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It's night in Salvador and you hear drumming. It may be coming from one of the numerous terreiros de candomblé scattered throughout the city. Most terreiros will permit visitors to attend their ceremonies. Should you go, dress respectfully. Trousers for men, and women should wear longer skirts. White is best because it is respectful to all the orixás. ("Orixá" is commonly translated as "god". A more accurate representation would perhaps be "saint". Candomblé posits a monotheistic supreme being -- usually referred to as Olodumaré -- with the orixás being called upon as intermediaries between earthbound humans and the all-powerful, much as a Christian will pray for a saint's intercession on his or her behalf.) If you speak Portuguese and would like to find information with respect to various houses of candomblé, where they are located, what nights they hold their ceremonies, and when they have their special festas, a good place to go is the FEDERAÇÃO BAIANA DE CULTO AFRO BRASILEIRO, located at Rua Portas do Carmo, 39 (1st floor) in Pelourinho.
It's said that Salvador has a (Catholic) church for every day of the year, they're all over the place. But this number -- or whatever the true number is -- pales in comparison to the number of terreiros de candomblé in Salvador. An amazing project, the Mapeamento dos Terreiros de Salvador truly and literally puts this into perspective, detailing 1, 155 terreiros (and this doesn't include Itaparica!), with maps, satellite and other photos, leaders' names, addresses and contact and other information. The practice of candomblé was at one time prohibited in Brazil (unofficially for centuries, and then officially by law between 1937 and 1945, during the Estado Novo of dictator Getúlio Vargas, who at the same time ironically, as part of his plan for the manipulation of the popular consciousness as a means for the further consolidation of his power, promoted Brazilian music and music which promoted Brazil, e.g. Ary Barroso's Aquarela do Brasil), and thereafter in Bahia a licence was required, the same that was required by nightclubs and gambling establishments. After a personal appeal by Mãe Stella of Ilê Axé Opô Afonjá to the governor of Bahia (Roberto Santos, in office from 1975 to 1979), this requirement was lifted, and new terreiros sprouted -- for the most part among the more humble neighborhoods -- like singing flowers weaving to the lovely melodies and gloriously complicated rhythms calling down to Salvador Iansã and Yemanjá, Dandalunda, Oxossi and Xangô...
The information in the mapeamento, above, is more up-to-date than the following. I'm leaving the following for now, though, in case it includes any information somehow left out of said mapeamento. CASA DE OXUMARÉ CASA BRANCA Casa Branca (White House), or Ilê Axé Yá Nassô, is usually cited as Salvador's first house of candomblé, but it might be better said to be Salvador's oldest continually functioning house of candomblé because candomblé was practiced in the senzalas and on the terreiros of the sugarcane plantations both before (and after) the house was established. The "house" (in an organizational sense) was first located on the Ladeira do Berquo -- now known as Rua Visconde de Itaparica -- behind the Igreja (Church) da Barroquinha (the church is easily visible from Praça Castro Alves; it burned in 1983 but the structure still stands). Ceremonies are on Sunday nights, beginning at 8 p.m.
GANTOIS (Ilê Axé Yá Massê) Gantois was the house of famous Mãe Menininha (mother of Mãe Carmem, who now presides over the terreiro...a lovely song in Mãe Menininha's honor was composed by Dorival Caymmi; Dona Ivone Lara -- first lady of samba -- sings the version below) ILÊ AXÉ OPÔ AFONJÁ ILÊ AXÉ NINFÁ OMIM |
Cana Brava Records in Salvador da Bahia, Brazil
Brazilian music is deep, there's no question about that! And while musical depth is not unique to Brazil, Brazil's harnessing of depth and warmth to complex and sophisticated rhythms makes it a source of enormous richness to a people -- including many musicians -- who don't have such richness in a more material sense.
Cana Brava Records was founded as an outlet for the music of Bahia and Brazil's Nordeste (Northeast, an ethnographic entity unto its own, defined by hardship and spirited resilience), and as an outlet for hard-to-find music in Salvador (while making room for Brazil's consecrated artists, Cartola, Jobim, et al, and styles ranging from the sambas of Rio's morros - hills - to choro - "cry", a style which gave birth some of Brazil's most beautiful compositions and most extraordinary instrumentalists, per which, below, is the trailer to Finnish-born Salvador resident Mika Kaurismäki's 2005 choro documentary, Brasileirinho).
Hamlet said: "I could be bounded in a nutshell, and count myself a king of infinite space, were it not that I have bad dreams." The dreams of the composers, singers, and instrumentalists beneath our arches pulse and soar through space and time, extending our shop beyond its walls to the plantations beyond the bay, to the backlands, to the terreiros de candomblé, to the hills ringing Guanabara, to the gafieiras (dancehalls) of 1930s Lapa, the Ipanema of the 1950s and 60s... Our shop is small, but it encompasses a universe!
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