THE MAGIC OF BRAZILIAN

Joãozinho Trinta

Diploma in Classical Dance from the Municipal Theater of . Carnavalesco of Escola de Grande Rio, Set Director, Art Director.

44 45 razil is a South American country whose geographical Anglo-Saxons. Brazilian civilization was harmoniously created, form is an immense heart. Its primitive inhabitants and today we are a nation with 175 million inhabitants who all Bspread themselves out to the North, South, East and speak the same language - Portuguese - on a territory that West. Peoples rich in traditions, legends, customs and folklore extends 8 million square kilometers. Our cultures are manifold occupied lands abundant in tropical flora and fauna. They and our heritage extremely vast. Our collective unconscious opened clearings in the forests, built their houses called Ocas is overwhelmingly rich. In the core of our being, we shelter and enjoyed a life among waterfalls, rivers and seas. In the year the experiences, sensibilities and wisdom of various ancient 1500, Portuguese explorer Pedro Álvares Cabral discovered peoples. All nations of the world have contributed to forming . The conquerors, thinking they had discovered the East this gigantic heart called Brazil. The mix of ethnic blood makes Indies, named the forest inhabitants Indians and wished to the heart beat stronger. The binary rhythm of our popular enslave them. But the owners of the lands had no wish to submit music called “Samba” is the mirror of the Brazilian soul. themselves to forced labor. They revolted, and many fights Resulting from the first African “samba circles” in the state of ensued. The Portuguese, determined to colonize the newly at the end of the 16th and beginning of the 17th centuries, discovered lands, brought black people from diverse nations of the music later received the influences of the lundú, the polka, the African Continent to work as slaves. The Africans, despite the habanera, the and the maxixe. Samba, therefore, is their great suffering, conserved their cultural heritage. Arriving the complete cultural fusion of the three primordial races and in Brazil, they were separated from tribes and families. Even of other ethnic groups that found their way here. so, they resisted both physically and culturally. And, here on And what is the magic of ? Brazilian soil, after centuries of struggle and suffering, these Its origins have root in 1723 when settlers from the Isles three different bloodlines and cultures were united in the of , the Azores and Cape Verde disembarked on the process of miscegenation. In time, other peoples and ethnic coast of Brazil, from to Espirito Santo. Two groups arrived from around the world: Asians, Jews, Arabs and months before the date of CARNAVAL, they introduced

47 a Sunday revelry called the “ENTRUDO” (introduction, Columbines, sailors, odalisques, etc. To the sound of entry). Together, blacks and mestizos frolicked in the streets marches or carnival , all make merry. At night they in libertine fashion, making noise with homemade musical line the avenues to watch the of the GRANDES instruments while flinging tapioca flour and squirting one SOCIEDADES CARNAVALESCAS, the RANCHOS and the another with water from squeeze tubes and syringes and, later, ESCOLAS DE SAMBA (samba schools), and the BLOCOS tossing limões de cheiro (fine wax balls filled with cologne). CARNAVALESCOS (carnival blocs). Such horseplay generated disagreements and frequent fights. These were reminiscent of the former CORDÕES Little by little it was prohibited. CARNAVALESCOS (often-rowdy male-only carnival blocs), At the beginning of the 20th century, Rio de Janeiro founded in 1870. Groups of costumed people playing bombos (a was becoming increasingly urbanized and a new mentality type of drum), whistling and blowing animal-horn trumpets, and emerging among its citizens. The new Avenida Central (Central often led by a number of Indians, paraded through the streets in Avenue)was opened to channel the parades of the GRANDES a great uproar. In 1911, the CORDÕES practically disappeared, SOCIEDADES (Great Societies - a sort of Carnival Club often giving way to the BLOCOS CARNAVALESCOS, also known as related to civic movements) and RANCHOS (organized groups the BLOCOS DE SUJO (dirty blocks). These were more closed, of carnival celebrants whose dancing and singing parades community-based organizations. Over the decades they have told a story), new expressions of the carnival holiday that undergone transformations, with the result that some, such as continued to grow. The tapioca flour and limões de cheiro of Bafo da Onça (Jaguar’s Breath), Cacique de Ramos (Indian Chief yore were replaced with confetti and lanças-perfume (aerosol of Ramos), and Boêmios de Irajá (Irajá Bohemians), survive with perfume sprays) of French origin. Masks began to appear. few members. In 1919, a reveler appeared in the streets of Rio The city’s salons hosted BAILES (fancy-dress balls) featuring de Janeiro dressed as Clovis, a corruption of the English word sophisticated costumes such as princesses, clowns, dominos, “clown”. He was cavorting on his own and carried a signboard. ballerinas, Pierrots, devils, noblemen, etc. He was imitated by others and they became known as O BLOCO Soon, BAILES recalling those of Venice were being held in DO EU SOZINHO (the bloc of I, Alone). the theaters, culminating with the luxurious splendor of the In Rio de Janeiro, the euphoria of the GRANDES Municipal Theater’s Grand Ball. SOCIEDADES CARNAVALESCAS dates from 1855. They were Since the beginning of the 20th century, the holiday of associations dedicated to the Brazilian patriotic movement CARNAVAL has grown to become Brazil’s biggest national for the emancipation of slaves and the implantation of holiday. republicanism. Their impressive parades included horsemen In Rio de Janeiro, the advent of convertible cars in full regalia, well-lit decorated floats, and costumed women enabled the great event called CORSO (motorcade). Young throwing kisses to the enthusiastic public. The most famous are men and women dressed up in costumes of Columbines, the societies named “Tenentes do Diabo” (Devil’s Lieutenants), Harlequins, Pierrots and others paraded in this novel means “Democráticos” (Democrats) and “Fenianos” (Fenians). of transportation, showering one another with confetti and The RANCHOS CARNAVALESCOS appeared in the serpentine while lanças-perfumes inebriated the atmosphere. cities of Rio de Janeiro state towards the end of the 19th Until the decade of the sixties, the so-called CARNAVAL century. Historically, Hilário Jovino is held to be the author DE RUA (street carnival) in Rio de Janeiro and other of this new (native to Rio) carnival association. He major capital cities was still quite grandiose. Some capitals was part of a community of Bahian blacks who had arrived in transformed CARNAVAL DE RUA into monumental events, Rio de Janeiro in around 1870 and worked on the docks of the notably in Salvador, and . Port. The RANCHOS developed carnival performances with Here in Rio, throughout the days of CARNAVAL entire characteristics of Northeastern folklore. In their families and groups of friends dress up in the most varied they sang chulas of African origin, a type of tap-dancing of costumes and head to the streets, staying until night. lundú. They were accompanied by an orchestra composed There are clowns, pirates, ballerinas, Pierrots, Harlequins, of violins, violas, flutes, castanets, etc. They employed

48 49 symbols and emblems. The dances were based on African by a military dictatorship that would put the brakes on progress ceremonies related to the hunt. Initially, RANCHOS sported for the next twenty years. Fortunately, at the end of the fifties, names of plants and flowers: Rosa de Ouro (Golden Rose), Nelson de Andrade, president of G.R.E.S. Acadêmicos do Flor de Abacate (Avocado Flower), Ameno Resedá (Gentle Salgueiro, invited the artists Dirceu and Marie Louise Nery to Mignonette), Kananga do Japão (Japanese Ylang-Ylang), Flor produce a carnival based on the painter “Debret”. The de Romã (Pomegranate Flower). result enchanted members of the parade jury, as well as fine arts The GRANDES SOCIEDADES and RANCHOS professor Fernando Pamplona, who was later invited to develop disappeared with the 20th century. The ESCOLAS DE some artistic work at Salgueiro. He brought with him Arlindo SAMBA were what remained. Today their parade is considered Rodrigues and Milton Sá, and together with Dirceu and Marie the greatest spectacle on Earth. Their history begins in Louise “initiated a true revolution in subject matter and artistic the decade of the twenties. They were originally BLOCOS treatment” as Hiram de Araújo wrote in his book, “Carnaval CARNAVALESCOS whose performances were marked by – Seis Milênios de História” (Carnival - Six Thousand Years violence and political persecution. Wanting to change the of History). In 1963, with Fernando Pamplona in Germany, BLOCOS, they sought to imitate the structure of the RANCHOS Arlindo Rodrigues invited me, Joãosinho Trinta, to help him and their parades. It was then that a group of sambistas (samba on the enredo “Chica da Silva”. For the first time, I climbed musicians) from Estácio, consisting of Ismael Silva, Nilton the morro of Salgueiro and began to work on the conception Bastos, Baiaco, Mano Rubem, Osvaldo “Papoula” and Juvenal of the alegorias. I continued being part of the corps de ballet Lopes, among others, decided to form a new association. This of the Municipal Theater of Rio de Janeiro, and was learning group of sambistas used to meet near a grade school on the everything about staging an opera, the scenery, costumes, stage corner of the streets Joaquim Palhares e Machado Coelho. management, lighting and special effects. In the decade of the From this proximity arose the the idea of calling this new seventies, I staged operas on the scale of Aida, Guarani and carnival group an ESCOLA (school). In 1929, the first contest Tosca at the Municipal Theater. I stayed at Salgueiro along among newly-founded samba schools took place. The schools with Arlindo and Laila and, soon after, I was joined by Maria were G.R.E.S Mangueira, and Estácio. Some also claim Augusta and Rosa Magalhães. The CARNAVAL of ESCOLAS the presence of . Thus began the trajectory DE SAMBA was growing with the innovations created by of the ESCOLAS DE SAMBA in Rio de Janeiro’s CARNAVAL. Salgueiro, who since 1963 had been winning innumerable It would spread to other capitals and cities throughout Brazil, . In 1974 and 1975, I gave two championships to facilitated by the appearance of television at the beginning Salgueiro with the carnivals of “The King of France on the of the fifties. From the time of their debut until the date Haunted Island” and “King Solomon’s Mines”. mentioned, the majority of these carnival groups were located At that time, my conception of the parade was in the morros of Rio (the hills, where poorer communities are as an authentic street opera. The structure of grand opera was located). At the beginning, the ESCOLAS DE SAMBA intended the same as that of this popular . There is the libretto to follow in the footsteps of the RANCHOS CARNAVALESCOS that corresponds to the enredo. It is a history or story with a and GRANDES SOCIEDADES. Modifications soon occurred, beginning, a middle and an end. The libretto is set to classical adding on the “comissões de frente” (front commissions), the music, while the enredo receives the melody of a samba, which elegantly dressed directors who introduce the enredo (theme), comes to be called the SAMBA-ENREDO (samba theme-song). the “alegorias” (decorated floats) inspired by the enredo and As in the opera, the musical play, known in the ESCOLA as the samba. Next came the couple mestre-sala (master of the SAMBA-ENREDO, is sung and danced. Scenery is built in ceremonies) and porta-bandeira (flag-bearer). the theater, while in the street enormous carros alegóricos are The parade of ESCOLAS DE SAMBA became the constructed to transport the components that correspond to the highlight in Rio de Janeiro’s famous CARNAVAL. The decades corps de ballet and opera chorus. And in privileged positions on of the sixties and seventies hastened the changes Brazil was these carros alegóricos parade the main characters of the enredo, undergoing. A modern Brazil sprung up, only to be followed dressed in the story’s most sumptuous and significant costumes.

48 49 These characters are called Destaques (notables). Then, there is group of composers responsible for the feat of creating the the Bateria (rhythm section), corresponding to the symphony precious and valuable musical composition that is their or philharmonic orchestra. It consists of 300 (three hundred) samba-enredo. members who play only percussion instruments of Indian, black What is the secret that leads 5000 people to organize and white origin, creating a high quality and exciting harmonic themselves around a non-profit association that requires a vibration. Through the variety of its instruments, samba’s binary healthy dose of dedication, physical strength and attention? rhythm permits great choreographic creativity, transforming the Since it is not financial gain that motivates a member of an dance into a brilliant, contagious spectacle. Add to this melodic ESCOLA DE SAMBA, the responses must be found elsewhere, beauty and poetic words and our result is a gorgeous samba- perhaps at the beginning of this article when we talked about enredo, neatly wrapping up this audio-visual spectacle called Rio Brazil’s geography in the form of a giant heart. de Janeiro’s ESCOLA DE SAMBA parade, considered today the “Man does not live by bread alone,” says the Bible. The greatest show on Earth. human soul is nourished by refined emotions and vibrations, There is one avenue especially prepared for this purpose, like joy and beauty. The vibratory and sensitive Brazilian known as the Samba Runway or , where two soul needs music and dance, colors and creativity to grow. large parades are held featuring the so-called Special Group It is part of its dynamic. It is a tellurian necessity. This is of Samba Schools. There exist other access groups. The home the reason we have so many holidays in all parts of our vast of the parade is a large structure consisting of bleachers and territory. An immense continent that sings and dances, boxes built to seat and accommodate almost 200 thousand making CARNAVAL our greatest holiday. The magic of people. This well-lit location offers the grandiose spectacle of CARNAVAL certainly stems from the vibration of the ever- a parade of 16 ESCOLAS DE SAMBA, each with an average present tropical sun, ardently renewing energies and radiating of 5000 components dressed from head to foot in luxurious highly positive vibrations. This true adoration of life creates or original costumes which somehow fit the enredo or theme an extreme contrast when we see the world plunged into the the school has proffered to develop. Each ESCOLA DE horrors of a bloody war where children, young people, adults SAMBA is required to show, along with those components and the elderly are sacrificed by the Demons of Power and which dance, sing, keep things moving or perform rehearsed Greed, covered up in the disguise of Politics. It is the contrast choreographies, specific groups which cannot be lacking in a of Light and Darkness, Good and Evil, Joy and Sadness. The parade. These are the Comissão de Frente, these days usually Law of Polarity, present and activated. Fortunately, we have a group of dancers who introduce the school to the general options. Despite chaotic sparks that time must extinguish, public and the panel of judges; the couple mestre-sala and Brazil yet maintains the image of an enormous heart, beating porta-bandeira, who dance with the school’s symbol; and the for life, accompanying the binary rhythm of our popular bloc of baianas, consisting of older ladies of the school who music as it says: flaunt one of the parades flashiest outfits. Also making an Quem não gosta de Samba, appearance are the children’s bloc and the old guard, formed Bom sujeito não é, of men and women of long standing at the school. Ou, não é bom da cabeça, The presence on the Avenue of an ESCOLA DE SAMBA’s Ou e doente do pé, board of directors is very significant. The main figure of the “He who doesn’t like samba, president is followed by all the directors responsible for Is surely not good, the association’s organization. Among these are featured Likely sick in the head, the carnival director, harmony director and conductor of Or else sick in the foot” the bateria. An ESCOLA DE SAMBA also highlights the And long live Brazilian CARNAVAL!

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