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cowboys, Catirina, and the audience, or it happens by accident. Songs are then sung, mourning the death of the ox, followed by Mateus cutting out the ox's tongue and offering it to
Catirina. Next Cavalo Marinho (or Amo,the owner of the farm) re-enters and demands the capture of the one who killed the ox, as it is a useful animal to the farm. He also requests a doctor (or indigenous healers, the pajés,in Maranhão) to try to bring the ox back to life. Before doctors arrive, a priest arrives, to bless the ox and to simultaneously marry Mateus and Catirina. The story alters largely here; one or sometimes two doctors may come, to try a variety of comical procedures to save the ox. Witches are also known to come in some. All who attempt to save the ox are mocked by the audience. In Maranhão, when the indigenous healers (pajés) are summoned to save the ox, and when the ox resurrects mooing, they all participate in a huge feast to commemorate the miracle. In other forms a doctor places a special green leaf in the ox mouth. As the ox is revived, the audience cheer, sing songs of praise and dance around the ox. At some point in this final scene the Capitão do Mato or police arrives which is a man dress in a military outfit. He is then mocked by the Audience and by other characters in the play as well. Lastly the Farwell begins as the Chorus sings, and the performers dance, which can be well-mannered or offensive depending on the entertainers' opinion of the reactions of the audience to the performance.
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Chorus announces of the entrance of important characters, such as a cowboy named Mateus (or Pai
Francisco), who may have another cowboy with him named Birico. A pregnant woman named Catirina usually enters with the Cowboys. She is played by a man, which is almost always the same for all female roles in the performance. After a dance of their own, Catirina proclaims her need to consume the tongue of an ox or bull, for she fears her baby will die, or sometimes have certain birth defects if she doesn't. The story follows Mateus (or Pai Francisco) as he leaves to find an ox. He has many comedic encounters with secondary characters, such as a giant and a donkey. In other forms of the story, the ox belongs to the village and there is no journey to find it.
404:: These characters consist of Mateus (or Pai Francisco, in Maranhão), and often Birico or Sebastião. There may also be other cowboys as well, however, they are insignificant. Their role in the play is as energetic jokesters, who obey the orders of Cavalo Marinho, and are meant to arouse the audience with laughter and remarkable dancing. The Vaqueiros tend to mainly mock the roles of authority in the play such as the Cavalo Marinho, Doctor, priest, and Capitão do Mato (police). Lastly, Mateus tends to be decorated with many noisy bells hanging from his clothes, and Birico will typically wear a mask, while both carry whips in hand.
235:, though it also exists in central regions as well. These forms of the festival still maintain a large focus on the rebellious features of the play towards the upper class, providing Brazil's lower class with a strong cultural connection to Brazil's past. Then there are those who embrace its modern form, which is more constantly altering to modern trends and is aroused by the media. These forms of the festival allow Brazilians to embrace the more current, festive cultures of Brazil. Rationally, this form exists in more populated, modernized cities such as
398:: In Pernambuco, he is the main character with the highest authority in the play and the first to arrive on-scene. He is typically white, representing a Portuguese heritage, and wears a naval captain's costume, including a colored coat with golden ornaments hanging from it. Also, red striped pants, a red satin ribbon across his chest (sometimes), and a crown made of paper, covered with small mirrors and ribbons. Additionally, he is seen carrying a sword and has a protruding addition to his costume, making it appear as though he is riding a horse.
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416:: As almost all female roles in Bumba Meu Boi, she is played by a man, as a black, provocative woman. She is also pregnant and the mistress of Pai Francisco/Mateus. She is also a comedic character, who is known to dance a frantic Samba. She is very significant in the story, as she is the one who requests the arrival of the bull for its tongue. Sometimes, a secondary female character comes out with Catirina, named Dona Joana. She is also a black woman played by a man, who normally wears amusing ornaments.
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410:: have a mission to locate and arrest Pai Francisco. In the presentation of the bumba meu boi of Maranhão, they provide a beautiful visual effect due to the beauty of their clothes and the choreography they perform. Some groups, especially the sotaque de matraca have the royal caboclo, or caboclo de pena (feather), which is the greatest outfit of bumba meu boi. Caboclos de fita are pessoas with hats with colorful ribbon and they blend into the cowboys during a party.
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176:), a black pregnant woman (Catirina), a Vaqueiro or cowboy (Mateus, Chico or Pai Francisco), other vaqueiros (cowboys), índios, índias and caboclos (indigenous people), a priest, and a doctor (or indigenous healers, pajés). The audience is also a key component of the performance, as passionate responses from spectators provide a hectic atmosphere. Additionally, performers are known to become playfully physical with the audience.
386:: Is off-scene for all of the play and is responsible for the introduction of each character as they appear on-scene. Within the Chorus, the Violeiro, and Cantador are guitar players whose energy and speed of play is important to the atmosphere of the play. Additionally, they are responsible for the improvisation of new songs that go along with what is occurring in the musical, and the surrounding community.
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227:, spreading to all corners of the nation. This created large variations of the festival to form, depending on the central values of each community it is celebrated in. Today, its variations and the Brazilians who celebrate them can be sorted into two main categories of people. There are those who continue to celebrate the festival in its traditional forms, who mainly live in northern, northeastern, and
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452:: Is played by a man wearing an elegant robe of sorts, usually with some type of religious symbol on it, such as a cross or Mary, the mother of Jesus. He Arrives on-scene to bless the dead bull, and the marry Mateus and Catirina. Like all characters of high social status, the Priest is heavily mocked and disrespected by the audience, and other comedic characters.
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440:, covered with colored fabric, such as velvet. The head can be an ox skull or a mask adorned with flowers, stars, and ribbons. The ox has the largest effect on the crowd, and its death and resurrection is the basic framework of the play. In Maranhão, it is called Miolo to the person responsible for the evolutions and choreographies of the ox.
281:. Each sotaque (which stands for "accent") has its own characteristics that are manifested in clothes, in the choice of instruments, in the type of cadence of music and in choreographies. The sotaques are: matraca, zabumba, orquestra, from the Baixada Maranhense, and costa de mão, that appear especially in the month of June, in the
308:, and is the most important manifestation of popular culture in the state, attracting thousands of people. The Feast of Saint Peter and Saint Marçal marks the end of the Festas Juninas. On the Feast of St. Peter (29/06), various groups of ox go to St. Peter's Chapel to thank the June season for blessings. On the feast of
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Boi da Fé em Deus, Boi Unidos
Venceremos and Boi de Guimarães (sotaque of zabumba). Boi União da Baixada, Boi de Pindaré, Boi Unidos de Santa Fé and Boi Penalva do Bairro de Fátima (sotaque of Baixada); Boi Rama Santa, Boi Brilho da Sociedade, Boi Soledade and Boi Brilho da Areia Branca (sotaque costa de mão).
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to bring joy to these deprived communities, as well as to provide men with an internal form of rebellion. These communities consisted of slaves and rural workers. So from the start, Bumba Meu Boi was created from people of mixed origins. This is significant because it cuts the festival from any racial ties.
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It involves several characters as the owner of the farm (amo or master), Pai
Francisco (vaqueiro, a cowboy, or a slave), his wife Catirina, cowboys (vaqueiros), índios, índias and caboclos (indigenous people), the ox and cazumbás. The plot recalls a typical history of the region's social and economic
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The most famous groups of Maranhão are: Boi de
Maracanã, Boi da Maioba and Boi da Pindoba (sotaque of matraca); Boi de São Simão, Boi de Nina Rodrigues, Boi de Axixá, Boi de Morros, Boi de Rosário, Boi Brilho da Ilha and Boi Novilho Branco (sotaque of orquestra); Boi de Leonardo, Boi de Vila Passos,
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Many different origins of Bumba Meu Boi have been proposed. However, the most commonly believed one is from mid-18th-century Brazil lower-class communities that were left very little from the wealthy and forced to live dreadful lives. It was through these rough conditions that Bumba Meu Boi was born
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form the Chorus, who may sing a multitude of songs specifically for Bumba Meu Boi. Usually the first to walk into the room is Cavalo
Marinho (or Amo, the owner of farm), wearing a costume that makes it appear as though he is riding a horse. He entertains the audience with rhythmic dancing until the
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As it became more popular throughout northeastern communities in the 21st century, people began performing it for the entertainment of others, rather than merely for self-enjoyment. It was at this point that it evolved from a family affair to a communal one. This also made it more important within
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Next, the ox enters the room and the audience cheers, as it is the most beloved role. The ox may perform a number of dances, and often one known as "Lundu", which involved tap dancing. The ox is then killed, and the audience remorse's and even cries. Often the ox is killed because it attacks the
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and other
Brazilian festivals, it is older and deeply rooted in the culture of Brazil. The tale can vary depending on the region and social setting in which it is practiced. However, its essential theme remains the same, with a focus on the death and resurrection of an ox.
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Today, Bumba Meu Boi is separated into traditional and modern practices. However, only the traditional forms can be found throughout the country. Both versions can be seen in Brazil from June 13 to 29, as well as from
December 25 (Christmas) to January 6.
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Finding a single true plot behind the story of Bumba Meu Boi is near impossible due to all its variances throughout different communities in Brazil. However, the most common performance will go as follows: The
Musical begins with the singing of the
458:: Is typically played by a one or many men wearing a higher-class gown. His procedures to save the ox life are usually foolish and are all ridiculed by the crowd. In Maranhão, indigenous healers, the pajés, try to bring the ox back to life
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Watts, Meredith W.; Ferro, Simone
Linhares (August 1, 2012). "The Coexistence of Folk and Popular Culture as Vehicles of Social and Historical Activism: Transformation of the Bumba-meu-boi in Northeast Brazil".
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is an interactive play celebrated in Brazil. It originated in the 18th century. It is a form of social criticism. Lower-class Brazilians mock and criticize those of higher social status through a comedic
327:. The present model of presentation of the bumba meu boi in Maranhão does not tell all the story of the 'auto', replaced by a simplified story, with greater emphasis on songs ("toadas") and dances.
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Watts, Meredith W., and Simone Linhares Ferro. "The Coexistence of Folk and Popular Culture as Vehicles of Social and Historical Activism: Transformation of the Bumba-meu-boi in Northeast Brazil."
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The ox was placed as a centerpiece because, at the time, it was seen as an animal of high economic regard due to its use in farming. Oxen were also highly involved in colonists' social lives, as
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and calf-dancing were very popular. These are thought to have been passed down from lower-class Portuguese families, as similar social activities can be traced back much further in Portugal.
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473:: This is a role of an unattractive woman riding a donkey, who tends to please the audience with a fast tap dance. Though the dance is impressive the character is meant to look unorthodox.
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392:: in Maranhão, represents the role of the owner of the farm, commands the group with the aid of a whistle and a maracá (maracá of the master) sings the principal toadas (songs).
525:: in Maranhão, a character covered in green leaves, and wears a horrifying mask. Is called, or arrives uninvited to save the lifeless ox by performing witchcraft rituals.
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507:: An exotic bird, played by a boy weighed down by a straw basket full of trash, who moves like a bird, flapping his arms about frantically. He is meant to look foolish.
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364:: Is typically positioned visually on the side of the stage or room, and is responsible for creating a beat for the performers to dance to. The band consists of
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event, transitioning to its modern form as a festival. Throughout the 20th century and the turn of the 21st century, the festival experienced large amounts of
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In longer versions, where Mateus (or Chico or Pai Francisco) and Birico embark on a journey to find the ox, the secondary characters they stumble upon are
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relations during the colonial period, marked by monoculture, extensive cattle breeding and slavery, mixing European, African and indigenous cultures.
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519:– in Maranhão, are responsible for the distribution of cachaça to all dancers not to sleep during the marathons of presentation of my bumba meu boi.
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of bumba meu boi of matraca (two small pieces of wood, beaten against each other, to produce the rhythm) in the neighborhood of João Paulo, in
273:"Miolo do boi", man responsible for the evolutions and choreography of the ox, in Maranhão. This is the miolo of Boi da Maioba (Ox of Maioba)
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girl wearing a costume made of feathers, and rides a goat. She will often skillfully dismount from the goat and kills it with an arrow.
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lower-class Brazilians' social lives, as it brought everyone together. By the 20th century the play became an annual and
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422:: Catirina's husband, vaqueiro (cowboy), dress in simpler clothes. His role is to provoke laughter in the audience.
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644:[Bumba Meu Boi from Maranhão is now an Intangible Cultural Heritage of Humanity] (in Brazilian Portuguese).
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Nettl, Bruno; Miller, Terry E.; Stone, Ruth M.; Williams, Sean; Porter, James; Rice, Timothy (1998).
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There are almost one hundred bumba-meu-boi groups in the state of Maranhão, subdivided in
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642:"Bumba Meu Boi do Maranhão agora é Patrimônio Cultural Imaterial da Humanidade"
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Gottheim, Vivian I. (1988). "Bumba-meu-boi, a Musical Play from Maranhão".
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story told in song and dance. Though not as well known internationally as
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812:"Página – IPHAN – Instituto do Patrimônio Histórico e Artístico Nacional"
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The principal figures include an ox, a white master (Cavalo Marinho, in
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A literal translation for "bumba my ox" could be "dance my ox".
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922:– Boi Bumba history, information & photos from Festivalpig
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The bumba-meu-boi involves the devotion to the saints of June
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The Garland Encyclopedia of World Music: Southeast Asia
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323:Other typical dances of Maranhão are: Cacuriá and
947:http://www.cnfcp.gov.br/interna.php?ID_Secao=103
993:UNESCO Oral and Intangible Heritage of Humanity
872:Neto, José Possi (1977). "The Bumba-meu-Boi ".
408:Indios, Indias and caboclos (indigenous people)
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380:and tambor onça and zabumbas (types of drum).
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745:Cavalcanti, Maria Laura Viveiros de Castro.
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957:https://www.youtube.com/watch?v=l-CGSq0sjzQ
952:http://www.maria-brazil.org/bumbameuboi.htm
782:"Bumba Meu Boi do Maranhão – Bumba Meu Boi"
183:The Cultural Complex of Bumba-meu-boi from
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565:"Brazilian Dramatic Dances: Bumba-meu-boi"
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788:(in Brazilian Portuguese). Archived from
67:Learn how and when to remove this message
480:Woman dressed as índia of bumba meu boi.
189:Intangible Cultural Heritage of Humanity
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312:(St. Martial, 30/06), there is a large
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652:. December 11, 2019. Archived from
231:cities and villages, especially in
142:The death and resurrection of an ox
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928:– The Parintins Folklore Festival
44:check for OR, improve references.
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724:10.1111/j.1540-5931.2012.00963.x
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907:The Journal of Popular Culture
712:The Journal of Popular Culture
420:Pai Francisco, Chico or Mateus
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285:, in places called Arraiais.
1070:Bumba-meu-boi from Maranhão
1010:Albanian folk iso-polyphony
540:Parintins Folklore Festival
42:. The specific problem is:
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126:Mid-18th century – Present
91:Interactive dance/festival
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265:Bumba meu boi in Maranhão
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1455:Folk festivals in Brazil
1165:Georgian vocal polyphony
595:. Taylor & Francis.
320:, capital of Maranhão.
202:Giant Bumba-meu-boi in
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1385:The Song of the Sibyl
909:45.4 (2012): 883–901.
874:The Drama Review: TDR
656:on December 16, 2019.
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134:All regions of Brazil
1035:Ashiqs of Azerbaijan
150:The people of Brazil
49:improve this article
816:portal.iphan.gov.br
402:Vaqueiros (Cowboys)
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1450:Brazilian folklore
792:on January 1, 2019
786:bumba-meu-boi.info
684:The World of Music
545:Brazilian Carnival
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1415:Xoan singing
1405:Wayang kulit
1355:Silbo Gomero
1170:Gong culture
1025:Arabic maqam
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826:December 25,
824:. Retrieved
820:the original
815:
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794:. Retrieved
790:the original
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690:(2): 40–68.
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624:. Retrieved
621:carnaval.com
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250:in June 2003
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147:Participants
107:English name
63:
54:
47:Please help
43:
32:
15:
1410:Xi'an guyue
1400:Vedic chant
1265:Morin khuur
1225:Koodiyattam
1200:Iraqi Maqam
880:(3): 5–10.
796:December 2,
617:"Boi Bumba"
535:Boi (music)
51:if you can.
1439:Categories
1375:Sutartinės
1370:Sosso Bala
1350:Shashmaqam
1345:Seto Leelo
1235:Kumi odori
1045:Baul music
551:References
499:Amerindian
495:Caboclinha
384:The Chorus
310:São Marçal
306:São Marçal
174:Pernambuco
1395:Vallenato
1250:Long song
1210:Kgal Laox
926:Boi Bumbá
920:Boi Bumbá
732:1540-5931
626:April 13,
574:March 29,
378:pandeiros
374:pandeirão
331:The story
314:batalhões
302:São Pedro
229:Amazonian
57:June 2018
1330:Rebetiko
1285:Nhã nhạc
1090:Candombe
1060:Biyelgee
1015:Angklung
780:Kerdna.
696:43561173
646:Brasília
529:See also
489:calabash
414:Catirina
362:The Band
338:overture
318:São Luís
298:São João
233:Maranhão
221:biannual
185:Maranhão
166:Carnival
162:folklore
131:Location
123:Duration
33:require
1380:Táncház
1310:Quan họ
1305:Pirekua
1300:Pansori
1260:Meshrep
1215:Khuumii
1055:Bigwala
1050:Bećarac
1030:Arirang
995:: Music
894:1145147
523:Cazumbá
485:Gigante
370:maracás
210:History
35:cleanup
1325:Reggae
1290:Nongak
1280:Nanyin
1270:Mugham
1255:Maloya
1185:Hua'er
1150:Gagaku
1145:Fujara
1130:Eshuva
1110:Ca trù
892:
730:
694:
650:UNESCO
599:
517:Mutuca
456:Doctor
450:Priest
438:bamboo
434:The ox
366:String
204:Recife
193:UNESCO
1320:Radif
1275:Muqam
1245:Lhamo
1240:Kunqu
1220:Klapa
1180:Gwoka
1175:Guqin
1155:Gagok
1140:Frevo
1125:Duduk
1120:Doina
890:JSTOR
750:(PDF)
692:JSTOR
511:Babau
139:Theme
1335:Sama
1135:Fado
1020:Aqyn
828:2018
798:2018
728:ISSN
628:2018
597:ISBN
576:2018
304:and
246:The
115:Date
882:doi
720:doi
505:Ema
390:Amo
191:by
1441::
888:.
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836:^
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662:^
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55:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
