(Created page with "{{PostForm |Body=The Cultural Complex of Bumba-meu-boi from Maranhao is a ritualistic practice, in which certain key characteristics feature, including the cycle of life, the...") |
Karenedonald (talk | contribs) No edit summary |
||
| Line 1: | Line 1: | ||
{{PostForm | {{PostForm | ||
|Body= | |Body=Bumba-meu-boi is an expression of musical, choreographic, performing, and ludic expression, in which practitioners' relationship with the sacred is mediated through the figure of the ox. The Cultural Complex is a ritualistic practice, which features certain key characteristics including the cycle of life, the mystical-religious universe, and the ox itself. | ||
The popular Brazilian play was conceived in the 18th century and became a nationwide festival. Essentially, it is a form of social criticism, where lower-class Brazilians mock those of higher social status through a comedic folklore story told in song and dance. | |||
During the festival, Sao Luis, the capital of Maranhao, is decorated with colors and becomes an open stage where different folkloric groups perform different rhythms. Divided into five main accents, each has particular characteristics. The custom has evolved for more than 200 years and involves the devotion to saints June S. Joao, Pedro, and Marçal. One of the most popular manifestations of popular culture, it attracts thousands of people. | |||
The ox was placed as a centerpiece because the ox was considered a valuable animal for farming. Since oxen were used in agricultural practice, they were also heavily involved in colonial culture, including bullfighting and calf-dancing. It is believed that these were passed down by Portuguese lower-class families since similar social activities can be traced much further back in Portugal. "Bumba my ox" could be translated literally as "dance my ox". | |||
Bumba-meu-boi can be seen in other Brazilian states, but in Maranhao, Bumba-meu-boi is distinctive by the various styles and groups it includes, and also by the inherent relationship between faith, festivals, and art. Every year, the Bumba groups of Maranhao have reinvented this celebration. It is heavily charged with symbolism: the practice reproduces the cycle of birth, life, and death, and serves as a metaphor for human existence itself. | |||
For about four to eight months after the festival cycle reaches its peak, including rehearsals, the pre-season, baptisms, public performances, and rituals around the ox's death, it culminates in the festival cycle, which has the following stages: rehearsals, the pre-season, baptisms, public performances, and rituals. | |||
Currently, Bumba Meu Boi is divided into traditional and modern styles. This practice is a period of renewal of energies, which is transmitted by children's groups, dance workshops, and organically within the group. | |||
|Subject=Art, Craftsmanship and Practices, dance, Entertainment and Recreation, Music | |Subject=Art, Craftsmanship and Practices, dance, Entertainment and Recreation, Music | ||
|Country=Brazil | |Country=Brazil | ||
|Region=Maranhão | |Region=Maranhão | ||
}} | }} | ||
Latest revision as of 08:18, 6 April 2022
Bumba-meu-boi is an expression of musical, choreographic, performing, and ludic expression, in which practitioners' relationship with the sacred is mediated through the figure of the ox. The Cultural Complex is a ritualistic practice, which features certain key characteristics including the cycle of life, the mystical-religious universe, and the ox itself.
The popular Brazilian play was conceived in the 18th century and became a nationwide festival. Essentially, it is a form of social criticism, where lower-class Brazilians mock those of higher social status through a comedic folklore story told in song and dance.
During the festival, Sao Luis, the capital of Maranhao, is decorated with colors and becomes an open stage where different folkloric groups perform different rhythms. Divided into five main accents, each has particular characteristics. The custom has evolved for more than 200 years and involves the devotion to saints June S. Joao, Pedro, and Marçal. One of the most popular manifestations of popular culture, it attracts thousands of people.
The ox was placed as a centerpiece because the ox was considered a valuable animal for farming. Since oxen were used in agricultural practice, they were also heavily involved in colonial culture, including bullfighting and calf-dancing. It is believed that these were passed down by Portuguese lower-class families since similar social activities can be traced much further back in Portugal. "Bumba my ox" could be translated literally as "dance my ox".
Bumba-meu-boi can be seen in other Brazilian states, but in Maranhao, Bumba-meu-boi is distinctive by the various styles and groups it includes, and also by the inherent relationship between faith, festivals, and art. Every year, the Bumba groups of Maranhao have reinvented this celebration. It is heavily charged with symbolism: the practice reproduces the cycle of birth, life, and death, and serves as a metaphor for human existence itself.
For about four to eight months after the festival cycle reaches its peak, including rehearsals, the pre-season, baptisms, public performances, and rituals around the ox's death, it culminates in the festival cycle, which has the following stages: rehearsals, the pre-season, baptisms, public performances, and rituals.
Currently, Bumba Meu Boi is divided into traditional and modern styles. This practice is a period of renewal of energies, which is transmitted by children's groups, dance workshops, and organically within the group.