy Kings E ao mártir São Sebastião And to the martyr Saint Sebastian Para não deixar faltar Never to leave you O vosso sagrado pão Without sacred bread

O senhor com a família You and your family Nunca há de sofrer fome Shall never to go hungry E no céu tera uma ceia In heaven you will dine Na mesa que os anjos comem At the table with heavenly anjels

34. Como agradecer o pouso How to say thank you for overnight sleep Foliões e companheiros Foliões and companions Todos com muita alegria Everyone is full of happiness Vamos agradecer cantando Let us say tank you through singing O pousa da companhia For the overnight sleep

De tão bem que nós dormimos From this good night of sleep Eu sonhei com os Três Reis I dreamed of the Three Kings Também com sua família And I dreamed of your family E os agrados que nos fez And your family kindness

Nos deu Janta nos deu pouso You gave us a meal and a bed E também muitos agrados Also much contentment Em nome desta bandeira In the name of this banner

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Meu melhor muito obrigado Our best thank you

Agradeço as suas camas I thank you for your beds Os colchões e os lençóis For the mattrêsses and bed sheets Onde nós descansamos Where we rested Até o sair do sol Until dawn

O pouso do coronel For the overnight sleep of the colonel E também do capitão And the capitain Quem lhe paga é Santos Reis Holy Kings will pay you back E eles esta em suas mãos They are now in your hands

Favor guardar nossa bandeira Please store our banner away Na sombra de sua casa In the shade of your home Os anjos lhe dê um descanso The angels give youn confort Nas sombras de suas azas In the shade of their wings

Por guardar os instrumentos For keeping our instruments Viola, caixa e pandeiro Viola, caixa and pandeiro Quem lhe paga é São Gonçalo São Gonçalo will reward you Quem também é violeiro He who is also a viola player

De manhã na sua mesa In the morning at your table Nos serviu um bom café You served us a nice breakfast Os Três Reis lhe dê fartura The Three Kings will give you wealth Com certeza o senhor qué Surely that will please you

O café na sua mesa The breakfast on your table

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Nunca há de lhe faltar It will never be scarceness Para agradar suas visitas To please your guests Quando vem lhe visitar When coming for a visit

Agradeço seu trabalho I thank you for all your work E a sua grande bondade And your great kindness Pedindo a Santos Reis I request of the Holy Kings Lhe mandar felicidade To send you happiness

Terminando eu agradeço Finally I thank you Tudo junto de uma vez For everything at once O que fez para a companhia Your sponsorship of this group Por gostar de Santos Reis In the name of the Holy Kings

A sua alma bondosa When departuring from this world Quando deste mundo for Your gentle soul La no céu tera um descanso Will have a place in heaven to rest Num lindo berço de flôr In a beautiful flower crib

Agora peço licença Now by your leave Para nós nos retirar I must depart La frente tem devotos Ahead of us are more devotees Esperando nós chegar They await for our arrival

Eu estava me esquecendo Let us not forget Os Três Reis me avisaram The Three Kings have advised Para entregar um recado To deliver you a message Que os festeiros mandaram Which the festeiros have sent

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O recado é um convite The message is an invitation Da festeira e do festeiro By the festeira and festeiro Para ir na nossa festa To attend our celebration No dia seis de Janeiro On January sixth

Mais ou menos meio dia Sometime around noon A bandeira vai chegar The banner will arrive Eu convido para o terço I invite you for the rosary E depois com nós Jantar And to have dinner with us

E agora bom devoto And now on, good devotee O senhor nos dá licença Please excuse us Para nós nos retirar I must proceed Desta sua residência From your home

35. Como cantar no primeiro How to sing in the first arch arco no dia da festa on the day of celebration Louvado seJa Deus Blessed be to God Custou muito mas chegou It took much time but finally it has arrived O dia de Santos Reis The day of the Holy Kings Que Maria abençoou Mary has blessed

Repare meus foliões Prepare my foliões Nossa bandeira parou Our banner stops here VeJam só que lindo arco Look at the beautiful arch O festeiro preparou The festeiro himself prepared

Este arco apresenta This arch shows

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Sua primeira parada The first stop Que fizeram os Três Reis Made by the Three Kings Na viagem abençoada On their blessed journey

Muita gente muitas flores Many people and many flowers Lindos arcos e bandeirinhas Beautiful arches and small flags É sinal que esta bem perto It is a sign that I are getting closer to O reinado da rainha The kingdom of the queen

Com licença dos Três Reis With the approval of the Three Kings Das senhoras e senhores Also by your leave Vamos salvar o arco We will pay our respects to the arch Bandeirinhas e lindas flores Small flags and beautiful flowers

Deus salve lindo arco God blesses this beautiful arch Deste o alto até o chão From top to bottom Salvo as flores perfumadas I praise the perfumed flowers Também as flores em botão Also the flower-buds

Salvamos primeiro o arco I praise this first arch Por onde vamos passar As I pass through Com a bandeira dos Três Reis With the banner of the Three Kings Para chegar no altar To arrive at the altar

Senhor Reis esta querendo The Holy Kings want Chegar no arco de la To get to the next arch Capitão peça licença Captain, if you please excuse us Para nós atravessar So we can proceed

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Capitão e Coronel Captain and colonel Neste momento sagrado In this sacred moment Dê um viva a Santos Reis Hurrah to the Holy Kings E também aos convidados And also to the guests

36. Como cantar no segundo arco How to sing in the second arch Senhor Reis com a bandeira Sir King with the banner Aqui parou novamente Has stopped again Veja só que lindo arco What a beautiful arch Encontraram alí na frente I meet a few steps ahead

Este arco representa This arch represents Também a segunda vêz The second time Que pararam no caminho They stopped along the way Em viagem os Três Reis On the Three Kings journey

Salvamos primeiro o arco We rejoiced in the first arch Agora salvamos o segundo Now we praise the second É sinal que esta bem perto It is a sign that we are getting closer A Rainha e o Rei do mundo To the Queen and the King of the world

Os Três Reis andou passeando The Three Kings made their pessage De paragem em paragem Stopping here and there E agora estou chegando And now I am arriving De sua longa viagem From their long journey

Por onde os Três Reis andaram? Where did the Three Kings travel to?

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Convidou seu povo amado Inviting his beloved people Para assistir a sua festa To attend his celebration VeJam quantos convidados Observe so many guests

Este é o segundo arco This is the second arch Que encontrou o senhor Reis Which the Holy Kings found Deus te salva arco de flor God bless this arch of floIrs E Deus salve quem te fez And God bless those who made it

Este, arco é o portão This arch is a gate Me parece estar trancado It seems to be locked Vamos chamar a rainha Let us call the queen Abrir o portão sagrado To open the sacred gate

Capitão e companheiros Captain and fellow friends Chegou a vez do Senhor The time of the Lord has come Vai levar uma embaixada To take one private message Que o Senhor Reis mandou Which was sent by the Holy Kings

Vai dizer para a rainha Go and tell our queen Que os Reis estão chamando The Kings are now calling Aquí no segundo arco Here at the second arch Nós estamos esperando We have been awaiting

Diga a ela por favor Could you tell her please Não fazer muita demora Not to delay É que muita gente espera Many people are awaiting her Aquí do lado de fora Here outside

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Vai com Deus em boa hora God guides you at this hour Queira fazer meu mandado As you commands Acompanhe a nobre dama Accompany the noble lady Seja dela um bom criado Be a servant to her

37. Como salvar a rainha How to praise the queen Já esta em nossa frente It is now in front of us A rainha atendeu The queen has attended Cantam os anjos de alegria The angels sing with happinnes O sino do céu bateu The bell from Heaven has rung

Nobre dama dê a chave Noble lady give us the key Esse arco esta trancado This arch still locked Dê licença ao capitão Give permission to the captain Para abrir o arco fechado To open the closed arch

Peça licença primeiro Ask first for permission Não repare eu mandar Do not mind my request Desate o laço de fita Untie this ribbon Pras bandeiras se encontrar So the banners can be united

A bandeira da rainha The queen’s banner Esta linda esta bonita Is beautiful and nice Com a nossa se abraçou It has embraced our banner Misturaram suas fitas The ribbons have entwined

Senhor rei com a rainha Sir king and you queen Com carinho e com amor With caring and love

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Fizeram um lindo encontro Made this beautiful encounter Dentro de um arco de flor Within an arch of flowers

As bandeiras se encontraram The banners have encountered No ar estão suspensas In the air are now suspended Agora vamos salvar Now we are going to praise Rainha nos dê licença By the queen’s leave

Em nome de Deus menino In the name of God as a child E a sua Santa Lapinha And your saint nativity scene Salvo a bandeira dos Reis I praise the Kings’ banner E a bandeira da rainha Also the queen’s banner

Salvo em nome dos Três Reis I praise in the name of the Three Kings As coroas imperial Their imperial crown Salve o arco triunfante Praise the triunphant arch E o arco principal Also the main arch

38. Saudação do embaixador a rainha Greeting from the embaixador to the queen Como vai nobre rainha How are you noble queen? Como é que esta passando How have you been? Como vamos de saúde How is your health? Também de novo ano Also, how is your year going?

Eu e meus companheiros Myself and my companions Que outras terras vem Here come from diferent lands Apenas muito cansados Are somewhat tired Mas com saúde também But also in good health

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Encontramos bons devotos I have encountered good devotees Pelo mundo onde andamos Through the lands we visited Só havia gente boa We only met good people Gente ruim não encontramos We have not encountered bad people

Nós fomos bem recebidos We were well received E muito bem hospedados And well accommodated Muita gente nos seguia Many people followed us Fomos bem acompanhados We were well accompanied

Dos devotos e das devotas From all the devotees Até mesmo as crianças Including the children Mandaram para a Rainha They sent to the queen Presentes e lindas lembranças Beautiful gifts and presents

Entregamos seu convite We delivered your invitation Por onde fomos passando As we passed Ficaram todos contentes Everyone was pleased Vejam como estão chegando Observe how they are arriving

Agora peço licença Now I kindly request Pra pegar em suas mãos To take your hand Quero lhe cumprimentar I want to shake your hand E todos os meus foliões And so all do our foliões

E depois nos dê licença Later would you excuse us Queremos atravessar We want to pass through

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Por favor vire a bandeira Could you move the banner aside Ela agora vai voltar The banner will now return

Agora damos um viva Now we will give a hurrah Depois vamos mais pra frente Next we will move ahead Salvar o terceiro arco To praise the third arch Como os Reis do Oriente In the way of Kings of the Orient

39. Como salvar o terceiro arco How to salute the third arch Na sombra desta Bandeira In the shade of this banner Vamos cantar outra vez We will sing once more Salvando o terceiro arco Greeting the third arch Que a nobre Rainha fez Made by the noble queen

Este é o terceiro arco This is the third arch Representa muito bem It is well represented Sua terceira parada The third stopping point A caminho de Belém On the way to Bethlehem

Deus salve meus senhores God bless all of you Senhoritas e senhoras Ladies and misses Deus te salve arco de flor God bless your arch of matrons and youg ladies Neste terreiro de Glória In this land of glory

Parando de arco em arco Stopping from arch to arch No meia das bandeirinhas Between the small flags Devagar vamos chegando Slowly we are coming Viva o rei e a rainha Hurrah to the king and queen

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Viva a festa dos Três Reis Hurrah to the celebration of the Three Kings Esta linda maravilha This marvelous wonder E viva o seis de Janeiro Hurrah to January 6 Este tão bonito dia This beautiful day

Viva o primeiro arco Hurrah to the first arch Agora viva o segundo Now to the second arch Vamos passar o terceiro We now cross through the third Par ver o rei do mundo To visit the King of the World

40. Como cantar no presépio How to sing at the nativity scene or at the ou no altar altar A Bandeira dos Três Reis The Three Kings’ banner Custou muito mas chegou It was delayed, but now is here Na frente da manjedoura In front off this crèche Onde esta Nosso Senhor Where our Lord rests

Belchior, Baltazar Melchior, Balthazar E Gaspar, Reis do Oriente Gaspar, Kings of the Orient Chegaram para adorar Arrived to adore Jesus Cristo onipotente Omnipotent Jesus Christ

Pois os seus tronos deixaram They left their own thrones Sem sentir nenhum pesar Without any discontent Pela grande fé que tinha Because of their strong faith De Jesus vir adorar To visit and to adore Jesus

Sobre as portas de Belém On top of the gates in Bethlehem

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Os mortais foram assistir The mortals went to take part O nascimento de Deus In the birth of Christ Que nossas culpas vai remir Which will reedem our faults

Deixamos nossas moradas We left our homes E marchamos alegremente And contentely marched Procurando Deus Menino Searching for baby God Com os Reis do Oriente Accompanied by the Kings from the Orient

Agora pedimos a benção Now we ask for your blessing Do nosso Pai verdadeiro Our true Father E ele quem deu a luz The one who gave live to the world Que ilumina o mundo inteiro Shines his lights on the entire world

Salvamos primeiramente I first give praise São José e Santa Maria To Saint Joseph and the Virgin Mary E o grande prometido And to the promised great one Deus menino Reis Messias God as child, King Messiah

No dia seis de Janeiro On January 6 Mais ou menos meio dia Around noon Encotram em Belém They found in Bethlehem Jesus filho de Maria Jesus son of Mary

Os Três Reis se ajoelharam The Three Kings went down on bended knee Todos três com alegria All with complete happiness Adoraram Deus menino Adored God as a child São José e Santa Maria Saint Joseph and the Virgin Mary

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Vinte e cinco de Dezembro December 25 Deus menino foi nascido God as a child was born No dia seis de Janeiro On January 6 Ele foi reconhecido He was recognized

A bandeira viajou The banner has travelled Passeou no mundo inteiro Around the whole world E agora está chegando And now it is arriving Esta nas mãos do festeiro In the hands of the festeiro

Com licença do festeiro With the permission from the festeiro O terço vamos rezar The rosary we will pray A bandeira dos Três Reis The Three Kings’ banner Colocamos no altar Is now at the altar

41. Convite para um terço Inviting for a rosary Convidamos o Capelão We invite the chaplain O festeiro é quem mandou The festeiro made a request Pra rezar o Santo terço To praise the Holy rosary A sua hora chegou Your time has come

Meus senhores e senhoras Dear sir and madam Todos estão convidados You all have been invited Para rezar o terço To praise this rosary Neste momento sagrado In this sacred moment

Convido todos devotos I invite all devotees

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Que a bandeira visitou That have been visited by the banner E até mesmo os voluntários Including the volunteers Que aqui se apresentou Present with this group

Meus amigos e companheiros Friends and colleagues Os meus versos terminam I finished with our versers Vamos nós rezar o terço Let us go and pray the rosary Os Três Reis é que mandaram Requested by the Three Kings from Heaven

42. Como oferecer o terço a santo reis How to offer the rosary to the Three Kings Bendito louvado seja Blessed is the Lord Jesus Cristo onipotente Jesus Christ omnipotent Bendita seja Maria Blessed is Mary E os Três Reis do Oriente And the Three Kings from the Orient

Os cinco mistérios bentos The five blessed mysteries Do Rosário de Maria The Maria’s rosary Ofereço a Santos Reis I offer to the Holy Kings E a linda estrela guia And the beautiful guiding star

Entregamos com amor We deliver with love Aos Três Reis do Oriente To the Three Kings from the Orient Vão levando para o céu They are taking to Heaven Este bonito presente This beautiful present

O festeiro e a festeira The festeiro and festeira Filhos da Virgem Maria Children of the Virgin Mary

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Pagaram para os Três Reis Payed to the Three Kings Aquilo que lhes devia What was their due

Em nome dos Três Reis Santos In the name of the Three Holy Kings Agradeço alegremente I happilly thank you A todos que aqui oraram To those whom here prayed Aos Três Reis do Oriente To the Three Kings from the Orient

Viva o reis e rainha Hurrah to the king and queen Eles estão muito contentes They are very happy Por pagar o que devia To pay back what they own Para os Reis do Oriente To the Kings from the Orient

43. Como salvar as mesas How to give blessings for the tables Agora nobre festeiro At this hour noble festeiro Queremos ver outra vez We want to see again Enfeitando vossos braços The banner in your arms A bandeira dos Três Reis The Three Kings banner

Com carinho e com amor With care and love Tire ela do altar Take it from the altar Vamos levá-la na mesa We are going to lay it on the table Para os Reis abençoar To be blessed by the Kings

Meus amigos e companheiros Dear friends and colleagues Vejam só quanta beleza Observe how much beauty Reparem quanta fartura Observe all this Ialth O festeiro pôs na mesa The festeiro has put on the table

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Deus te salve refeitório God blesses this meal Ricamente ornamentado Richly ornamented Que o festeiro preparou Prepared by the festeiro Pra servir os convidados To serve all guests

Salvo as toalhas e os talheres I greet the tablecloth and silverware As copeiras e os copeiros The waitrêss and the waiter Salvo em nome dos Três Reis I greet in the name of the Three Kings Cozinheiras e cozinheiros Cook and chef

Salvo a água salvo o vinho I greet the water and wine Em nome da santa cruz In the name of the Holy cross Em nome dos doze apóstolos In the name of the twelve apóstles E a Ceia de Jesus And Jesus’ Holy supper

Aquela sagrada ceia That sacred supper Jesus Cristo abençoou Jesus Christ blessed E as mesas do Festeiro The tables from the festeiro Os Três Reis do céu salvou The Three Kings from Heaven have blessed

Capitão e coronel Captain and colonel A Bandeira vai voltar The banner will return Mas antes daremos um viva At the moment I will say hurrah Neste tão lindo lugar In this beautiful place

Vamos levá-la no altar Let us move the banner to the altar E la fica descansando It will be there resting Depois vamos coroá Then we will crown

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Os festeiros do outro ano Next year’s selected festeiro

44. Como passar a coroa do reis How to pass the Three Kings crown Novamente companheiros Once again companions Cada um em seus lugar Take your places Quem nos chama é Santos Reis The Holy Kings are calling us Para nós torna a cantar And requesting us to sing again

Vamos procurar cantando Let us continue to sing and search for Outro festeiro de Reis Another festeiro for the Kings’ day Para o ano que vem For next year Festejar o dia seis To celebrate the King’s day

Senhor Reis sua missão Dear King, your mission Chegou ao ponto final It is now almost complete Peço em nome da bandeira I ask in the name of the banner Sua coroa imperial Your imperial crown

Antes quero agradecer I would like to say thank you Esta grande majestade To this great majesty Hoje deixa seu trono As today he steps down from the throne Deixando muita saudade He will be missed

O palhaço da direita The clown on the right Peça licença também Also asks for permission Como fez os Três Reis santos As did the Three Saint Kings Quando chegaram a Belém Upon their arrival in Bethlehem

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Retiro sua coroa I remove your crown Com ela vai procurando With it I will search Outro festeiro de fé For another faithful festeiro Pra festa do outro ano For the next year

O palhaço da esquerda The clown on the left Ele vai acompanhar He will accompany you Ajudando o companheiro Helping a fellow friend Outro festeiro encontrar To find another festeiro

Louvado seja meu Deus Blessed is our God Vamos ter festa outra vez Let us once again celebrate Os palhaços encontrarem The clowns’ finding Outro festeiro de Reis Another festeiro for the Kings

Viva o novo festeiro Hurrah to the new festeiro Para a festa do outro ano To next year’s celebration E viva o nosso Festeiro And hurrah to our festeiro Que hoje está festejando Who celebrates today

Viva o nosso festeiro Hurrah to our festeiro Que este ano festejou Which celebrated this year E viva o festeiro novo And hurrah to the new festeiro Que os palhaços coroou Whom the clowns have crowned

45. Como passar a coroa da rainha How to pass the queen’s crown O festeiro encontramos The festeiro we found Vamos procurar a festeira Let us search for the festeira

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Pro outro ano que vem For the next year Festejar esta bandeira Celebrate this banner

Nossa bondosa festeira Our kind festeira Cumpriu a missão que tinha Has accomplished her mission Agora queira entregar Passing at this time Sua coroa rainha Her crown to the queen

Foi a rainha desta festa You were the celebration queen E é rainha da bondade You are the queen of kindness Hoje deixa seu trono Today you step down from your throne Deixando muita saudade She will be missed

Pedir perdão é humano To ask forgiveness is human Rainha nos dê o perdão Queen give us forgiveness Se não fomos bons criados If we were raised with flaws Faltando com a obrigação Or did not meet our obligations

O palhaço da esquerda The clown on the left Faça um trabalho perfeito Provides a perfect service Retire sua coroa Remove her crown Com carinho e com respeito With care and respect

O palhaço da direita The clown on the right Ajude seu companheiro Help your fellow friend Ele também ajudou He also has helped Procurar o novo festeiro To search for a new festeiro

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Não se esqueça companheiro Do not forget my friend Peça licença também Also request permission Procure outra festeira Search for another festeira Para o ano que vem For the next year

46. Como salvar a nova rainha How to praise the new queen Vejam bem nossa bandeira Look well upon our banner Como ela se alegrou Look how happy she is A festeira para o ano The festeira for the year Os palhaços encontrou The clowns have found

Vamos dar mais outro viva Let us give another hurrah Os Três Reis é quem mandou As the Three Kings have requested Este viva é pra festeira This hurrah is for the festeira Que este ano festejou Who this year has celebrated

Nossa querida festeira Our dear festeira Aceite os parabéns Accept our congratulations Os Três Reis lhe dê saúde The Three Kings will give you health Os anjos que digam amém The angels will say amen

Viva o rei e a rainha Hurrah to the king and queen Deste ano festejado Who this year celebrated E viva os do outro ano Hurrah to the newcomers Que estão sendo coroado Who have been crowned

Nossa querida festeira Our dear festeira Que tão bem nos atendeu Who has cared for us

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Também pedimos perdão We also ask for forgiveness Se algum de nós lhe ofendeu For anything that we may have done

Do festeiro e da festeira From the festeiro and festeira Nós vamos sentir saudade We will miss your presence Dos carinhos e os agrados Your care and comfort Da sua grande bondade Your great kindness

Meus Três Reis do Oriente My Three Kings from the Orient Fique com este casal Please stay with this couple Multiplique sua sorte Multiply their good fortune Defendam de todo mal Protect them from evil

47. Despedindo da bandeira Farewell to the banner Vince e cinco de dezembro On December 25th Os Três Reis nos convidou The Three Kings invited us Com eles nós viajamos With them we have traveled Pelo mundo nos mandou Into the world

Passando de casa em casa Walking from house to house Parando de mão em mão Passing the banner from hand to hand Levamos sua bandeira We carried the banner Abençoar nossos irmão To bless our brother

Convidamos seus devotos we invite the devotees Todos vieram assistir Everyone come to watch A festa de Santos Reis The Holy Kings celebration Que para o céu vão subir Which will go up to Heaven

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Despedimos da bandeira I say farewell to the banner Dos Três Reis do Oriente To the Three Kings of the Orient E também de seus devotos And to the devotees Que ainda estão presentes Who are still present

Deste nossa companheira From our companions Com amor e devoção With love and devotion Vamos nós se despedir I are now going to depart E pedir sua benção And ask for your blessings

Se fomos maus companheiros If we have not behaved properly E não soubemos respeitar And did not know how to respect Querida Santa bandeira Dear saint banner Pedimos nos abençoar We ask for your pardon

Com beijos nos despedimos With a kiss we say fareIll Dos Três Santos verdadeiros To the Three Holy authentic Saints Pedimos que nos perdoem We ask for forgiveness Se fomos maus companheiros If we have not behaved properly

48. O mestre embaixador encerra The mestre makes final request despedindo dos companheiros of his companions Em nome desta bandeira In the name of this banner Nos momentos derradeiros In the final moments Como mestre me despeço As the mestre I say fareIll De todos meus companheiros To all my companions

Me despeço de gerente I say fareIll to the gerente

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E também do escrivão And also to the scribe Pedindo a Santos Reis Requesting of the Holy Kings A sua santa benção Their blessings

Despeço do contra-mestre Farewell to the contra-mestre E também do bandereiro Farewell to the bandereiro Agradeço o seu trabalho I thank you for your work Em meu nome e do festeiro In my name and in the festeiro’s name

Do contrato me despeço Farewell to the contrato Pedindo para São Bento I request of São Bento Pagar o vosso trabalho To reward for your work E o seu comportamento And your comportment

Cantador das quatro vozes Singer of the fourth voice Depois vamos nos abraçar We will embrace again Se a caso lhe ofendi If I have offended you Vós queira me perdoar Could you please forgive me

Cantador das cinco vozes Singer of the fifth voice Folião que canta fino Folião that sings the high-pitched voice Eu estou muito contente I am very content Lhe abraço despedindo I embrace you and say fareIll

Despeço da sexta voz Farewell to the sixth voice Derradeiro cantador The final singer Se lhei fui impertinente If I carelessly behaved Me perdoe por favor Please forgive me

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Capitão e coronel Captain and colonel Também o mestre caixeiro Also the caixeiro master Peço a Deus a recompensa I ask of God A vocês bons companheiros To reward all of you good fellows

Os Três Reis e São Gonçalo The Three Kings and São Gonçalo Que também foi violeiro Who played the guitar Conserve sempre brilhante Maintain always brilliant As vozes dos companheiros The voices of my friends

Nos outro anos que vem In the years to come Isto é se Deus quizer If it is God’s will Nós havemos de encontrar I will find strength Nos Três Reis eu tenho fé From our faith in the Three Kings

49. Anunciação de nossa senhora Announcing the Virgin Lady Pae e Filho, Espírito Santo Father, Son, and Holy Spirit É começo de oração It is the beginning of my prayers Começo em nome de Deus I start in the name of God A sagrada anunciação The sacred announcement

A bela jovem Maria A beautiful young lady Mary Morava em Nazaré Lived in Nazareth E também um carpinteiro There also lived a carpenter Que se chamava José By the name of Joseph

Ambos nascidos e criados Both were born and raised

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Alí naquele setor In that district Felizes como os coitelos Happy as hummingbirds Num lindo jardim de flôr In a beautiful flower garden

Eram eles decendentes They were descendants Da família de Davi Of the Davi’s family Maria muito bondosa Mary was very kind Linda donzela dalí A virginal young lady

Bondoso e trabalhador A gentle and hard worker O carpinteiro José Was Joseph the carpenter Um moço de boa mente A young man with a clear mind E também de muita fé Also with much faith

Por ser honesto e sincero Because of his honesty and sincerety O Pae eterno escolheu The eternal father has chosen him Para espôso de Maria To be Mary’s husband E Maria Mãe de Deus And Mary the mother of God

Maria estava sózinha Mary was alone Vivendo na voa fé Living in good faith Quando a ela apareceu When to her appeared O anjo São Gabriel Angel Gabriel

Bendita entre as mulheres Blessed among women Pelo anjo foi saudada By an angel was proclaimed Para ser a mãe de Deus To be the mother of God Foi no céu anunciada She was announced in Heaven

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Já que sou serva de Deus Because I am devoted to God Serei mãe do Redentor I will be the mother of the redeemer Seja feito então por mim I will let God’s desire A vontade do senhor Through me be accomplished

Depois da santa mensagem After the saintly message Pelo anjo Gabriel Was sent by Gabriel the angel Maria foi visitar Mary went to visit A sua prima Isabel Her cousin Isabel

Com ela ficou três meses With her she visited for three months Pois naquela ocasião Because on that occasion Também tinha que ser mãe Isabel was also expecting Do querido São João Dear Saint John

Assim ficarão sabendo Of this you all will know Aqueles que não souber For those who do not know Que João Batista é filho John the Baptist is son Daquela santa mulher Of that saint woman

A vinte e cinco de março On March 25th O anjo anunciou Maria The angel proclaimed to Mary Vinte e cinco de dezembro On December 25th Foi nascido o Rei Mesias Was born the King Messiah

Dou viva à Virgem Santa Hurrah to the Saint Virgin Neste verso derradeiro In this last verse Viva o anjo Gabriel Hurrah to Gabriel the angel

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O bendito mensageiro Tre blessed messenger

50. Nascimento Birth Pae e Filho Espírito Santo Father, Son, and Holy Spirit Neste sagrado momento In this sacred moment Pae eterno me dê vós Eternal Father give me a voice Para cantá o nascimento To sing of your birth

Com licença dos ouvintes If the listeners will allow Cheio de fé e amor Fulfilled with love and faith Vamos salvar a lapinha Let us sing praises to the nativity scene De Jesus nosso senhor Jesus our Lord

Também pedimos licença We also ask permission Da Virgem Santa e Rainha Of the Virgin Saint Queen Pra salva seu bento filho To sing praises to her Holy Son Na sua santa lapinha In His saint nativity scene

Depois da anunciação After the announcement Pelo anjo do Senhor Of an angel from God José e Maria aguardavam Joseph and Mary waited Cheios de fé e amor Content with faith and love

Os profetas anunciavam The prophets have announced Não parava um segundo Without waisting any time Que havia de nascer Announcing to the world Deus menino, Rei do mundo God as child, King of the world

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Dominava a região Dominating the region Um ilustre soberano A distinguished monarch O senhor Rei Augustino King Augustine O imperador Romano The Roman emperor

Houve alí na ocasião During that time Um grande ressenciamento A large census was taken O povo foi obrigado The population was requested Fazer o alistamento to enlist

O decreto obrigava The decree obligated Todo aquele povo seu Every person from the region Fazer o alistamento To enlist Nos lugares onde nasceu At the birthplace of origin

Pra fazer a sua vez When the time came São José e Santa Maria Saint Joseph and Saint Mary Pra cidade de Belém Traveled to Bethlehem Viajaram um certo dia They traveled a certain day

Foi tão grande o movimento There were people everywhere O hotéis estavam lotados The hotels were full São José e Santa Maria Saint Joseph and Saint Mary Ficaram desamparados Both were left forsaken

São José disse à senhora Saint Joseph said to the lady Outro recurso não tem I have no other choice Repousaram numa gruta They slept in a grotto

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Alí perto de Belém Near Bethlehem

Naquele santo lugar In that Holy place Cheio de graças e de luz Full of grace and light Sem apôio de ninguém With no support from anyone Nasceu menino Jesus Baby Jesus was born

Mais ou menos zero hora Around midnight Antes do galo cantar Before the rooster sang Nasceu numa manjedoura He was born in a manger Bafejado de animal Under the warm breath of animals

Bateu asas cantou o galo Flapping his wings, the rooster sang Dizendo Cristo nasceu Saying Christ was born Respoundeu Nossa Senhora Answered Our Lady Aquí está o filho meu Here is my Son

O boi perguntou aonde The bull asked where Quero adorar também I also want to adore O carneiro respondeu Answered the sheep Cristo nasceu em Belém Christ was born in Bethlehem

O boi bento bafejava The blessed bull blew a breath Vinha a mula e descobria She-mule uncovered the child Foi por isto maldissuada That is why it was cursed Nunca mais há de dar cria It will never have babies

Dando exemplo para o mundo Setting an example for the world

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Nosso Pai da salvação Our Father of salvation Nasceu numa manjedoura He was born in a manger Sobre as palinhas do chão On the floor on top of dry grass

São José ajoelhado Saint Joseph on his knees Com seu livro na mão With his book in hands Em louvor ao nascimento In laudation to the birth Rezava uma oração He was praying

Deus menino ali nasceu God as child there was born Veio ao mundo trazer luz He came to bring light to the world Louvamos com alegria I pray with happiness Nosso querido Jesus Our dear Jesus

Os pastores das ovelhas The shepherds Foram os primeiros a chegar Ire the first to visit Ost Três foram avisados The Three Ire announced Também vieram adorar They also came to visit

A vinte e cinco de Março On March 25th O anjo anunciou Maria An angel announced to Mary Vinte e cinco de Dezembro On December 25th Foi nascido o Rei Mesias He was born, the King Messiah

Encerramos com um viva I conclude with a cheer Todos com muita alegria Everyone in contentement Viva Deus primeiramente Hurrah to God first

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São José e Santa Maria Saint Joseph and Saint Mary

51. Viagem e adoração The trip and adoration Em nome dos Três Reis santos In the name of the Three Holy Kings E a linda estrela da guia and the beautiful guiding star Cantaremos em louvor We will sing with glory Filho da Virgem Maria Son of the Virgin Mary

Conforme foi anunciado As it was announced Nas sagradas profecias In the sacred prophecies Em Belém nasceu um cravo He was born in Bethlehem Com nome de Mesias A carnation with the name Messiah

Na noite que Deus nasceu On the night God was born La pras bandas do oriente Towards the Orient Apareceu uma estrela A star appeared Muito linda e diferente Beautiful and different

Os Três Reis quando visitaram The Three Kings, when the visited Tiveram grande alegria Were immensly satisfied Disseram Cristo nasceu They said Christ was born Viva o filho da Maria Hurrah for the Son of Marry

Os Três Reis se reuniram The Three Kings met E combinaram de viajar And agreed to travel Deus menino foi nascido God as child was born Então vamos adorar Lets us adore him

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Arriaram três camelos They mounted the camels Viajaram no mesmo dia And travelled that very day Com destino pra Belém The destiny was Bethlehem Ver o filho de Maria To see the son of Mary

Os Três Reis reclamava The Three Kings lamented Que o caminho não sabia Not knowing the way Mais eles foram guiados Though they were guided Pela estrela da guia By the guiding star

Chegando em Jerusalém Upon thier arrival in Jerusalem A estrela se escondeu The star dissapeared Ficaram todos confusos They became confused Aonde Cristo nasceu About where Christ was born

Foram à casa de Heródes They went to Herod’s home Dono do grande reinado The ruler of a big kingdom Perguntaram do caminho They asked the way Aonde Deus era amado To where God was loved

Heródes o rei cruel Herod the cruel king Sendo perverso e malino Perverse and evil Perguntou para os Três Reis Asked the Three Kings Como era o seu destino What is your destiny

Nós viemos do Oriente I came from the Orient Um deles respondeu One of them replied Procuramos na Judéia I look in your kingdom

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O grande rei dos Judeus For the great King of the Jews

Fingindo ser bom amigo Pretending to be a friend O rei perverso e malvado The perverse and evil king Com uma ordem secreta With a secret order Mandou juntos dois soldado Sent two soldiers with them

Para os soldados bem oculto For the hidden soldiers Ordenou or rei Judeu The Jewish king ordered Que degolace o menino To decapitate the child O rei do mundo sou eu I am the world’s King

Se encontrar tal menino If you find such a child Para aquí quando voltar Stop here on your way back Eu quero ficar sabendo I also want to know Também irei adorar I will also adore him

Na saída da cidade At the city’s exit A estrela apareceu The star reappeared Com seu brilho indicava With its shine indicated Aonde Cristo nasceu Where Christ was born

Foi chegando os Três Reis The Three Kings approached Todos Três com devoção All of them with devotion Adoraram Deus menino They adored baby Jesus De mais limpo coração With an open heart

Ao ver a simplicidade When they saw the simple scene

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Os soldados comoveram The soldiers were touched A ordem dos rei cruel The order from the cruel king Todos dois se esqueceu The two of them forgot

Todos dois ajuelhou Both of them on their knees A Deus pediram perdão They asked God for forgiveness Eles foram perdoados They were blessed E ganharam salvação And gained salvation

Os Três Reis do Oriente The Three Kings from the Orient Que la foram adorar Went to adore Him Rei Gaspar e Merchior King Gaspar and Melchior E o senhor Rei Baltazar And King Balthazar

O primeiro levou ouro The first brought gold Para seu trono ourar For the King’s throne O segundo levou incenso The second brought incense Para a missa insensar To burn during mass

O terceiro levou mirra The third brought myrrh Por saber que era mortal To remind him he was mortal Juntos cantaram em louvor Together they sang in exaltation Ao nosso pae celestial To our celestial father

Admiraram de ver They admired Aquele infante Divino The divine infant Coberto de probres panos Covered with poor rags Figurando um peregrino Looking like a pilgrim

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Bem podia ter nascido He could have been born Em lençol de ouro fino In sheets of thin gold Dando exemplo para o mundo But as an example to the world Nasceu pobre Deus menino He was born poor baby Jesus

Sendo dono de um tezouro He owned his own treasure Dono de grande nobreza Owner of great nobility Dando exemplo para o mundo Giving an example to the world Jesus nasceu na pobreza Jesus was born in poverty

Os Três Reis do Oriente The Three Kings from the Orient Por ser santos de alegria Being saints of happiness Pedia licença à Senhora Asked permission of the Lady Pra festerjar esse dia To celebrate this day

A Senhora agradeceu The Lady was thankful A todos com graça e luz To all with grace and light A visita que fizeram For the visit to this Ao seu amado Jesus Beloved child

Retornaram a suas terras They returned to their homeland Na mais perfeita harmonia In perfect harmony Viagem de doze anos A trip of twelve years Eles fez em doze dias They made in twelve days

Santana teve Maria Mary was born from Saint Ann Maria teve Jesus Mary had Jesus Um bonito ramalhete A handsome bouquet

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Pra infeitá a Santa Cruz To adorn the Holy cross

Vinte e cinco de dezembro December 25th Deus menino foi nascido God as child was born No dia seis de Janeiro On January 6th Ele foi reconhecido He was recognized

Viva os Reis do Oriente Hurrah to the Kings of the Orient A a linda Estrela da Guia And the beautiful guiding star E viva os seis de Janeiro Hurrah for January 6th O seu festeja dia His celebrated day

52. Louvação a casa Prayers to the house

Os Três Reis saiu pro mundo The Three Kings departed into the world Começei pra viajar and I started to travel

Alegremente cantando Happily singing Resolveu lhe visitar Decided to visit your home

Ajudei nossa senhora I helped the Our Lady E o divino espírito santo And the divine Holy Spirit

Eu também quero salvar I want to say prayers Quando vi Jesus na cruz When I see Jesus at the cross

No coração de Maria, In Mary’s heart No coração de Jesus In Jesus’ heart

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Viva os quadro da parede Long live the paintings on the wall Cada um em seu lugar Each one at the right place

Viva os dono desta casa Long live the owners to this house Muito nobre familiar Noble and familiar

Recebeu nossa bandeira Received our banner E também a companhia Received our group

Os Três Reis do Oriente The Three Kings from the Orient Abençoai vossa família Bless this family

Deus lhe felicidade God give you happiness Para família reunida To your family together

E pegou nossa bandeira It is holding our banner quero que preste atenção I want you to pay attention

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APPENDIX D – FIELDWORK INTERVIEWS

TAPE TRANSCRIPTIONS AND FIELD WORK INTERVIEWS 1995 – 2000

TAPE 1.1 Entrevista: Professor Sant’anna (Fundador e Diretor do Festival do Folclore)

Alguns grupos não aceitam muito em participar dos eventos fora da época 24 dez-6 Jan. Mas durante o ano comum eles não pedem mais “ósculos”. Trinta e três grupos no total. Apenas algumas oito ou dez aceitam participar no Festival do Folclore. Alguns grupos preferem fazer a festa final em outras datas para não conflitar.

As Igrejas Pentescotais estão de uma certa forma usando o “mandareiro” ou “portador” (aquele que por razão religiosa descobre as residências que não querem receber a bandeira).

Muitos grupos não aceitam o nome folia de reis para não confundirem com folia ou baderna.

W.T. Qual a importância da folia de reis para o Brasil e contexto? Ela é fundamentalmente religiosa, embora folclórica. Especialmente para a religião Cristã. A Igreja não pode se afastar muito do catolicismo popular. O poder da fé! Somente católicos participam da folia. Alguns, por razões sociais, possuem uma bi- religiosidade tal como o espiritismo.

Ouro, incenso, e mirra. O numero é mais associado aos presentes. Uns magos . . . poderiam ser vários. Gaspar, Baltazar (Preto), Belchior (Brechó). A tradição que são três é criação popular. Três magos pelo número de presentes.

Os membros são movidos pela fé, crença, querem homenagear o nascimento de Jesus. O presépio foi inventado durante São Fancisco de Assis. Em cada país ele foi adaptado para cada país que adotou. Feito de arame, açucar, papel.

A folia de reis venera o presépio. O chefe da folia louva o presépio e vai louvando parte por parte do presépio. A vaca, as pessoas, a palha. Para Igreja popular isto é enfatizador para a fé cristã.

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A existência da companhia é sempre o mesmo, mas o método de como chegar la é diferente.

A saída da peregrinação. A chegada numa casa. O louvor. Os devotos. As danças dos palhaços (marmelada / goiabada). A chegada.

Tradição oral – aprendem por imitação.

A folia é do oriente e foi levada a peninsula ibérica e de Portugal ela veio para o Brasil. E veio através da Igreja católica. A Igreja apoiava bastante, quando o ritual era para o florecimento da Igreja.

Em Olímpia a folia chegou por Minas gerais. A terra foi desbravada. A primeira folia de reis ainda data do secúlo passado, final de 1800.

1.2 Entrevista com Maria Miranda (sobrinha do Mestre da Folia Miranda) Meus tataravós. Meu avô tinha fazenda. Entre 30 de dezembro e 6 de Janeiro a peregrinação. Santo Reis para nós e milagroso. Os avós são mineiros – influência mineira.

1.3 Entrevista: Antonio Aparecido de Miranda Contrato é a função. Mestre (embaixador): Quem comanda a companhia. Chega na casa, ele canta e nós respondemos. Toca viola

Contra-mestre: Toca Violão. Puxa o que o mestre cantou. Ajudante: Viola

Quarta Voz

Quinta Voz

Contrato: (tambem contratero): Quando o mestre acaba de cantar eu vou e canto por cima. Nos criamos este estilo.

Tala (sétima voz)

Nos foram revelando os familiares. Os pais passam para os filhos. A nossa família vai morrer em nós. Não temos descendentes para darmos continuidade.

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Não participamos do folclore. Os grupos de folia de reis são mal prestigiados. O público não tem interesse. O povo rural participa e apoia melhor. Participamos mais por obrigaçao. Uma seria de fatores nos inibe.

Nossa região são os estilos baianos. Folia baiana só canta mestre e contra-mestre, duas flautas, e bumbo.

Antigamente a afinação era chamada de “atravessada”. No passado eles cantavam bem, mas hoje os instrumentos são melhores. Eu acho que a folia surgiu na Itália. O nosso mestre pode lhe dar uma melhor orientação. Eu acho que o Belchior que é preto. A companhia de reis é um grupo folclórico autêntico.

1.4 Entrevista: Companhia de Santo Reis Estrela da Guia – Capitão José Francisco Ferreira da Vila Santa Efigênia.

Com onze componentes. O importante não é o numero de pessoas mas é verdadeira. Os meus componentes me ajudam a cumprir a minha. Eu fiz a minha promessa por nove anos. E prometi que enquanto vida eu tivesse eu rezava um terço. O mestre é Deus, mas sou eu quem canto. Pandeiro, caixa, viola, violão, chocalho. Na época nós ensaiamos dois ou três dias antes. Nos escrevemos as próprias letras. Cada casa ou cada pessoa que pega na bandeira é um repertório uma história diferente, casa santo que chega numa casa no momento. Cria uma música para cada pessoa. Tá no sangue!!

1.5 Entrevista: Companhia de Reis Santos – Adelício Paula dos Santos Nome dos familiares : todos Santos. Alguns dias temos dez, ou oito. Nossa companhia é mais mineira, mas cantamos outros rítmos. Viola, violão, cavaquinho, caixa. Não precisamos de ensaio por que fomos criados juntos. W.T. Porque a Companhia? Para nós a companhia de Reis é devoção. No começo a nossa companhia foi promessa. Depois que você entrar na Companhia de Reis você não consegue mais sair. Eu escuto uma toada, e uma coisa começa a me puxar. Para mim a folia é uma fé, Eu me sinto bem. Não da mais para largar nem que nós quizermos.

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TAPE 2.1 Entrevista: Rothschild Mathias Netto (Professor de Matemática, Escritor e Colaborador do Folclore)

O seu pai era um violinista completo [Nelson Tremura]. Quando a música é bonita eu aprecio mesmo. Eu sempre ajudei a fazer, organizar. Mas eu mesmo não conheço. O Sant’anna é que realmente sabe e tem muito escrito. Eu não entendo nada do assunto. O Folclore (a festa nossa) só tem melhorado.

W.T. Qual a função da festa para o povo de Olímpia? É tão importante que passou a ser uma atração turística. As cidades da região já sabem. Todos se preparam para vir para cá. Toda cidade participa do evento. Há algum tempo atrás eu disse que estava faltando o forró. O Sant’anna nem disse sim, nem disse não. Eu no ano seguinte fiquei sabendo que agora nós temos um forró que ele organizou e agora esta com nós permanentemente. O forró deu certo.

W.T. E as folias de reis? Elas já estão preservadas. Em Parati existem folias desde o tempo do Brasil colônia. Em Minas também.

W.T. Você já leu sobre as origens da folia? Recorda de algum livro. Você conhece Câmara Cascudo. Este aqui é um jornal do Rio (Parati). Nestes lugares a folia existe muito forte. Mas eu tenho impressão de que aqui ainda existem mais. Talvez o folclore seja o fator importante para manter as folias na região. O Sant’anna colocou o festival aqui.

A Cidinha Manzoli organiza e estimula os rapazes das classes mais alta da sociedade. Por isso todos aqui cultivam o folclore. Hoje a sociedade inteira, todos participam. Mas como sabe isto foi criado para as classes menos favorecidas. Quem não participa diretamente, vem assistir. Antigamente eu participava mais diretamente do festival.

Entrevista: Orlando Rodrigues da Costa - grupo Bumba Meu Boi. Composto por estudantes universitarios. O grupo parafolclórico e um grupo de projeção. Este é um grupo montado para espetáculos (semi-folclórico). Usa os temos mais originais. Os universitários. Na folia de reis não acontece. O que acontece são pessoas do povo. Fazem por acreditar. Passa de pai para filho. São pessoas simples do povo.

W.T. Fora do festival como as pessoas vêem as folias de reis? As pessoas não dão o devido valor. As folias fazem as visitas na periferia. Ali eles encontram uma melhor acolhida, em função da humildade da simplicidade. Ou você recebe a folia dentro de casa. Ou passa a bandeira dentro de casa. E oferece alimentos.

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No sítio eles oferecem galinha e porco.

2.2 Entrevista: Folia de Reis Miranda – Jesus Francisco de Miranda, Luis Batista de Carvalho Sobrinho, Luis de Miranda, Antonio Aparecido de Miranda, Marcio Reis Carvalho

Este ano nós estamos querendo fazer uma festa na fazenda do meu avô. Nos começamos por ali. Eu vou fazer mesmo. Chamar a rede globo para gravar.

Geralmente nós saimos dia primeiro do ano. W.T. Quem coordena? As vezes é o irmão dele, as vezes ele! Entre eu o Toninho e o Luizinho.

W.T. Qual a função dos membros? Festeiro: Por exemplo este ano você vai ser festeiro (o que dá a festa). Vamos na casa do festeiro fazer a tirada da bandeira de sua casa. Gerente: retira as prendas e marca o almoço. Por volta de meio dia retira a bandeira e sai pelas fazendas.

W.T. E os palhaços? Pessoas que nasceram para o dom para aquilo. Nós temos dois palhaços muito inteligentes que conhecem os Reis e sabem tanto quanto os mestrês. A função dos palhaços : eles são os vigilantes da bandeira (nossa senhora/o menino Jesus/nosso). Eles chegam para representar a companhia! O palhaço diz: Alô alô patrão o senhor aceita a bandeira? E a companhia o senhor aceita? Para quem o senhor quer que cante. Não só a bandeira, ou somente alguns membros dentro de casa. As vezes sim quando tem promessa para cumprir. O palhaço também tem seus momentos de brincadeira dentro de casa. Aqui na nossa região as pessoas não entendem tão bem. No passado as pessoas prendiam os palhaços dentro do quarto. As vezes eles podem pedir para o palhaço dançar: se você dançar uma recompensa é dada! O palhaço tambem tem a missão de: O palhaço tem que olhar, o palhaço tem que olhar se tem um presépio dentro da casa, tirar a máscara e entrar de joelho. Dizem que quando os três reis santos foram visitar o menino Deus. Naquela época sabia que existia um Rei. Heródes procurou pelo menino Deus. Os três Reis foram as três primeiras visitas. Eles vieram de muitos caminhos. Os três reis para disfarçarem, para não serem perseguidos disfarçaram e até fizeram brincadeiras para as crianças. Naquela houve até houve a matança de criança. Os palhaços são boas pessoas sim!! A roupa dos palhaços são feitas por eles. Quando entramos na casa de um falecido ele entre e tira a máscara.

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Saimos por seis dias. Nós temos outras pessoas que ajudam. Se nós fizermos os seis dias não aguentamos.

W.T. E a sua letra? Os versos são na maioria improvisados. Depende do jeito das pessoas falarem ele (mestre) nos canta uma nova toada.

W.T. E a Igreja? Antigamente não era muito bem visto. Alguns padres gostam outros não. Em Poloni o próprio da cidade não aceita. Ele diz que os três reis não são Santos. O Bispo também disse que não considerava. Na cabeça do povo eles são. “A voz do povo é a voz de Deus” Eles podem até (os reis) não serem, mas para o povo é sim.

Na nossa companhia nos não tomamos bebida alcólica. Chega o mês de Janeiro, a situação esta tão difícil que um qualquer pode pegar a bandeira ir até sua casa e pedir esmola ... conta histório do bêbado que saiu com a bandeira só para pedir dinheiro.

Tenho (Antonio Miranda) duas bandeiras guardadas, é da nossa família. Qualquer um da família pode vir e pegar quando quiser.

Nós não fazemos mais de seis dias porque já é tão pessado. Antigamente andavam a pé e a cavalo. Antigamente tinham muitas colonias.

W.T. E as oferendas? Quem recebe é o gerente que depois vai para o festeiro. Nós nem vemos a cor do dinheiro. Ainda no sítio lhe dão uma leitoa, um frango. Aqui na cidade não tem condições. No sítio é muito melhor nós somos melhor recebidos.

Quando a bandeira chega numa casa. Se o dono da casa quiser que cante para dez pessoas temos que cantar para todos.

Nossa família veio de Portugal e foram para Itajubá, Minas Gerais. Quando nós vamos em Colonia nós vemos de 20 a 30 companhias. Cada um tem seu estilo. A região de São José do Rio Preto, toca mais o estilo Paulista.

W.T. O que levam vocês serem foliões? Já vem desde meu bisavô. Eu estou com 85, desde meu avô, quando tinha 10 anos eu saia com meu avô ... 1- Cumprir a promessa! Neste exemplo a promessa era se passar por morta com o manto por cima e quatro velas acesas, e todos deveriam passar por cima.

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2- Estas três crianças são de santo reis, quando acabamos de cantar as três crianças ela disse: eu dei para Santo Reis.

3- Um momento esta acabando de nascer uma criança, mas não vai embora não. Pedi para entrarem e quere que cantem para mim. A mulher deu a luz naquele instante e pediu para que cantassemos naquele minuto.

[Escutam música caipira gravada] Cantaremos poucos versos. Toninho Faz Mestre, e você responde (falando para Jesus Miranda) ... eu faço a tala! [Abrindo um caderno com versos de tirada de bandeira]. Estes versos eu coletei de meu pai [Toninho]. [discutem quem canta qual voz].

Rítmo Peditório 2.3 Tirada De Bandeira Ai caminhamos caminhamos ai, ai Pra a Visita de Belém Ai a Visita de Belém (refrain).

Para visitar o Menino Deus Que a Virgem Maria tem Ai pra mim visitar o Menino Deus Que a Virgem Maria tem

Ai os Três Reis estão chegando ai,ai No dia 6 de Janeiro Ai os Três Reis estão chegando ai, ai

Ai ai vem Saudar o cidadão Um viva ao festeiro Ai vem saudados a família Um viva ao festeiro

Rítmo de Agradecimento 2.4 Saudar - Agradecer Vamos agradecer oferta Que nóis deu de coração

Nossa Senhora me ajuda, oi la ra São Mateus, São Sebastião, oi la, ra No nossa senhora me ajude ai, ai, ai

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Nesta hora de alegria oi, ai Nesta hora de alegria ai, ai, oi

Os três reis do oriente, ai, ai,ai Vem saudar sua família, oi, la, ra Vem saudar sua família, ai, oi ,ai

Os três reis do Oriente eles vem lhe visitar Os três reis do Oriente, eles vem lhe visitar

2.5 Rítmo de Agradecimento O senhor dono da casa escutai (escuitai) o meu cantar O senhor dono da casa escutai o meu cantar

Os três reis que lhe protejam em todo lugar que andar Os três reis que lhe protejam em todo lugar que esta

2.6 Cantar ao Falecido Ai agora vamos cantar ai,ai,ai Ao irmão desencarnado Ao irmão desencarnado

Desencarnou e foi pro ceu O seu tempo foi chegando O seu tempo foi chegando

Oi para cantar pro falecido Pois o seu joelho no chão Pois os seu joelho no chão

O meu nobre vigilante Oi Vem cumprir sua missão Oi vem cumprir sua missão

A vela representativa E o pano preto no caixão O pano preto no caixão

Hoje esta junto de Deus Esta la no reino sagrado Esta la no reino sagrado

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2.6 Ave Maria Ave Maria cheia de graça O Senhor e convosco bendito sois Entre as mulheres bendito e o fruto De vosso ventre nasceu Jesus

Glória seja o Pai, glória seja o filho Glória Espírito Santo, Seu amor também Ele é um só Deus. E tem sua estrêla Agora e sempre. Sempre amén

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TAPE 3.1 Entrevista: Professor José Sant’anna A miscigenação ela veio como contribuição Européia. Aqui no Brasil ela se miscigenou. Mas ela veio mesmo do oriente, (Jerusalem – daquela parte da Arabia)

Caminho de Tiberia, onde Jesus Cristo passou a infância. Caminho que levava a Jerusalem. Depois com 12 anos ele desaparece da história. E com 33 anos ele aparece novamente. Praticamente volta para morrer na cruz como bandido.

Sincretismo. A cultura do índio aqui, a cultura portuguesa que estava chegando, e o substrato Africano. O negro veio, sofria de muita saudade, morria de banzo. Estes três se ajuntaram. Na folia de reis o índio não teve muita participação porque realmente nunca adotou a religião cristã. Eles adoravam seus próprios deuses. Eles eram mais rebeldes. Eles adoravam o sol, a lua, os animais selvagens ... Isto ai é a nossa cultura.

E agora uma coisa pior que esta balançando a nossa cultura. O diabo, que começou a modificar. Ele começou a influenciar na cultura brasileira. A interpenetração estrangeira.

A idade bíblica ... o rei Heródes mandou mandar as crianças de dois anos para baixo, e mandou matar entre elas o menino Jesus. Diz que a primeira visita que o menino Jesus teve foram dos Reis Magos, não é possível ser verdadeiro isto. Porque eles chegaram na Manjedoura, no presépio de Jesus depois de dois anos do nascimento de Jesus. Razão pela qual Heródes determinou que matassam as crianças com menos de dois anos. Para o povo comum nada mais certo do que ouvir a voz do mais experiente. Geralmente os mais velhos são exemplos de sabedoria . . . aquele que sabe tudo. No folclore aquele que envelhece normalmente e não sendo louca, tudo o que ele fala é lei, é sabedoria.

W.T. Onde poderia encontrar livros ou matérias sobre as chegadas das folias de reis no Brasil? Amadeu Amaral (Festas e Tradições); A folia aqui para nós é do século XVI.. As datas exatas nunca serão encontradas, isto só podera ser oferecido a você através da literatura dos viajantes. Os viajantes é que costumavam a se referir aos folguedos, festas religiosas, o ciclo de natal. Quem mais auxiliou o Brasil nestas pesquisas foram os Franceses.

3.2 Entrevista com Sebastião Hostálio Togneri Já fazem trinta anos que estou com a folia. W.T. De onde é sua folia de Reis? Esta é chamada de folia de Reis da Vila Sizoto e também companhia de Reis Fernandes. Celso Fernandes é o meu sogro. Ela já existe há trinta e um ano. Ela começou com uma promessa que meu sogro fez pedindo para os santos reis.

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“Ele tinha um menino dele que estava muito doente da cabeça, estava com um tumor. Então o médico na época, a trinta anos atrás a medicina não alcançava, então ele fez um pedido aos três reis santos se este menino curasse e ficasse bom; durante sete anos ele sairia com a folia de santos reis. E o que fosse arrecadado seria revertido para uma festa para a população. Depois de sete anos, teve sempre uma família que pede para cumprir a promessa da família, assim vai indo … assim passaram trinta e um anos.

W.T. Onde vocês se apresentam? Nós saimos dia 25 de dezembro ao meio dia e voltamos no dia de reis ao meio dia. Nossa companhia sai direto. Não batemos a cidade . . só saimos para a lavoura, na roça. Nós pousamos no campo, almoçamos, jantamos e só voltamos dia 6 de Janeiro. Nos dias que vamos para o campo, nós não cortamos a barba, não penteamos o cabelo, com a roupa que sai nós chegamos, as vezes não tomamos banho. Quando retornamos fazemos a festa de santos reis. O dinheiro e todo produto que arrecadamos é revertido para esta festa. Se o dia 6 cai num sabado nós fazemos a festa no sabado seguinte. Quando voltamos fazemos a festa final.

W.T. Qual é sua função? Sou um quebra-galho. Onde precisam eles me encaixam. Sou um dos mais velhos, onde falta um eu estou ali. A nossa companhia é mineira. Temos mestre (viola), contra-mestre (viola), contralto (violão), ajudante (violão), a quarta voz (cavaquino), a quinta voz (pandeiro), a requinta, (sexta voz ou tala) faz a ultima voz e bate caixa. Nos temos dois palhaços. O número de palhaços depende muito de cada companhia. Temos o bandeireiro e o macuco . . o mensageiro é o que mais sofre, arruma pouso, boia, carrega o frango, ele é sempre o primeiro a ser servido, porque é o que sofre mais. Apresentamos sempre nas fazendas. No ínicio nós saíamos a pé. Nas fazendas no passado 30 anos atras haviam colonias. Hoje andamos 5 a 10 kilometros. Nós vamos em 11 pessoas e hoje usamos Perua Kombi.

W.T. Qual a função do palhaço? Eles são os protetores da bandeira. Por exemplo, vem de uma lenda (uma brincadeira). Exemplo: Se uma pessoa pegar a bandeira e entrar dentro de casa sem o palhaço saber o palhaço será obrigado a fazer o que esta pessoa quiser. Por exemplo: imitar um gato, cachorro, macaco, trepar no telhado, se esconder dentro do quarto. Eles também tem outra função no nascimento de Jesus. Eles são os pastores que se disfarçaram de palhaço no dia do nascimento de Jesus para avisar São José que o Rei Heródes queria matar o menino. Eles disfarçaram para não serem detectados por Heródes e aconselharam para fugir para o Egito.

W.T. E soldados de Heródes? Se eles fossem soldados de Heródes eles não iriam acompanhar o menino Deus.

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W.T. E as Espadas? As espadas eram armas que existiam na época.

W.T. E as danças? São ensaiadas. A dança goiabada, marmelada; cruzada de espada no chão. Também não pode deixar tomar o facão. Para ser palhaço tem que também estudar a bíblia. Se numa companhia tiver um palhaço e um mestre que estudou a bíblia. Em lugar algum eles serão parados ou presos. A função dele é abrir caminho para o menino Deus passar para a companhia passar. Menino Deus, Nossa senhora, e São José estão na bandeira. O mestre é aquele que tem estudo, não necessariamente o mais velho. O que manda é a dedicação. O mestre faz o verso improvisado, ele é quem cria o verso e faz a trova (rimado). O contra-mestre responde o mesmo verso. Aí entram as outras vozes onde todos terminam juntos. O mestre esta criandosempre onde sempre são improvisados.

W.T. Onde os músicos aprenderam tocar os instrumentos? Todos aprenderam tocar sózinho.

W.T. E os rítmos? Rítmo de entrada, rítmo de pedido para pedir a oferta, ritmo de louvação, de agradecimento, rítmo de despedida. Os rítmos são diferentes e a poesia sempre improvisada.

W.T. Existe alguma ordem? O mestre sempre fica do lado direito da bandeira. A bandereira não canta. O dono da casa pega a bandeira. O palhaço e mestre estão ao lado esquerdo da bandeira. E do lado direito estão o segundo palhaço e o contra-mestre. Os principais ficam do lado direito. Explicando a ordem dos membros na folia de acordo com o grau de importância . . . .

W.T. Como vocês sabem se existe algum problema de música. Quando existe o erro as pessoas olham para ele, e ele já sabe que foi ele. Ele continua tocando e tenta acertar o que esta cantando errado. As vezes acontece que um instrumento quebra a corda e nós mostramos por sinais.

W.T. Os membros são Católicos? Sim, são Católicos. Na nossa companhia, na hora de sair não bebem. No dia 25 eles chegam no meu sogro pela manhã e o meu sogro não dá bebida a eles. Agora na Janta, se algum vier oferecer, o meu sogro é responsavel em distribuir qualquer bebida. Algumas companhias aconteceu de chegarem numa casa e não conseguirem louvar o presépio.

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W.T. E a afinação dos instrumentos, São iguais ao passado? A mesma coisa, a viola é afinada cebolão (Mi Maior) ou atravessado (Sol Maior).

W.T. Qual a diferença das folias mineira, paulista, baiana. Porque chama-se Mineira? A língua, o modo de expressar. A mineira é um palavreado mais comum, o paulista mais aperfeiçoado, o baiano é mais arrastado, e o rítmo é diferente, é um ritmo mais rápido que o mineiro. Só tem mestre, contra-mestre e as flautas, mais é ritmo de instrumentos. O Paulista é um rítmo médio e é quase igual ao Paulista, O mineiro é mais simples. Paulista: Mané, pois é.

W.T. Vocês vão se apresentar no folclore? Nossa companhia não precisa de ensaio. Vai ser construida uma Igreja de Santo Reis aqui em Severinia. Nós so tocamos no período de Reis. Algumas vezes uma pessoa pede para cumprir uma promessa. As vezes cantamos até dia 20 de Janeiro, dia de São Sebastião. W.T. Quanto tempo vocês ficam em cada casa?

Depende do número de pessoas. Gastamos mais ou menos 10 minutos em cada pessoa. Quando encontra presépio aí passa a tarde inteiraAs vezes passamos o dia inteiro, ou a tarde inteira. Na casa da fazendeira Dona Sirlei, passamos la três dias. Ela nos dá duas vacas, as vezes nos dão dinheiro.

W.T. E a origem da Companhia de Reis? A Origem é dos Três Reis Santos. Baltazar, Gaspar e Brechó. Baltazar é preto. Eles foram os primeiros que foram visitar o menino Deus. Foram guiados pela estrela matutina, onde eles passavam eles avisavam as pessoas que seguiam ele. Ai foi muita gente foram com eles. Por isso nós seguimos os três reis santos.

W.T. E a tradição vem de onde? Pelo que eu sei veio da Italia.

W.T. E as máscaras do palhaço? Eles fazem para as pessoas não saberem quem são eles que estao ali. Alguns fazem de couro, outros de palha. Passam isto de pai para filho.

W.T. E os instrumentos ? Os principais são a viola e o violão. Precisa deles para pegar a altura.

W.T. E o nome Marmelada de onde vem? Vem do doce, vem da fruta.

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W.T. A folia de reis tem uma caracteristica de brincadeira? A marmelada só é feita depois que as obrigações são feitas. Depois que acabou a obrigação religiosa ele passa a divertir a familia. o dono da casa pode pedir para o palhaço dançar.

W.T. A folia mudou nos últimos 30 anos? Não mudou muito, apenas mudou um pouco a letra. Mudamos um pouco o rítmo para não ficar monótono. Só ensaiamos quando tem alguma musica diferente. Quando cançamos para um falecido a caixa e o pandeiro não tocam por que são instrumentos regateiros. Se alguem pedir para louvar um falecido nos vamos e louvamos sem caixa. O mestre começa a cantar a toada mais lenta de falecido. Durante a cerimônia o mestre pede para o palhaço colocar a oferta numa cera colada na ponta do facão. Aí passa esta oferta para o segundo palhaço. Ai não tem agradecimento, nesta situação você esta louvando o falecido. Não pega com a mão porque, dizem que não é bom! Alferes é termo mineiro e bandeireiro é termo paulista. A folia mineira é a mais antiga e começou antes da paulista. Ela desceu de Minas. Algumas vieram de Passos. Outras são de Uberlândia. Aqui tambem temos algumas que são Baianas.

W.T. E ainda existem duelos? Não agora não. Tinham mestrês no passado que queriam desafiar. Agora isto ja acabou. Todo ano encontramos uma folia da fazenda Baculerê, é uma festa. Nos convidamos ele para nossa festa, eles aparecem e contam na nossa festa.

W.T. E se o dono da casa não quiser receber? Apenas vamos embora? Agora se cantarmos no vizinho da frente nos não voltamos mais. Fazemos um giro e não podemos voltar para tras. Se tiver oferta nos cantamos, se não cantamos do mesmo jeito.

W.T. O que precisa para ser folião? Precisa ter muita fé em Santo Reis? Olhando se percebe que a pessoa tem fé, quando canta, quando passa a bandeira. E gostar da coisa.

W.T. E a bandeira escoteira? Por exemplo vou fazer uma promessa. Naquele não consigo folião. Ai pego a bandeira sózinho e vou visitando as casas. Não canto, mas a dona da casa passa a bandeira dentro de casa.

W.T. Quem recebe a oferta? So o palhaço mestre recebe oferta na nossa companhia. Porque ele é que administra as finanças. O macuco nunca recebe. O mais alto é o Baltazar, o menor é o Brechó, o

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terceiro é o Terceiro. Na nossa companhia vai durar por muito tempo, porque esta agora com meus filhos, meus cunhados, as mulheres tambem cantam e participam. Tem mulher que canta mesmo.

W.T. E as roupas? Roupa coum. Só o palhaço sai com a farda. Também fazemos homenagem a São Sebastião, apenas não tem palhaço o resto é tudo igual.

3.3 Entrevista: Iseh Bueno de Camargo (Profesora e Coordenadora do Festival) W.T. Alguma alteração na folia de reis de hoje. O palhaço antigamente era o que atraia a criançada. Eles permitiam que a pessoa brincasse. Hoje ela s e tornou mais seria e o palhaço não brinca como antigamente.

W.T. E a folia de reis? Ela esta mais envolvida com a classe mais pobre. As pessoas em geral sabem da época, até colocam dinheiro na bandeira.

3.4 Entrevista: Companhia de Reis Magos do Oriente – Antônio Miguel Alves (mestre Tunim) Folia do Pacífico.

W.T. Há quanto tempo existe? Administração é minha mesma. Eu sou gerente. O macuco é outro, aquele que carrega cesta, frango. O encargo do gerente é outro, ele representa a companhia. Ele é empresario. Ele é o cabeça.

W.T. Na companhia de vocês como funciona? A minha companhia é Baiana. Eu sou mestre e toco com pandeiro, meu irmão canta com outro pandeiro e é a contra-mestre. Depois tem dois gateiros (flauta), depois tem bumbeiro e caxeiro. Os outros so acompanham. Nos somos assim: O flauteiro traz o rítmo da a toada ou melodia, a segunda voz sou eu quem faço cantando. Quando eu arrematar a flauta vem de novo, seguidos do bumbo e a caixa, depois cavaquinho e outros. Quem puxa o reis são eles. Temos dois palhaços. Eu ja sou mestre a muitos anos, comecei em Cajobi. O Pacífico é muito amigo da gente e falou. Você quer ser o mestre de minha companhia e nos formamos o grupo. Nos estamos aqui na vila São José. Somos 19 membros mas cada um tem sua posição. 1 Mestre e 1 contra-mestre, 1 Viola, 1 violão, 1 bumbeiro, 1 caixeiro, 2 gaiteiro, 1 triângulo, 1 pandeiro, 1 cavaquinho, 1 reco-reco, 1 bandeireiro, 2 palhaço, 1 gerente. Nós ensaimos. Companhia que é responsavel tem que ter ensaio. Companhia mal organizada não tem ensaio. Quando eu chegar numa família eu tenho que chegar afinado Na hora não falam nada. Se eu não cantar direito eles vão falar depois. A companhia bem afinada você tem prazer de chegar.

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W.T. Quando vocês tocam? Começamos mais ou menos no dia 20 de janeiro e dia 6 de janeiro termina. Agora algumas vezes convidam para fazer uma chegada. Agora em agosto é tradiçao todo ano nos saimos no desfile. Eles nos procuram para participar.

W.T. Na época de reis onde vocês saem? Nos saimos mais aqui no bairro.

W.T. E os palhaços? Eles não cantam, mas falam o viva. Tem capacidade para falar. Eles são muito importantes. Agora alguns palhaços não sabem o peso de uma farda. Um palhaço para ser fardado tem que saber igual ao mestre. Ele é o mestre da bandeira. Por exemplo: depois que eu saio da casa o palhaço é que tem que guardar a bandeira. O palhaço as vezes é chamado de Bastião, de pastor, de soldado da bandeira, fardado da bandeira.

W.T. Qual a função do palhaço na tua companhia? Ele é dirigente da bandeira, ele esta sempre na frente. Ele que vai te consultar se você quer a bandeira. Ele chegando na sua casa e pedir licença ai pode. Ele tem que respeitar o máximo.

W.T. Qual a função do gerente na companhia de reis? Acaba sendo mais pesado. Por exemplo alguma coisa dar errado os pepinos sobram para ele. Ele é responsavel por escolher os membros que vão viajar.

W.T. Como são criados os textos? Eu ja tenho tudo decor. Quem criou foi um mestre maior do que eu que criou e me deu as cópias. Todos anos eu canto o mesmo nascimento. O nascimento do menino Jesus é um só. Muitos versos tem que bater com o nascimento.

Deus te salve casa Santa Onde Deus fez a morada Onde mora o Calix bento E a hostia consagrada

O galo crista de serra Bateu asas anunciou Que nasceu Jesus Menino Que é o nosso Salvador

Quando foi naquela hora Veio um anjo e anunciou

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Anunciando o Deus menino Que é o nosso redentor

W.T. Quantos versos O nascimenteo tem 25 versos

Arremate: Da cêpa que nasceu da vara da vara nasceu a flor Da flor que nasceu Maria de Maria o Salvador.

W.T. Quandas cantigas vocês têm? Na rua não cantamos nada. Mas quando chegamos anunciamos que a companhia esta chegando. No nascimento eu não posso criar nada. So posso criar numa situação diferente. Mas os versos são inventados nas outras partes da folia.

W.T. Vocês são Católicos? Todos Católicos.

W.T. Vocês conhecem a origem da companhia de reis. Veio logo quando o menino Jesus nasceu. Foi um anuncio que vinha aquele menino no mundo. Quando os reis ficaram sabendo que o menino nasceu eles ficaram sabendo e foram visitar. A nossa festa é realizada na casa do festeiro no dia 6 de Janeiro. O ano passado foi a Maria Gil.

W.T. Porque você é mestre de reis? Por tradição que eu gosto. Sou guiado por eles. Não adianta eu querer . .. é ajuda deles. Igual agora mesmo, com o Festival do Folclore. Quando chegar aquele dia que eu estiver em forma. Ser mestre de reis não é facil, tem que ter um dom de Santo Reis. Uma fé viva com ele. Como eu: eu posso morrer e pintar outro no meu lugar. Mas sempre vem aquela imitação.

W.T. E os estilos? Usamos as coisas do passado. As vezes muda um pouco a ropa. Temos varias toadas de reis.

W.T. E as toadas? Tem toada de entrada, toada de saída. Tem diversos rítmos e toadas.

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TAPE 4.1 Entrevista: Adelis Paula dos Santos e sua folia

Todo ano nós saimos. [Afinando a viola] Primeiro nós vamos ver se sai só para mostrar para você. Ainda está faltando muita gente (violão / caixeiro)

Deus lhe salve casa santa Deus lhe salve casa santa Onde Deus fez a morada, ai Onde Deus fez a morada, ai

Onde mora o Calix Bento Onde mora o Calix Bento E a hóstia consagrada E a hóstia consagrada

Faltou violão falta tudo . . . . o bumbo se ficar muito perto tampa tudo. O macuco é aquele que carrega as prendas.

W.T. Na época de Reis vocês cantam aqui na vila? Nós saímos para todo lado. Para as fazendas e em todo lugar que existe gente e acredita e tem fé e sabe receber. Hoje em dia nós sabemos os lugares que podemos ir. Nós procuramos os lugares onde tem as pessoas com fé e conhece isto aqui.

W.T. Quem vai na frente da folia de vocês? Você quer dizer ajeitar pouso, janta? É o macuco mesmo. O primeiro a entrar na casa é o bandereiro. Se o palhaço e os bandeireiros não entrarem nós não entramos também.

W.T. E a dança dos palhaços? E a folia de vocês é de que origem? Nossa folia é mineira e os palhaços dançam de acordo com a música. Nós cantamos qualquer rítmo mas nós gostamos mais deste aqui ritmo mineira. Família já é Mineira, já é tradição. Gravando …

O Deus salva a casa santa, oi la rai Onde Deus fez a morada oi la rai Ai, ai onde Deus fez a morada oi . . . ai

Onde mora o Calixbento oi la rai E a hostia consagrada ai,ai Ai , ai e a hostia consagrada ai, ai

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25 de Dezembro, oi la, rai, E ficou recordação, oi la, rai Ai, ai e ficou recordação, ai, êh! Ai

E chegou na manjedoura, oi , la, rai E a noite de Natal ai , ai Ai, ai meia noite de Natal

E o nosso Cristo nasceu, ai, oi la rai Vamos todos adorar ,ai la, rai Vamos todos adorar ai, eh

Numa noite enluarada, ai, la, rai Num noite enluarada, ai, eh

E nasceu tão pobrezinho, oi, la, rai No meio da bichara ai, la rai Ne meio da bicharada, ai, eh

Cantei um pedaçinho do verso do nascimento. Do jeito que esta não da para cantar tudo porque esta faltando jente.

W.T. E este rítmo é do que? Rítmo de nascimento para cantar no presépio.

W.T. Existem outros rítmos? Tem mais ligeiro.

Música Quem pegou nossa bandeira . . .

Rítmo baiano Nós cantavamos este rítmo antigamente.

4.2 Toada de Reis (toada de louvação a casa) Os três reis saiu pro mundo começei pra viajar começei pra viajar Os três reis saiu pro mundo começei a viajar começei pra viajar

Alegremente cantando resolveu lhe visitar, resolveu lhe visitar Alegremente cantando resolveu lhe visitar, resolveu lhe visitar

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Ajudei nossa senhora e o divino espírito santo, e o divino espírito santo Ajudei nossa senhora e o divino espírito santo, e o divino espírito santo

Eu também quero salvar quando vi Jesus na cruz quando vi Jesus na cruz Eu também quero salvar quando vi Jesus na cruz quando vi Jesus na cruz

No coração de Maria, no coração de Jesus, no coração de Jesus No coração de Maria, no coração de Jesus, no coração de Jesus

(estão louvando as coisas da casa) Viva os quadro da parede cada um em seu lugar, cada um em seu lugar Viva os quadro da parede cada um em seu lugar, cada um em seu lugar

Viva os dono desta casa, muito nobre familiar, muito nobre familiar Viva os dono desta casa, muito nobre familiar, muito nobre familiar

Recebeu nossa bandeira e também a companhia, e também a companhia Recebeu nossa bandeira e tambem a companhia, e também a companhia

Os Três Reis do Oriente, abençoai vossa família, abençoar vossa família Os Três Reis do Oriente, abençoai vossa família, abençoar vossa família

Deus lhe felicidade para família reunida, pra família reunida Deus lhe felicidade para família reunida, pra família reunida

E pegou nossa bandeira quero que preste atenção, quero que preste atenção E pegou nossa bandeira quero que preste atenção, quero que preste atenção

O baiano não canta com tala e cordão. A resposta eles estão fazendo no lugar das flautas. A música é tipo de uma embaixada a gente vai fazendo na hora.

4.3 Cantar a Despedida em Toada Mineira Meu senhor da casa ouça eu Senhor dono da casa ouça oi Ouça que eu vou falar ai, ai Ouça que eu vou falar ai Eu ei E ei eh

Os Três Reis já vai se embora, ora Os Trê Reis já vai se embora oi Eu vou para Belem ai ai

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Eu vou para Belem eh, eh Eh eh eh

4.4 Entrevista: Afonso Furtado (Pesquisador e Foliólogo) A folia no Estado do Rio de Janeiro. A folia é uma tradiçao mais expressiva. Eu diria que nós temos no Estado do Rio umas 800 folias de reis. A cidade de Valença (munipio vizinho a Rio das Flores). No município de valença existem 40 folias de reis. Talvez seja o municipio brasileiro que tenha o maior número de folias.

Caxias na baixada fluminense tem 27 folias de reis. No estado do Rio se criou a 10 anos atraz a federção do Reisado do Estado. Criada pelo professor Edson Carneiro, grande folclorista brasileiro e irmão do atual senador Nelso Carneiro. Esta federação inicialmente . . . os grupos de folia de reis antigamente eram obrigados a retir licença na polícia para sair e muitas vezes os grupos eram presos. Muitas vezes tinhamos que ir e tira-los da prisão. O trabalho da federação foi um trabalho quase de açao social, finalmente conseguimos tirar a policia do circuito. Hoje as folias tiram um licença com a Secretaria para poderem fazer sua jornada (peregrinação). Somente apartir de 1992 as folias ficaram isentas de falar com polícia, um absurdo!

Eu não tenho e não parece que tenho cara de mestre. Pode ver. . . desde pequeno na minha cidade eu era fascinado pelas manifestações populares. Das manifestações (folia de reis / vaca do carnaval). Eu sai de manha com as folias no tempo de reis, onde morava com minhas irmãs.

O palhaço tinha um poder muito grande de atrair as crianças. Eu e meus amigos com 8 anos de idade fundamos uma folia de reis mirim. Fiz esta folia imitando os adultos. Após anos fui para a capital segui meus estudos e por muitos anos não voltei a minha cidade natal. Trinta anos depois eu comprei uma casa de campo onde tinha nascido. Fiquei extremamente descepicionado . . . e as nossas folias de Reis, Acabaram? Tinhamos belissimas … e citava antigos mestrês … morreram e não passaram a tradição. Eu vou inaugurar minha casa no dia 6 de janeiro. E vou fundar e refundar uma folia de reis. E no dia 6 de Janeiro de 1980 eu refundei aquela folia dos meus sonhos. E esta esta até hoje. Chama-se “Estrela da Redenção” Fiz uma festa, convidei muita gente. Desde esta data até hoje eu promovo la uma reunião. Depois que eu recomeçei outros começaram a se interessar e hoje tem 4 ou 5 folias la.

As folias de reis do Brasil se concentram basicamente em Minas Gerais, Espirito Santo, Rio de Janeiro, São Paulo com uma pequena ramificação no Norte do Paraná e Goiás. E mesmo em cada estado isto varia entre numero de participantes. Como são organizadas,

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musicas e toadas. Mesmo no Estado do Rio Existem muitas variedades dependendo dos elementos culturais onde esta folia se desenvolve. Na minha região as folias de reis trazem na sua batita o rítmo de “calango” que é bastante difundido entre a nossa região. Se a folia sai perto da região da macumba, a batida é da macumba .. . e por aí afora.

No processo de migração da zona rural para a zona urbana. Aconteceu na folia que era essencialmente da zona rural, trazida pelos colonizadores portugueses e aqui recebem principalmente a influência negra. Esta folia que vou mostrar a vocês vem da tradição do mestre Geraldo de Assis Teodoro que já esta a 40 anos e veio de Minas (Muriaé). “Estrela D’alva do Oriente”. Canta rezando, reza cantando. Tem uma batida muito interessante.

W.T. O que a folia hoje traz para o município? Se oberva que a folia nasceu na zona rural, nas grandes fazendas e depois por circunstâncias sócio econômicas ela foi para as grandes periferias urbanas do Rio São Paulo.. . no Rio morro da Mangueira, Madureira. A folia de reis como cultura popular ensejá a primeira opção para o jovem da comunidade buscar o seu ofício sejá como músico, percussionista, como figurinista, enfim quaquer atividade ligada a folia. A folia de reis serve como outras: a ótica religiosa, por ser fundo religioso; a ótica folclórica; e a ótica comunitária, a ótica social. Sem estes três ela não tem função.

W.T. Mascaras de palhaço, qual a sua opinião? A tese mais aceita é que os palhaços representam os saldados de Heródes. Eu particularmente acredito que o palhaço é uma consequencia das manifestações que existiam na Europa durante a idade média. Um grupo defendem a tese de que os palhaços faziam votos ao Diabo. Não existe uma interpretaçao muito certa. Vieram com os colonizadores porque sabe-se que na Espanha e Portugal os Reis Magos eram muito cultuados. E foram mais cultuados com a invasão Moura.

W.T. E as toadas? Nosso mestre improvisa, uma tradição oral. É claro que repetindo o que já aconteceu no passado.

W.T. Quando vocês se apresentam? Normalmente no estado do Rio as folias de reis saem na vespera de natal e vão até o dia 6 celebrando aqueles 12 dias de jornada. Hoje em dia é quase que impossível devido ao trabalho eles só saem nos finais de semana. Algumas folias depois do dia 6 continuam até

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o dia 20 (dia de São Sebastião) e passam a se chamar folia de São Sebastião. Elas mudam a cantoria. Uma outra coisa interessante no Rio é o nome que a comunidade escolhe para batizar aquele grupo de folia de reis. Tem cada nome que são verdadeira jóias. Ex. Estrela da Redenção, a do mestre Teodoro, Estrela D’alva do Oriente. O evangelho de São Mateus é o único que reporta a visita dos Reis Magos. Os magos não somente foram somente guiados, mas a estrela revelou o nascimento. A estrela estava como que passando uma luz guia para eles.

W.T. Quem são os participantes de seu grupo? Eu sou presidente da folia, eu realmente não sei cantar reis. Infelizmente não tenho este dom. Eu conheço alguns cantares, mas sou mesmo o presidente. O mestre reizeiro é quem conduz o espetáculo. Passado um tempo por razões qual eu ficava muito fora eu transformei ela num Reisado. Se ler o Aurélio você notará que reisado são todas as manifestações que ocorrem naquele período. Em outras palavras a folia de reis é um reisado, mas nem todo reisado é uma folia de reis. Por razões e influencias de “Santa Claus” o nascimento de Jesus se tornou mais comércio, assim sendo a festa de natal se tornou mais importante, sendo que a festa de reis é a de família.

W.T. Seus membros são Católicos? No meu reisado (depois da mudança) eu transformei a folia de reis em Reisado. No reisado eu não tenho mais palhaço. Tive que enfrentar problemas administrativos. A folia de reis só me ocupa durante o período de Reis.

Em primeiro, Ha doze anos em 1982 nós fundamos a federação do Rio de Janeiro com a finalidade de resgatar e preservar os grupos. Segundo lugar nós tinhamos que arrumar um lugar para que eles se encontrassem. Um ponto importante: As folias antigamente quando se encontravam era na “base do cacete” Quando se encontravam eram brigas e brigas. Há quarenta anos atrás eles se disputavam entre si. Se uma não cantasse melhor do que outra esta poderia tomar o instrumento, tomar a bandeira. Isto hoje acabou!

Os membros da folia saem por três motivos: devoção promessa farra

Palhaço quer sair para pular. Uma boa folia arrecada um bom dinheiro e o dinheiro do palhaço é separado, e o do mestre. O dinheiro da bandeira vai para umas festas de arremate, uma entrega, que é um ritual muito importante no Rio.

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Sabe-se que depois que os Reis chegaram no Oriente de regresso eles deram um grande banquete para extravassar o que eles encontraram.

W.T. A biblia diz que eles seguiram para outros caminhos. Eles não trairam o menino Jesus enfurecendo Heródes que mandou matar as crianças. Eu tenho em minha casa, na minha rodada pelo mundo. Eu tenho a história contada por outros povos. Na biblía apócrifa existem muitas coisas importantes que devem ser consideradas. Eu tenho um romançe que fala do quarto Rei Mago (Arkeban) não chegou ser reconhecido por que quando ele saiu ele se perdeu no deserto. Eu consegui uma coleção que fala da Igreja Católica e sua influência nos grandes artistas da história. Quase todos os grandes pintores tocaram no problema da adoração. Tenho quadros belíssimos.

W.T. Os Reis Magos não foram Santificados? Muitos sabios não foram santificados pelo Papa e sim pelo povo e por Deus. Estes sábios sairam de seus lugares de origem, caminharam dez noites e dez dias e visitaram e adoraram e deram o que tinham de melhor, basta isto! Os proprios Judeus não deram a ele (com excessão dos pastores).

W.T. Os Reis eram Árabes, sera que não foram discriminados? Na epitáfia da Epifânia mostra justamente o princípio de Jesus que no mundo que não era Judeu. E o maior exemplo disto eram os Reis Magos que não eram Judeus. A Epifânia é a festa da manisfestação de Jesus ao mundo. Para caracterizar esta manifestação de Jesus como grande apóstolo, como redentor, como salvador ao mundo . . . aos Magos que não eram Judeus e foram humildemente ajoelhar e oferecer o que tinham de mais rico.

Uma manifestação servindo como uma porta aberta de oportunidade para a comunidade. O único ofício é o grupo folclórico que serve para que desenvolvam suas abilidades: músicos, artesão, figurinista. O palhaço por exemplo: no estado do Rio desenvolve e interage com as crianças, adultos, crianças, etc. Um chá de rua.

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TAPE 5.1 Companhia de Reis Fernandes – Vila Sizoto (Járdim Paulista)

Companhia de Reis Fernandes. Temos 30 anos. Foi dos meus avós. Celso Fernandes – Mestre (viola) Rubens José de Carvalho – Contra-Mestre (Bin) é de Ribeiro dos Santos (Violão) José Nunes - Ajudante (cavaquinho) Contrato – Tião (Violão) 4 voz – pandeiro – Luis Fernandes 5 voz – pandeiro – Preto Vicente Caixeiro – Natal Jodas Bumbeiro – Osório Batista Rodrigues. Macuqueiro – Paulinho Toguineli (falecido) Afonsinho Rodrigues - Sanfoneiro

W.T. Porque fazem a folia de Reis? Qual a razão? Para cumprir promessa e dar apresentação aos velhos tempos Todos nós temos compromisso com os Santos Reis. Há muitos anos, eu tenho 45 anos só de religião. Promessa é só 5. Até o dia que eu morrer será meu guia, meu defensor, meu guardião. Enquanto eu estiver vivo eu estou com saúde.

Bumbeiro – Eu adoro qualquer parte que me derem para cantar. Dizem que sou profissional. Eu acompanho o ser humano, a cidadania. Há 36 anos sou folião, eu também faço as toadas de São Benedito. Eles me consideram bastante. Quero dar um versinho da primeira música que veio ao mundo

Tião – O motivo maior é a devoção. já nasce com nós, já vem de família. A obrigação de cuidar das coisas antigas. Tudo por devoção.

W.T. Quantos Palhaços? 2 palhaços.

W.T. O que as fotos representam na bandeira. As fotos são promessas que foram cumpridas. Cada fita dessa é uma promessa que fizeram e colocaram na bandeira. As fotos são dos familiares ou amigos que atingiram a promessa.

W.T. É comum colocar fita? Todas companhias colocam fitas. Andamos muito pelo sítio. Casa que paramos e tem uma promessa eles param e colocam uma fita.

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A dona da casa Filha da Virgem Maria Filha da Virgem Maria , ai, ai, ói.

A estreala Dalva Ela é a nossa guia Ela é a nossa guia, ai, ai, ói.

Alferes é o que leva – Aqui nós chamamos rainha da bandeira.

Deus me deu o previlégio de criar uma folia quando eu tinha 8 anos de idade. Nós que somos devotos não podermos esquecer das oportunidades de fazer a nossa deveção aos Santos Reis.

“Eu peço que esta companhia Reis se perpertue levando esta missão dos Santos Reis que foram a Belém adorar o senhor memino, possam também levar esta família, saúde e paz. Eu escolho a fita vermelha, a fita do Espírito Santo, para concretizar este meu desejo. Viva os três Reis Santos!!! Vivá!

Encontremos os Três Reis Santos, ai, ai, ai Vinha a Estrela da glória

Nós no Rio chamamos o Palhaço de Vovô!

Senhora dona da festa, ai, ai, ai . . . Viva os Santos Reis?? Viva!!

Oh Senhor que abençoa . . .

Mestre também é chamado de embaixador.

Toada de Chegada

Toada de Saída Fou fazer a despedida. Como os Reis de Belem.

O Reis já vai se embora Pra voltar ano quem vem. Oi, oi, oi, pra voltar ano que vem.

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Na saída desta casa. Vai deixando os parabéns Vai deixando os parabéns

Vocês que ajudaram Que o vosso protetor Que o vosso protetor, ai,ai, oi.

Chula ou Dança dos Palhaços O palhaço também esta aí para agradar as crianças

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TAPE 6.1 Entrevista: Maria Miranda Acredita que as coisas para folia estão fracassando um pouco. Para ser membro da folia o indivíduo tem que ter raízes. Nunca teve conversa direta com o padre. Na missa dos violeiros que retrata a abertura do festival agradou a todos, teve a presença de diversos grupos folclóricos. O Santo Reis esta no meu sangue! As folias vão na zona rural e também fazem as caminhadas da cidade. Agora usam o automóvel para encurtar as distâncias. Celso, Adelício, Pacífico, Capitão José Ferreira, Sebastião agora trabalha na rodoviária.

6.2 Entrevista: Capitão José Francisco Ferreira É dificil hoje organizar a saída da folia. Ele não pode pagar aos foliões o que a bandeira arrecada. Tem que esperar os momentos para poderem organizar o giro. As datas são escolhidas de acordo com o calendário do trabalho. O folião que não falta na chegada da bandeira. Os membros do grupo tocam os instrumentos musicais da companhia. Folia tem várias origens; Mineira, Paulista, Baiana. A minha por exemplo é registrada na origem Baiana. Mas as vezes muda para Paulista ou para Mineira para descanso. já faz muitos que estou fazendo, esta companhia faz nove anos de uma promessa alcançada . . . Aqui os participantes gostam muito, só que eu não peço pra que eles façam. Fica no coração deles! A coisa sai do coração. Eu hoje estou cumprindo um rítmo de congada, uma vontade que meu pai sempre tevê e não pode. Essa promessa veio la de Goiás. Mais um dia eu quero fazer um terno de congo ou de moçambique. Parece que uma coisa veio puchando a outra. Vi o Professor Sant’anna. Eu já sabia que aqui tinha um alvará. Chegou um dia que ele me convidou para participar do folclore, nós participamos dois anos. Em 73 ele tinha trazido um moço de minas de são paulo. Um moço novo ficou por aqui mais não conseguiu. Aí o Sant’anna me convidou. Fizemos a abertura do nono festival do folclore. Alguns índividuos fazem parte da congada e da folia. A congada é herança do pai. A folia é promessa minha mesmo. Eu toda vida gostei de santo reis, mas eu acho que aquilo era um despropósito. Vê la eu vou ficar com uma bandeira pra cima. Teve um ano que eu e meu irmão la na alta mogiana acompanhamos uns três dias. Depois aqui em Sevirinia, Trabalhadore são rurais, são pedreiros. É difícil pessoas de outra sociedade não participam. Somos todos católicos, muitas vezes tocamos dentro da Igreja.

6.3 Entrevista: João Pacífico e Mestre Antônio Companhia de Reis Magos do Oriente. Estamos saindo desde dia 28 de novembro. Mestre Antônio Alves (pandeiro). Tem mais de vinte elementos. Falei com Dona Jesuína. Na palavra da doutrina dos reis, eles viajaram os três em companhias. Quando os reis viajaram veio um anjo mandado por Deus e avisou o mundo do nascimento de Jesus. Eles ficarem alertos, depois e que descobriram que eles descobriram. E foram em companhia. Na palavra diz é uma companhia de reis. Somos todos daqui mesmo da cidade. Um

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trabalha num lugar outro no outro. Nós viajamos com o grupo todo num festival num encontro de bandeiras. Somos um grupo unido. Temos mestre, contra-mestre (João Alves), gaiteros que são flauteros (José Agnell), caixeiro, bumbeiro (Pedro de Deus e José Rocha e José Valentim, tem viola (João Zuin), cavaco (João Valentim), violão (Ico e Joaquim), reco-reco (dona Francisca Valentim), dois palhaços (Valdir rocha e Antônio de Souza) e bandeireira (Odésia), violino. Os palhaços representam o soldado da companhia. Quando os reis viaJaram para visitar menino Jesus eles encontraram os dois palhaços. Os reis encontraram dois pescadores num rio, tava pesconde. Como Heródes perseguia menino Jesus, os Reis convidaram eles para acompanha-los e fazer graça para Heródes. Como pode reparar os palhaços só fazem graça. Heródes ficou abismado com os palhaços e José pode sair com Maria e Jesus Se o palhaço morrer com a farda este não terá salvação. Se o palhaço se sentir mal na companhia de reis ele tem que tirar a farda. Na minha companhia só eu e meu irmão, sobrinho e filha. O resto são amigos, colegas. Somos todos unidos. É pura união. Na nossa não entra gente nova. O nosso grupo jà esta fechado. Não adianta. Se eu colocar outro, um outro perde o lugar. Contudo se alguém durante a perigrinação quiser bater um instrumento e não tiver bebido e ele pode participar. Na chegada de reis tudo mundo quer aparecer. Então não pode.

Porque já tem tudo certo. Se por muita gente exagera muito.... A nossa companhia é tradição baiana. A deles (do Adelício) vai a primeira voz, segunda voz, vai a terceira, vai a quarta, vai a quinta. Vem de la. O mestre faz a primeira o contramestre a segunda e vem acompanhando tudo. Na nossa a gaita faz a primeira, e eu faço a primeira também, meu irmão faz a segunda e pronto. Aí vem todos os instrumentos matando. A companhia mineira e a Baiana tem diferença, porque o rítmo da min eira é um rítmo mais lento e balançado. A nossa é um tipo balançado mas é tocando uma gaita, um tipo samba. Os nossos reis são mais balançados. A tradição que nós pegamos no rítmo mais baiano. Na instrumentação de mineira tem mais instrumentos de cordas do que a baiana. A de São Paulo (a do Ferreira é paulista), Só tem a primeira a segunda a terceira e quarta voz. Ele canta e dois respondem. O certo da companhia de reis é sair dia 24 e só chegar dia 6. Este é o regulamento da companhia para seguir certinho e a festa tem que ser realizada no dia 26 e Janeiro. Nós modificamos um pouco por conta própria. Nós saímos para cantar em novembro.

Seis dia, eu sou empregado de outro, nós cantamos só Sábado e Domingo. Mas já saimos fora do trilho. A nossa festa mesmo vai ser dia 25 de Janeiro. Tem dia 19. Este mes de Janeiro nós temos chegada o mês inteiro. A chegada é quando nós saímos para fazer. Você tem um sonho de realizar uma festa em sua casa. Você vem e fala eu tenho um voto para cumprir la na minha casa. Então nós vamos la fazer a chegada. Nós fazemos várias chegadas. Nós temos dia 11 de Janeiro, dia 12 temos duas, dia 18 e dia 19, dia 25 e 26 temos duas. Dia 2 de fevereiro é a última. Dia 6 a Bandeira vai visitar a casa da festeira.

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Só a visita. Tocamos as mesmas músicas. Amanhã nós vamos fazer a saída de uma casa aonde posou a bandeira. Nós estaremos perto da casa do Tio da Maria Miranda. Nós vamos tirar a bandeira e vamos cantando nas casas que quiserem receber a bandeira. A bandeira agora esta no giro, vitando quem quer receber. Vai girando e arrecadando as prendas pras festas. O que quizerem nos dar nós aceitamos, vaca, leitoa, frango, dinheiro, arroz, feijão, de tudo. O que quizerem dar.

Vamos si por eu chego na sua casa. Você mora aqui. Eu chego de la pra explicar. O patrão aceita a bandeira de santo reis, Aceito!! Toda companhiao patrão? Toda! E eu e meu irmão também patrão? Também! Depois você vai ali na porta e espera a bandeira e recebe a bandeira trazendo ela pra dentro. Você fica li, se caça um lugar, depois a companhia já bate uma marcha e já vem. Os palhaço vem dançando, quando chega na porta da casa eles pede licença pro ce. Da licença patrão? Se for sua senhora, da licença patroa? Nós vai entra toda, entra pra dentro. Para a marcha aí já puxa um Reis. Ai eu vou canta pedindo a oferta pra você. Ai você vai prestar atenção, no meu verso vai dizendo que você recebeu aquela bandeira, eu saldo você com boa tarde, ou boa noite ou um bom dia. E depois eu explico porque aquela bandeira esta ali, ela veio pedir uma oferta pra você. Se você tiver prazer em dar oferta para aquela bandeira pro dia de nossa festa, foi uma promessa que a festeira fez. Depois você presta atenção no pedido. Eu pedi, depois o palhaço vai dizer: viva santo reis, viva o dono da casa, viva a dona da casa, viva o dono da casa e sua família, viva essa companhia, viva eu e meu irmão! Depois ele vai pergunta pra você, o patrão o que o senhor vai da pra Santo Reis? Depois se fala: eu vou da um real, deis real, vo dá uma novilha, vo dá um frango ou vou dar um pacote de arroz, vou dar um pacote de feijão, o que você desejar dar. O que seu coração sentir de da, você dá! Depois eu vou agradece, o agradecimento é diferente. Para agradecer é diferente. Se eu chegar em sua casa e você tiver uma imagem, um presépio, nossa senhor aparecida, menino Jesus, arvore de natal. Eu sou obrigado a saldar tudo. Porque nos obrigado a saldar o menino Jesus na chegada, na saida não, nos já vamos embora. Temos saldar como os reis fizeram e saldar na chegada. Os dono da casa só escutam e seguram a bandeira. É uma concentração de fé!!

Companhia de Reis é um mistério, se eu ficar conversando com você. Eu converso o dia inteiro e ainda fica muita coisa pra te explicar. Pra nós que compreende não tem complicação nenhuma. Aqui mesmo tem gente as vezes que complica. As vezes tem gente nova e precisa explicar. O palhaço explica porque a mulher recebe a bandeira ou ela quer da a bandeira na mao do palhaço, isto ai não pode. Tem que ficar com o dono da casa mesmo. O Sant’anna entende barbaridade. A nossa companhia tem uns quinze anos. Ela começou de outra, ele morreu e passou para mim, (Pacífico fala) Ele recebeu a coroa. Eu tenho um incargo de mestre. Um dia se eu entregar meu cargo de mestre e não for cantar nesta companhia eu tenho que achar um e entregar a coroa. Eu tenho que achar um e intregar minha coroa. Isto e um compromisso.

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Nesta companhia eu tenho compromisso com a Maria, com o Sant’anna, com o pacífico. Se um dia eu for largar eu tenho que dar satisfação a ele, porque ele vai querer saber porque eu vou largar...... O Sant’anna vai querer saber porque é que eu vou largar. É a mesma coisa com a Maria. Eu também darei satisfação à ela. Porque um dia ela não ficar desapontada comigo. Quando você me campeou para fazer parte da companhia você tinha uma satisfação a dar. “Ela tem muita complicação”. Se eu sair da companhia o Sant’anna vem na minha casa e me chama a atenção. Porque ele da toda cobertura a essa companhia, por isso nós temos que dar valor. Para nós é um prazer parte dessa companhia. Quando eu fui entrar nessa companhia o Sant’anna veio na minha casa conversou, a Maria veio na minha casa conversou, o Pacífico conversou.

W.T. O senhor acha que a folia hoje é diferente de 15 anos atras? Mesma Coisa! Os membros moram aqui no bairro mesmo. Na nossa companhia ninguém trabalha na roça. Um trabalha de padeiro, outro trabalha de quarda, outro trabalha na prefeitura. Outros grupos tem trabalhadores rurais.

W.T. Hoje ainda existe folia na zona rural? Acabou, não tem não!

O rei se sabe . . . eu vou te explicar como ele é importante. O rei ele é tão importante que ele é o mior curador do mundo. A pessoa pediu com fé a pessoa recebe qualquer milagre dos reis. Basta ele ter fe e abrir o coração. As companhias tem tradição porque já ouve qualquer coisa e eles receberam. A nossa companhia e de tradição porque também já recebeu milagre. A minha mãe estava deitada no hospital . . . hoje ela esta andando. Não acontece uma companhia por acaso. A companhia sai para cumprir um voto. Cumprir o voto da festeira. Vão se por . . . A companhia de reis se você sair ansim . . . você sai so um ano. Ela é gostosa, mas ela e sofrida, ela da trabalho. No dia da festa e uma correria. O folião tem que explicar direitinho. E o tal negócio, sai para cumprir voto. Entao quer dizer que ele faz milagre. So que tem uma coisa . . . ele e vingativo. Não pode sair com companhia de reis e zombar. Não pensa que a companhia de reis e brincadeira. Companhia de reis é uma coisa muito seria mesmo. Porque não pode andar com pingaiada. Precisa trabalhar certinho. Nos temos uma caderneta da companhia o que sai ele (tesoureiro) vai marcando tudo. O dinheiro arrecadado fica para toda companhia e não para os indivíduos.

W.T. Como as folias chegaram? De tradição ficou mesmo. E a de tradição mesmo é a deles. (Refenciando os Miranda). Todos são Católicos Crente não vai no grupo. O crente nem recebe a bandeira.

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W.T. E as igrejas novas atrapalham a companhia? Sabe, tem mais gente Católica doque crente!

(Mostrando os terços/rosarios) grandes terços . . .

W.T. Oque a Igreja fala das companhias? A Igreja gosta ... gosta. O festival do folclore teve a abertura com a coisa mais linda do mundo!!! A companhia de reis é tradição da Igreja. Os Santos Reis São Santos. O Reis são santos, so que ele tem um poder a mais. Cada santo tem um poder. Como nossa senhora aparecida.

Entrevista: Toninho Miranda Eles saem (giro)um pouco da tradição. Eles saem antes (referindo a outro grupo). Nos fazemos uma parte mais certo. O certo seria sair dia 25 ao meio dia. So que nosso ritual nos saimos no dia primeiro ao dia 6. Este ano nos vamos fugir um pouquinho. Nos vamos cumprir em duas etapas. Nos vamos fazer 4, 5, 6. Damos uma parada e fazemos 10,11,12 de Janeiro. Nesses 10,11,12, e para um irmão da Maria que e uma promessa. Esse outro aqui dia 4 e fazemos uma chegada. No Domingo continuamos nosso ritual. E essas oferendas que recebermos nos vamos deixar para essa festa do irmão da Maria dia 12. No dia de Santo Reis mesmo nos vamos fazer uma chegada na casa do Cesario.

W.T. E a festa da Porteira Aberta? O certo seria fazer no dia 6. A maior parte do Brasil faz no dia 6. Agoro outros fazem durante o mes de Janeiro. A nossa festa e uma. Outros grupos fazem em outros dias. A festa so não tem bebida alcolica. As vezes quando temos um festeiro com mais condiçoes, ele pode até dar uma cerveja. Mas em geral não! Nos quase não usamos, nos fazemos mais na religiao. Antigamente ainda era mais penoso. O pessoal saia a pé. Seis dias. O folião saia de sua casa, ele não tomava banho, dormia mal, dormia em paiol de milho. Outros andavam a cavalo, como no tempo do meu pai do meu tio. Eu cheguei a alcançar uma parte disso. Hoje está mais fácil. Hoje nos saimos de condução. Voltamos dormir em casa. Esse pessoal encerrou um pouco nas fazendas. A fé continua a mesma. O povo gosta!! Nas promessas o povo esta sendo atendido. Tem algumas regiões que gostam mais. Na região de São José do Rio Preto, Potirendaba, Santa Fé. O povo gosta demais. A nossa folia é Mineira. A Mineira tem poucas aqui. Isso é uma coisa que vem de familia. Nos somos os últimos dessa geração. Ela vai encerrar em nos mesmos. Enquanto nos tivermos força nos iremos. A cultura não vai acabar totalmente, mas muito já acabou!

Cada ano que passa se torna mais dificil a tradição. Nos tempos de meus pais, meus tios. Nos moravamos no sitio. O sujeito tinha sua roça. O indivíduo adiantava o serviço, eles

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eram patrão. Eles tinham tempo. Hoje eles trabalham no comércio. Eu por exemplo tiro férias em Janeiro, mas esse ano já não posso! Se torna difícil, vai na base do sacrificio. Outros também. Mas na medida do possível nos estamos sempre arrumando um tempo para nossa tradiçao. Eu creio que a nossa e a mais antiga aqui. Ela veio do meu bisavô! Ele que trouxe, acho que de Portugal. Veio de lá! Meu pai, o pai, me contaram. Naquela epoca era muito mais serio. Mais formal. Mas na hora do vamos ver é serio. O povo antigamente era mais rigoroso.

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TAPE 7.1 Entrevista: Antônio de Souza - Palhaço da Companhia de Reis Magos do Oriente.

W.T. Há quanto tempo o senhor faz isso? Eu, há mais ou menos uns trinta anos.

W.T. Essa dança o senhor aprendeu aonde? Essa dança eu aprendi aqui mesmo no estado de São Paulo, certo! Junto com um rapaz que vestia. E fui saindo no Giro por aí ... e acabando de aprender. Aprendeu fazendo.

W.T. Qual a função do senhor dentro da companhia? O senhor reopresenta quem na Companhia? É assim é igual a um papai noel, mas ... um vigia dos três reis. É isso aí!

W.T. E o senhor tem muita fé? Eu! Graças a Deus!! Eu tenho a fé, mas fé mesmo!

W.T. O senhor já conseguiu alguma graça quando pediu para os Reis? É !! O que eu conseguigo, porque tenho bastante fé, e os três reis sempre me ajudam e eles dao bastante saude pra mim. Negócio de quando eu saio com os Três Reis ... eu nunca fiquei doente, de geito nenhum. Eu tenho fé e da muita proteção prá mim, e sempre eu sigo sempre ele! Né, prá ondê os Três Reis fô eu sempre vou junto com ele ... eu sou o guia da bandeira para não tê problema nenhum.

W.T. E a função do senhor na companhia? É, o soldado da bandeira. A bandeira sempre está sobre a minha responsabilidade. Quer dizer que eu so um fardado que não posso deixar nada acontecer com a bandeira. Que dizer que ali tem os treis reis, e eu tenho que limpar o caminho! Para eles atravessarem.

W.T. Quando o senhor sair da companhia, quem representará o senhor? Aí que dizer que sempre tem um de reserva para pegar meu lugar.

W.T. Como é que este novo elemento vai aprender as danças, os passos? Aprende, porque ... esse menino aqui mesmo. Ele esta acompanhando pra prender, se talvez algum dia eu não puder mais, eu saí. Ele tá pra cubrir minha falta!

W.T. São dois ou três palhaços? Tem dois! Sempre em dois! Mais tem uns que tem três!!

W.T. O senhor recebe a folia de reis todos os anos?

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já fazia alguns anos que não recebíamos. Esta é segunda que a gente recebe. É que eles nunca passam. É difícil. Quando eu soube Domingo, eles estavam la, la, ...

W.T. O senhor faz alguma promessa quando o senhor recebe? Não, não faz promessa, nós só pede! [Marido] Eu gosto [Esposa]. Meu pai era folião! Então, as vezes eu peço alguma coisa, sempre eu peço! A gente gosta mesmo. [Marido] Ela mesmo desde menina foi criada todos anos tinha folia o pai dela era palhaço. [Esposa] Santo Reis tem uma coisa você pede as coisas pra ele, e ele faz. Mas você depois cumpre o que prometeu, porque ele é vingativo também. Ele dá e toma, se for possível.

7.2 Entrevista: Professor Sant’anna W.T. E a função dos palhaços? O que eles [foliões] querem dizer com a palavra vigia? Ele quer dizer que ele é o guarda da bandeira, a segurança do grupo! Ele não deixa que a bandeira seja maltratada por pessoas que sem ter entegram com o ritual, eles vigiam tomam conta para que a bandeira não se tresmalhe do grupo. Eles são os protetores da companhia, e a companhia em síntese ela é representada pela bandeira. Welson, é muito curioso você perguntar sobre a existência dos palhaços. Prá começar eles tem nome variados! Para uns grupos eles são: mascarados; para outros, bastiões, para outros palhaços, mas as características deles são sempre a mesma com máscaras, com aquele facão de madeira.

W.T. Aquilo não é simbolico da época dos soldados de Heródes? Como se fosse uma espada? Isto como é da criatividade popular sempre tem um resquício bíblico. Quando eles disseram (folia) que Heródes perguntou aos Reis Magos para onde vocês vão? Então eles se mascararam, para que eles não fossem reconhecidos como os magos. Como os sabios do oriente queriam visitar o menino Jesus! Por isso que eles se mascararam, essa é uma explicação. Tem algum sentido! Para outros meramente divertimedintos, eles fantasian-se como palhaços pra distraírem as pessoas, divertirem o grupo . . . eles dançam, fazem as palhaçadas. Para outros não pode existir palhaço em companhias de reis.

Hoje você vai ver o Zé Ferreira na partida, você vai observar que no grupo dele não tem palhaço. Eles dizem assim, isto é uma coisa sagrada, é um ritual santo. Porque que vai botar palhaçada. Palhaçada é pra carnaval. Hoje eles falam assim. Outros também repudiam o nome que folia? Folia é para o carnaval! Depois eles mesmos se condenam e dizem assim venham meus foliões! Nópis aqui chamamos de companhia. Agora se você ouvir, por exemplo: aqui em Olímpia estão perambulando cerca de trinta folia de reis pra chegada da epifania deste ano. Se você ouvir as trinta companhias você vai ouvir trinta

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depoimentos diferentes, nenhum vai coincidir, e outra . . . um grupo fala que o outro não sabe o sentido que tem a presença dos palhaços.

W.T. Quantos são ? São dois?

W.T. Não tem que ser treis! Dois adultos um mirim. Não, quantos quiserem! Porque as vezes a presença do palhaço na companhia esta sendo o cumprimento de uma promessa. Então isso é muito complexo. Por isso você deve explorar ao máximo, chegando a ouvir mais doque um. Você ouve o gerente da companhia ou o mestre da companhia, além dos próprios mascarados.

W.T. Porque que eles estão alí? Uniformizados e na defesa da bandeira, muitas vezes eles falam que eles são os guias da bandeira, são os defensores da bandeira de santos reis. E o papel deles é importante, porque quando alguém da esmola, e essa esmola é em homenagem a um finado (pessoa já falecida). Ela não pode ser apanhada com a mão, ela tem que ser apanhada com aquele bastião (bastão) ou o fandango ou o facão, ou a espada, são nomes diferentes que eles dão. Então, eles têem que colocar cera na ponta da espada para poderem levantar a esmola. Tanto seja ela dada em papel moeda ou em moedinha. Não pode por a mão! O papel do palhaço é muito importante! Ele tem que saber quando tirar a mascara, quando colocar, quando ajoelhar durante a cantoria, durante a recistação da cantoria do nascimento. Eu só quero te alertar para isso! Ouça o máximo que você puder sobre a existência de palhaços na folia de reis.

W.T. É uma dança, uma acrobacia, entertendimento, ou o que é? Eles fazem . . . eles podem fazer dançar a marmelada ou a goiabada! Eles disputam dançam, caem no chão, e pode ser também divertimento diversão, acrobacia. Eles portanto tem a dança deles, a dança dos palhaços! Marmelada ou goiabada. Nome este dado por eles mesmos. E também quando existe um grupo mais jovem, eles dançam o corta jaca. Pra você mostrar as divêrgencia das toadas ... há companhias que cantam assim: (canto)

Pra que vós tivesses dado Aquela estrela por guia Leva nós eternamente em vossa santa companhia

Agora muda:

Segurou nossa bandeira ai ai ai ai

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Uma distinta senhora ai ai ai

Um galo cantou no oriente, ai ai ai ai Surgiu a estrela da guia ai ai ai ai Anunciando a humanidade ai ai ai ai Que o menino Deus nascia ai ai ai ai Em uma estrebaria ai ai ai

Agora . . .

O de casa ou de fora O de dentro o de fora O de dentro quem sera ai Ai ai ai

O de fora e os santos reis . . .

Quando o Renato Almeida era o presidente da campanha em defesa do folclore brasileiro. Ele disse assim O senhor não está enganado? Porque eu sou Bahiano e nunca vi folia de reis na Bahia. Ai eu tive a honra de contar para ele, que é do Sul de Minas que o sul da Bahia recebeu a influência do norte minas. Aí ele disse eu estou sabendo agora ... eu mostrei os flautins. Eu estou nunca citei isso em trabalho nenhum, eu não sabia.

7.3 Entrevista: Capitão José Francisco Ferreira W.T. Porque algumas folias não tem palhaço? Eu tenho meu ponto de vista, minha maneira de entender. Eu não sei se ela é a maneira certa. Para começar e ser mais claro, e na maneira de eu falar não diminuir ninguém eu não uso palhaço porque a minha promessa ... posso falar? É pra santos reis! E dentro das escrituras sagradas eu não encontrei aonde diz que os palhaços foram guias de bandeira de santos reis. Tudo que eu sei foi que o rei Herode perseguiu santos reis pra através deles encontrar Jesus Menino pra matar. Mas ele foi enganado e não encontrou. A própria estrela do oriente desviou-o do caminho. Aí fica uma dúvida! Porque palhaço? Uma outra hipótese é o seguinte, eu até não sou contra as companhias que tem palhaço porque quando eu vejo eles dançar eu acho bonito. Só que pra mim não . . . eu não concordo. Porque numa companhia de santos reis além dela ter promesseiro e santos reis ser seu protetor de promessar. Ele vai numa casa e na outra pedir sua oferta, mas com o intuito de levar alegria, paz, união de família e saude. Você tendo um palhaço na frente, a criança quando ve, ela já corre e se assusta, não todos. Mas tem aquela que assusta mesmo, vai pra cama e fica doente. Então eu não quero ir na casa de ninguém e deixar alguem doente, vamos sem palhaço. Por outro lado, eles falam que o palhaço é o guia da bandeira. Então tendo um palhaço na frente, o mestre tem que deixar tudo para aquele

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palhaço resolver. É um cruzeiro pra ca, uma moeda pra la, uma brincadeira que as pessoas fazem, o palhaço é que tem que seguir. E palhaço pra isso é muito difícil encontrar um bom. Palhaço pra entender dessa maneira, ele tem que saber mais doque o próprio embaixador. Se eu chegar na minha casa, e me vestir de palhaço, e você dizer pra mim eu quero que canta o palhaço no teu lugar, senão a bandeira não vai embora. Se ele não fizer a bandeira fica, porque eu não posso. Eu não posso assumir o lugar dele! Sabendo que é muito difícil encontrar um dessa natureza eu prefiro ir sem palhaço.

Aqui todos fazem parte da família! Boa noite Feliz Natal!

7.4 Entrevista: Antes do giro - 8:00 horas da manhã Benedito Miranda - Companhia de Reis Miranda (da família Miranda)

Eu sou gerente da companhia. O gerente organiza os giros para todos os lugares que a companhia vai. Ele é o que comanda, ele escolhe o lugar para pedir o almoço. Se vai jantar, pedir a janta. Tem um roteiro naquele dia que não vai judiar da companhia, vai dar certinho!

W.T. Na Companhia de Reis Miranda existe a participação das mulheres? Tem mulheres sim. Mas eu já vi diversas companhias que também mulher, jovens e crianças também participam. A nossa companhia começou com gente da família, começando dos mais velhos até criança pra última voz, a voz aguda.

W.T. Que tipo de visitas faz a companhia de vocês? O povo geralmente já mudou muito, os proprietarios de sítio. Mas a gente já conhece mais ou menos as pessoas. Tem aquele roteiro (giro) que a nossa companhia faz todos os anos, com isso nós já conhecemos aquele povo que sempre nos recebe bem. Mais ou menos nessa época todo mundo já esta esperando. E perguntam? Vocês não vão passar lá com a companhia de reis? A gente ainda não saiu, mas ...

W.T. Vocês tambem visitam pessoas desconhecidas? Vamos . . . qualquer lugar, se eles aceitam a bandeira nos vamos em qualquer lugar. A não ser uma pessoa de outra religião que as vezes não recebe. Paro o carro com a companhia dentro, desço e pergunto vocês aceitam Santos Reis aqui? Aceitam sim! Assim pode chegar.

W.T. E as famílias que você visitam, são maioria Católicos? É! Geralmente pessoa de outra religião, eles não querem. Mas a gente mais ou menos já sabe.

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W.T. Vocês podem mudar de grupo ou companhia? Podem!

W.T. Como o senhor entrou nessa companhia? já vem de tradição. Meu pai foi mestre da companhia de santo reis. Se for preciso eu canto também. Se faltar la eu canto, mas tem meu irmão que canta. Depois tem o seguinte, nós sempre temos um elenco da família numeroso, e vai sempre gente de reserva. Ex: Chega numa casa um time tá cantando, já em outra vai notar que aquele não esta cantando e outro canta! Um esta descansando o outro. Sempre um substituto. Quando sai seis dias diretos a pessoa cansa, a garganta vai cansando.

W.T. E a Igreja, o que diz da folia de reis? Eles não são contra. Nós já cantamos dentro da Igreja.

W.T. Para o senhor aonde começou a folia de reis? já vem de descendia dos meus avós, tataravós. Passando de geração para geração.

W.T. Porque a folia não se reuni em outra épocas também? Como a nossa, muitas vezes somos convidados a participar de encontros de folias de reis. Como já fomos em Polônia. Nesse encontro que era uma festa da cidade eles trouxeram mais de 30 companhias de santos reis. Fizeram um centro comunitário um altar. Numa avenida eles fizeram os arcos, mas bastante distante um do outro. E todas companhias fazendo a chegada da forma que melhor sabiam.

W.T. Esses encontras são competitivos? La eles analizam ... como as companhias que destacam melhor, que cantam mais dentro da religião. Porque tem muitas companhias que não sabem. A gente fala que tem companhia de santos reis e folia de reis. Folia são aqueles que saem com o intuito somente muitas vezes de angariar fundos, outro saem. Nossa companhia não ... é só alegria, você não vê com bebedeira, nós não aceitamos bebida nem na hora do almoço. É um respeito. Cada um tem suas obrigações. A época dos reis é Janeiro.

W.T. E como faz para um indivíduo fazer parte da companhia? O membro tem que participar junto. As pessoas que visitamos não são membros mas eles participam também. Eles recebem também e nós convidamos eles pra chegada. Você quer ver um instrumento que fica lindo na companhia de reis? O violino Nessa cidade não tem tocador de violino. É um instrumento que aparece, enche os vazios da música. Aqui em Olímpia precisava ter tocador de violino.

W.T. E as mulheres cantam? Sem dúvida.

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Nomes aqui: Antônio Miranda, Benedito Miranda (gerente), Quero só ver quem é que vai cantar na quinta voz! A Sônia não vai poder ir hoje. Tem muita roupa pra lavar e tomar injeção. E o Zé Antônio? Esta cheio de compromisso de casa, essa chuvarada atrapalhou um pouco.

Naquele tempo a companhia saia dia primeiro e só voltava em casa dia 6. Ali pousava, andava a pé porque não tinha condução. Outras vezes a cavalo, chuva, barro. Onze horas da noite! Aqueles foram os reis!

W.T. Esta parando de chover? Amanhã é domingo, faz a chegada do Cesário encerra e almoça aqui.

Esta tarde nós vamos fazer uma chegada para uma mulher de São Paulo. Nós vamos andar aqui de dia e fazer pra ela de tarde. Agora, amanhã nós canta num tem chegada. Segunda feira nós vamos cantar e fazer outra chegada na Santa efigênia pro Cesário Gomes. Aí nós paramos. Agora, sexta, sabado, e domingo começa de novo. Domingo é o último dia. Você tem uma promessa, ele tem, você pede . . . com o que ganha faz a festa e da tudo para o festeiro que soltou a companhia.

(Toadas caipiras pelos Mirandas) Vozes - conferir caderno de notas Antônio Miranda Sobrinho (Mestre - Mirassol); Sônia Miranda (tala ou 6 voz), Rubens Batista de Carvalho (5 voz) Toninho (contrato); Luis (ajudante de contra-mestre), Luis Batista de Carvalho Sobrinho (contra-mestre), Jesus Francisco de Miranda (canta na 4), João Marques Miranda (4/5 voz), Osório Batista.

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Tape 8.1 Entrevista: Toninho Miranda - membro e contra mestre da folia de reis Miranda

Antigamente era mais fácil sair com as companhias de reis. Porque o folião praticamente morava em sua propriedade rural. Então cada tinha suas roças. O pessoal plantava sua roça e adiantava elas, quando chegava uma época dessa, o pessoal tinha tempo prá sair. Nós moravamos no sítio.

W.T. Isto a quanto tempo atrás? Isto e resume em práticamente 40 ou 50 anos atrás. Hoje você vê que esta mais difícil, as famílias raízes de reis ainda eles conseguem sair com muito sacrifício, mas muitos pararam. Muitas ainda saem como é o caso da nossa. Porque a gente gosta muito e está no sangue. Mas cada vez vai se tornando mais difícil porque o pessoal trabalha no comércio. Hoje nós estamos vivendo uma nova era. Por isso que estão acabando as famílias raízes do Brazil. Nossa cultura infelizmente em certas regiões do Brasil perdem, especialmente dessa região para cá.

W.T. Você acha que a tendência é acabar? A tendência não é acabar mas sim diminuir bem. Não acaba porque, veja bem: tem alguns grupos que tem garotos que vão se revelando. No nosso caso a nossa era mais intensa naquela época. Hoje a nossa vai ficando mais excassa. A nossa companhia tem mais de um século de existência da geração do bisavô até a nossa.

Toadas de Santo Reis Mestre Antônio Miranda e companhia

Oh pai eterno poderoso ai, ai Eu peço sua voça proteção. Oh pai eterno poderoso, ai, ai . . . Eu peço a voça proteção.

Pra em nome de vosso filho ai, ai Eu peço paz e união. Em nome de vosso filho ai, ai . . . Eu peço paz e união.

Vamos saudar o ano novo ai, ai Dia quatro de Janeiro ai, oi ai Vamos saudar o ano novo ai, vamo Dia quatro de Janeiro.

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Vamos saudar os três reis santo ai, ai Vamos saudar nosso festeiro Vamos saudar os três reis santo, Vamos saudar nosso festeiro ai, ai.

Ai meu festeiro encarregado ai, ai Viemos fazer um pedido seu Ai meu festeiro encarredo ai, ai, Vamos fazer um pedido seu ai, ai

Viemos cumprir o vosso voto ai, ai Foi um dom que Deus nos deu ai, ai Vamos cumprir o vosso voto, vamos Foi um dom que Deus nos deu ai

Ai meu festeiro encarregado ai ai Desculpe eu lhe mandar ai ai. Ai meu festeiro encarregado, meu Desculpe eu lhe mandar ai, ai.

Ai faça o favor da bandeira Precisamo ela beija ai, ai Ai faça o favor da bandeira Precisamo ela beija, ai, ai.

8.2 Folia Miranda durante o giro Pai nosso que estais no céu. Santificado seja o vosso nome. Venha a nós o vosso reino. Seja feita a vossa vontade. Assim na terra como no céu. O pão nosso de cada dia nos dai hoje. Perdoai as nossas ofenças. Assim como nós perdoamos a quem nos tem ofendido. E não nos deixei em cair em tentação. Mas livrai-nos do mal. Amém

Ave Maria cheia de graça. O senhor é convosco. Bendita sois vós entre as mulheres. Bendito é o fruto do vosso ventre Jesus. Santa Maria mãe de Deus. Rogai por nós pecadores agora e na hora de nossa morte. Amen

Creio em Deus pai todo poderoso criador do céu e da terra e em Jesus Cristo seu único filho nosso Senhor. Que foi concebido pelo poder do Espirito Santo. Nasceu da Virgem Maria, padeceu sob Pôncio Pilatos. Foi crucificado morto e sepultado. Desceu à manção dos mortos. Ressucitou no terceiro dia. Subiu aos céus e está sentado a direita de Deus pai todo poderoso, donde a de vir julgar os vivos e os mortos. Creio nosso Espirito Santo,

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na Santa Igreja Católica, na comunhão dos santos, na remissão dos pecados, na ressuição da carne, na vida eterna, Amén!

Mestre – Queria dedicar esta santa oração a santo reis, pra que corra tudo bem em nosso giro. E para a intenção do dono da casa e toda sua família. E na intenção dos visitantes também!

Toninho Miranda - Naquela casa, saudo o Português, o presépio. Depois cantamo pedindo o almoço.

8.3 Mestre Antônio Miranda Sobrinho Vamos falar da bandeira, ela não está muito certa não. Porque reis é Baltazar na frente, Belchior no meio e Gaspar atrás. Porque ali a escala é por idade. Gaspar era o mais novo. Um veio da Inglaterra.

W.T. Qual que veio da Inglaterra? O Baltazar! Belchior da Africa, e Gaspar da Itália. Depois de 1200 ou 1300 depois de Cristo, São Francisco de Assis. Ele foi em Roma pediu licença pro Papa para levantar a lembrança do nascimento de Jesus. Então aí eles arrumaram um grupo e fizeram um presépio ao vivo. E o primeiro embaixador foi São Gonçalo. Ai ele arrumou mais outros dois cantadores e fizeram a companhia. Aí ele achou que não estava certo, como que ele foi guiado pela estrêla da guia... aí pegaram a bandeira que pra nós representa a estrêla da guia. É a nossa estrêla da guia, você vê aonde ela vai nós acompanha. O sentido é esse!

O arco é de flores com bandeirinhas. O arco desde a primeira companhia que surgiu lá na Itália ele existe. Porque os Magos tiveram três paradas. Uma foi com o Rei Heróde que mandou chamar, convidou todos os sacerdotes para provar que menino Deus tinha nascido e tudo. Então ele foi investigar os três para ver o que eles estavam fazendo. Todas as perguntas que Herode fêz eles negaram. O Herode disse para eles: então seis vai na viagem mas se causo encontrassem a criança vocês voltem aqui para me avisar. Que eu também tenha o prazer do novo Rei visitar! Mas, Herode queria mesmo a criança matar. Porque ele não queria outro rei em seu lugar.

Então eles sairam viajando por aquelas noites serenas, a próxima parada foi na casa de Madalena. La eles foram fazer perguntação de que lado ficava o rio Jordão para eles chegarem. Eles viam a estrêla, mas não tinham condições de chegar lá. Então ela disse vocês levem como lembrança esse cinco Salomão, para livrarem de invejosos e da falsa tentação. Aí eles seguiram com aquele cinco Salomão. Em três dias de viagem eles chegaram ao Rio Jordão e foram até Belém. Quando chegaram em Belém encontraram o velho Samião. La o velho Samião ofereceu uma ceia para eles. O velho Samião então disse, vocês estão à procurar o rei do mundo. O anjo já veio me avisar que era para mim

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receber vocês três aqui. Então acontece uma coisa: eu dou muito louvor a Deus, porque eu já tive com ele nos meus braços. Então vocês vão e oferecem os presentes quera, vocês estão levando. Chegaram la, entrou um de cada vêz. Entregou ouro, mirra, e incenso.

Ficaram três dias na visita. O anjo chegou e disse assim: vocês não voltem pelo caminho de Heródes. Siga aquele outro caminho. Porque os guardas que Heródes colocou atrás de vocês que representa os dois fardistas de hoje. Eles se perderam quando a estrêla fugiu do Egito. A estrêla se apagou. Os dois Reis Brancos não queria que o preto chegasse com eles na visita. Que era racista. Quer dizer que o orgulho existe desde do nascimento de Jesus. Existe o racismo! Então foi que ele falou assim: Quando ensinou o caminho errado para Belchior, ele saiu. A estrêla apagou e eles se perderam. Aí o anjo da guarda falou pro Belchior volte! Aí o Belchior voltou para buscar os dois. Fizeram isto três vezes. Então as três vezes que a estrela se apagou representa os três arcos da chegada.

W.T. Isto ta na Bíblia? Não, a bíblia reza muito pouco! A bíblia fala muito pouco da origem dos magos do oriente. Isso você encontra no livro dos Reis dos Reis. Ali você encontra todos os detalhes. Tem como foi a anunciação do anjo. Começa pela formação do mundo. Porque aqui era só um lameiro escuro. Então o pai veio aqui nessa terra, separou água de um lado, terra do outro, fez o sol, fez as estrelas, feza a lua, fez o mar. Então ele pois o nome na água de mar e na terra de terra, com o sol fez o dia e com a lua ele fez a noite. Entendeu!! Aí o que ele fez: Nós temos que fazer qualquer coisa aqui. Pegou um pedaço de barro e fez o homem, soprou naquele pedaço homem de barro no nariz dele . . . pah ele virou um ser humano. Aí ele falou . . . esse homem vai ficar sózinho . . . aí não dá certo! Pegou fez ele dormir e tirou uma costela e fez a sua companheira que era a Eva. E pois eles num jardim de oliveira. Aí ele foi criando os bichos, cobra, tinha de tudo quanto é bicho. O demônio que era um guarda de confiança, um mensageiro dele. Ele pode ser muito feio, mas tem um nome bonito que se chamava “Lucifer”. Então Lucifer entrou na cobra e foi atentá o casal la no jardim das oliveiras. Foi aonde ela apanhou a maçã, comeu metade e a outra metade ela deu pro Adão. Adão deu uma mordida, quando ele deu a mordida ele lembrou. Você não vê que o homem tem esse caroço aqui, a mulher não tem. A mulher conseguiu engolir. Essa é a significância! Então vai aí por diante! Então aí foi da onde que veio a anunciação do anjo. De la o Adão saiu. . . foi trabalhar para aumentar a família. Aí foi casando irmão com irmão, primo com primo, e assim foi aumentando a leva. Foi formando, formando. Formou toda geração. Eles não tinham ainda aquele conhecimento de Deus. Eles amavam a lua, amavam o sol, amavam o homem aqui da terra. O homem da terra aqui quando era poderoso, ele era um Deus para eles. Era assim . . . Foi onde ele mandou o anjo São Gabriel vir anunciar a virgem Maria.

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W.T. – E a poesia? Diz a escritura sagrada que os profetas escreveu do sagrado mandamento que muita gente esqueceu Em outro tempo anunciado os profetas que dizia que haveras de nascer um Rei para ensinar a profecia

Anunciação do Anjo: O anjo São Gabriel que é guiado do Senhor vem anunciar a Virgem Maria a vinda do Salvador A Virgem estava orando no seu quarto ajoelhada quando apareceu um anjo ela ficou assustada

Não te assuste Maria o anjo então lhe falou: Venho lhe trazer as novas pra ser mãe do Salvador A Virgem lhe respondeu com a voz de majestada Faça de mim essa serva vossas seguintes palavras:

Ave Maria cheia de graça o anjo lhe concedeu Santa Maria mãe de Deus a Virgem lhe respondeu Neste restando reluso o anjo lhe concedeu Maria deu graça louvor do fruto que recebeu Em 25 de março o anjo lhe concedeu Em 25 de dezembro o menino Deus nasceu.

Antônio Miranda - Essa anunciação nós e que criamos de mente. Doi mil anos da vinm da de Jesus eles já anunciavam a vinda dele. Eram só alguns profetas que tinham esse previlégio. O pai de la enviava à mente deles. Dizendo: ainda temos que ter o redentor, salvador do mundo. Então os Magos é da origem de 12, mas sómente três acreditavam na vinda de Jesus. Mas a revelação dos 12 já é do novo testamento. Os outros só acreditavam no Rei Heródes.

8.4 Entrevista: Companhia de Reis Centenário de Potirendaba. Entrevistado: Joaquim José

W.T. Qual é a razão desta festa estar acontecendo hoje? Isso aí é ... nós saímos dia 3 de outubro e giramo com a bandeira aqui na região de Potirendaba. Passamos por Rio Preto, fomos a Votuporanga arrecadando prenda.

W.T. E nessa festa todas as folias participam?

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É o seguinte, é a companhia centenária de Potirendaba. Nós convidamos essa companhia de Rio Preto “Tradição de Família de Rio Preto” para fazer encontro conosco, porque fica uma festa mais bonita.

W.T. E o porque de tanta gente nessa festa? Essa festa é de tradição fazem 114 anos que se gira com essa bandeira. Todo ano é desse geito que você esta vendo.

W.T. Essa companhia que você participa é da sua família? Não, não eu sou um dos componentes. Não sou encarregado, o nosso gerente é o José da Silva (Bolinha). Eu ajudo eles cantarem!

W.T. E porque Potirendaba? É que essa bandeira nasceu aqui, formou aqui, e esta até hoje aqui.

W.T. Essa tradição é maior aqui? É bem maior! Essa tradição foi passando de pai para filho, de filho pra neto.

W.T. Quantos grupos se reunem hoje aqui? É hoje a chegada? Hoje é a festa de Santos Reis!

W.T. E porque não amanhã dia 6? É que nós estamos acostumados. Desde os tempos passados, muito tempo atrás sempre fêz na véspora.

W.T. O que os três arcos representam? Um é o arco da aliança, o outro o arco triumfante, e o último arco representa o arco de Brechó. Todos eles nos saudamos, o mestre chega, canta, sauda os convidados. Canta louvando esses infeites.

W.T. Esses arcos vem de onde, de que tradição? Isso aí vem desde quando existe a bandeira dos santos reis, existem estes arcos.

W.T. Se esta é uma festa religiosa, porque tantas pessoas vendendo coisas por aí? Eu acho que porque a festa é muito grande, então esse pessoal procura de vir nesse dia pra vender alguma coisa, aproveitar né!

W.T. A quanto tempo o senhor faz parte da companhia? Eu estou com dois anos.

W.T. E qual a razão do senhor entrar nessa companhia?

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É porque eu me dei bem com os amigos e estavam precisando, me chamaram . . .

W.T. Qual a função do senhor na Companhia? Embaixador!

W.T. Quantos palhaços tem a companhia de vocês? Coronel, capitão, palhaço. W.T. E a Igreja aceita a Folia de Reis? Aceitam bem

8.5 Entrevistado: Jota Silva (Radialista e Folião)

W.T. Quantos anos de existência tem a sua companhia? Esse ano ela intera 114 anos. Da região é a mais antiga. Essa aqui é mais antiga do que a de Ibirá, Por prova a gente mostra o cartão pra vocês. A festa de centenária que ela foi feita, foi aqui da família do Siqueira. Hoje ele é um médico ortopedista la de São José do Rio Preto. O pai dele morreu e passou para o Evaristo Pedro da Silva, depois quando o sue Evaristo ficou meio doente, envelhecido. Ele achou que não podia tocar mais a companhia. Ele pegou e mandou chamar a gente. A gente foi la e falou e falou com ele. Para a gente assumir o compromisso. Então já fazem seis anos que eu estou no comando.

W.T. O senhor me poderia explicar sobre essa competição em Agosto, de onde surgiu isto? Aqui a competição é em Janeiro . . . Aquela é junho, julho! Elas vem para fazer apresentação la na cidade. Vem só para trazer o nome da cidade.

W.T. Quais são os requisitos para uma folia ser melhor doque a outra? Nós não consideramos nada como uma melhor doque a outra. Porque a tradição é uma só. Nós temos que respeitar um ou outro. Não tem esse negeócio de disputa, consideramos todos iguais.

W.T.- Existe alguma competição onde essas folias são julgadas? Por aqui, que eu conheça não! A não ser que vai por aí fazer uma competição para ver qual é a melhor.

W.T. Como é que as pessoas julgam a folia, Existe algum critério? Existe! Eles dão a nota. Aquela que representa mais bonito, aquela que representa melhor. Que faz uma boa apresentação.

W.T. E a capela de vocês?

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Ela fica fechada, a não ser em dias de missa ou terço. W.T. E na sua companhia (Tradição de Família) existem membros deoutras famílias também? Tem, essas pessoas entram porque a gente convida. Porque só com gente da família não exsite condição de tocar.

W.T. E o estilo de vocês é Mineiro ou Paulista? O nosso é Paulista!

W.T. Qual a diferença da Paulista para o Mineiro? É a de várias toadas. Depende da toada.

W.T. Vocês tocam toada Mineira? Se for preciso toca!

W.T. O que representam os três arcos? Os três arcos representam os Reis. A primeira estação, a segunda estação, e a terceira estação. Mas eu não sei lhe falar qual Rei em qual estação.

8.6 Folia de Reis na Cidade de Potirendaba Fazendo reverência a bandeira, as flores, ao presépio. A qualquer objeto que venha lembrar os Três Reis santos. Dando saudações ao rei e a rainha da festa.

Entrevista: Elton Spanagoes - Palhacinho da Companhia Tradição de Família (Rio Preto, Jardim Laranjeiras)

[Palhaços dizem ...] Viva a estrela da guia, viva! Viva o nosso festeiro, viva! Viva os arcos, viva! Viva a mão do benfeitor, Viva o Rei e a Rainha, viva! Viva as flores e as bandeirinhas, viva! Viva a sagrada religião, viva. Viva todos que aqui estão, viva! Viva os devotos de coração, viva! Viva a sagrada profecia, viva! Viva o mestre e o contra-mestre, viva! Viva toda companhia, viva! Viva nosso gerente, viva! Viva esse povo contente, viva! Viva o anjo Gabriel, viva! Viva os homens e as mulheres, viva! Viva o Divino, viva! Viva os grande e os meninos, viva! Viva tudo que Deus quer, viva! Viva aqui os dois Coroné, viva! Viva, viva, oh clap ... clap!

Boa Tarde minha gente, ai ai É o prazer cumprimentar 2x oi, oi

Depois de uma longa jornada O Santo Reis aqui esta 2x oi, oi

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Ai prá fazer um lindo encontra Que o festeiro veio preparar, 2x oi, oi

Aí o devoto que passamo O Santo Reis vai abençoar, 2x oi, oi

Ou vou salvar as comissão Que veio para jurar oi ai oi ai 2x

A todos que aqui estão Santo Reis vai abençoar, 2x oi ai o la rá

Agraideço pro refeito que veio colaborar, 2x oi lará oi

Tambem sarvo o lindo arco 2x Que viemos encontrar ai ai 2x

Tamém sarve os meus amigo ai 2x que este arco veio preparar 2x ai ai oi.

Também sarvo as bandeirinhas ai E os enfeite que aqui estão 2x ai oi . .

Sarvando peço licença 2x ai Para a frente nos chegar 2x ai, ai , oi

W.T. Como é o seu nome? Célia, eu sou de Rio Preto!

W.T. Qual a função da festeira na tradição da folia de reis? É acompanhar o festeiro!

W.T. A festeira é membro da companhia também? Não! Isso que você esta vendo a gente tem uma promessa. Então a gente não escolheu. Essa companhia a gente já acompanha.

W.T. Em quanto tempo você espera alcançar essa promessa? já foi alcançada! E a festa para os três reis é parte da promessa

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8.7 Entrevista: Durval membro da Companhia de Reis Tradição de família em São José do Rio Preto, folião. Eu sou da Companhia de Reis Tradição de Família

W.T. Há quanto tempo o senhor faz parte desta companhia? Faz um ano.

W.T. O senhor veio de onde? Eu gravava discos com a Companhia de Reis de Quintino e Quirino de Fernandópolis.

W.T. Qual a razão do senhor estar fazendo parte desta Companhia? Eu agora moro em Rio Preto, o Jota Silva está sempre encontrando comigo. O Jota é animador da Rádio Metrópole. Ele me chamou para fazer uns ensaios com essa companhia de reis e aí nós entrosamos.

W.T. O senhor é devoto de Santo Reis? Sou devoto há muitos anos, fazem quarenta anos.

W.T. Porque o senhor virou um devoto de Santo Reis? Eu comecei a cantar e acompanhar a família de Reis desde muito jovem, aí você sabe como é que é.

W.T. Qual a função do senhor na companhia? Eu canto de contra-mestre até na sexta-voz.

W.T. Esta companhia a Paulista ou Mineira? Paulista.

W.T. Qual a diferença da Paulista para Mineira? Olha não tem diferença quase nenhuma o rítmo é um só. Pouca coisa.

W.T. O que é necessário para alguém fazer parte da Companhia? É muito fácil. É só entrosar, começar cantar e ensaiar.

8.8 Entrevista: José Claudio Ferreira, folião W.T. O que o senhor é da Companhia? Eu sou o festeiro. E também sou bumbeiro.

W.T. Qual a função do festeiro na Companhia de vocês? O festeiro organiza, contrata o gerente. Nós temos a promessa de sair com a bandeira todo ano e fazer a chegada.

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W.T. Qual a sua profissão? Eu sou motorista de caminhão.

W.T. Quando você praticam e ensaiam a sua música? Nós somos convidados para muitos festivais. Então somos convidados para muitos festivais quase o ano inteiro. Praticamente nos reunimos todos os domingos onde tem festival em alguma cidade. E nós somos chamados para esta cidades.

W.T. E nesses festivais o que vocês fazem? Nós nos apresentamos, mas não competimos. A palavra festival é porque vão várias companhias se apresentar. Vão 20 ou 30.

W.T. Quantos elementos fazem parte destas companhias? Uma média de 20 a 25 pessoas.

W.T. A companhia de vocês tem quantos membros? Tem 20.

W.T. Existe um padrão de quantos elementos podem fazer parte do grupo? A companhia certo são 7 cantadores. Mas tem os reservas! Como nós temos os reservas, quando um cansa entra outro. Inclusive nós temos muitos tróféis de nossas apresentações nesses festivais que participamos.

W.T. Quais são os requisitos para ganhar o festival? La não tem assim competição. Todos os participantes recebem um troféu de participação.

Entrevista: Jota Silva Eu sou padrinho deles! Eles me pediram par ser padrinho deles, e eu aceitei e até hoje eu estou com eles.

W.T. Em Rio Preto onde se pode encontrar folia de reis? Em Rio Preto nós temos mais ou menos umas oito companhias. Companhias de Reis Paulista e companhias de reis Bahianas. W.T. Existe alguma Mineira? A nossa companhia por exemplo, tem uma semelhança com a Mineira. Tem uma certa diferença, porque o hino é diferente, o compasso é diferente, e eles usam até acordeão. Na nossa aqui Paulista, nós só usamos violino, viola, violão cavaquinho, caixa pandeiro.

W.T. E na Bahiana? Na Bahiana usa-se flautas, e o rítmo é diferente também. É um pouco mais rápido.

W.T. O que fêz você se tornar um padrinho, um folião?

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A velha tradição dos meus pais e dos meus avós. Desde dos tempos dos meus avós, os meus pais eram festeiros de santos reis. Então com o tempo e trabalhando no rádio e participando de tudo eu achei que deveria dar continuidade, por isso eu apóio.

W.T. Porque nesses últimos dois anos a conotação da folia de reis esta melhor vista? Em razão da maneira com que os próprios membros estão conduzindo. Hoje por exemplo, o nosso mestre do Grupo Tradição de Família é um profissional. Cantou com Cristal e Diamantino, já gravou vários discos. Eu trabalho no rádio, sem me engrandecer, sem me enaltecer, sou um radialista.

W.T. Você concorda que as companhias hoje estão melhores, porque os membros de hoje são melhores doque os que tinham antes? Exato, está havendo uma seleção de membros! A nossa companhia não admitimos, ela tem um estatuto, ela tem direção, tem gerente, tem mestre, tem contra-mestre, tem padrinho, tem feteiro. Uma pessoa que bebe não faz parte da nossa companhia. No passado eles distorciam a mensagem que leva a bandeira de Santos Reis. A mensagem é o nascimento de Jesus, é religioso e sério. Agora, graças a Deus, parece que o povo esta tomando consciência. E a gente percebe que todo mundo tem gosto por manter a tradição do folclore do Brasil.

W.T. A tradição está se mantendo? Está crescendo ainda mais? Graças a Deus!

W.T. Os membros são Católicos ou existem pessoas de outras religiões? São todos católicos!

W.T. Pode um indivíduo de outra religião ser membro da folia? Pode, tudo depende da vocação, da vontade. Deus escolhe você com uma vocação pra você pregar a palavra através do seu canto, da sua mensagem, do instrumento que você sabe manejar.

W.T. Isto é um tipo de um chamado? É um chamado de Deus, sem a menor dúvida!

8.9 Entrevista: Karina (rainha da festa de reis) W.T. Você foi eleita em que? Rainha da Festa de Reis!

W.T. Como é o critério de eleição? Eles me convidaram e eu aceitei!

W.T. Quem convidou você?

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O festeiro Itamar!

W.T. Quem faz o convite? O organizador da festa!

W.T. Você tem que ser devota de Reis para ser rainha? Eu acho que não.

W.T.- Você é Católica? Eu sou Católica.

W.T. E também tem Rei? O Rei está no arco.

8.10 Entrevista: Zé Bétio Festeiro da festa de Ida Iolanda!

W.T. O que o senhor espera com essa festa, o que ela representa aqui prá vocês? É uma intenção que eu fiz para Santos Reis de fazer uma festa. Eu peguei a coroa em 1996, hoje encerra. Terminando 1997 e passando prá outro, novo festeiro.

W.T. E aqui todos são devotos ou só algumas famílias? Todos são devotos dos Três Reis Santos!

W.T. Qual a posição da Igreja aqui em relação a Santos Reis? Aqui é a Igreja do Divino Espírito Santo. Aqui eles gostam muito. Tem a tradição todo ano de fazer a festa. A Igreja participa. Pelos três do oriente ela faz parte junto com a festa. Em Nhandeara tem uma missa para o dia dos três reis santos. O nome da Igreja é Igreja dos Três Reis do Oriente.

W.T. Há quanto tempo o senhor é devoto de Santos Reis? Há muitos anos, desde que me entendo por gente.

8.11 Entrevista: Benedito Perceliano Gaudêncio (Dito Cardoso) Gerenta da Companhia Eu é que comando a companhia de Reis Ida Iolanda. No momento nossa companhia não tem nome formal. O assunto ainda não foi discutido.

W.T. O senhor sempre morou aqui? Nascido e criado!

W.T. E os membros da companhia são de onde?

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Antigamente as pessoas eram trabalhadores rurais, mas agora uns trabalham na cidade, outros na vila. Mas a maioria é rural mesmo.

W.T. Quantos elementos tem a companhia hoje? De 15 a 20 pessoas. Temos mestre contra-mestre. A minha companhia . . . sei la . . . acho que é Paulista.

W.T. Vocês fizeram o giro na região, de quanto tempo? O giro nosso é de 9 a 10 dias. Este ano foi dez dias. Saimos sempre da casa do festeiro e percorremos a vila inteira, o distrito inteiro, toda a região.

W.T. Aqui todo mundo recebe? Quem é Católico todo mundo recebe.

W.T. E os que não são Católicos? Não, tem algum que até recebe. Mas é raro.

W.T. A maioria aqui são Católicos? Todos Católicos!

W.T. Vocês se reunem na Igreja? Nós não fazemos, agora é pouco.

W.T. Na companhia de vocês tem mulheres e crianças participando? Não, no mais é só homem. Não tem mulher cantando. Tem um jovem menino de 14 ou 15 anos.

W.T. Há quanto tempo existe esta sua companhia? Essa nossa vem de origem de família. O vô do festeiro aí era mestre. já tinha antes dele, mas não é do meu tempo.

W.T. Onde o senhor acha que surgiu isso aqui na região? Essa companhia eu não posso te informar de onde ela veio. Me parece que veio de Potirendaba. Essa coroa é antiga, deve ter mais ou menos 60 ou 70 anos.

W.T. Há quanto tempo o senhor está com a companhia? Há 34 anos eu sou gerente.

W.T. Ela muda todo ano? Não ela sempre mantem aquela origem mais ou menos igual. Muito pouco coisa. Nós cantávamos na Igreja de Nhandeara naquela época.

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W.T. Quantos palhaços o senhor tem aqui? O certo é dois, mas as vez tem um com promessa prà cumprir.

W.T. Porque dois? Nós estamos acostumados com dois, agora eu não sei de onde surgiram. Eles são os guardas da bandeira. Mas hoje já aumenta mais. Com a chegada da Bandeira já tem o guarda mirim, já tem o vigia a rainha.

W.T. Tem rainha? Sim, a festeira.

W.T. Como a rainha é eleita? A coroa aqui tem, cada ano passa para um casal. Cada ano tem um festeiro diferente.

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Tape 9.1 Folia de Santos Reis em Ida Iolanda

Música Viva Deus Menino, o patrão dessa casa, todos os irmãos, viva!

Segurando na Bandeira 2x ai Com prazer e alegria ai ai 2x

Santo Reis agradece a oferta ai 2x Do senhor e da família ai ai 2x

Muito obrigado e Deus lhe ajuda ai 2x Santos Reis vai agradecer ai ai 2x

Os Três Reis por sua benção ai 2x Que a senhor vai receber ai oi ai 2x

Viva . .

Oi hoje ela esta voltando oi la ra 2x Com a sua companhia oi la ra 2x

Ai os Três Reis está contente ai ai 2x Com essa bonita união oi la ra 2x

E o festeiro está também oi la ra 2x Recebendo a atenção oi la ra 2x

Oi recebendo essa bandeira oi la ra Da sua devoção oi la ra 2x

Ai bem pertinho desse arco oi la ra 2x Agora vamos louvar oi la ra 2x

Ai enfeitado e bonito oi la ra 2x O folião vão passar oi la ra 2x

Ai a bandeira vai na frente oi la ra 2x Nós vamos acompanhar oi la ra 2x

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Chegou um momento muito importante. Vamos ouvir o terço. Nós fizemos tanto sacrifício para este momento. Eu gostaria que todos dessem um minutinho de silêncio para que nós rezassemos com muita fé.

Música antes do Terço

A onde vai rezar o Santo Terço Em nome dos Reis Sagrado oi ai 2x

Oi fazem o sinal da cruz E o terço vai começar oi ai 2x

Reza todos os mistérios Que nós vamos contemplar oi ai 2x

9.2 Entrevista: Frei Luiz Antônio Gouveia da Igreja Nossa Senhora Aparecida, Olímpia Eu fiquei abismado quando cheguei aqui e vi a riqueza de nosso folclore. Eu até desconhecia muitos desses grupos como o Bumba-meu-Boi. Uma riqueza muito grande que eu não conhecia. Eu tava aonde, estava em Franca! Depois vim pra cá, meu Deus! Esse folclore de Olímpia é muito bonito. Eu gostaria de te falar que eu não sei se meu pequeno conhecimento vai te ajudar.

W.T. Qual a opinião da Igreja sobre as folias de reis? A gente pode colocar que a Igreja por ser tão grande tão vassa, como existem muitas regiões, a própria formação dentro as faculdades é feito de uma forma onde é encarnado mais outros lugares encarnados menos. É evidente que a Igreja não vê a folia de reis como uma coisa apócrafa ou como uma coisa profana. O problema esta que o povo Brasileiro é um povo supersticioso, parece que não mais o ouvido do padre é quem o diga. É superticioso! Com relação a folia de reis, o que a Igreja pede pra que nós orientemos os fiéis, é no sentido. A folia de reis em si tem uma raiz bíblica. Como os Magos ... Só que aí vai colocando mais a cultura, mais de pessoas.

O problema é quando a pessoa começa a usar da folía de reis como poderia usar para outras coisas, para outros ramos, pra comércio. Aí então que a Igreja em vez de trabalhar, que participa é pouco, mas ela é grande! Participando é uma coisa, agora que foi batizado o número é muito grande. Então em Bebedouro, quando trabalhei la há três anos atrás. Um indivíduo da folia veio pedi ajuda, eu arrumei a Kombi. S Porque nós vamos fazer uma campanha . . . para arrecadar alimentos e fazem um almoço para todo mundo, até aí tudo bem. Eu deixei ele entrar na missa das sete da manhã, os próprios Cristãos estranharam um pouco, então você não pode dizer que está totalmente encarnado. Minas Geraes é nota 10, la eles fazem questão! Agora precisa ver também! Eu dei mais de

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quarenta reais para por combustível para ele ir, porque ele me disse que o dinheiro que arrecadasse ele daria para o educandário. Até ontem ele não voltou !!! Então eu percebi que o cara era bêbado, mas eu ajudei ele!

W.T. E a direção da Igreja? A mais pessoal de cada região! As folias só pedem para orientar no sentido de não virar comércio. Porque eles pegaram as leitoas venderam e pegaram o dinheiro para eles. Todas pessoas simples sem cultura! O Bispo nos alerta, que muitas vezes você pede para a comunidade acolher, mas você não sabe qual é a raíz disto, qual o fio da meada. O que falta, é nós temos um pouco de culpa, é um acompanhamento melhor. Mas é difícil para a gente acompanhar, sabe porque? Os padres da Itália quando vem aqui falam, “Meu Deus do céu, qual é a sua paróquia. Olímpia tem 50 mil habitantes e duas paróquias, tem a de São João e a de Nossa Senhora Aparecida. Se Olímpia tem 50 mil habitantes, minha paróquia tem 25 mil. Eu tenho São Benedito, Cizoto, Coabe, Alegria, Campo Alegre, Limoeiro, Lambari, Ribeiro e Baguaçu. Tudo isso pertence a mim e mais a Coabe 4 (bairro) que está sendo contruída agora. Eu tenho que dar assistência a todos estes aí, como posso fazer? Não estou querendo justificar! As vezes nós matamos um pouco a nossa realidade aí. Vem uma pessoa da folia de reis que eu poderia acompanhar . . . eu não vou perder muito tempo, porque eu tenho uma comunidade para abrir uma Igreja la na Conchinchina. Eu não querendo com isso esconder a minha culpa, também porque os padres não estão nem aí. Quando os padres Italianos vêm isso aqui dizem, “isso aqui não é paróquia. Você atendem tudo isso?” Querendo atender, nós deixamos de pegar a nossa própria cultura. Então o Bispo, eles não são contra, depende muito de cada ponto.

Para mim é 10, as folias de reis vão nas casas e povo reza o terço numa humildade bonita, então não se pode julgar nunca uma parte como um todo. Agora o Estado de São Paulo que é em relação aos outros mais desenvolvido. Tem pessoas boas, tem, tem folia de reis ótimas, só que na minha primeira experiência eu levei uma cabeçada, mas nem por isso eu deixaria de apoiar. Agora se aparecesse uma outra aqui eu não teria condições de acompanhar.

W.T. E os Reis Magos, quem são eles para a Igreja? Dentro de uma corrente da Igreja. Existe a tradicional e a corrente, mais liberal. São as duas correntes que existe. Eu vou mais por essa corrente atual. A Bíblia você nunca pode pegar as coisas e usar ao pé da letra porque a beleza é o que está atras, É como o povo, a casca é dura, o livro é grosso, mas se você abrir tem uma água gostosa. Precisa ver muito o simbolismo, o que ele quer dizer? Eu vou muito mais com essa corrente que simboliza os reis. Tanto é que não era Rei, os magos eram rejeitados, os Judeus não aceitavam eles, a classe sacerdotal não aceitava eles. Eles não podiam nem entrar no templo. Mas a Igreja quer representar com esses três homens, um preto, um amarelo, e outro . . . é representar todo o povo. Porque a América não tinha, no amarelo, no branco, e no preto. Eu vou mais

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por essa corrente da Igreja, porque ali a Jesus se revelar, porque em primeiro lugar Deus escolheu o povo Judeu, apartir do momento que o povo não aceitou, especialmente a classe alta sacerdotal. Ele começou se abrir. Então os Três Reis Magos representa todo o povo, toda a humanidade, enão só os Judeus. Alí quer mostrar muito mais a abertura do Cristo que morreu, não pro Judeu, morreu para todos nós! Agora ele continua sendo do povo Judeu, mas não exclusivo do povo Judeu. Até então Deus amava todos, mas escolheu um povo!

W.T. Porque o nosso presépio no Brasil são representados mais simplisticamente doque na Europa? Eu vou dar minha posição pessoal. Eu acredito se você colocar as pessoas fazem o presépio se identificando com sua própria realidade. De um modo geral eles gostam de fazer a pessoa que se identifica mais com a sua realidade, se não vai ficar muito distante. E não dará para mim aproximar dele, desses reis. Agora os Reis fazem parte da Bíblia. A Igreja não pode negar os Reis. Pode ser que na Itália por ser um país de primeiro mundo, eu vejo que por esse fato eles se identificam muito. Agora veja por exemplo: Porque se implicam tanto com a Nossa Senhora Aparecida? A Nossa Senhora é uma só, apenas cada um trás para perto de sí, foge da nossa cultura. O nosso povo não é como o oriental que costuma pensar e raciocinar. Eu posso lembrar de meu pai sem fotos. É como a imagem, a imagem não foi feita para adorar, a imagem foi feita para trazer mais perto. Eu olhando a foto de meu pai, eu vou traze-lo para perto de mim. Agora a Nossa Senhora, quando você ama, você dá presente a quem você ama.

W.T. Desde quando os Reis Magos são conhecidos no Brasil? Em todos anos de faculdade nunca se comentou isso. Se falaram dos Magos é o que você já sabe. Eu acho que foi pouco explorado. Conversando com algumas pessoas eu já reparei que fazem trabalhos muitos bonitos. Você já notou que as pessoas na Folia de Reis são pessoas bem simples.

W.T. A Companhia da Reis cresce depois que a Igreja a aceita? Aceitam melhor, o padre queira ou não queira, o padre é o padre. Se eles não fizeram as coisas certas, eu acho que a culpa é muito mais nossa doque deles. Porque as vezes o objetivo deles é chegar la no menino, e por falta de uma orientação, duas ou mais pessoas infiltrando, as vezes eles saem do menino. Por isso que eu digo, se a Igreja orienta, principalmente numa cidade como Olímpia, eu estou certo que eles se sentiriam melhor e podería se ver a bíblia de uma forma mais figurada. De uma maneira menos pesada do que aquilo que esta escrito linha sobre linha sem desenho.

W.T. A Igreja está preocupada com a chegada dos Evangélicos? Está bastante! Dizer prá você que ela esta perdendo, quem não participava não está perdendo. Os batismos estão mais ou menos iguais, também de vocações. Os nossos

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irmãos Evangélicos tem ajudado a Igreja demais por um lado. Porque a Igreja antes do Vaticano Segundo, antes da Santa Quarta não aprofundava mais os cursos Bíblicos porque não havia necessidade, não havia cobrança. Quando eu era jovem eu me contentava com aquilo, porque só tinha aquilo. Hoje é dirente porque a educação dos filhos, tem isso, tem aquilo. Como foram aparecendo essas ceitas, numa parte elas ajudaram a Igreja, ajudou a trazer mais, mostrar mais. Os evangélicos querendo questionar, os católicos participantes vem perguntar. Eu explico que a Santíssima Trindade é como o ovo. A casca, a clara, e a gema. Para formar o ovo precisam dos três. Essas explicações agradam o povo.

W.T. Aqui eles são fortes? Na região de Olímpia eles não são fortes, tem regiões que eles são muito mais fortes. Não alteram a minha paróquia. Eu percebo que com os cursos bíblicos que eu ministro que o nosso povo está muito sedento. Eu me preocupo com o seguinte, se nós não acompanharmos, eles podem partir para um outra coisa sem saber direito o que é a Igreja Católica.

W.T. E dentro da Igreja existe opinião divergente quanto a folia? Não existe opinião totalmente contra, agora existem aqueles que não sai de cima do muro.

W.T. Existe diferença do frei Brasileiro nato e do que vem da Europa? Tem, só que os freis que vem de fora procuram valorizar muito mais isto aqui do que nós.

W.T. E a origem da palavra folia? O que é folia? Eu vejo como alegria! A folia de reis é sacra quando faz a sua caminhada, quando passa aquilo que está escrito no evangelho na vida. De fazer a colheta sim, mas dividir para todos. Aí sim tem o espírito religioso. Mas quando vira comércio aí não! O único perigo da Igreja é deixar por outras pessoas, aí cai no materialismo, no paganismo.

W.T. Os membros aqui de sua Igreja que não são parte da folia de reis, o que pensam estes da folia? Todas falam bem ou gostam. A Igreja é que pede para tomar cuidado a respeito desse comércio. Por isso que o povo simples nem vê esse comércio. Então o povo simples muitas vezes dão as coisas mas não sabe para onde que vai. A imagem do povo é boa, alegre!

W.T. A tua posição pessoal pode divergir da Igreja? A minha opinião não diverge da Igreja...

Se um padre trouxer uma folia de reis dentro da Igreja o Bispo não condena. É aceito! Porque faz parte. O que o Bispo orienta é não deixar virar comércio. Assim você não dá

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margem para os crentes falarem. Até circo eles fazem dentro da Igreja . . . . é do demônio.

W.T. E a música da folia? Ela conquista os fiéis. Eu não posso dizer entre os participantes. Aquilo que eu ouvi era religiosa. Todas falam das coisas de Deus.

W.T. A Igreja muda de aceitação dependendo de região? Muito, daqui para Minas já dá para perceber. La eles saem atrás do menino Jesus, entram em Igreja. O Bispo autoriza, pode até bater o bumbo. Minas é um Estado incrível. La o padre orienta, porque sabe que é a maneira simples deles expressarem sua fé e crença religiosa. Ter a devoção ao menino. Agora no Estado de São Paulo, existem muitos que aproveitam da folia para benefícios próprios.

W.T. E outras tradições, também são fortes dentro da Igreja? Não são tão fortes, pelo menos essa é minha experiência. A folia de reis é a mais forte de todas as tradições, por causa do menino. Queira ou não queira tudo é para chegar no menino. Se o objetivo é chegar no menino a Igreja não faz nenhuma objeção.

W.T. E durante o Festival do Folclore, Congada, Moçambique, Grupos Africanos? Muitos distorceram minha opinião. Eu disse apenas que não queria circo dentro da Igreja. No primeiro dia o prefeito entrega a chave para o Curupira. Os evangélicos falaram: sabe porque Olímpia não vai para frente, aonde se viu entregar chave a Curupira. Deveriam entregar a chave é para Jesus Cristo. Para eles tudo isso é demônio é coisa! Eu já penso diferente. A missa enquanto era celebrada, nêgo tavá tomando cerveja, dizendo: “Truco ladrão”! E o padre celebrando missa, naquelas barracas, eles não estavam muito interessados. Eles estavam interessados com a festa. O Bispo falo assim: “La não”! Se quiserem a missa de abertura, vão celebrar aqui. Aí no ano passado ouve uma divergencia que foi para a Igreja de São João Batista. Eu disse pode celebrar aqui, mas aqui nós vamos celebrar uma missa de abertura em ação de graças a todas as folias, a todas as pessoas que programaram isso, a todos os benfeitores. Eu não aceito entrar Saci-Pererê, Curupira aqui porque vai misturar. A minha preocupação era trazir o recinto para dentro. Vamos separar a coisa, senão é que nem no casamento o cara transa antes, o que quer na missa colocar musica “Jétemme”, Chitãozinho e Xororó, isso aí para colocar no salão de festas! Aqui nós perdemos a identidade, porque cada coisa no seu lugar. Esse é o ambiente, isso é que eu tentei passar para eles. O centro aqui é o Cristo Jesus e não o Curupira, aqui é a Eucaristia. Aqui nós estamos preocupados em celebrar a missa, instruir as pessoas e orientar para que corra tudo bem. Há alguns anos atras a folia de reis esta la tras pitanto um pouquinho. Muitas pessoas falaram que foi bonito a entrada deles, outros disseram que foi um circo! Acharam que o Cristo ficou em segundo plano.

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W.T. Dá para achar um meio termo? Sem dúvida! Muitas missas são realizadas no estilos foclóricos, mas a letra é religiosa. Apartir do momento que a folia de reis entra toca a musica deles com o evangelho do dia não há nenhum problema. Pode entrar tudo, bumbo, bandeira, bateria. Do estilo que foi feito la na São João Batista eu não aceito aqui. O padre de la no lado de la eu eu do lado de cá. É mais pessoal. Eu não sou contra não, é lindo. Quando você ver o rítmo é lindo mesmo, agora começa a entrar saci-pererê, curupira, o outro negócio, aí não. Não que eu seja contra, mas se você encher o altar de coisa o Cristo fica para segundo plano. Se for para celebrar missa, o festejado é o Cristo. Os outros tem que ficar abaixo dele. A missa para mim diz muito! Os Reis Magos levaram ouro incenso e mirra porque na época era o costume aparecer diante de um rei com um presente. Sera que arrecadar alimentos e dar para os outros não tem alguma ligação com os presentes oferecidos ao senhor Jesus. Porque este carinho tão grande, este gesto tão belo. E também a união dos povos (os reis eram de vários lugares). Minha fé não esta ligada ao incenso, mas ligada nestas pessoas em reconhecer. Como pode a Igreja não ser solidária com estas pessoas que vão arrecadando tudo e dividindo com os outros. Muitas vezes eu não tenho a metade da fé que essas pessoas tem.

9.3 Entrevista: Durval Martins Fontes (Cristalino) – Companhia de Reis Tradição de Família A nossa companhia tem mais ou menos uns 50 anos. Fazem 1 ano e 2 meses que eu estou aqui, O Jota Silva fêz eu entrar nessa companhia. Ele me chamou para fazer uns ensaios, eu geralmente canto com o Cristal na dupla com ele, eu sou o Cristalino. Nós nos reunimos e viemos fazer uns ensaios na casa do Zé Claudio. Outros fizeram mas desistiram, aí nós entramos cantando. O nosso grupo se reúne o ano inteiro. Em qualquer época, sempre se faz encontros de Companhia de Reis, de Bandeiras. O nosso próximo vai ser Sábado, onde nós vamos fazer uma festa no Vieira da dupla Vieira e Vieirinha. Dia 20, que é Domingo nós vamos cantar em Votuporanga. A festa de Reis é a promessa que o Zé Claudio fez do menino dele. Aquele menino que veste de palhaço ficou doente, então ele fez uma promessa de todo ano ele fazer uma festa de reis. A promessa não tem tempo determinado.

W.T. E vocês músicos, qual a razão de estarem aqui hoje? Todo mundo gosta e é devoto de Santo Reis. Eu fazem 35, quase 40 anos, desde menino que eu canto Reis. É devoção! Eu não tenho promessa nenhuma. Mas é uma coisa que a gente gosta, é uma tradição de muitos anos. A gente gosta de estar cantando e estar juntos. Na nossa Companhia nós temos viola, violão, cavaquinho, violino, e tem bumbos e caixa. Aqui é Paulista, mas a companhia de reis Paulista ou Mineira quase não tem diferença nenhuma. O rítmo é um só, a cantoria!

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W.T. Na região quem conhece Companhia de Reis? A comunidade conhece, porque o Jota Silva tem falado muito. As pessoas conhecem! Inclusive ele até escreveu para Brasília, para nós sermos a folía de reis para representar o Brasil se precisar. Para alguém entrar na companhia ele precisa ter ensaio antes. O nome Tradição e família vem da família do Zé Claudio. O pai dele era folião, era palhaço, mestre de Santo Reis, daí vem o nome. O Zé Claudio canta na quarta e quinta voz. Qualquer pessoa gostando pode começar. Arruma-se o grupo certo e começa cantar.

W.T. E o menino Jesus? A companhia de reis foi formada quando o nascimento de Cristo. Quando Cristo nasceu, Heródes estava procurando ele para matar. Heróde queria ser o maior rei do mundo, como existia o Cristo que era o Salvador do mundo que nasceu. Ele procurava pra matar, mas não achou, porque São Gabriel avisou os Três Reis Magos para enganar o Heródes. O rei Heróde mandou eles passarem pela ponte do rio Jordão, aí São Gabriel pediu para que eles voltassem por outro caminho. Como não tinha outro caminho eles formaram a companhia de Santo Reis. E puseram os dois soldados (palhaço) na frente com capacete, fardado. E nossa Senhora passou na mulinha com o menino Deus no colo e os palhaços passaram pulando, batendo caixa, dando meia lua e Heródes não viu e passou o menino Deus.

W.T. Porque os palhaços hoje na folia de reis não usam as fardas? Isso é semelhante os palhaços dos três reis magos. O nome deles era soldado, mas eles vestiram com roupa colorida estampada como palhaço para enganar o Hérodes. Na antiguidade era só estampada, o colorido hoje é porque o povo vai mudando.

W.T. A tradição continua? Eu acredito que sim! A música pode atrair, porque a companhia há uns 10 ou 12 anos atráz, ela esteve meio defasada. Parece que o povo afastou. Agora a gente vai nos encontros tem 20, 30, até quarenta companhias de reis. De qualquer forma a folia se reúne.

W.T. Porque a companhia esta nas redondezas e não no centro? Porque a companhia está ligada as pessoas mais simples que estão nos bairros.

Nós começamos cantar no primeiro arco, fazemos a meia lua e cantamos salvando o arco. Depois canta pedindo licença para passar o arco. No segundo arco a mesma coisa. No terceiro arco, até chegar no altar. W.T. Senhor Cristal -Mestre (Mamédio Alexandre), as letras que o senhor canta já estão memorizadas?

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A maior parte é improviso, a gente tem alguma coisa dentro da profecia. Fora da profecia tudo é improvisso. Na folia de reis a única coisa que se canta decorado é o nascimento de Jesus. O Jotinha da Silva é nosso padrinho e programador da rádio Metrópole. No primeiro arco cantamos a primeira parada (estação) dos Reis indo para Belém. Depois segunda e terceira. Por final o presépio que é o altar, é o final da viagem. Hoje o significado do arco é a chegada da festa que o festeiro faz promessa para Santos Reis, o arco é um enfeite da chegada.

W.T. E essas ofertas? As ofertas vem com a Bandeira. O dinheiro arrecadado, é comprar carne e interar o que não der. O dinheiro pode ser quardado, pode-se doar para os pobres.

W.T.- Quem decide o que fazer com o dinheiro? O festeiro é quem decide.

9.4 Entrevista: Zé Claudio Ferreira (Festeiro e cantor) W.T. Como foi a Companhia este ano? Graças a Deus muito bem! Recebemos novilha, leitoa. O dinheiro que recebemos algumas vezes é usado para uniformes, para nossas viagens, e para ajudar na festa também. É benefício a Santo Reis. Os convidados são o povo, porque a festa de reis é aberta e pública. Vem quem quer! Eu queria contar para você como foi a fundação dessa companhia! O meu pai era mestre de companhia de reis. Ele morreu há 17 anos e deixou para mim e eu estou seguindo. Nós íamos cantar só por sete anos e parar Aí um menino meu, que hoje é palhacinho. Conversei com minha mulher e ela disse você é quem sabe. Quando eu estava no quinto ano fazendo a chegada nasceu o meu moleque. Aí ele teve uma sirurgia de intestino. Ficou três anos com o intestino para fora! Aí minha mulher fez a intenção se Santo Reis ajudasse nós nunca mais íamos parar de sair com a bandeira. Nós fomos atendido, hoje ele está aí forte. Pula de palhaço, esta seguindo a tradição. Todos os meus filhos estão na companhia de reis.

W.T. E durante o ano? Durante o ano participamos de festivais. Nas cidades vizinhas eles fazem festivais para mostrar para o povo, para essa geração mais nova, para eles verem, conhecerem.

W.T. E as músicas mudam? As músicas são cantadas do mesmo jeito. Só não canta o nascimento do menino Deus que é fora de época. Mas o resto é louvando, salvando, é deste tipo.

W.T. Se você sair quem continua?

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Pode ser meus filhos! Outro mestre também pode continuar. Só que é o seguinte da minha família, só se eu morrer para acontecer isso! Eu tenho certeza se um dia eu faltar meus filhos vão seguir, porque eles são muito devotos e gostam demais, minha esposa também é muito devota. E as promessas que a gente tem feito sempre são atendidas. Qualquer coisa que eu peço a santo reis me valem na horam, sou atendido.

9.5 Entrevista: Gumercindo Manuel Pereira (bandeireiro) Eu deixei de ser bandeireiro por problemas de saúde.

W.T. Qual era sua função enquanto bandeireiro? Eu levava a bandeira no giro por dois anos. Eu sou católico de santo reis. Desde meus pais, minha mãe, eles todos morreram nesta religião ,eu segui a mema coisa.

W.T. O senhor vê muitas folias diferentes? Tem a companhia baiana, mineira, paulista . . . é diferente o modo de cantar (cantam diferente). Mas a fé é iqual. Posso ser bandereiro de qualquer uma.

W.T. A folia de reis vai continuar? Os mais novos vão aprender e ...a folia vai crescer.

W.T. E para ser bandereiro? Se a pessoa for católico ...se for crente não vale.Qualquer um pode ser bandereiro, o dono da companhia chama ele para ser bandereiro

9.6 Entrevista: Casa dos Mirandas (Família Miranda) W.T. Quanta perigrinações vocês fizeram. Fizemos varias chegadas. Nós cantamos até segunda-feira. Fizemos chegada no dia 6 de Janeiro. Hoje também teremos os arcos. Qualquer um pode fazer o arco, geralmente o dono da casa. Fazemos mais de uma chegada quando temos mais promessas para cumprir. Faz quantas chegadas que quiserem. Geralmente fazem uma promessa. O voto pode ser falado (contado) para outras pessoas. A saúde, vida, emprego, dinheiro, para dar certo um negócio, de soltar uma companhia. A pessoa faz um voto para dar certo um negócio. Este anos nós fizemos mais ou menos 5 chegadas. (igual ao ano passado). O mesmo número de giros. Durante o ano nós saimos e participamos dos encontros. 40 a 50 companhias. Fora do período de Reis.

9.7 Entrevista: Professor Sant’anna O espírito de honestidade e cristianismo que reina nesta festa. As pessoas recebem os adjuntórios em dinheiro ou especie para a realizaçao da festa. E estes não poderm ser

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utilizados para outras coisas. O espírito do dono da festa é fiscalizador. Onde as colaboraçoes são compartilhadas. As pessoas fazem um compromisso de fé com os santos.A presença do palhaço mirim é mais um pagamento de promessa. A bandeira requer somente dois palhaços adultos.

W.T. Em Ida Iolanda a rainha é coroada e o rei são coroados! Isto depois do pagamento da promessa. Aqui nós coroamos depois da passagem da coroa de São José. O número 7 é um número dos antigos Judeus, é Bíblico. O número tem uma conotação sagrada. Na Bíblia o apocalipse, entre o povo é o número da mentira. As brincadeiras organizados são peculiares de cada grupo. Hoje nos teremos mais ou menos (COAB – atrás da Vila São José) aparece quem quiser.

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TAPE 10.1 Entrevista: Professor José Sant´anna Com a morte de alguns membros. A folia vai se adaptando aos músicos que estão disponível. Eles vão alterando alguns materiais das flores.

W.T. A chuva influência a saida da folia? Isto aqui é mais ou menos uma chegada. Algumas companhias saem no dia 24 de dezembro e cantam o tempo todo.

W.T. A primeira parada é a do Rei Heródes, a segunda parada de Madalena, e a terceira. Isto também varia.

10.2 Entrevista: Joaquim Moreira, escritor e mestre [Joaquim conta a viagem dos Reis Magos ...] Em resumo na viagem dos Reis eles pararam por três vezes. Na viagem misteriosa dos Três Reis do Oriente até Jerusalem. Mas não posso jurar ... Pararam em Jerusalem quando a estrela apagou para falar com o Rei Heródes. Chegando na mangedoura pararam pela terceira vez. O caminho deles era a estrela que apagou ao chegarem a cidade. Foram perguantar para o Rei Heródes onde morava este menino, mal sabiam eles que estavam perguntando para o maio inimigo deste novo rei. Chegando na portaria. Pediram para chamar o Rei Heródes e entrevistou. Depois de Hérodes tanto perguntar sobre este novo Rei que havia nascido. (Origem dos Palhaços) O Rei Hérodes chamou dois de seus soldados (um capitão e um coronel) de sua inteira confiança como segurança pessoal de seu território. Mas no fundo eles levavam a missão de reportar a Heródes onde estava este Deus. Estes estavam vestidos de farda, espada.

Chegando na Mangedoura estes soldados e por intervenção divina e mistério de Deus, os soldados reconheceram a realidade também adoraram, e seguiram o exemplo dos Magos e foram avisados para voltar para outro caminho. Por isto estes palhaços que nós vemos é a representação dos soldados de Heródes que não voltaram para o palacio e seguiram os Magos em sua viagem de retorno. Por isso é o que você vê o seu chapéu (boné), a sua roupa (farda). A bandeira é simbólica aos Três Reis. Os Reis pediram licença a Virgem Maria para comemorar aquele evento. O que fizeram foram para estrada e pediram ajuda para celebrar o nascimento de Jesus. Foi assim que a primeira festa de Reis foi feita.

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GLOSSARY

Ajudante: (“helper”) a person who can also play the viola and support the harmony and the vocals by doubling the contra-mestre.

Aparecida do Norte: (“Apparition from the North”) often referred to as Aparecida, 1) a city located in the Vale do Paraíba in São Paulo state; 2) Jesus mother’s name; 3) Patron Saint of Brazil.

Baião: a style of northeastern song (popularized by Luiz Gonzaga) featuring syncopated melody, instrumental refrains and written in binary meter.

Bandeireiro (a): a man (or a woman) who carries the banner or flag during the journey.

Bandolim: mandolin (plucked lute) with four courses of double strings, all strings in double unison tuned like a violin, and played with a pick.

Bumba-meu-Boi: (bumba-boi and boi-bumbá) is a popular and widespread comic- dramatic dance (theatrical act), which tells the story of the death and resurrection of an ox. It started at the end of the 18th century in the coastal sugar plantations and cattle ranches of northeastern Brazil. Its name comes from the verb “bumbar,” meaning to beat up or against, and the expression is chanted by the crowd as an invitation for the ox (the men under the ox costume) to charge against them.

Bumbo: double-headed bass drum played with a single wooden mallet.

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Caboclos: 1) an Afro-Brazilian religion of Central Brazil; 2) an individual resulting from the miscegenation of white and indigenous peoples; 3) an individual from the interior or inland Brazil.

Caixa: double-headed cylindrical drum with a snare (snare drum), played with two mallets.

Caixeiro: snare drum player.

Capitão e Coronel: (Captain and Colonel) name given to describe the two soldiers of Herod dressed as clowns. Capitão is also a title given to the folia member with authority over the other participants.

Candomblé: Afro-Brazilian religion of Gegê-Nagô and Bantu derivation, practiced to greatest extent in Bahia. This religion is the closest to the old West African religious practices of all the Afro-Brazilian religions. Its ritual utilizes three different sizes of the conical atabaque drums.

Cateretê: Traditional country dance and rhythm often practiced by folia de reis participants consisting of stamping their boots on the ground accompanied by viola and violão.

Cavaquinho: four-stringed small guitar similar to the ukulele.

Ciranda: a popular circle dance of Portuguese origin associated with children that is popular in northeastern Brazil.

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Congada: dance and music troupe that performs traditional songs in honor of saints associated with Afro-Brazilian heritage, mainly Our Lady of the Rosary and Saint Benedict.

Contramestre: second individual in line in the folia tradition; also sings the second voice.

Contralto: also called contrato (country spelling) or third voice.

Cururu: male dance and musical style played on the viola and originated from the tupi- guarani indigenous groups in southern Brazil.

Duplas: (also dupla caipira, [country duo]) usually composed of two men playing and singing in parallel thirds (or sixths) to the accompaniment of one viola and one violão

Embaixador: the lead singer in the folia group, most often the mestre.

Escrivão: records clerk in reference to a folia participant.

Fandango: a form of Spanish folk music and dance, probably derived from the Jota and popularized in southern Brazil. The rhythm consists of 12 beats (4 measures of 3/4 time) with emphasis as follows: 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12]

Festeiro (a): folia celebration organizer. The individual or individuals responsible for organizing the closing celebration. When in the plural the title is often given to a married couples within the community.

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Flautinhas: literally “little flutes” and used to ornament and to create counter melodies in folia de reis music. A vertical duct cane flute with 6 finger holes.

Foliões: folia members or participants in the tradition.

Forró: generic name for dance-oriented northeastern musical styles.

Fulano and Ciclano: John Doe and John Doe II. Used in folia de reis song text when the lead singers do not remember individual family names.

Gerente: literally “manager” the person responsible for organizing folia activities. Function often associated with a festeiro.

Homem do Campo: country or rural worker.

Mestre: (or master) is the prominent member of the group and often the leader of the group.

Moçambique: African Brazilian dance and music troupe that performs traditional songs in honor of saints associated with Afro Brazilian heritage, similar to congada.

Música Caipira: literally “country music”. A genre developed from various independent styles of folk, ethnic, and popular musics in the early part of the 1900s.

Nossa Senhora Aparecida: Our Lady Virgin Mary, also the Patron Saint of Brazil.

Pagode: a country musical genre in the central and southern regions of Brazil where two singers accompanied by a viola sing verses in strophic form.

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Palhaços: literally “clowns”. The palhaços are the most ambiguous participants of the folia de reis group.

Pandeiro: a small single-headed frame drum with jingles (like Western tambourine).

Porteira Aberta: literally open gate or celebration day.

Quarta: the fourth voice of folia de reis singing.

Quinta: the fifth voice of folia de reis singing.

Resposta: 1) back singers in folia de reis singing. 2) resposta singers repeats, in antiphonal style, the melodic structure sung by the lead singers.

Sanfona: a small “accordion” a multiple single reed with different sizes and as many as 80 buttons (basses) on the left and keys on the right.

Sertanejo (a): 1) one who lives the interior or the country regions of Brazil; 2) a modern style of country music.

Tala: the last or top voice of the folia chorale.

Toada: “tune,” a song or melody in strophic form.

Umbanda: Afro-Brazilian religion developed in the twentieth century which has considerable influence from spiritualism beliefs. Practiced in Rio de Janeiro and São Paulo states.

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Violão: the same as classical or Spanish guitar.

Viola: a plucked or strummed small guitar that is descendant of the Iberian vihuela; it is smaller in size than the classical guitar and has 5 double courses of steel strings.

Xote: a northeastern dance in 2/4 time derived from the schottische.

Zabumba: double-headed cylindrical bass drum played with a wooden mallet in one hand and a thin bamboo stick in the other; in some regions the banda de pífanos (fife ensemble) is known as a zabumba.

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REFERENCES

Araújo, Alceu Maynard. 1949. “Folias de Reis de Cunha.” São Paulo: Sep. da Revista do Museu Paulista.

Asad, Talal. 1993. Genealogies of Religion. In “Discipline and Reasons of Power in Christianity and Islam.” Baltimore: Johns Hopkins University Press.

Beckwith, John. 1966. The Adoration of the Magi in Whalebone. Victoria & Albert Museum. London: Her Majesty*s Stationery Office.

Beyersdorff, Margot. 1988. La Adoracion de Los Reyes Magos - vigencia del teatro religioso español en el Perú andino. Cusco: Centro de Estudios Rurales Andinos “Bartolomé de Las Casas”.

Braga, Teófilo. 1885. O Povo Português nos seus Costumes, Crenças e Tradições. Lisboa: n.p.

Brandão, Carlos Rodriguez. 1977. A Folia de Reis de Mossâmedes. Rio de Janeiro: Ministério da Educação e Cultura, Fundação Nacional de Arte - FUNARTE.

Brockwell, Maurice W. 1911. The ‘Adoration of the Magi* by Jan Mabuse. London: The Athenæum Press, Bream*s Buildings.

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Castro, Zaíde Maciel de. & Couto, Aracy do Prado. 1961. Folias de Reis. Rio de Janeiro: Ministério da Educação e Cultura, Departamento de Assuntos Culturais. Editora Itambé.

Chaves, Luís. 1942. Páginas Folclóricas. Porto: Portugal.

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Guioto, Sandra Maria. 1992. Monografia sobre o Folclore em Olímpia. São José do Rio Preto: Faculdade Riopretense de Filosofia, Ciências, e Letras.

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BIOGRAPHICAL SKETCH

Welson Tremura (b. 1961) is an Assistant Professor of Music at the University of Florida, and has a joint appointment with the Center for Latin American Studies. He permanently joined the Center for Latin American Studies in 2002 as musician and educator who is well-versed in Brazilian Jazz, classical, and vocal music as well as traditional European classical forms. Mr. Tremura also holds a degree in law from UNERP in Brazil. Mr. Tremura also served as a development consultant for a major automotive manufacturing company (high precision engine components) and for several years managed and was responsible for setting up a new manufacturing facility in Curitiba, southern Brazil. From this assignment he wrote a study guide for setting up a new business overseas. Originally from the state of São Paulo, he studied classical guitar with Marcos Barbosa and later attended Weber State University in Utah and The University of Tennessee where he received an MM in music. While in Tennessee, he directed Roane State Community College Concert Choir and Celebration Show Choirs, sang with the First Presbyterian and First Street Methodist Churches of Knoxville, and also performed with the Knoxville Opera Company. Mr. Tremura has released two feature recordings and has participated on recordings with renowned musical artists in Brazil as well as in the United States. He has performed extensively throughout Brazil, North America, and Europe including at the International Double Reed Convention (Rotterdam), Festival de Inverno (Campos do Jordão, Brazil), Nashville Opry Theatre Christmas Concert with Barbara Mandrel (Nashville), and American Cancer Society Benefit Concert with Bernadette Peters (Tallahassee). He has also performed solo concerts for João Figueiredo and Ernesto Geisel (former Presidents of Brazil) and won second place for his composition "O Arrepio e a Paixão" with RTC (Rádio e Televisão Cultura).

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During his tenure at the Florida State University (1993-1998) he founded “Samba Oba,” the Brazilian Music Ensemble, and in 1996 he took the ensemble in tour to Brazil, performing at the carnaval in Bebedouro and São José do Rio Preto. In 2000 Mr. Tremura began working with Jacaré Brazil, the Brazilian Music Ensemble at the University of Florida.

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