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TRADITIONAL DANCES FROM MATO GROSSO

INTERIORIZANDO A INFORMAO CULTURAL1

MATO GROSSO STATE DEPARTMENT OF CULTURE

CULTURAL PRESERVATION DEPARTMENT

SUPPORT: NATIONAL FUND FOR THE CULTUREMINISTRY OF CULTURAL AFFAIRS

RESEARCH AND BOOK BY ROSANA BAPTISTELLA

1997

1

This book is part of a collection that comprises 9 books about Mato Grosso culturalheritage. The collection was named after a government program that intended to share theinformation about the state cultural heritage with every town in the state.

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Ministry of Cultural AffairsFRANCISCO CORREA WEFFORT

Minister

Mato Grosso State Government

DANTE MARTINS OLIVEIRAGovernor

MRCIO LACERDAVice-Governor

Mato Grosso State Department of CultureELISMAR BEZERRA ARRUDA

Head Secretary

BENEDITO FRANCISCO DE ALMEIDASecond Secretary

Cultural Preservation Management DepartmentLEILA BORGES DE LACERDA

Manager

ROSANA BAPTISTELLAResearch and book

LUCAS FARIAS GOMESOrthographic Review

ROGRIO C. MIGLIORINITranslation into English (2001)2

CDD 398.098172

2

This book wasnt originally written to non-Brazilians. It was translated some years after itwas first published, and the translation was reviewed in 2012. All the notes are thetranslators. The original book contains 19 black and white photos that couldnt be includedhere.

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IForeword

A Restatement of our Identities

The struggle to preserve our National Cultural Heritage has increasedalong the years, and it has conquered allies in several sectors of the society. Inspite of that, the conceptions that oppose development against preservation of theHistoric Heritage, upset us because of their prevalence, and because they justifythe destruction of the things - or of its traces - that identify us as human beings.

This government, which conceived Culture as a core element ofcitizenship when defined its guidelines to the cultural sector, sees the need toimplement determinant actions that appoint the State the role of a modern patron.Therefore, we have implanted the State Law for Cultural Support according to thispoint of view, thus fixing a modern and productive joint venture with the privatesector. We also sought the support of the Federal Government/Ministry of CulturalAffairs in order to develop programmes that put our cultural policy into practice.

The programme Interiorizando a Informao Cultural represented this

joint effort between the State and the Federal Governments that fights thepreservation of Cultural Heritage worst enemy, the lack of information. Thisprogram, crucial to the statement of our identities as citizens from Mato Grosso,Brazil and Latin America, has induced us to publish this book that, together withother ones, seeks to provide support by guiding the works done by institutions andpeople who deal with cultural and educational affairs in our home-state.

This book contains information, as well as technical and lawfulproceedings, and it aims to facilitate and improve the production of all the works

intended to promote, organise and preserve Mato Grosso rich Cultural Heritage.

May we all benefit from it,

Elismar Bezerra Arruda

Head Secretary of the State Department of Culture

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3 See page 20

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Contents

IForeword ................................................................................. 3IIIntroduction ............................................................................ 6III - Chorado (cry) ........................................................................ 8IVDana do Congo (Congo Dance) ......................................... 9V - Cururu ................................................................................... 12VI - Siriri / Rasqueado................................................................ 14VIISo Gonalo Dance ........................................................... 15VIIIBoi--Serra ....................................................................... 16

IXDana dos Mascarados (Masked Men Parade) .................. 17VI - Cavalhada ............................................................................ 18XIFolias de Santos (Saints Feast) ......................................... 19

Folia do Divino Esprito Santo (Feast of the Divine HolySpirit) ...................................................................................... 20Folia de Santos Reis (Feast of the Magi) ............................... 21

XII - Catira .................................................................................. 22XIII - Lundum ............................................................................ 24XIV - Final Considerations ........................................................ 25XV - Research Sources ............................................................... 26

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IIIntroduction

In this brief work, by Mato Grosso Traditional Culture, we mean theTraditional Dances of this Brazilian State, since dance is a cultural form in which

creativity and cultural resistance are embodied, so that they can be seen in thedance movements.Furthermore, the dance itself is never an isolated element: it is always part

of some festival - sacred or not - where the devotion and the emotions of theparticipants are its raw material. Each single gesture, action, and sound have adeep symbolic meaning. Music, tunes, sacred objects, costumes, masks, and thescenery (the place where the feast takes place), are all linked. Everything is relatedto the reality of that given community in particular: Is it next to a river? Is it next

to the bush? Is it urban? Is it rural? What people there do as a means ofsubsistence? All these are tinted by the popular imagery.Their dancers, feast-goers, and merry-makers usually inherit this

traditional experience from their parents, grandparents or from someone elserelated to their personal background. Besides any devotional obligations, orresponsibility to their community, they show pure joy in taking part in thesedances.

We dont intend to list all Mato Grosso dance forms in the present work,we actually aim to give a brief description of the traditional dance forms originallyknown to be from Mato Grossobut are not always so (even because it is difficultto define their precise origin) that are part of the daily life of the people whohave lived in Mato Grosso for a long time. These dance forms passed from onegeneration to another, and thus integrate the daily setting, or the social and culturallife of many towns.

To make this work, we have gone up and down several ranges ofmountains, ridden for miles in paved roads as well as in dirt roads, and walkedlong ways afoot, always watching cults, feasts, and processions.

We have gone into the original frame within which these dances springfrom the in-depth of the dancers as an expression of their beings, of theirancestors beings, and of their communities. Dance, for those persons, is the most

meaningful thing in their lives. At times it is playful, and at times it is more like apray.

To talk and to live with old masters, merry-makers, women prayers,dancers, Cururu dancers, artisans, horsemen, devotees, and players, is an infinitefield of learning, and of discoveries.

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We have transcribed the interviews, trying to keep the words and thejargons used in them4. The interviewed people here were ready to share theirknowledge with us, a trusted the use we would do of the information given to us.Besides, they showed great interest in the dissemination of their knowledge,mainly because nowadays it is seldom transmitted to other people. Statements suchas: Its all coming to an end; Nobody gives much value to it anymore; The

youngsters dont want to learn it any longer are usual to those who are theguardians of the greatest knowledge surrounding these art forms. The recordingand the dissemination of these practices are the main reason for the urge of thisresearch. Actually, it intends to revitalise the interest of the younger generationsfor their cultural heritage. Although we found a good disposition in the children tolearn them, we could note that sometimes the appropriate stimuli for their learningwas lacking. However, we have noted that many children spontaneously take partin these dances, in a clear demonstration of continuity.

Due to Mato Grosso State immense area, besides the diversity, and thecomplexity of each dance form, we couldnt study them as much as it would havebeen advisable. Therefore, we undertook the task of tracking and recording thesedances, but we hope that the public and private, primary and secondary schools, aswell as the Brazilian universities, take interest in this theme, and further studythose dances.

Other cultural festivals already extinct or that exist only in some parts ofMato Grosso, such as Pastoril (from Barra do Garas), Dana do Marujo (from

Vila Bela), Curralheira (from Araguaiana), Lamentao das Almas (fromTorixoru), Ladainhas (from several towns), and so on, arent mentioned in thiswork due to the difficulty to collect more data about them; nevertheless, webelieve that they are worth further studies.

Traditional Dances of Mato Grosso was written from field researches

done between July 95, and October 97, as part of the Program Mato GrossoCultural Heritage - research, records, and dissemination, undertaken by the MatoGrosso State Department of Culture together with the State Department of Social

Communication and Education.Thanks to the joint venture with the Ministry of Cultural Affairs under theProgram Interiorizando a Informao Cultural, this work could be published.

4

It wasnt possible to translate the true style of these interviews into English for they areproper to the Portuguese spoken by the uneducated people. Standard English was adopted inthe translation, even though the interviewed people dont speak standard Portuguese.

However, we have kept the italics that indicate the quotations in the original text.

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III - Chorado (cry)

In Vila Bela da Santssima Trindade, the so called festanas (festivities)

happen in July, beginning with the celebration of Festa do Divino Esprito Santo

(Holy Spirit Feast), going on to Festa de So Benedito (Saint Beneditos Feast),and ending with Festa das Trs Pessoas da Santssima Trindade (The Three Peopleof the Holy Trinity Feast). The last of which is the town patroness.

During this period, the most noticeable dances are: Dana do Congo(Congo Dance), and Chorado (Cry). The first one is performed only by men, andthe second one only by women.

Dona Nemsia Profeta Ribeiro, who inherited the Chorado tradition fromher ancestor, told us in a July 95 interview: Chorado is a dance of African origin,

mainly from the hideouts of runaway slaves in Brazil. The slaves ran awaybecause then theyd come here to meet hard work, and suffering. This dance iscalled Chorado (Cry), because it expresses their suffering. The Negro slaves

preferred dancing to crying. So, theyd turn their suffering into happiness. In VilaBela, everyone can sing Chorado tunes - even the children - because those

traditions are part of our inner selves ... Here, theres a dance-drama performedin the streets. It isnt meant for anyone to see, for us its a religious obligationdone with pleasure that brings us a deep sense of fulfilment.

Dona Nemsia goes on: Chorado is also a dance to glorify So Benedito;we have a tune that goes like that: Senhores, me deixa/ Que eu t muito aflito/Cuidando da festa de So Benedito.5

According to the tradition, at the end of Festa de So Benedito: theparticipants - the king, the queen, the judge, and his wife - arrive to a particular

house - then, a group of women who are already there, waiting, dance

Chorado.... Nevertheless, Chorado can also be danced at other times, mainly afterthe women have accomplished their duties in the kitchen - during these feasts ansplendid meal is cooked by the women, and offered to whoever turns up, the townpopulation or the visitors, most of which are people simply praising the saint, orpaying votive offerings to him or her.

A rather interesting and amusing game is played during the festivity:inorder to enliven it, the women tie a handkerchief around a mans neck, meaningthat he has to buy them a bottle of liquor. After having the handkerchief tied to his

neck, the man buys a bottle of wine, puts it at the centre of the circle of dancing

women, and then, one of them, usually the sharpest one, very gracefully takes the

5 As it would be impossible to keep the rhymes and the rhythmic patterns formed by thelyrics in the translation, it was left in Portuguese. It means approximately Gentlemen, leave

alone as Im very busy arranging Saint Beneditos feast.

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bottle and places it on top of her head. She, then, dances without holding it, mainly

in front of the man that paid for the bottle. Dancing with the bottle on top of the

head is also a way of thanking the person that offered it. As therere severalgroups of women, the more bottles there are, the more women dance with the

bottle on top of their heads.Chorado is danced and sang to the beat of drums played by some women.

According to Dona Nemsia:The drums can be pans, a piece of a wooden box, aboard, and pieces of damaged furniture. In other words, anything can become an

instrument.The dancers turn and move through the space as they were gliding,

performing as subtle movements as needed to keep the bottles on top of theirheads. They keep the arms outstretched, turning their wrist. Sometimes they holdtheir skirts, moving down to squat position, then going up again.

Chorado tunes are about the daily life, about love, and about nature, suchas those ones recorded in the field (July 95):Bem-te-vi bateu asa

Bateu asa e avoou

Quando tu for embora

D lembrana a meu amor.

Adeus, passarinho, adeus, passarinho,Adeus, eu j vou-me embora.

Bem-te-vi beat its wing

Beat its wings and flew away

When you go away

Send my words to my love

Farewelllittle bird, farewell

Farewel, Im of.

L no p da serraEu deixei meu corao

Saudade eu tenho

De morar no meu serto.

No p da bananeiraTem marimbondo, sinh.

There, down the hills

I left my heart

I miss

Living in my homeland.

In the Bananatree

Theres a wasp net, mm.6

IVDana do Congo (Congo Dance)

In Mato Grosso, Dana do Congo, is danced to glorify So Benedito, and itis part of the social and cultural lives of the two towns: Vila Bela da SantssimaTrindade, and Nossa Senhora do Livramento.

In Vila Bela, the first capital city of Mato Grosso, founded in 1752 by DonAntonio Rolim de Moura Tavares, who was appointed by the Portuguese Crown, itrepresents the resistance of the Negroes who chose to stay behind when MatoGrosso State Government was transferred to Cuiab in 1835.

6 In this 2012 review, the lyrics were roughly translated just for the comfort of the reader.There was no intent to preserve the rhymes, or lingo.

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As part of Festa de So Benedito, the dance always happens on a Mondayof July, when the day of the Negro saint is celebrated.

It dramatises a symbolic war between two African Kingdoms. It istriggered by the Congo King rejection of the Ambassadors request for marryinghis daughter - in another version, the Ambassador carries the massage of the Kingof Bamba, who wishes to marry the Princess of the other kingdom. When hisKings request is rejected, the Ambassador of Bamba declares war against theKing of Congo.

Mr. Joaquim das Neves, from Vila Bela, who has played the role of thePrince, and who plays the role of the Congo King nowadays, explained to us in aJuly 95 interview: The King could even have accepted the Ambassadors request;itdve made no difference. What the Ambassador really wanted was to betray theKing by marrying his daughter and reclaiming his throne afterwards! With the

power on his hands, hed rule the kingdom himself, or hed kill the King, the WarSecretary, and the Prince.

The King, the Prince, and the War Secretary are the characters of theCongo Kingdom; the Ambassador and the soldiers are the characters of the rivalKingdom. The noble characters props are colourful robes, crowns, and stavesornamented with flowers. The objects with which the soldiers go to war areswords, helmets (ornamented with rhea feathers, flowers, and colourful ribbons),and a water-bottle. The Prince and the War Secretary also dress a petticoat with awire frame, and have a heart-shaped chest shield.

All Dana do Congo movements - the vertical stance, the arm movementswith the swords, and the feet beats - originate from soldiers march. Either walkingor dancing, the movements remind a march.

Mr. Joaquim tell us about the meaning of the flowers in the ornaments:As the Soldiers cant stay together with the votive offering women (theyre calledramalhetes, a word that means bouquet), they represent So Beneditos oratory intheir helmets and ornate them with ribbons, flowers and rhea feathers as if they

were ornating the real ones. The Soldiers act as ifthey were in a war, and couldnt

go into the church, so they make an oratory to the saint in their own helmets...They dance throughout the town, singing and marching to the ganz,

rattles, large drums and to the cavaquinho (a small guitar with four strings), playedby soldier musicians. One of the roles of the merry-makers is to protect the King,the Queen, the Judge and his wife, who take sacred objects. The merry-makersmust also protect the votive offering women that follow the procession withflowers in their hands paying homage to the saint.

In Nossa Senhora do Livramento, a town 42 km from the Capital City, and

founded in 1883, Dana do Congo happens in May. A dance master leads thedance.

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Mr. Clio Francisco dos Santos, who has been a Congo dancer for a longtime, explained to us in a May 96 interview: A So BeneditosSoldier cant sayno. Just like in the army, the person has to be always ready; this is a So

BeneditosSchool that works exactly like the army.The central theme of the dance form is the argument between the Congo

King and the Monarca King. During the procession, the merry-makers march intwo rows. Each of the Kings leads one of them, which make for his army. In theend, the defeated Congo King begs for quarter; when it happens they sing: O Reido Congo/ Ficou vencido/ Agora chora a paz/ Arrependido.7. When his newrequest is accepted, they celebrate the peace.

Beside the Kings, the following characters take part in this Congo dance-drama: two Princes, two Generals, two War Secretaries, two Dukes, theMukuache (a funny and rampant character), and the soldiers. The entourage ofthe Monarca King is dressed in blue while the Congo Kings is dressed in red.

Both Kings wear royal cloaks, crowns, and royal staves. Similarly to the Kings,both Princes wear small cloaks and crowns. The Kings and the Princes crownsare ornamented with flowers.

Both Generals also wear cloaks and handle swords. The Mukuache

wears dark glasses and a wig on top of which he sticks rhea feathers. The soldierswear helmets (adorned with flowers and colourful ribbons), and handle a sword.The dance master, who ranks above all the other characters, and keeps hisneutrality in the war, is dressed in white and holds a staff.

Concerning the dance origin, we cannot precise its date. Mr. Clio tells ushis version: This dance is so ancient, that it was originated long before we wereborn. The dance remained after slavery was abolished8. When I was born, you

could already see this dance - how old is it, then?!...It has been approximately 50 years since Mr. Cezrio Sarat da Silva plays

the role of Rei Perptuo (Eternal King) in Festa de So Benedito, and since thattime, he has been the dance master in Dana do Congo. Mr. Cezrio, inherited thistradition from his father, who in turn, inherited it from his grandfather.

Tereza Conceio Arruda, 59 years old, is Mr. Cezrios cousin. In a May97 interview, she recalls So Beneditos Feasts of past days: The feasts werebeautiful! Everyone that was devoted to So Benedito would dress up and dance

thanking for the rice, bean, corn, manioc, and banana harvests... Everybody did

what they could in the feast. Theydbring rice, corn flour, or manioc. Somebodywould press the sugar cane, and make sweets out of its juice... Everybody helped!

7 The Congo King lays defeated. Now, regretted, he begs for pace.8 May 13th, 1888.

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Dana do Congo tunes from Livramento are accompanied by percussioninstruments such as marimba, drums, and ganz9, marking the movementsequences, and changing the beat according to what is required in the scenes. Partsof the lyrics go this way:

J estamos prontos

Preparamos armas

Chama o Sr. Fidalgo

Vamos guerrea-ar

Were readyWeve cocked our gunsCall Mr. NoblemanWerere gonna fight

Moa bonitaSaia na janela

Pretty woman

Came out in the widow

Venha ver os Congos

Que vai ter a guerra.Come to see the Congo soldiers

cause war is comming

V - Cururu10

Cururu is both, a musical and a dance expression. It is generally performedonly by men except in some very unusual situations.

Some men play the viola de cocho11, a kind of guitar typical to MatoGrosso while some others play the ganz, which is a kind of a noisemaker. Analmost obsolete instrument, the adufo, is also played. Its a kind of tambourinewith which people used to accompany the guitar and the noisemaker.

Some Cururu dancers make their own instruments - they know the bestwoods to use (some examples are: sar, mango tree, and fig tree woods), the righttime for them to be felled, the tools (axe, heavy knife, adze, plane, knife, mallet,and sandpaper), and the appropriate glues to use (glues from fish bone, potatoes,and from a plant called sumbar), and the best kind of strings from which to obtainthe best sound (monkey, or hedge-hog guts). Nowadays, although it isnt alwayspossible to follow all these steps, they carry on making their guitars the best waythey can. Note that not every Cururu Dancers manufactures viola de cocho, butevery craftsman is an expert Cururu dancer.

The ganz or noisemaker is simpler to play, as well as to manufacture. It isusually made of bamboo, and is played, or better, beaten with a bovine bone. Theterm temperar or to temper means to tune it up. We found only one person

who plays the adufo whenever he takes part in a Cururu dance: Mr. Antonio

9 Kind of noisemaker.10

The name of this dance has two possible origins. Either it originates from the name of afrog called Cururu (what would be possible because the movement of the dance is similar tothose of the frog), or it originates from an indigenous dance.11Its carved out of a single tree trunk, like a cocho, or manger.

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Benedito Conceio, best known as Antonio de Mulato, 94 years old, from NossaSenhora do Livramento, whose adufo he made himself many years ago.

The party-goers, even those who have different roles in the festivity, andthe visitors take part in the whole of it, especially in its religious part, when theypraise the saint before the altar. Then, the dancers raise a mast singing proper tunesthat accompany each part of the devotees actions. After the religious obligationsare concluded, they go on dancing Cururu, or arrodeando a funo, as they say,through the night. Always obeying the dance master, they either reply to sungchallenges, or sing composed tunes about love, religious or political issues.

The lyrics written by them show their entire heritage. Mr. OsvaldinoRodrigues de Moraes, known as Vardino, from Barra do Bugres, in an April 96interview, tells us: I make tunes about my wife! I also make tunes about MatoGrosso history. Theres one that has to do with the catechism; its about JesusChrist, about His suffering in His way to the cross. When I sing I dont lie;whenever I use anything from the bible in my tunes, I sing it to the priest. It took

me three months to make this one, about Mato Grosso towns:Seja bem-vinda a visita, ai ai aiVer a nossa tradio

Rosrio oeste, Livramento e Pocon

Santo Antonio e Vrzea Grande

Viva a grande Cuiab!

Barra do Bugres

Terra de grande cultura

Eu moro l

Cidade de Mato Grosso

Cceres, eu passo l.

Welcome, ai ai aiWatch our heritage

East Rosrio, Livrament and Pocon

Santo Antonio and Vrzea Grande

Hail the great Cuiabq

Barra dos Bugres

Land of great cuture

I live there

Mato Grosso City

Crceres, its in my way.They say the dance is a kind of tap dancing: when a Cururu dancer goes to

the centre of the circle and tap-dances in front of another one, it is as if he waschallenging that dancer or inviting him to dance - when this challenge is accepted,they both go forwards and backwards, provoking one another with blows of attackor movements of avoidance in a playful mood. While dancing, they never let go

their instrument, showing skilfulness, dexterity, and subtlety. The term to playcommonly used instead of to dance

12, appropriately describes that playfulness.Mr. Joo Leite Galvo, 62 years old, from Nossa Senhora do Livramento,

has been a Cururu dancer for a long time and tell us (May 97 interview):Peopledance throughout the night While Cururu is danced indoors, Siriri is danced

outdoors... such is the tradition. Cururu is a dance only for men. Siriri is for

everybody: men, women, children...

12Actually, the term to play is commonly used instead of to dance in almost allBrazilian traditional Dances. Accordingly, the dancers are called merry-makers.

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Odlia Domingas Sarat Silva, Seo Joos niece, a Siriri dancer doesnt

agree: Butlate uncle Macrios mother used to sing as well as to play the ganz!And aunt Gertrude, who was my fathers aunt, used to play, to sing, and to tap-dance Cururu like men.

Cururu is one of Mato Grosso best know dance forms, and is inserted inother dance-drama forms such as Siriri, Dana de So Gonalo, and Boi--Serra, inwhich the Cururu dancers are indispensable. Those dance-drama forms occurmainly in the following municipal towns: Cuiab, Rosrio Oeste, Nossa Senhorado Livramento, Santo Antonio de Leverger, Vrzea Grande, Cceres, Barra doBugres, Baro de Melgao, Diamantino, Nobres, Acorizal, and in Chapada dosGuimares. But they also occur in other places - except Boi--Serra, whichaccording to our findings, is danced only in Santo Antonio de Leverger.

VI - Siriri / Rasqueado

Siriri is danced and played by both men and women. In addition, childrenalso like it very much.

At times forming a circle, at times rows, the dancers clap and sing whiledancing to the viola de cocho, and to the ganz - that are played by the Cururudancers - or to the mocho and to the tambori - frequently played by the women.

Its music has a strong and quick beat, and the dancers seem not to ever gettired for they keep on dancing throughout the night. The dance is called like thatafter a flying ant, probably due to the dance rhythm and to its quick, agile, andlight movements.

Tereza Conceio Arruda, 59 year old, a Siriri dancer from Nossa Senhorado Livramento, in a May 97 interview, recalls that: Siriri rhythm was beaten in apiece of leather: my grandma used to tell us that in her youth people would get

wrap a 20 litters tin or a wooden box in a piece of leather. Besides dancing Siriri,

theyd play the mocho that had a delicate sound. Theyd also play the viola decocho) and the ganz.

This dance, as well as Cururu, is always danced in the Traditional Feasts

that happen in several towns.Some tunes frequently sung by Siriri groups are:O siriri, o cururu a nossa tradio

Siriri batendo palma

Cururu de p no cho.

Siriri and cururuAre in our traditionClap when Siriri-ingStamp the ground Cururuing.

Eu namorei uma morenaEu namorei, eu namor

Ah, olha l, meu bem, no v zangAsa de pombo, corao de sabi

I went around with a Mulato grilI did, I do

Ah, love, wontyou get mad with mePigeons wing, song-thrushs heart.Rasqueado often follows Siriri since that the same instruments (viola de

cocho, ganz and mocho) are played in it and that, in pairs, everyone can take part

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in the dancing that occurs everywhere; for instance, in backyards, squares orballrooms.

Several Siriri tunes have been adapted to Rasqueado. Those two traditionalforms are being more and more disseminated because recording companies andprofessional musicians that make use of modern instruments and amplifiers,frequently create new tunes from old Rasqueado ones that are in the publicdomain. Then, these new tunes are played in every kind of festivities like balls,birthday parties, carnival, in the traditional ch co bolo (tea with cake), and

mainly in the feasts for the saints.Rasqueados movements usually are as vibrant as the music; while some

dancers vibrate their shoulders, some other ones stress the beat of the music withtheir knees or hips. However, what really matters is originality.

We chose part of a well known lyric commonly sung by children,youngsters, and adults:Vem c, morena / Sai na janelaVenha ver a Lua / Como est to bela!

Come here darling/away from this windowCome and see the moon/Its so beautiful!

VIISo Gonalo Dance

In So Gonalo feast, a mast (from where hangs a flag with the saintsportrait) is forcibly erected as part of the feast, and lots of Cururu and Siriri aredanced during this ceremony. The culminating point of the feast is when two rows,one of men, and another one of women parallel to it, are formed before the altar.

Then, the devotees pay homage to the saint by singing, and dancing So GonaloDance. At a certain moment, when they are dancing in a circle, one of the womengoes to its centre and dances there, while carrying the image of the saint on top ofher head.

The Cururu musicians, who play beside or before the altar, are the livepresence that represents the saint, who is also a guitar player, and who isfrequently pictured in Mato Grosso holding a viola de cocho. As it couldnt bedifferent, the whole feast is accompanied by Cururu tunes about the saint, a cururu

musician himself, and about his miracles. See the following example:Ora, viva meu So GonaloViva e torna a revivar

Com a palma

Com o p

Ora, viva meu So Gonalo

E torna a revivar.

Hail Saint GonaloHail, and hail again

With hands clapping

With feet stomping

Hail Saint Gonalo

Hail, and hail again

So Gonalos Dance isnt only danced in the Saints feasts, but its alsodanced in many other occasions in the towns mentioned in the chapter Cururu.

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VIIIBoi--Serra

Boi--Serra is part of Mato Grosso carnival. It is commonly danced inSanto Antonio de Leverger, and it is the joy of the local population. The officialparticipants musicians, characters and Siriri dancers - go about the streetsdancing, singing, and playing, followed by lots of people who end up taking part in

the feast.Mr. Jacinto Floriano, a Cururu master from Santo Antonio do Leverger,

describes a scene in a February 97 interview: As soon as the group starts, thepeople in it go around calling out the locals; therere small groups of peopleeverywhere waiting for the call: one at one corner, another one a little further

ahead... after a while theres a huge queue following us. We simply walk aroundplaying the viola, the ganz, and calling: Boizinho!(Little Ox) And thats onlythe beginning of the feast!

In January 96, Mrs. Maria Elosa Gonalves, known as Dona Tu taughtus how to make its main character: the fake ox. Dona Tu belongs to the groupUnidos da Fronteira. According to her, first a frame melado de pomba is madeof supple and light timber; then, this frame is covered with a rough and plainbrown blanket. This makes for the body; the ox head is the skull of a bull, driedand painted in dark colours. Bottoms and mirrors are glued in the ox head, onemirror by each side, making for the eyes; its horns are adorned with colourfulribbons and its ears are made of card.

The ox is the main character of several traditional festivities found inmany Brazilian states. In these one, the ox is commonly called by different names,and may also have different features, depending on the place where it appears.Some examples are: Bumba-Meu-Boi, Boi-Bumb, Boi de Mamo etc. Probablybecause of the influence of these other festivities, nowadays the frame of Boi--Serra is frequently covered with printed cloth such as cotton instead of thetraditional rough and plain brown blanket. For Dona Tu It looks better with theblanket because the blanket looks like the ox skin.

A person carries the ox from inside, dancing, animating it, and making it towalk forward in the direction of the audience as if it were going to attack thepeople with its horns. Some other interesting characters are: a cabea de ap, ame do morro, o tuiui (a kind of bird from Mato Grosso), the rhea, the bat, thehorse without a head, and some others - they vary from group to group.

The entertainment starts in December and its highlight is at Carnival.According to Dona Tu: It starts by December 08, the day of Nossa Senhora daConceio: everybody goes out attacking the people. Some men dressed up ascowboys pretend to fight the ox. This goes on until Carnival, ending on Ash

Wednesday.The music that livens up the entertainment is played by Cururu musicians,

in its typical instruments such as the mocho, the viola de cocho and the ganz. The

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mocho may be played either by men or women. The lyrics are about the ox, farmlife, Carnival, and so on. Some examples are:

Eu j vou com meu boizinho } 2xQuero ver voc danar - ai } 2x

Eu trouxe o meu boizinho } 2x

Que veio do Pantanal - ai } 2x

Venha, venha, meu boizinho } 2x

Pr danar meu Carnaval - ai } 2x

Eu j vou com meu boizinho } 2x

Pr danar meu Carnaval - ai } 2x

Eu peguei meu boi malhado } 2x

Com nome de boi bamb - ai } 2x

Onde t o meu boizinho } 2x

T danando no terreiro } 2x

Eu j vou com meu vaqueiro} 2x

Pr comprar minha boiada - ai} 2x

Im comming with the litlle ox } 2xI want to see it dancing } 2x

I brought the litlle ox } 2x

All the way from the wetlands } 2x

Come, come, litlle ox } 2x

To dance in Carnivalai } 2x

Im coming with the litle ox } 2xTo dance in Carnivalai } 2x

I got the spotted ox } 2x

Called boi-bumb - ai} 2x

Where is it? } 2x

Its dancing in the yard } 2x

Im coming with a cowboy} 2xTo buy a heard of oxen } 2x

IXDana dos Mascarados (Masked Men Parade)

Dana dos Mascarados is found in Pocon, a town that is part of MatoGrosso wetlands.

According to Mr. Wilson da Conceio, the conductor of the localMunicipal Band that always plays in the celebrations for the saints, in his May 97interview he said: Since the last day is the day of the procession, dana dosMascarados is always danced on the day before during Divino and So Benedito

feasts. Its usually danced on Saturday, on the day of Enlightenment.The dancers that are always men make 08 to 14 pairs. They stand in two

rows, one in front of the other. In one of them, they dress like women (ladies), andin the other, like men (gentlemen). They also wear masks and printed cottonclothes. Their hats are adorned with mirrors and feathers. Besides the dancingpairs, there are other characters such as the markers. One of them carries a mastadorned with colourful ribbons that latter will be used in a dance were the dancerswalk about each other while criss-crossing the ribbons. The other marker holds a

So Beneditos flag that is displayed in a given moment of the choreograph.Seo Wilson says that: Whenever the dance starts or finishes, the

markers are in the front. They guide the group. All the three of them walk together.

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The one in the middle carries the mast, the other one carries So Beneditos flag.Their role is to organise the dance.

The dance is divided into 12 parts: Entrances or foals; First part; Secondpart; Ribbons crossing; Joaquina; Harpejada; Caradura; Maxixe de Humberto;Carango; Lundu; Villan, and Retreat. Presently, they dont dance all the 12 parts in

a show performance because the complete dance lasts about two hours.Seo Wilson explains about the music, and about the participation of

children: Theres a special music for each part of the dance; in our Band wehave 03 trumpets, 02 small trombones, 01 tenor sax, 02 alto saxes, 01 bass horn

and the percussion made for the bass drum, cymbal, and the tarol. As there was no

Municipal band in the past, three persons sang the melody, the bass, the tune, and

played the percussion. Together with some more musicians there were about six or

seven people. As far as I can remember, there were 01 sax, 01 trombone, 01

piston, 01 bass horn, the bass drum, the tarol, the large drum, and the cymbals. In

the past, only adults participated in the band or in the dance. Presently, theyvestarted to teach children because they feel this dance-drama form is being

forgotten; if nobody teaches the children, itll be forgotten all together; people getold, pass away... In the past, there were seniors over 60 dancing. Nowadays, you

cant find people this age dancing anymore.The marcante (another kind of marker) goes in the front of the row

leading the band and the other dancers. He blows a whistle to tell them what partwill be next.

Both, Mr. Damio Ramos Martins, 90 years old, who was a marcante andhis son, Antonio Jos Martins, 60, called Seo Tot, who also danced, told us in a

May 97 interview, that in the past the rehearsals were done in secrecy: no oneknew what role one would play in the dance. Every participant had to prepare hisown outfit; the ones who dressed up like women, would borrow clothes from theyoung ladies and from the women, things like dresses and adornments, but theywould change the things among themselves to puzzle the audience and to avoidrecognition.

Presently, the costumes are made of colourful satin, given beforehand tothe dancers. They are usually provided by the Mayor House or by the merry-makers themselves.

VI - Cavalhada

Cavalhada, is a kind of cultural form found in Pocon. It is part of Festa deSo Benedito, a feast that follows Festa do Divino Esprito Santo (Divine HollySpirit Feast). It was revived about seven years ago, after 20 years of complete

oblivion. Other towns such as Crceres and Porto Esperidio, are also trying torevive this tradition.

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It is a fake battle between Moor and Christian knights where they fightover a princess. There are 12 pairs formed by 01 Maintainer, 01 Ambassador and10 Soldiers. Their weapons are spears, swords and pistols. The Moors horsemendress in flesh-coloured satin, and the Christian ones in blue. They also wear afeathered hat, plus a satin and much adorned cloak; the horses are adorned withribbons, satin and paper flowers. The horsemen perform movements of fake battlesand attacks while riding the horse.

Each knight has an assistant or page, played by a child dressed up

appropriately, similarly to the soldiers.There are also the masked knights in Cavalhada who stay out of the scene,

and whose role is to protect the audience, the pages, and the horsemen. In theintermission they go on playing, and emulate scenes of the previous battle.

The knights compete in several tournaments, games, and races. During thetrials, two veteran knights play a march in their drums imitating the sound ofhooves. Both teams celebrate every point scored to the sound of different kinds ofmusic such as Rasqueado, Carnival tunes, and so on. These tunes are played by aband of several-instrument accompanied by the cries of the audience formed bytwo groups that cheer either for the Moors or for the Christians.

At the end, independently of the score, the Christians are the winners andthe flag with the picture of the patron of the feast, So Benedito, is held by boththe Moor and the Christian maintainers that ride around the battlefield displayingthe flag.

Once the peace is restored, the hymn of Divino Esprito Santo is played,and everyone praises him in silence.

XIFolias de Santos (SaintsFeast)

All kinds of Folias or bandeiras (flags), as they are usually called practically follow the same ceremonial: in the period before the religious feasts,the master, and the merry-makers go from house to house taking the flag and someother symbols of the celebrated saint. Either on foot or riding a horse, they visit

every house in town, and sometimes even the ones in the countryside.Each Feast has its own characteristic musical instruments in which the

merry-makers play the tunes that announce the arrival of the flag, ask forpermission to go into the house, ask for alms, thank and say farewell excusing forleaving. The flag and the instruments, then, rest in the house over-night, andafter being allowed by the owners of the house, the merry-makers go back to it onthe following day and go over everything again, thanking for the good rest.Alms in the form of money, gifts, or food are given to the merry-makers to help

with the Feast expenses. The best known Folias or bandeiras are Divino EspritoSanto and Santos Reis, described below. There are still other folias in Mato Grossoas, for instance, Folia de Santa Cruz.

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Folia do Divino Esprito Santo (Feast of the Divine Holy Spirit)

Also called O Divino (The Divine), this feast is celebrate in many MatoGrosso towns, and is represented by The white dove an emblem of peace displayed in huge red satin standards.

The persons in charge of the feast are usually chosen from a disputed

lottery or are formally nominated for it. Each one wears a holy token throughoutthe alms-asking, and procession.

In Vila Bela, where we were in July 95, the crown is worn by the emperor,while the staff is hold by the empress, the rich flag by the standard-barer, and thepoor one by the Captain of the Mast.

The poor flag opens the procession during the alms-asking and when anymoney is donated it is then tied to satin ribbons in the flag sometimes thedonation is put inside the crown or tied to another holy object. The rich flag is

more adorned, and it is taken into a house only if its owner invites it in.A master who knows very well the rituals involved in the celebration,

leads the procession. It is him who chooses and trains the kid merry-makersboysaged from 10 to 15, responsible for singing the holy chants in the alms-asking andin the feast. Both, the adult merry-makers and the kid ones dress up in white, withred satin laces on the shoulders of their costumes.

There are usually three music players: the master plays the guitar, theforeman plays the accordion, and there is also a drum player. They play during the

whole alms-asking, a pilgrimage that goes from house to house through the townor through its outskirts. The festivity is enlivened when the owner of the houseasks them to play a Rasqueado; then, it is relaxation time for dancing and singing.

Mr. Wilson da Conceio, conductor of the Pocon Municipal Band andFolia master, describes Folia do Divino in his town (May 97 interview): Thererefive flags walking always in the main road and in crossing ones. Two days are

saved for the alms-asking. During this, theres no dancing, but sometimesRasqueado is played right there in the street.

Bells, fireworks, singing and playing bring the mood to Festa do Divino.The persons that are going to be in charge of the following year feast are selectedin a formal mass. In Vila Bela their selection is made known through the followingtunes that the kid merry-makers sing:

A pombinha vem voandoPor cima da bela matriz

Vem dizendo viva, viva

Viva nossa Imperatriz.

The dove comes flyingOver the beautiful church

It comes saluting

Our empress.

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A pombinha vem voandoNo seu bico traz uma flor

Vem dizendo viva, viva

Viva nosso Imperador.

The dove comes flyingBringung a flower in its beak

It comes saluting

Our emperor.

A pombinha vem voando

Por cima da laranjeiraVem dizendo viva, viva

Viva o Alferes da Bandeira.

The dove comes flying

Over the orange treeIt comes saluting

The standard-bearer.

A pombinha vem voandoPor cima do belo astro

Vem dizendo viva, viva

Viva o Capito do Mastro.

The dove comes flyingOver the beautiful sun

It comes saluting

The captain of the mast

Folia de Santos Reis (Feast of the Magi)

Folia de Santos Reis or simply Folia de Reis, frequently occurs in theAraguaia Valley towns, but it can also occur in other Mato Grosso towns.

The merry-makers usually start the festivities between December 20 and25, with the alms-asking procession going from house to house with the flag ofSantos Reis (the Magi). This procession is a representation of the three Magis

journey as it is described in the New Testament. The magi followed the eastern

star to find where the new born baby, Jesus, was. On the arrival day of thefestivities, on January 05 or 06 (the exact date varies from place to place), theyfind the new born baby.

There are 12 characters: the master, the clown and the music players. Themaster is the one that knows the most about this heritage. He also co-ordinates thefestivity and leads the merry-makers. The clown, also known as doll, maskedperson or granddad, isnt mentioned in the holy book, so he is considered a

disguised soldier meant to protect the Magi, by distracting and disarraying Herods

troops that intended to slay Jesus.This performance lasts from 9 to 15 days, and is full of respect and

seriousness by both the merry-makers and the devotees that receive the merry-makers in their homes. The highlight of the celebration is the arrival of the Folia,on the last day. Then, they meet with another flag, and both are taken by themerry-makers to where the Nativity Scene is.

Mr. Manoel Pereira Garcia, known as Manoel Cascavel (ManoelRattlesnake), is a master of Folia de Santos Reis. He learned Folia and Catira with

his father, Frozino Cascavel, from whom he inherited his nickname. He describesit to us in a December 95 interview: Were out of work from December 24onwards to take part in the festivity - its a religious obligation that we have. It

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goes on through nine days. So, we walk about town everyday till January 5, be it

raining or sunny.The merry-makers hang a towel around their necks as uniforms. Some of

these towels are richly embroidered, either with the saints or with the merry-makers name. Mr. Manoel tells us that just as soldiers wear stripes that identifythem, so the merry-makers wear the towel: The white towels around their necksstand for the soldiers stripes. By wearing them, the merry-makers look different toeverybody else; if the a meal is offered, the persons with the towel around their

necks is identified straight away, then, he can be invited to it with no problems at

all. He also can be called to tell ones beads if he is with the towel around hisneck.

An accordingly tune is sang for each occasion. The instruments arebasically two guitars, one large drum, a noise-maker or rque as it is called, atambourine, two guitars, and a p de bode accordion

13.In Araguaiana, they ask for permission to enter with the flag in the house

singing by the door like that: de casa, de fora

Necessrio quero chegar} 2x

Aqui est o Santo Reis

Que veio lhe visitar } 2x

E tambm pedir a esmola

Pr seu dia festejar } 2x

Hi there,I want to get in}2x

Here its the Magis FoliaThat came to visit you }2x

And ask fos alms as wellTo celebrate its day. }2x

In Ribeirozinho, they farewell tune is like this:Despedida, despedidaDespedida em Belm

Despedida da Lapinha

At para o ano que vem

Pai, Filho, Esprito Santo

Na hora de Deus, amm

Os romeiros vo-se embora

Pr voltar o ano que vem.

Farewell,farewellFarewell in Bethlen

Farewell from Lapinha

Till next year

Father, Son, and Holy Spirit

At Gods time, amenThe pilgrins go away

To come back next year.

XII - Catira

Music, song and dance, Catira is almost always performed only by men.

13 a kind of accordion

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In Ribeirozinho, a town 465 kilometres from Cuiab, in the AraguaiaValley near the border of Mato Grosso and Gois states - Catira is part of Folia deSantos Reis in which, at the owner of the house request the merry-makers whowent there asking for alms to play, sing and dance Catira. Nevertheless, it can alsobe performed in other periods of the year, separated from Folia.

Mr. Manoel Cobra, a Folia master, says (December 95): After thereligious part of Folia, the owners of the house go indoors with the flag and stay

in there. Then, they offer the merry-makers a cup of coffee or a glass of pinga 14.

Catira comes afterwards as a retribution for their hospitality, and as a pastime to

the merry-makers. Whoever wants to, may take part in the dance. Men, or women,

theres no problem! If the word spreads thatCatira is being danced in a particularhouse, itgets so crowded that people dont fit in! In case it has a dirty floor, it hasto be dampened, otherwise so much dirt goes up that nobody can stand it.

Catira tunes are usually a particular kind of moda de viola15 sang by twoviola players. It goes about daily cores, work, love, longed people or places. Thedance movements are rhythmic, vigorous, and synchronised with hands clappingand ground stumping. The dancers stand in two rows pairing each other. Wetranscribed two extracts of Catira tunes below:

Eu vou subir no cuPr pedir a Deus um castigo

D lio nessas moas

Que no qu cas comigo

Quando eu descer do cuCom meu castigo na mo

Ela vai se arrepend

No adianta pedir perdo.

Eu v cant essa modaPr alegr meu corao

Meu corao vive triste

Vive cheio de solido

Vou repicar essa violaQuero v trem o cho.

Im going up to the skyTo ask God for a punishment

To that girl

That doesnt want to marry me

When I come downHolding the punishment in my hands

She will repent

Then, itwill be too late.

Im singing this modaTo cheer up my heartIts always sadAlone it is how it feels

Im playing this guitarI want to see the floor quaking.

14 Pinga or cachaa is a cheap alcoholic drink distilled from sugar cane, very appreciated by

lower class men throughout the country. It is a Brazilian custom of politeness to offer coffee(cafezinho as it is called) to the guests. In some places and occasions pinga can be offeredinstead.15 A kind of Brazilian folk music.

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XIII - Lundum

Lundum or Lundu, probably original from Bahia, is a dance for men andwomen alike. In Araguaiana, a town on the Araguaia River, 60 km from Barra doGaras, it is part of Folia de Reis.

The group dances lundum when the owner of the house where the merry-makers are asking for alms gives them a bottle of liquor.

The dance goes in the following way: the merry-makers form a circle andput the bottle at its centre; some of them go to the centre and dance around thebottle. One of the dancers, than, grabs the bottle with his mouth and puts it on topof his head. Following that, they form couples. One at a time, dance as follows: thewomen, holding the brim of their skirts, try to pass it over the mens head, but theyskip the women attempts; then, the men in turn challenge the women by dancing

around and close to them, pretending to be making things easier for them. Ofcourse the women dont buy the gold brick, and when the men least expect, inquick dance movements, they dart nearer to the men and attempt to accomplishtheir action, but the men skilfully skip the women again, still performing quickdance movements. This dance game makes the audience laugh.

Mr. Francisco Santana Corra, 66, Folia master in Araguaiana, tell us hisexperience with this dance form, in a December 95 interview: Since I was a littlekid, I take part on this. My father used to play the viola in Folia de Reis and he

clapped the rhythm for them to dance Lundum in the non-religious part of thefestivity. Then, after my father passed away, as I already knew what to do, I

started singing it. Sometime Id sing it even as a little kid. Then, Id be helped bysome sisters of mine. Afterwards, I was in charge of playing the viola for them to

dance Lundum and Folia. Iwill go on playing as long as it pleases God...Everybody in the circle sings and claps hands. The musicians mark the

time of the dance game. The short lyrics are repeated many times getting faster andfaster, what makes the dancers run out of breath. The Lundum instruments are:

viola, tambourine and large drum. The tunes usually have a playful tone such asthe following one:

Jacar t nalagoaDebaixo da samambaia

Eu quero danar ca moaEssa via me atrapaia.

Aligator is in the lagoonUnder the fern leavesI want to danve with the girlAs this old lady hinders my steps.

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XIV - Final Considerations

We are aware that we have left the reader with far more questions thananswers. More than to inform or to furnish the reader with ready-made solutions,our aim was to goad on teachers and pupils to research their own personal, and

collective cultural heritage as a departing point from where their knowledge candevelop.

Once one is aware of ones own cultural heritage, it is possible for one toopen up to the new, and to deal with transformations without denying ones own

traditions. For instance, it is possible to resist external pressures such as theconsumption drive encouraged by the means of mass communication that enforceupon us certain music and dance styles, patterns of behaviour, of accents, and soon.

Our suggestion is that the teachers always explore profoundly the waythrough which the local culture is expressed, for each town and each person has aproper mode of expression that must be taken into account in the educationalprocess.

Concerning the cultural forms described here, we want to make it clearthat we have exceeded the limits of our research field when we described culturalforms that arent properly dance as Cavalhada and all the Folias, but that seemrelevant to us because of the great use they make of movement, drama and music.

Finally, we want to specially thank the cookers. In all the feasts related todance and mentioned in this book, the great variety of dishes and the high qualityof the meal offered to us and to the people in general, were carefully prepared bythem. These special thanks go mainly to the cookers of the countryside towns,where the meals are free and the cookers are volunteers. The kitchen is a sacredand vital space - just like the place where the mast is erected, and the river watersin which the saint is washed - managed by seasoned and wise women. Sometimes,it also becomes a place for prays and dances.

Each one follows his or her own expression in the way one feels morecomfortable: so dance is the key of a treasure.

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XV - Research Sources

We have listed our research sources according to the municipal townswhere they occur, mentioning the cultural heritage form, the researched groups,

and the interviewed people found there.

Town: Vila Bela da Santssim Trindade Town: Nossa Sra. do LivramentoCultural Heritage forms:- Chorado- Dana do Congo- Folia do Divino

Cultural Heritage forms:- Dana do Congo-Cururu- Siriri

Interviewed groups and people:- Grupo de Chorado- Mrs. Nemsia Profeta Ribeiro- Sr. Mximo Assuno- Mr. Joaquim das Neves- Mr. Ismael Brito- Mr. Belmont Ribeiro- Mr. Augusto Brito

- Mr. Urbano Fernandes Leite- Mr. Agripino

Interviewed groups and people:- Grupo Folclrico Cezrio Sarat- Mr. Cezrio Sarat- Mrs. Antonia Sarat- Mr. Antonio Benedito daConceio- Mrs. Tereza Conceio Arruda- Mrs. Odlia Domingas Sarat

- Mr. Joo Leite Galvo- Mr. Clio Francisco dos Santos

Town: Santo Antonio de Leverger Town: PoconCultural Heritage forms:- Siriri- Boi--Serra- Cururu

Cultural Heritage forms: - Dana dosMascarados

- Cavalhada- Folia do Divino

Interviewed groups and people:- Grupo Unidos da Fronteira- Grupo Unidos da Avenida- Mrs. Maria Elosa Gonalves- Mrs. Maria Janete- Mr. Jacinto Floriano

Interviewed groups and people:- Mr. Damio Ramos Martins- Mr. Antonio Jos Martins- Mr. Wilson da Conceio

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Town: Barra do Bugres Town: CceresCultural Heritage forms:- Siriri- Dana de So Gonalo- Cururu- Festa de Santa Cruz

Cultural Heritage forms:- Cururu- Siriri- Dana de So Gonalo

Interviewed groups and people:- Centro de Tradies Mato-Grossenses(CTM)- Mr. Jovino dos Santos Ramos- Mr. Antonio Catarino- Mr. Osvaldino Rodrigues

Interviewed groups and people:- Grupo Folclrico Tradio

Town: Cuiab Town: AraguaianaCultural Heritage forms:- Cururu- Siriri

Cultural Heritage forms:- Folia de Reis- Lundum

Interviewed groups and people:- Grupo Folclrico Z Bolo Flor

- Mrs. Domingas Leonor da Silva- Mr. Joo Batista- Mr. Luiz Marques- Mr. Aquilino Jos da Silva

Interviewed groups and people:- Mr. Francisco Santana Correia

- Mr. Antonio Correia Filho- Mrs. Luza N. do Esprito Santo- Mr. Eurico N. do Esprito Santo- Mrs. Maria Conceio N. Pinto- Mr. Terciliano Pereira da Costa- Mrs. Benedita N. do Esprito Santo- Mrs. Ceclia Rodrigues de Brito

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Town: Ribeirozinho Town: Pontal do AraguaiaCultural Heritage forms:- Folia de Reis- Catira

Cultural Heritage forms:- Folia de Reis

Interviewed groups and people:- Mr. Manoel Pereira Garcia- Mrs. Avantina Pereira Garcia- Mr. Joo Amaro- Mr. Sebastio Macaro- Mr. Cipriano de Freitas- Mr. Abel Gualberto de Freitas- Mr. Benjamim Francisco Chagas

- Mr. Vanilson Carlos Ribeiro- Mr. Rogrio Silva- Mr. Joo Resende Oliveira- Mr. Lzaro Eurpides Pena- Mr. Jovino Luiz pena- Mr. Joo Batista dos Santos- Mr. Valmir Vilela de Moraes- Mr. Elias Souza

- Mr. Gerson Pereira Feitosa- Mr. Joo Eugnio- Mr. Paulo Francisco

Interviewed groups and people:- Mr. Ccero Jos Santos- Mr. Antonio Jos Gonalves- Mr. Gersi Gonalves da Cruz- Mrs. Elza Martins

About the author

Rosana Baptistella gained a Dance BA from he State

University of Campinas Arts Institute - IA, UNICAMP. During

the course she took part in several research programs onnumerous Brazilian cultural heritage forms that have dance as

their main feature. Graziela Rodrigues, professor and

researcher of the university, tutored Rosana.

Presently, she is a Consultant of Mato Grosso State

Culture Department, and co-ordinates the Program CulturalHeritage of Mato Grosso - Research, Recording andDissemination.