Timon Thalwitzer - Oficinas, CDs and Instructional Books

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Oficinas, CDs and Instructional Books.

Teaching, Multiplying and ShapingMaracatu de Baque Viradoin the period 1988–2010

Paper for the Seminar Musik(forschung) in Lateinamerika ,held by Regine Allgayer-Kaufmann

in the Summer Term 2010at the Institut fur Musikwissenschaft, Universitat Wien.

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

Timon Thalwitzer∗

January 15, 2015

∗Percussionist, mathematician and ethnomusicologist at the Department Of Musicologyat the University of Vienna. [email protected]



Thalwitzer: Maracatu de Baque Virado 2

Contents

1 Introduction 3

2 Maracatu de Baque Virado. An Historical Outline 42.1 1666–1988 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42.2 1988–2010 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

3 Teaching Maracatu de Baque Virado 103.1 Instructional Literature and Videos . . . . . . . . . . . . . . . 10

3.1.1 Batuque /Pecussion Ensemble . . . . . . . . . . . . . . 11

3.1.2 Drum Set . . . . . . . . . . . . . . . . . . . . . . . . . 133.1.3 Pandeiro . . . . . . . . . . . . . . . . . . . . . . . . . . 153.1.4 Atabaque /Timbal . . . . . . . . . . . . . . . . . . . . . 173.1.5 Remark . . . . . . . . . . . . . . . . . . . . . . . . . . 17

3.2 Workshops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

4 References 224.1 Literature on Maracatu de Baque Virado . . . . . . . . . . . . 224.2 Instructional Material . . . . . . . . . . . . . . . . . . . . . . 244.3 Weblinks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25




1 Introduction

In February 2010, I had the opportunity to take part in an excursion to theCarnaval Multicultural do Recife 1, as part of my studies at the Institute forMusicology of the University of Vienna, Austria. In Recife, I came in contactfor the first time with maracatu de baque virado, also called maracatu-nac˜ aoor maracatu-nac˜ ao, a music now extremely visible and popular in Recife.It is commonly differentiated from a few other manifestations that are alsoreferred to as maracatu , like maracatu de baque solto2 in Recife, or maracatu cearense in Fortaleza3. Since I liked the music very much, I started to doresearch on it. I soon learned that

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

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

This paper focusses on these past two decades. After summarizing thehistory of maracatu de baque virado up to 1988 in a few sentences (Sec-tion 2.1), I will mention some of the things that in my opinion have provedimportant for understanding the historical developments of this music since

then (Section 2.2). Special focus in this overview lies on what I considerrelevant for the main part of this paper, presented in Section 3. In it, I wantto highlight one of the areas I think of as crucial for the current state of maracatu , in particular outside Recife: the pedagogics of maracatu de baque virado. My thesis is that commercially released instructional material (Sec-tion 3.1) and maracatu workshops (Section 3.2), mainly held by Brazilianpercussionists outside Brazil, along with audio and video recordings (whichare not treated specifically in this paper), have utmost influence on maracatu groups and musicians interested in maracatu de baque virado outside Brazil.I cannot “prove” this thesis within the scope of this article, but I do hope togive ideas of where one could start, if interested in those topics, and point athow I came to my belief.

1Portuguese, “Multicultural Carnival of Recife.” Recife is the capital of Pernambuco,a state in northeastern Brazil. This and all following translations are by the author.

2Port. “maracatu of the free beat”, or “maracatu without beat”, also called maracatu

rural (“maracatu of the countryside”) or maracatu de orquestra (“orchestral maracatu ”).3Capital of the Northeast-Brazilian state Ceara.




2 Maracatu de Baque Virado. An HistoricalOutline

As I am not giving an introduction here to what is maracatu de baque vi-rado, I recommend the following sources as introductory material for readerscompletely unacquainted with maracatu : the classic Maracatus do Recife byCesar Guerra Peixe [Guerra-Peixe 1980], the article O Carnaval do Recife e a Formac˜ ao do Folclore Negro no Brasil by Yoshihiro Arai [Arai 1994],the article The Pernambuco Carnival and its Formal Organisations: Music as Expression of Hierarchies and Power in Brazil by Tiago de Oliveira Pinto[Pinto 1994], the article Maracatus de Baque Virado ou Nac˜ ao by Claudia deAssis Rocha Lima [Lima 2008], the article Turned-Around Beat. Maracatu deBaque Virado and Chico Science [Crook 2001] and the book Music of North-east Brazil [Crook 2009, pp. 90–105] by Larry Crook, the Batuque Book Maracatu by Climerio de Oliveira Santos and Tarcısio Soares Resende [San-

tos and Resende 2009], the catalogue Recife. Nac˜ ao Africana. Cat alogoda Cultura Afro-Brasileira [Recife. Nac˜ ao Africana... 2008], and the arti-cles about Brazil by Gerard Behague in the music dictionaries New Grove [Behague 2001, p. 289] and Musik in Geschichte und Gegenwart [Behague

1995, pp. 117–118]. One can easily find plenty of resources on the internet aswell; see, for example, the Portuguese Wikipedia page on Maracatu-Nac˜ ao

[Wikipedia: Maracatu-Nac˜ ao 2010], or the website maracatu.org.br [Ma-racatu.org.br 2009].

I want to give a very brief overview of the history of maracatu-nac˜ ao inRecife (and Olinda4). As its roots date back to the 17th century, obviously alot of space would be needed to cover this topic appropriately. As I can firstand foremost only report what I observed of the maracatu in the 2010 car-naval in Recife, as well as repeat what can be found in the limited literatureavailable, I am certainly not the right person for this task.

2.1 1666–1988

The pre-history of the maracatu-nac˜ ao is usually considered to start with“the colonial practices [. . . ] called the Rei de Angola (King of Angola) andthe Rei de Congo (King of Congo)”, the earliest written account for whichstems from the year 1666 [Crook 2009, p. 92]. In those rituals, queensand kings (of Angola, the Congo and other nations) were elected by theAfrican slaves that had been imported to colonial Brazil by the hegemonicPortuguese since 1538. These royalties “served as intermediaries between

4A city next, and culturally connected, to Recife.




the white masters and the enslaved and help keep order as they presidedover religious and secular activities of the black population [Crook 2001,p. 234].” The celebrations for the coronations included music and dance.

If not already somewhat earlier, then certainly after slavery in Brazil wasabolished on May 13, 1888, when Princesa Isabel signed the Lei ´ Aurea 5, theinstitution lost its original meaning. But now the various maracatus-nac˜ aohad the possibility to officially enter Recife’s carnival street parades.

However, although “[p]revalent in nineteenth- and twentieth-century Re-cife, maracatu de nac˜ ao went into decline after around 1960. In 1967, onlythree groups remained [Metz 2008, p. 64].” Yoshihiro Arai gives the fol-lowing number of maracatu de baque virado groups officially registered for

parading in the carival in the period “1961–65”6: five [Arai 1994, p. 117].In the next two decades, not too much changed about the situation. But forwhatever reasons, starting in the late 1980s and continuing up to the present,some drastic developments have taken place. These developments are espe-cially remarkable when considering that in the long history of maracatu , ithad never gained much attention or interest outside the Recife/Olinda area,neither within Brazil, nor in the rest of the world. The theoretical reflectionsup to that time had been very little.7 I also know of no work specificallytreating maracatu that appeared before 1990 in any language other thanPortuguese.

2.2 1988–2010

In 1988, according to Jerry D. Metz, there were nine groups performingmaracatu de baque virado in Recife/Olinda [Metz 2008, p. 64]. Accordingto Arai, eight were officially registered in the Recife carnival [Arai 1994,p. 117].

17 years later, in 2005, Climerio de Oliveira Santos estimated that therewere 65 maracatu de baque virado groups active in Pernambuco [Santos

and Resende 2009, p. 29]. In 2006, historians Isabel Christina MartinsGuillen and Ivaldo Marciano de Franca Lima wrote: “Os maracatus-nacaofazem enorme sucesso no cenario cultural da cidade do Recife na atualidade

5The Port. “golden law” was the official abolition of slavery in Brazil.6It is not clear to which year he is referring, or if he is suggesting that it was the exact

same number in all five years.7The two most noteworthy studies on maracatu that appeared before the 1980s and

which are still cited frequently today are Maracatus do Recife by Guerra-Peixe (1955)[Guerra-Peixe 1980] and O Folclore no Carnaval do Recife , written by Katarina Realin 1967.




[Guillen and Lima 2006, p. 183].”8 Meanwhile, during the almost twodecades 1988–2010, many noteworthy developments took place in the mara-catu world.

The following list includes some events and facts that I think helped fos-ter, or were somehow connected to, what could be called a veritable maracatu “boom” that has been occurring during the last twenty years, within as wellas outside Brazil.

• In 1988 and 1989, the two well-known and very traditional maracatus-nac˜ ao Nac˜ ao do Maracatu Porto Rico and Maracatu Elefante “camevia organized tours to Europe [...] and helped increase both local and

international interest in the tradition [Crook 2001, p. 239].”

• On December 15, 1989, the maracatu group Nac˜ ao Pernambuco wasfounded in Olinda ([Nacao Pernambuco n.d.], [Lima 2008]). Thegroup recorded one the first (if not the first) commercial CD with ma-racatu music in the history of the genre (self-titled, released 1993, see[Crook 2001, p. 239]). It was the first maracatu group that toured ex-tensively outside Brazil. It collaborated with, and performed openingshows for, a range of renowned Brazilian and international pop artists.

• 1991 saw the formation of Chico Science & Nac˜ ao Zumi 9, a band that

mixed local musical traditions of Pernambuco (namely most promi-nently maracatu de baque virado, but also ciranda , embolada and oth-ers) with international influences coming from hip-hop, rock , metal etc.,and which soon was to become one of the most successful artists outof Pernambuco ever. They are generally regarded as the leaders of the musical movement called mangue beat . In performances, they usedthree drummers playing alfaia drums in the center of the stage, givingplenty of visibility to an identifying symbol of maracatu-nac˜ ao.

• Between 1993 and 1995 (when the group moved their new home baseto the Alto Jose do Pinho neighborhood), the Maracatu-Nac˜ ao Es-

trela Brilhante do Recife was re-organized. Under the famous leader of their percussion section, mestre 10 Walter Ferreira de Franca11, who was

8Port. “At the moment, the maracatu nations have enormous success in the culturalscene of the city of Recife.”

9For further information, see [Galinsky 2002], [Crook 2001] or [Nacao Zumbi n.d.].10Port. “master”. In Brazil, this is the term used for leaders of maracatu groups,, samba

groups, capoeira groups, etc.11often referred to simply as (Mestre ) Walter




coming from a samba -background12, some major innovations were in-troduced to Estrela Brilhante in the mid-1990s that should have hugeimpact on the whole maracatu-nac˜ ao scene in Recife, and maybe aneven stronger one on the maracatu workshops that would soon be heldmore and more frequently all around the globe. These innovationsincluded:

New Instruments: Estrela Brilhante was the first maracatu to useabes .13 Within the maracatu de baque virado groups in the 2010carnaval , these instruments were already more common than thetype of shakers that used to be played instead before: ganz´ as .14

Brakes Walter introduced certain “convencoes”15

or “brakes”16

, now atrademark of Estrela Brilhante ’s music, that had previously beenunusual in maracatu , but common in samba .

Female batuqueiros: Traditionally, no female batuqueiros 17 were al-lowed in the maracatus-nac˜ ao. In the mid 1990s, three femalestudents from the UFPE18—Neide Valdes and the two sisters Vir-ginia and Cristina Barbosa—who were interested in maracatu-nac˜ ao wanted to carry out some studies about it and learn to playit. They approached Estrela Brilhante and Walter accepted themhappily into the nac˜ ao, because he thought that it would (and,

according to him, did) stir the interest of the media and public[Galinsky 2002, pp. 84–85]. Today, at least a few women areplaying in most of the maracatus-nac˜ ao, and there is one group,Baque Mulher 19, consisting of women only. Interestingly, althoughwomen are now found at all positions of the maracatu batuque ,there is one instrument played almost exclusively by women: theabe .20

12More specifically, he was member of the Gigantes do Samba , the oldest, best-knownand (as far as the annual “official” carnival competitions are concerned) most successfulsamba school out of Recife.

13Interview with percussionist Cal do Rap, conducted on February 5, 2010. Cal do Rap,musician and long-term Estrela Brilhante member, said that he was among the first groupof percussionists within Estrela Brilhante who played these new shakers.

14Other names for this instrument include maraca , mineiro and mineirinho. Anotherinstrument that is now used by a number of groups was introduced by the Nac˜ ao do

Maracatu Porto Rico: the timbal .15Port. “conventions”.16Port. “breaks”.17Port. “percussionists” in maracatu -parlance.18Universidade Federal de Pernambuco (Federal University of Pernambuco).19Port., which roughly translates to “Woman’s Beat”.20Some member of one of the maracatus-nac˜ ao in Recife remarked to me that this was




White, middle-class and formally trained batuqueiros: The en-trance of the three mentioned women into Estrela Brilhante hada second major significance: they were some of the first formallyeducated musicians from the middle-class to enter a nac˜ ao do ma-racatu . Plus, they were not from the Alto Jose do Pinho neigh-borhood but from another part of Recife further away. Up tothat point, almost all of members of the maracatus-nac˜ ao in Re-cife were dark-skinned, from lower-class social background and di-rectly from the neighborhood where the respective maracatu wasbased. Later on, a lot more formally educated musicians from Re-cife participated in maracatus-nac˜ ao, in this way learning about

the folk traditions of their hometown, and in some cases then usedthe knowledge in other musical projects (e.g. percussionist Eder“O” Rocha, of the band Mestre Ambr´ osio, or Jorge Martins daSilva, of the band Cascabulho). Also, more and more people fromthe white middle-class became interested in maracatu de baque vi-rado. There are now numerous workshop classes around the city,specifically designed for this social group.

Systemizing the maracatu : Finally, and perhaps most relevant tothe topic of this paper, Walter designed a pedagogical concept forthe maracatu , in a way standardizing it. According to anthropol-

ogist Ernesto Ignacio de Carvalho, “A cartilha Estrela Brilhantede baque virado e mais ou menos a base do que foi ensinado porvarias cidades do Brasil e do mundo desde o movimento das ofic-inas de maracatu, a partir do final da decada de 90 [Carvalho

2007, p. 118].”21 He conceived a system of five exactly specifiedalfaia rhythms, to each of which he assigned a name.

Before I came to Recife, I saw a video on YouTube.com in whichpercussionist Eder “O” Rocha explains these exact five rhythms[Rocher 2008], using the same names as Walter. In Recife, weconducted an interview with Hugo Leonardo, mestre of the Nac˜ ao

do Maracatu Le˜ ao da Campina . When we asked him to explain thevarious rhythms that there are in maracatu-nac˜ ao, he performedand named those exact five rhythms for us. In the carnaval pa-rades, they constituted by far the greatest part of what I heardfrom the various nac˜ oes . Philip Galinsky, in his book Maracatu

due to the fact that the abe is somehow associated with femininity, due to its shape.21Port. “The primer “Estrela Brilhante” of the baque virado is more or less the basis

for what has been taught in various cities in Brazil and the world since the movement of the “maracatu workshops” has taken place, starting at the end of the 90s.”




Atˆ omico [Galinsky 2002] on the mangue movement, which is oneof the most extensive English works on the topic, cites those ex-act rhythms (again, with the same names) as musical examplesof what maracatu de baque virado is.22 A maracatu workshop Iattended, held by Brazilian percussionist Tarcısio Soares Resende(author of the successful instructional-type “Batuque” book [San-

tos and Resende 2009]), held in Vienna, Austria in June 2010(compare Section 3.2), was also based on those rhythms. I cameto assume that they constitute “the traditional repertoire” of themaracatu de baque virado in Recife. Only through the paper fromCarvalho cited above did I learn that they came together as a ped-

agogical concept, probably partly for the many new batuqueiros who entered, or visited, Estrela Brilhante during the last twentyyears. For many musicians, students and other “outsiders” whowanted to learn about maracatu , Estrela Brilhante , one of the best-known and, to the ears of many, best maracatus-nac˜ ao, was thegroup of their choice. These people so often reproduced what theyhad learned, that this heritage indeed seems to make up a largepart of what maracatu is today. Many of the maracatus-nac˜ aonow active were founded only after Walter coined his system andmay have drawn from his clear-cut, compact and well-conceived

concept when their repertoires came together.

• Following Nac˜ ao Pernambuco, many of the more traditional maracatus-nac˜ ao recorded CDs, making their music more accessible in- and out-side Recife (e.g. Estrela Brilhante do Recife , Estrela Brilhante de Iga-rassu , Encanto da Alegria , Le˜ ao Coroado, Porto Rico, Cambinda Es-trela ).

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

•

Since 2002 [Guillen and Lima 2006, p. 183], renown Brazilian percus-sionist Nana Vasconcelos conducts hundreds of batuqueiros of variousmaracatus-nac˜ ao at the “Arbetura do Caranval do Recife”23, whichtakes place friday night before Ash Wednesday at Marco Zero, thelargest public square in Recife, and which is one of the most visibleevents of the carnaval celebrations.

22It should be noted that, contrary to the other examples, Galinsky is citing Walter ashis source for the rhythms.

23Port. “Opening of the Carnival of Recife”.




• The French maracatu group Macaıba and other European maracatu groups now organize Encontros Europeu de Maracatus 24, the third andfourth of which took place on July 5–6, 2008 in Nantes (215 participantsfrom 15 music groups), and on July 2–4, 2010 in Paris (more than 300particiants) respectively.

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

3 Teaching Maracatu de Baque Virado

Within Recife, educational material seems to have very little importance.Although maracatu -workshops have become more common there during thepast decade, in the rather traditional maracatus-nac˜ ao the music is transmit-ted orally. When we asked Hugo Leonardo, mestre of the Nac˜ ao do Maracatu Le˜ ao da Campina 25, how children are taught when they enter the group, heanswered that the young kids, when they hold an alfaia in their hands forthe first time, maybe at age four or five, already know how to play all therhythms.26 They are capable of this because they have seen and heard howto do it many times before. In other words, there is no active teaching, thetradition is passed on by imitating what the older ones are doing.

Contrary to that, it is in my opinion reasonable to consider maracatu educational literature and videos, as well as other audio and video recordingsand workshops, very important for how maracatu is received and practicedoutside Brazil. I would argue that since there is no maracatu tradition outsideBrazil (or, to be more exact, only a very recent one), these kind of sourcesconstitute a significant pool of information for non-Brazilians interested inmaracatu , in particular for those who did not have the chance to study themusic in Recife themselves. (Compare the remark on the sales of the Batuque Book , cited below on p. 11.)

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

24Port. “European Maracatu meetings”.25Port. “Maracatu Nation Lion of the Land”.26Formal interview, conducted on February 6, 2010, in Ibura (Recife), at Le˜ ao da Camp-

ina ’s home base.27One of the few exceptions is [Rocca 1986].




erable number of educational products released since then, of which I wantto give an overview here.

Apart from three books and the DVD presented in Section 3.1.1 that giveactual scores/transcriptions of music played by maracatu batuques 28, thereis a number of explicitly designated musical teaching books and videos fordrum set and various other percussion instruments that contain chapters onmaracatu de baque virado. The authors usually explain how they would adaptmaracatu (and, for that matter, typically also other Brazilian musical styles)for the respective instrument. In Sections 3.1.2–3.1.4, some examples of thisapproach are presented, ordered by instrument.

3.1.1 Batuque/Pecussion Ensemble

Although maracatu de baque virado is music traditionally performed by a per-cussion ensemble, I have not found many publications dealing with this kindof instrumentation. Far more have been published for drum set or pandeiro.This might be due to the fact that in the “Western” hemisphere, far morepeople and musicians (potential buyers) have access to these instrumentsthan to a whole percussion ensemble.

• Climerio de Oliveira Santos and Tarcısio Soares Resende: Maracatu Batuque Book ([Santos and Resende 2009], book & CD-ROM, 156pages, Portuguese and English). There is one book dedicated entirely tomaracatu (de baque virado as well as de baque solto) which is of instruc-tional character due to its many musical scores, made from recordingsand also included on the accompanying CD-ROM. The scores are noteliteral note-by-note transcriptions. They are not close to scientific ac-curacy. They rather give simplified, compact and workable summariesof what is happening in the recorded performances and are thus well-suited as e.g. material for performing percussion groups. Written byClimerio de Oliveira Santos29 and Tarcısio Soares Resende30, the Ma-racatu Batuque Book is bilingual (Portuguese and English) throughout

and hence one of the most comprehensive works on maracatu availablein any language other than Portuguese. In 2007, Ernesto Ignacio deCarvalho explained that the “Maracatu Batuque Book foi recentementecomprado em grandes quantidades na Inglaterra, onde um grupo de

28Port., a common term for maracatu percussion ensembles.29A Brazilian ethnomusicologist and musician, a former student of Prof. Carlos Sandroni

at the Federal University of Pernambuco.30A Brazilian professional percussionist and teacher, who is also holding maracatu work-

shops in Brazil and abroad; compare Section 3.2.




percussionistas pretende adota-lo como metodo de ensino de percussaoem escola. [Carvalho 2007, p. 131]”31 As the first edition of the booksold out, its second edition is the one currently available.

• Climerio de Oliveira Santos and Tarcısio Soares Resende: Maracatu-Nac˜ ao. Brazil’s Heartbeat ([Santos and Resende 2010], DVD, 114minutes, Portuguese with English, French and Spanish subtitles). Therealso is a DVD by the same authors which expands on the concept of thebook. It contains a documentary on maracatu , transcriptions, a sectionin which mestres Afonso Aguiar of Maracatu Le˜ ao Coroado32, ShaconViana of Maracatu Porto Rico and Seu Toinho of Maracatu Encanto

de Alegria 33

talk about and demonstrate rhythms typical for their re-spective groups, a section on the construction of alfaias , as well as afeature on non-traditional and innovative maracatu percussion groupsin- and outside Brazil.

• Gilson de Assis: Brazilian Percussion ([Assis 2002], book & CD, 141pages, German). Another percussion instructional book that featuresa section on maracatu de baque virado. In Assis’ Brazilian Percussion ,several Brazilian percussion styles are described and “typical” patternsare presented. Music examples are included as percussion scores andon an audio CD. The Chapter “Maracatu de Baque Virado in Pernam-

buco” [Assis 2002, Kapitel 3 (pp. 95–104), CD tracks 32–38] consists of a very short introduction to the history and instruments of maracatu ,as well as the score to a whole “maracatu -piece”, featuring the sections“Intro”, “Genereller Groove”34, “Break 1”, “Break 2” and “Schluss-break”35. Similarly to the scores from the Batuque Book , this scoreis of instructional character rather than representing accurately somerendition of maracatu de baque virado from Recife.

• Fernando Antonio Ferreira de Souza: Manual de Percuss˜ ao dos Ritmos Pernambucanos 36 (2010, Portuguese). Finally, this is another item that

I have not yet had a chance to examine myself. The book contains sec-31Port. “Recently, the Batuque Book was purchased in great quantities in England, where

a group of percussionists intends to employ it as an instructional method for teachingpercussion in school.”

32Port. “Maracatu Crowned Lion”.33Port. “Maracatu House of Joy”.34German, “general groove”.35Ger. “ending break”.36Port. “Percussion Manual of Rhythms from Pernambuco”.




tions on “Gongue ”37 “Alfaia ”, “Caixa ”38, “Ganz´ a/Mineiro/Caracax´ a ”,“Maracatu ” and “Maracatu de Baque Virado”.

3.1.2 Drum Set

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

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

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

37A large single Bell made of metal, which is used by practically all maracatus-nac˜ ao.38The small snare-drum-like drums used in maracatu-nac˜ ao.39Ger. “the part usually played by the agogo bells”, possibly having the single bell in

mind which is more often referred to as gongue in Recife.40Ger. “on the toms the rhythm of the zabumba”, apparently meaning the bass drum

usually called alfaia in maracatu context.41Later, on June 22, 2011, at a product presentation of the electronic musical instru-

ments manufacturer “Roland”, which took place at the music store “Klangfarbe” in Vi-enna, I had a chance to converse with Dirk Brand. He told me that some Brazilian drumset player (which he could not specifically name anymore) showed him those drum setpatterns many years ago, during his studies at the Berklee College of Music, located inBoston, Massachusettes, U.S.A.




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

• In Vera Cruz Island. Brazilian Rhythms for Dumset ([Figueiredo and

Oliveira 2009], book & 2 CDs, 106 pages, English), Brazilian drum-mer Vera Figueiredo presents a couple of songs, written and recordedspecifically for that occasion, that make use of various Brazilian as wellas international popular music traditions. Transcriptions of the drumset parts she plays are included. The first of the songs, Vera Cruz Island , includes some maracatu esque sections. She also explains verybriefly how she derives her drum set patterns from maracatu music[Figueiredo and Oliveira 2009, pp. 11–17]. According to her, thesong is “based on the Maracatu groove [Figueiredo and Oliveira

2009, p. 11]” (compare Section 3.1.5), and the pattern she plays is“one of the closest possible drumset grooves to the maracatu ensemble[Figueiredo and Oliveira 2009, p. 12]”.

• Eduardo Guedes: Maracatu: Maraca 2.0—Applying Pullouts and Con-trol Strokes in Brazilian Rhythms 42 ([Guedes 2009], article, 3 pages,English). Published online on the webpage of Hudson music, this brief article explores the possibilities of applying two well-known conceptsfrom drum set technique (“pullouts” and “control strokes”) to somegrooves the author takes from the maracatu section of his book Brazil for Drum Set. Vol. 1: Northeast—Nordeste—Noreste (see the notes onthe book below).

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

42This title is referring to the article Future Sounds 2.0 [Garibaldi 2007] by famousdrum set player David Garibald. Guedes originally developed the idea of writing hisarticle through the study of the one by Garibaldi. In it, Garibaldi explains the conceptsof “pullouts” and “control strokes” in funk drumming. A “pullout” is a soft note followedby a loud note, played with the same hand. A “control stroke” is a loud note followed bya soft note, played with the same hand.




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

• Ed Uribe: The Essence of Brazilian Percussion & Drum Set ([Uribe

2006], book & CD, 144 pages, English). Taking a similar approach asthe other publications presented here, the book includes a very short

chapter on maracatu (pp. 136–137).

• Alberto Netto: Brazilian Rhythms for Drum Set and Percussion (2003,Berklee Press, U.S.A., book & CD, 120 pages, English). Same story,the segment about maracatu (pp. 94–96) is included in Section 6: Afro-Brazilian Rhythms. On the CD, a percussion ensemble example (track72) and two drum set examples (track 73) are included. The introduc-tory track 1 is a “maracatu piece” as well, performed on piano, bass,drums and percussion.

• Eduardo Guedes: Brazil for Drum Set. Vol. 1: Northeast—Nordeste—

Noreste (2008, Tunesguedes Publishing, Astoria, New York, USA, book& CD, 80 pages, English/Portuguese/Spanish). Written by Braziliandrum set player, percussionist and educator Eduardo Guedes, this pub-lication contains a comprehensive chapter (Section 2, pp. 33–46) and ascore, called “Maracatu: Estrela Brilhante” (p. 67), on maracatu .

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

3.1.3 Pandeiro

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

43Ger. “standard reference for drummers interested in Brazilian music”.




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

• Helge Rosenbaum: Brazilian Drumming ([Rosenbaum 2007], book &CD, German). Despite of the main focus of this earlier mentioned bookbeing the drum set, Rosenbaum herein also presents one possibility toplay maracatu on the pandeiro [Rosenbaum 2007, p. 41].

Again, there are several more related educational products that I have notheld in hands personally yet. Examples include:

• Paulinho Silva: Pandeiro Popular Brasileiro. Video-Aula de Pandeiro1, 2 e 3 45 (DVD; Portuguese, with English, Spanish and French sub-

titles). This release by Paulinho Silva, a former student of MarcosSuzano, has a section where Paulinho demonstrates his versions of somepopular Brazilian rhythms for pandeiro, among others maracatu .

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

• Jonathan Gregory: A Comprehensive Guide to Brazilian Pandeiro (2007,2nd edition, book, 76 pages, English). There are short sections on ma-

racatu (p. 60) and—noteworthy—on mangue beat (p. 61).

• Luiz Roberto Sampaio, Victor Camargo Bub: Pandeiro Brasileiro. Vol-ume 1 and Luiz Roberto Sampaio: Pandeiro Brasileiro. Volume 2 46

(each consisting of a book—in Portuguese only—and a DVD in En-glish, French, Spanish, Japanese and Portuguese). These two releasestouch upon maracatu as well.

44Port. “Brazilian pandeiro”.45Port. “Popular Brazilian Pandeiro. Pandeiro Video Lesson 1, 2 and 3”.46Port. “Brazilian Pandeiro. Volume 1” resp. “2”.




44 .. .. œ ! .j

œ ! .j

œ ! .j

œ

Figure 1: The maracatu rhythm sometimes called “Arrasto”.

3.1.4 Atabaque/Timbal

• Gilson de Assis: Brazilian Conga (Atabaque). Traditional and Modern Rhythms from Brazil for 1, 2 or 3 Congas and Timbau ([Assis 2006],book & CD, 125 pages, English/Portuguese/German). This book in-cludes nine different ways of how Brazilian percussionist Gilson de Assis

would interpret maracatu on 1, 2, or 3 congas [Assis 2006, pp. 80–81,CD track 39]. The author does not give any accompanying commentaryor explanations.

3.1.5 Remark

One if the things I found interesting, when I was looking through all theseexamples, was the frequent occurrence of one specific rhythm, used as astarting point in many cases. It is the one called “Arrasto”47 by mestre WalterFerreira de Franca of Estrela Brilhante de Recife 48, depicted in Figure 1.Compared to other rhythms found as often or even more frequently in the

performances of Recife maracatu groups, this particular one is favored bymany of the authors mentioned in this section. Sometimes it is juxtaposedwith other alfaia rhythms (Helge Rosenbaum [Rosenbaum 2007], Gilson deAssis [Assis 2006]), but often it is presented in a rather uncritical manneras “the”, or as an especially typical maracatu rhythm (Dirk Brand [Brand

1997], Vera Figueiredo [Figueiredo and Oliveira 2009], Eduardo Guedes[Guedes 2009], Marcos Suzano [Suzano 2008]). One can only speculateabout why this rhythm is featured so disproportionally. My attempt for anexplanation is the following:

When I started listening to maracatu , what caught my ear immediately as

the most striking rhythmic feature of the music was the frequent prominentand heavy accentuation of the second of the four sixteenth notes in a quarternote. This kind of off-beat accent can happen in different ways and ondifferent beats within the four/four bar, depending on the performed rhythm.But all of the maracatu de baque virado rhythms feature it in some way oranother. The rhythm depicted in Figure 1 highlights this characteristic in avery condensed manner.

47Port. “limping” or “dragging”.48for a discussion of the naming of this rhythm, see [Carvalho 2007, pp. 120–121].




Another argument (although one that would hold for a couple a othermaracatu rhythms as well) is that the rhythm from Figure 1, played with abass sound, combines very nicely with a rock/pop-type, high-pitched back-beat on beats two and four of the bar. This is an approach pursued by mostof the authors who try to adapt the maracatu grooves to drum set or pan-deiro, and which yields a syncopated groove sounding like a funk or mangue beat pattern.

3.2 Workshops

Since the 1990s, maracatu workshops are held in- and outside Brazil. As

mentioned before, Ernesto Ignacio de Carvalho speaks of a veritable “movi-mento das “oficinas de maracatu” [Carvalho 2007, p. 118]”49 in this regard.In many cases, the maracatu groups outside Pernambuco were initiated byworkshops held by percussionists either from Pernambuco or who had stud-ied maracatu there. As the maracatu tradition outside Brazil is still veryyoung and the density of active groups rather low, I claim that workshopsin many cases provide the first, or most direct/first-hand exposure to thismusic for people who have not heard or seen it on location in Recife before.

For these reasons, I think that maracatu workshops are one of the princi-pal and most influential means by which maracatu is distributed, popularized

and multiplied in the world, especially outside Pernambuco and even moreso outside Brazil. Consequently, I find it important to give account of theseevents.

Usually, workshops are intended mainly as a temporary thing, to transmita specific knowledge, during a specific time interval, and no one involved hasnecessarily any desire to give further account of it. Accordingly, documenta-tion of them is in most cases hard to find or inexistent. It must thus remainquite a formidable task, which I cannot tackle within the scope of this paper,to give a somewhat complete picture of maracatu workshops that have beenheld all around the world since the 1990s. For illustration, I still want to putdown some words about at least a few of them that I came across coinciden-tally during my still brief occupation with maracatu . Naturally, these are allexamples from a fairly limited time interval and a fairly restricted area.

• Various Workshops with Nininho (Europe 2008–2010). Betterknown as (mestre ) Nininho, Brazilian percussionist Jose da Silva As-suncao, after playing in the renown group Maracatu-Nac˜ ao Pernambucofor some time, has been leader of Maracatu Badia from Olinda since

49Port. “movement of maracatu workshops”.




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

• Maracatu Workshop mit55 Luciano Ciranda (Vienna, Austria,2010). Between February and May 2010, Brazilian dancer, percus-

sionist, singer and composer Luciano Ciranda, now living in Vienna,was holding workshops in the “Initiativenraum” of the Werkstatten-und Kulturhaus56 (WUK), teaching mainly maracatu , but also otherAfro-Brazilian styles like afoxe , coco, or ciranda . These workshopswere scheduled once or twice a month.57 I wanted to attend the lastof them, scheduled for May 23, 2010. Unfortunately, it was cancelledon short notice, hence I cannot say anything about what was taught atthese workshop classes.

• Quebra Baque Austria (Vienna, Austria, 2010). In 2003, TarcısioSoares Resende, one of the authors of the aforementioned Maracatu

Batuque Book [Santos and Resende 2009] and and the Batuque DVD Maracatu Nac˜ ao. Brazil’s Heartbeat , founded the group Maracatu Que-bra Baque in Recife. One of its members is Priscilla Borel58. In collab-oration with the organization iKUSZ59, it was planned to bring her to

50See, for example, [Galinsky 2002, p. 180].51In fact, until now there has probably been only one other such group, namely Baque

Mulher (Port. “Women’s Beat”).52Port. “Maracatu of the Free Beat”.53Leader of the German maracatu de baque livre group Encontro, and manager of

Kalango, one of the largest mail order companies specialized in Brazilian instrumentsin Europe.

54Personal communication with Klaus Urban on April 21 and May 25, 2010. Also see[Suhner n.d.].

55Ger. “with”.56Ger. “house of workshops and culture”.57The date schedule was February 27, March 27, April 3 and 10, May 9 and 23. This

information comes from the flyer for these workshops, as well as from two resources on theinternet that I found: [WUK n.d.] and [Akinyosoye 2010].

58Singer, musician, dancer and former long-term member of Maracatu Estrela Brilhante .Native of Recife.

59Internationales Zentrum fur Kunst-Kultur-Science & Soziales (Ger. “internationalcentre for culture-art-science & social affairs”). A Verein (Ger. “society”) founded in 2009




Vienna, Austria, to hold a two day workshop, under the name Quebra Baque , on October 31–November 1, 2010, at WUK’s Initiativenraum(see above). Unfortunately, the workshop was canncelled on short no-tice.

In 2010, in a new attempt, iKUSZ invited Tarcısio Resende. He spent afew weeks in Vienna and helped found Maracatu Quebra Baque Austria .Between May 17 and July 7, 2010, Resende led the group and heldworkshops, rehearsals, public rehearsal and live performances with agroup of circa 10–20 participants. Their first public appearance wason June 11. Quebra Baque Austria is still rehearsing and playing liveshows now. For mid 2011, it is planned to invite Resende anothertime.60

I attended one of the rehearsals61 and one public live performance62.The instruments used were gongue , ganz´ a , abe , caixa 63, timbals , alfaias and voice. Apart from one ensemble break and a few variations inthe alfaia parts, I knew practically all of the patterns and songs thatResende taught from maracatu groups in Recife. He also explicitlycited some maracatus-nac˜ ao like Maracatu-Nac˜ ao Encanto da Alegria or Nac˜ ao do Maracatu Porto Rico as being the authors of certain partsor songs. Still, the way the arrangements were put together differedsignificantly from what I had heard from traditional maracatus-nac˜ aofrom Recife. With Quebra Baque Austria , it was mostly relativelylong predetermined successions of different parts, starting with someintroduction and then, conducted by certain rudimentary signs fromResende, moving from one rhythm to the next or to specific breaksplayed by the ensemble, without stops in between. In Recife, espe-cially as far as the traditional maracatus-nac˜ ao are concerned, I rarelyheard long, arranged renditions like that, which comprised several dif-ferent rhythms. Accompanying one toada 64 with one certain rhythm(be it, with all sorts of variations, improvised by individual players)seemed to be far more common. This is a case in point supporting

and based in Vienna, Austria. See [Spengler 2009].60All information is from the websites of iKUSZ [Spengler 2009], Quebra Baque Aus-

tria [Quebra Baque Austria 2008] as well as from printed flyers and posters for thevarious events.

61On June 30, 2010.62On July 2, 2010, in the Wiener Prater.63In fact, as caixas they used industrially manufactured instruments originally produced

as snare drums of a drum set. A logical choice, as they sound relatively similar to thecaixas and tatr´ ois used in Reife, and are available much more easily in Vienna.

64Port. “song”.




the central thesis of Ernesto Ignacio de Carvalho Di´ alogo de negros,mon´ ologo de brancos [Carvalho 2007]. He believes that there aresignificant differences between “traditional” maracatu performances of Recife’s maracatus-nac˜ ao, that have a certain interactive character tothem, and maracatu as it is for instance typically found in performancesby percussion workshop groups, that have more of a rehearsed and con-certante character to them.

One other thing that caught my attention at the Quebra Baque Austria rehearsal was the way Tarcısio Resende explained how the left handstrokes on the alfaia should be executed. He said that the beatershould remain in contact with the drum head after the stroke, that itshould be pushed or buried into it. I found that peculiar because firstly,I have never seen anybody play the alfaia like that in Recife; secondly,the dampened sound quality that results did not match the image I hadthus far of how an maracatu alfaia “should” sound; and thirdly, becausepersonally, being a percussionist myself, I find it uncomfortable to playa drum by constantly pushing the sticks into the drum head. Anyhow,very few of the people present at the rehearsal actually played the alfaia that way, neither the few Brazilians who were there and obviouslyalready had some experience with the music, nor the Austrians whowere in some cases still struggling a lot with the patterns.

• Masters Nation (Europe 2010). Organised by Gandaia65, betweenOctober 30 and November 30, 2010, the “Masters Nation” project tookplace in 14 cities in Central and Northern Europe66. Three mestres of old and renown maracatus-nac˜ ao from Recife were invited to holdworkshops, seminars and concerts on altogether 21 days/events in thevarious cities (sometimes more than one day in one city). Most of theindividual events were organized in collaboration with, or were bookedby, a local maracatu group. The participating mestres in 2010 wereAfonso Aguiar (of Maracatu Le˜ ao Coroado), Arlindo Carneiro dos San-

tos (of Maracatu Cambinda Africano) and Gilmar de Santana Batista(of Maracatu Estrela Brilhante de Igarass´ u 67). The organizers are hop-

65According to their website, GANDAIA is an Arts Organisation focused on the devel-opment of Brazilian culture through music, dance, drumming, costume design, travel andcultural interchange [Gandaia n.d.]. They are based in the UK.

66These were: Paris, Nantes, Montpellier, Toulouse and Bordeux in France; Manchester,London and Oxford in England; Belfast in Northern Ireland; Malmo and Stockholm inSweden; Barcelona in Spain; Milan in Italy; Berlin in Germany.

67For further information on this group, see [Estrela Brilhante Igarrasu n.d.(a)]or [Estrela Brilhante Igarrasu n.d.(b)].




ing to establish this as a permanent annual event, and to invite threedifferent mestres every year. According to their homepage, “MastersNation II” is currently already in the phase of pre-production [Mas-

ters Nation 2010].

These are but a few examples of maracatu workshops I personally camein touch with during the last couple of months. I hope they serve as anillustration for how much more there would be to find if one would considera larger area, other continents, or if going back further into the past. I hopethat they also give an idea of the kind of impact they have on maracatu inEurope. With that in mind, I think that it is no exaggeration to speak of a

“movimento das oficinas de maracatu”. Having said that, it becomes clearthat workshops are probably one of the most important factors that haveshaped the characteristics and developments of maracatu music in the worldoutside the Recife/Olinda area (which is a fairly big part of the world) sincethe 1990s.

4 References

4.1 Literature on Maracatu de Baque Virado

Arai, Yoshihiro (1992). “Recife no karunavaru to kokujin fokuroa no keisei”.In: Tˆ osui-suru bunka: Chˆ unanbei no shˆ ukyˆ o to shakai . Ed. by HirochikaNakamaki. 32 pages, illustrated, Japanese. Tokyo, Japan: Heibonsha,pp. 85–116.

— (1994). “O Carnaval do Recife e a Formacao do Folclore Negro no Brasil68”.In: Senri Ethnological Reports 1. Originally published as [Arai 1992]. 24pages, illustrated, Portuguese (translation from Japanese by Sandra M.Murayama), pp. 115–138.

Behague, Gerard H. (1995). “Brasilien69”. In: Die Musik in Geschichte und

Gegenwart. Allgemeine Enzyklop¨ adie der Musik, begr¨ undet von Friedrich Blume 70. Ed. by Ludwig Finscher. 2nd Edition. Vol. Sachteil 2 (Boh–Enc). 30 pages, illustrated, German (translation from English by EikeWernhard). Gemeinschaftsausgabe der Verlage Barenreiter (Kassel, Basel,London, New York, Prag) und J.B. Metzler (Stuttgart, Weimar), pp. 100–129.

68Port. “The Recife carnival and the formation of the black folclore in Brazil”.69Ger. “Brazil”.70Ger. “Music in History and Present. General Encyclopedia of Music, founded by

Friedrich Blume”.




Behague, Gerard H. (2001). “Brazil”. In: The New Grove Dictionary of Music and Musicians . Ed. by Stanley Sadie. 2nd Edition. Vol. Four(Borowski–Canobbio). 32 pages, illustrated, English. London: MacmillanPublisher Limited, pp. 268–297.

Carvalho, Ernesto Igancio de (2007). “Dialogo de negros, monologo debrancos: Transformacoes musicais no maracatu de baque virado71”. 145pages, illustrated, Portuguese. Dissertacao (PhD-thesis). Recife, Pernam-buco, Brazil: Univesidade Federal de Pernambuco, Centro de Filosofiae Ciencias Humanias, Departamento de Ciencias Sociais, Programa dePos-Graduacao em Antropologia.

Crook, Larry (2001). “Turned-Around Beat. Maracatu de Baque Virado andChico Science”. In: Brazilian Popular Music and Globalization . Ed. byCharles A. Perrone and Christopher Dunn. 12 pages, illustrated, En-glish. Gainesville, Florida, U.S.A.: University of Florida Press. Chap. 14,pp. 233–244.

— (2009). Focus: Music of Northestern Brazil . 2nd edition (1st edition: 2005).Focus on World Music. Book & CD, 284 pages, illustrated, English. NewYork, U.S.A.: Routledge. isbn: 978-0-415-96065-6.

Galinsky, Philip (2002). Maracatu Atˆ omico. Tradition, Modernity, and Post-modernity in the Mangue Movement of Recife, Brazil . Vol. 3. CurrentResearch in Ethnomusicology. Outstanding Dissertations. 228 pages, il-lustrated, English. New York, U.S.A., and London, England: Routledge.

Guerra-Peixe, Cesar (1980). Maracatus do Recife 72. Ed. by Rossini Tal-vares de Lima. 2nd edition (1st edition: 1955). Vol. XIV. Colecao Recife.173 pages, illustrated, Portuguese. Recife, Pernambuco, Brazil: IrmaosVitale.

Guillen, Isabel Cristina Martins and Ivaldo Marciano de Franca Lima

(2006). “Os Maracatus-Nacao do Recife e a Espectacularizacao da Cul-tura Popular (1960–1990)73”. In: Sæculum—Revista de Hist´ oria 14. 16

pages, Portuguese, pp. 183–198.Metz, Jerry D. (2008). “Cultural Geographies of Afro-Brazilian Symbolic

Practice: Tradition and Change in Maracatu de Nacao (Recife, Pernam-

71Port.“Dialogue of the Blacks, Monologue of the Whites: Transformations and MusicalAppropriations in the Maracatu de Baque Virado”.

72Port. “The maracatus of Recife”.73Port. “The maracatus-nac˜ ao of Recife and the Spectacularization of Popular Culture

(1960–1990)”.




buco, Brazil)”. In: Latin American Music Review 29.1. 32 pages, English,pp. 64–95.

Pinto, Tiago de Oliveira (1994). “The Pernambuco Carnival and its FormalOrganisations: Music as Expression of Hierarchies and Power in Brazil”.In: Yearbook for Traditional Music 26. 19 pages, illustrated, English (con-taining a Portuguese summary), pp. 20–38.

Recife. Nac˜ ao Africana. . . (2008). Recife. Nac˜ ao Africana. Cat´ alogo da Cul-tura Afro-Brasileira 74. Portuguese. Recife, Pernambuco, Brazil: Prefeiturado Recife.

4.2 Instructional Material

Assis, Gilson de (2002). Brazilian Percussion . Book & CD, 144 pages, illus-trated, German. Rottenburg, Germany: Advance Music. isbn: 3-89221-063-2.

— (2006). Brazilian Conga (Atabaque). Traditional and Modern Rhythms from Brazil for 1, 2 or 3 Congas and Timbau . Book & CD, 128 pages, il-lustrated, English, Spanish, and German. Rottenburg, Germany: AdvanceMusic. isbn: 3-89221-072-1.

Brand, Dirk (1997). 1000 Faces of Drum Styles. Das Lexikon der Drum-stile mit ¨ uber 40 Play-Alongs 75. Book & CD, 300 pages, German. Bruhl,Germany: AMA Verlag. isbn: 3-927190-93-4.

Figueiredo, Vera and Daniel Oliveira (2009). Vera Cruz Island. Brazilian Rhythms for Drumset . Ed. by Joe Bergamini. Book & 2 CDs, 106 pages,illustrated, English. Hudson Music. isbn: 1-4234-6982-8.

Fonseca, Duduka da and Bob Weiner (1991). Brazilian Rhythms for Drum-set . Ed. by Daniel Thress. Drummers Collective Series. Book & 2 CDs,80 pages, illustrated, English. Van Nuys, California, U.S.A.: Alfred Pub-lishing Co., Inc. isbn: 0-7692-0987-4.

Garibaldi, David (2007). “Future Sounds 2.0”. In: Modern Drummer 31.4(April). 3 pages, illustrated, English, pp. 110–112. issn: 0194-4533.

Guedes, Eduardo (2009). Maracatu: Maraca 2.0—Applying “Pullouts” and “Control Strokes” in Brazilian Rhythms . Published on the website of Hud-son Music, uploaded on 2009-05-14. 3 pages, illustrated, English, webpage

74Port. “Recife. African Nation. Catalogue of Afro-Brazilian Culture”.75Ger. “1000 Faces of Drum Styles. The Lexicon of Drum Styles with over 40 Play-

Alongs”.




last accessed: 2013-03-29. url: http://www.hudsonmusic.com/hudson/2056/education/articles/maracatu-maraca-2-0/.

Rocca, Edgar Nunes “Bituca” (1986). Ritmos Brasileiros e seus instrumen-tos de percuss˜ ao. Com adapc˜ oes para Bateria 76. Uma visao brasileira noensino da musica77. 104 pages, illustrated, Portuguese. Rio de Janeiro:Escola Brasileira de Musica.

Rosenbaum, Helge (2007). Brazilian Drumming. Brasilianische Stile f¨ ur Drumset und Percussion 78. Book & CD, 194 pages, illustrated, German.Germany: Leu-Verlag. isbn: 978-3-89775-102-6.

Santos, Climerio de Oliveira and Tarcısio Soares Resende (2009). Batuque

Book Maracatu: Baque Virado e Baque Solto. 2nd edition (1st edition:2005). Colecao Batuque Book—Pernambuco 1. Book & CD-ROM, 154pages, illustrated, Portuguese, containing a complete English translationby Peter Malcolm Keays. Recife, Pernambuco, Brazil: edicao do autor79.isbn: 978-85-905347-2-3.

— (2010). Maracatu Nac˜ ao. Brazil’s Heartbeat . DVD & booklet, 114 minutes,Portuguese (containing English, French and Spanish subtitles). Recife,Pernambuco, Brazil: self-published.

Suzano, Marcos (2008). Pandeiro Brasileiro. A Complete Lesson with Mar-

cos Suzano. DVD & booklet, 140 minutes, Portuguese, with English,French, German, and Spanish subtitles. Tann, Germany: Kalango Pro-ductions.

Uribe, Ed (2006). The Essence of Brazilian Percussion & Drum Set . Reprint(1st edition: 1993). Book & CD, 144 pages, English. U.S.A.: Alfred Pub-lishing Co., Inc. isbn: 0-7692-2024-X.

4.3 Weblinks

Akinyosoye, Clara (2010). Maracatu—Eine neue Form des brasilianischen

Musikstils in ¨ Osterreich 80

. Published on the website of the Afrikanet on2010-03-27. German, webpage last accessed: 2010-11-30. url: http://www.afrikanet.info/menu/kultur/datum/2010/03/27/maracatu-eine

-neue-form-des-brasilianischen-musikstils-in-oesterreich/.

76Port. “Brazilian Rhythms and Their Percussion Instruments. With Adaptions forDrum Set”.

77Port. “A Brazilian Perspective in Music Education”.78Ger. “Brazilian Drumming. Brazilian Styles for Drum Set and Percussion”.79Port. “self-published”.80Ger. “Maracatu—A new Form of the Brazilian music style in Austria”.

http://www.hudsonmusic.com/hudson/2056/education/articles/maracatu-maraca-2-0/


http://www.afrikanet.info/menu/kultur/datum/2010/03/27/maracatu-eine-neue-form-des-brasilianischen-musikstils-in-oesterreich/











Estrela Brilhante de Igarrasu (n.d.[a]). Website of the group. Por-tuguese, website last accessed: 2010-11-30. url: http://www.estrelabrilhantedeigarassu.com/.

— (n.d.[b]). MySpace site of the group. Portuguese, website last accessed:2010-11-30. url: http://www.myspace.com/maracatuestrelabrilhantedeigarassu.

Gandaia (n.d.). Website of the organisation. English, website last accessed:2010-11-30. url: http://gandaia.org/.

Lima, Claudia Maria Assis de Rocha (2008). Maracatus de Baque Viradoou Nac˜ ao. Published on the website of the Fundacao Joaquim Nabuco.

Portuguese, webpage last accessed: 2013-03-29. url: http://www.fundaj.gov.br/geral/textos%20online/cultura/maracatus.pdf.

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Wikipedia: Duduka da Fonseca (2010). Webpage on Duduka da Fonseca of the German Wikipedia, last updated on 2010-07-30. German, webpagelast accessed: 2010-11-30. url: http://de.wikipedia.org/wiki/Duduka_da_Fonseca.

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