POPULAR FESTIVALS

• Lavagem do Bomfim
• Festa de Yemanja
• Carnival in Salvador
• Sao Joao festival
• Festa de Boa Morte
  

LAVAGEM DO BONFIM

by Mark Stevenson Fuo

The Lavagem do Bonfim (Washing of the Stairs and Premises of the Bonfim Church) is a major festival after the carnival that attracts thousands of people on the streets of Salvador. It is a religious procession that implies washing the steps that leads into the BONFIM CHURCH by the Maes dos Santos (Mothers of all Saints) and Baianas (Women from Bahia) and this exercise symbolizes purification and blessings into the New Year. Historically, this tradition of washing emanated from Portugal and it used to involve the washing of the entire church by a devotee or faithful who sought the face of God for a favor, grace, healing or miracle and in turn washed the church as a compensation or repayment for answered prayers. This practice started in Salvador since the inauguration of the church in 1754.

The historical significance of the washing of the church could be traced from the colonial era, when the fraternity of the church ordered the African slaves at the time to clean and prepare the temple for the solemn feasts. The slaves seized this unique and priceless opportunity to honor OXALA their god created by African mythodology. Before then, they were forbidden to practice their religion, so they secretly did this by changing the names of the deities which they worshipped to that of catholic saints. This smart move applied by the slaves was one out of several that gave birth to the fusion of the Afro-brazilian religion Comdonble and Catholicism. This year’s Bonfim festival was dedicated to Oxala the maestro and regent.

The image of the lord of Bonfim was brought from Portugal by a Portuguese commanding officer of the Ship of India named Theodosio Rodrigues de Farias. The image was taken to the Igreja da Penha (Church of the rock) in the Itapajipe peninsula and later on transferred to its own church in Colina Sagrada in July 1754 where it gave birth to the Bonfim procession that made the church a center for pilgrimage and religious syncretism in Bahia. In 1927, the Pope promulgated a decree to elevate the church to the status of basilica because of the faith exhibited by the people of Bahia. There was a commemoration to welcome his gesture and two cultures prevailed in the celebration. One which was of Portuguese influence was that of the Lord of Bonfim while the other which was of the African influence was directed more to cleaning of the churchyard which was carried out by the slaves especially women.

In 1890, the Archbishop of Bahia prohibited the lavagem do bomfim which he vehemently kicked against due to the mixture of Catholicism and the Afro-Brazilian religion which he considered as profane and a pagan party. The wash that previously was done inside the church of Bomfim was limited to the churchyard and staircases. The people protested on the decision of the Archbishop and since then, the church stays closed during the festival’s celebration. However, what matters today is the fact that this mixture exist and the belief in faith which is regarded as one makes the festival a spectacle of peace, love and unity.

The Bomfim Festival is a long course that involves an eight kilometer none stop walk from the Nossa Senhora de Conceicao da Praia church to the Bonfim Church in the beautiful lower city of Salvador da Bahia.

Festa de Yemanjá (the Yemoja Festival in Salvador, Bahia, Brazil)

February 2nd, which was another red letter day in the sight of inhabitants of Salvador, has come and gone. However, it marked another platform for plausible excuses by indolent Baianos to have engaged in incessant partying on the streets and drinking their favorite Cerveja and Caipirinha till the cock crowed at dawn.

The Yemoja festival which officially takes place on February 2nd each year is the largest commemoration in honor of the river goddess on several beaches of the Brazilian coast. This traditional cum religious party attracts not only the worshipers of Umbanda and Candomblé (Afro-Brazilian religions) and their followers, but a great deal of people from far and wide.

In the municipal district of Salvador in the State of Bahia, Brazil, the festival had always been observed and performed on the RioVermelho (Red River) beach. On this memorable day, participants, worshipers and devotees of Yemoja, all sprucely dress up, armed with presents of flowers, perfumes, candles, mirrors, combs, bracelets and crowns to pay homage to the Rainha do Mar (Queen of the Sea).

However, some inexplicable and indistinct questions about Yemoja kept on resurfacing like; Who is this “mother of all fishes” that people and devotees alike have believed over the years as portraying upper half beautiful feminine and lower half sparkling fish features? Does she really exist? Could any one beat his chest and claim of having seen her in the past life? Does she really have an African origin as most authors and worshippers of hers have claimed? The answer simply lies in the fact that “He who knows the truth, only that truth shall set him free”.

Born again Christians in Salvador and some foreigners who strongly and faithfully believe in the doctrines of the “Holy Book” which forbids the worship of any other god or graven image besides the Almighty God, when interviewed, regarded the festival as a sheer waste of time and resources. According to one of them, name (withheld) lemojá is an ungodly marine spirit that the devil has placed in the part of men to manipulate, steal, kill and destroy them; and gathering to honor her is just but a destructive sign of the end time”.

To her worshippers, she is a calming water spirit, who makes the rivers, seas and oceans accident free, a protector of the fishermen and one who allows them a daily great catch. Her devotees refer to her as mother of all the Orixás (African Yoruba gods) that represents a protective motherly embracing figure.

She goes by the name Yèyé omo ejá (mother of all fishes) or Yemoja in the Yoruba speaking part of western Nigeria, while in Cuba she is referred to as Yemayá. In Brazil after having tried extensively to preserve her name that was derived from the Yoruba culture, she ended up been referred to as Iemanjá, Yemanjá, Yemaya, Iemoja, Yemoja ou Sereia. She is believed to have originated from the Afro-Brazilian religion known as the Candomblé and she is highly respected by not only fishermen but all her disciples and followers at large.

In Salvador, the religious procession which has over the years metamorphosed into a party was created in 1920 by the initiative of the Z-1 fishermen colony of Rio Vermelho, who after having suffered series of weak catches over the years took the collective decision of consulting the African gods for a breakthrough. At the time, the spiritual leader of the African religion, Mãe de Santo (Mother of the Saint) Júlia do Bogun gave them a rundown of items that they were to buy, and taught them the ways on how to execute and accomplish the religious precept.

The Yemanja festival which initially was referred to as “Presentes da Mãe d’agua” (Presents of the mother of the sea) in 1960 that turned to be the Festa de Yemanja (Yemoja’s Party) all started on the Rio Vermelho beach, moved to the Largo de Santana (Santana square) and later on engulfed the entire Rio Vermelho neighborhood, carrying along its residents, visitors, tourists, and people from all and sundry.

During the festival, the entire avenue along the Rio Vermelho coast remained barricaded to cars and buses until the following day when the festival winded to an end. All roads only led to the Casa do Peso (house of weight) established in 1919, where all faithfuls of Yemoja practically wait in an extremely long queue to offer their presents to her. This house used to be and is still a place where the fishermen weigh their daily catch. Today, it represents a venue for the collection of presents offered to her majestic. Traditionally, after the collection, the fishermen, gather and organize the offerings in straw baskets, before they transport them to the fishing boats to be offered to the queen of the coast.

The festival normally kicks off in the early hours of the morning when the Mães de Santos appear discreetly before any one else to bless the beach and its surroundings before the proper commencement of the procession. Followers and the public only start arriving by 10 am for the festival that runs into the night. This year’s festival featured Afro-Brazilian religious groups from various Terreiros (Temples) different black and white cultural and artistic groups, social and political protesters, baianas de Acarajé, Filhos de Gandhi, Capoeira groups, the Police, petty traders, tourists, children etc.

As early as 5 am in the morning, traders were seen in every nook and cranny of the neighborhood of Rio Vermelho selling colorful flowers and different variety of presents to be offered to Yemoja; and to my greatest dismay, the streets that led to the beach, that were virtually empty some couple of hours ago, became unimaginably and impassibly blocked by 9 am. An intermittently long line could be observed of flower carrying devotees, all anxiously scrambling to submit their gifts to the Casa do Peso. Overzealous participants who could not exercise patience on the queue, stormed on the beach to single-handedly offer their presents without the traditional assistance of the fishermen.

The surroundings of the beach that was beautifully painted in readiness for the festival was occupied by different Afro Brazilian religious groups, some singing and dancing, others performing religious activities and the leaders of the biggest of them all were just majestically seated in the middle of a flowered decorated arena with a conspicuous hanging statue of Yemoja, busy smiling in front of news thirsty journalists, picture starving photographers and posing for snap shots with busy body politicians.

Trances of all kinds were noticed in the festival. Some were so cinema centered and show oriented that one could immediately question the genuine spiritual motive behind them. However, devotees and participants were blessed on the beach by some of the Mães de Santos from several terreiros between the hours of noon and 3 pm. The beach and its surrounding was agog at 6 pm, with people dancing away to all kinds of Brazilians music ranging from Samba, Axé, Pagode, Arrocha, Forro, and MPB (Brazilian Popular Music) not forgetting the significant action of condoms distribution, for the safety and benefit of those who wanted to get down.

What was more to observe? Besides being a traditional gathering, the Yemoja festival was a democratic meeting that portrayed the creativity, artistic, musical and religiously rich people of Bahia. The party was a manifestation of hope that brought together thousands of people, rich, poor, blacks, whites and foreigners under one unified umbrella on that day.

The Neighborhood of Rio Vermelho

Rio Vermelho, which means the Red River, is a middle class neighborhood located along the coast of the city of Salvador, in the State of Bahia. It embraces and dishes out a beehive of fun filled activities all around the week, especially on weekends.

The areas of Rio Vermelho where the acarajés of Cira and that of Dina are been sold have never been empty during the nights. Here, Baianos converge every evening to munch their favorite acarajé and afterwards wash it down with some couple of beer or caipirinha; while a life band envelopes the atmosphere with beautiful soft tunes.
If you ever find yourself in Salvador, you can be rest assured that a visit to these joints and a bite of these acarajés that are considered the best in the city will definitely brighten your day.

The Rio Vemelho neighborhood played host to veteran and late Brazilian writer Jorge Amado who died in 2001, the ashes of his body is still preciously kept today in Alogoinhas street where he lived.

Most importantly, it is the vicinity where the commemoration of the Yemoja festival began, and it still remains today as the arena where the festival is undergoing swift transformation.

Cerveja: beer
Caipirinha: Cocktail made from cachaça (cane spirit) lime and sugar
Acarajé: Afro-Brazilian bean paste ball fried with palm oil and served with cooked or dried shrimps, pepper sauce, vatapa and caruru
Vatapa: Afro-Brazilian dish made with fish or chicken, coconut milk, palm oil, fresh and dried shrimps highly seasoned and dashed with chili pepper
Caruru: Afro-Brazilian dish made with okra, dried prawns, palm oil and chilly pepper
Baianas de Acarajé: Black women that sell Afro-Brazilian bean cakes
Terreiros: Temples of worship for Afro-Brazilian religions

Peace and Love.

The origin of the name “carnival” is indistinct as there are several theories. The most popular one states that it came from the Italian carne (meat) or carnovale, which literally means “to remove the meat” or “stop eating meat”. Known in Portuguese as carnaval, and the greatest demotic cultural manifestation beside soccer in Brazil, It is a colorful blend of merrymaking, feasting, street partying and theatrical scenes that evolve around arte and folkloric demonstrations. The celebration, which is supposed to be religiously inclined, is usually held forty days before Easter, marking the commencement of the catholic lent, but today, like most other religious processions in Brazil, it has been turned into a kind of profane feast.

The origin of the carnival in Brazil was derived from a form of carnival called intrioto in ancient Europe (Latin word for ‘entrance’). This festivity, which arrived in Portugal in the 15th and 16th century, was named entrudo meaning an introduction to Lent with the inclusion of aggressive and rude jokes. The event presented gastronomic features and it was characterized as an entertainment punctuated by some kind of violence that involved throwing water, thin wax spheres filled with perfume and other stuff on one another for the supposedly purification of the body. Sadly, some daring individuals started injecting bad odor substances into fruits like oranges which they threw at other people, and the party which once was an epitome of beauty and unity lost its fun and meaning. Believe it or not, this was the kind of violent entrudo that landed in Brazil in the 18th century. The short-lived practice which was considered highly violent by the Brazilian upper class was prohibited, because quite a number of people contacted infections and other diseases from the rotten fruits that were thrown at them which unfortunately led to their untimely deaths.

In the late 19th century, the introduction of the cordões (laces or ropes) in Rio de Janeiro, substituted the entrudo. They consisted of groups of people who walked on the streets playing music and dancing. The blocos (blocks), another name for the cordões, are some of the current representations of the popular Brazilian carnival. They were formed by people who dress in costumes according to certain themes, or people who celebrate the carnival in specific style and fashion. The cordões are the ancestors of the modern samba schools in Rio and existing carnival groups in most parts of Brazil.

In Salvador da Bahia, Brazil, the annual carnival celebration that started this year on February 23rd was titled “O coração do mundo bate aqui” (the heart of the world beats here). The preparation of the event that normally attracts an annual participation of over 2 million people, including over 800,000 tourists started two months earlier. The 26km road through the town center, where the carnival groups dance and entertain the crowd, took an entire facelift. The outgrown trees on the streets were well pruned and camarotes coming in different sizes, shapes and colors were erected. Builders and construction workers put in ceaseless and tireless efforts day in and day out, to seeing to the completion of these comfortable 7 day temporary places of abode that housed mostly the rich and their wards.

Carnival da Bahia, the most anticipated event of the year and the world largest unrivalled street party as it was proclaimed by the Guinness World Book of Records, saw Baianos and foreigners getting the wind up before it kicked off proper. This could be observed by the influx of tourists into the state capital and the way locals anxiously discussed the entrance of the big day on the streets, beaches, bars and the buses. The unusual appearance of the trio elétrico was acknowledged in the city a week before the carnival triggered off. In addition, the arrival of a great number of countryside traders who uncomfortably slept with tattered mats on concrete floors of the street sidewalks awaiting the commencement of the grande dia (great day) where they could exhibit and trade their petty goods was also observed on the eve of the carnival.

Consequently, history was made in the opening of this year’s carnival.The ceremony, which traditionally used to be held on Campo Grande - the biggest square of the city, took place at the Mandela Square in the largest black district called Liberdade (Liberty or Freedom). It was the first time it ever happened, thanks to the initiative of the João Henrique the laborious mayor who worked in collaboration with the authorities of the city hall to make this happen. On that crucial day, he (the major) handed over the symbolic key for the opening of the carnival to the nominated Rei Momo (Carnival King) who traditionally is a fat man. This key signified an entrance to seven days of partying, feasting, dancing, free kissing, shouting, drinking, flirting and sexing. Fireworks and colorful balloons with the carnival’s theme were released into the air. The music of the group samba de cozinha with its African flavor enveloped the air and the entire neighborhood became vibrant and vivacious. The city council declared that the opening of the carnival will henceforth take place in different districts in the Salvador’s metropolis like it did in Liberdade.

Over the years, the carnival (route) party in Salvador has always been observed in three major locations around the city: Pelourinho, Barra-Ondina, and the Campo Grande-Avenida (Avenida Sete de Setembro & Avenida Carlos Gomes).
The colorful costumes, parades, floats, masquerade dances, songs, folkloric arts and traditional dances were the important parts of the carnival festivities in the historical center of Salvador known as Pelourinho. It was an explosion of joy and an exhibition of cultural identity accompanied by spontaneity that encompasses a huge aspect of the culture of Bahia. It was more of a family affair where everyone was invited to flow with the crowd and allowed their spirits to run free. Onlookers who were mostly tourists participated in most of the dances and parades; others sat wining and dining in packed bars and restaurants enjoying the rich cultural tunes that echoed from distant carnival groups while some just took jolly snapshots as they swung to the beats.

The Bahian culture, which is based on traditions that can be traced from many generations of the early days of slavery that conditioned the Africans to invent cultural dances, combats and songs like that of the capoeira, was also impressively reflected in the “Pelo” carnival (Pelourinho carnival) which only commenced some few years ago.

Long before the Pelourinho’s carnival route (called “Batatinha“) was created, two areas of the city have played host to the two major carnival’s circuitos (routes). These routes go by the names Osmar and Dodô. (the names of the two musicians who invented the first trio elétrico) The former, which represents the Campo Grande-Avenida area, used to be known as the route where all the blocos afros presented their latest choreographies. This route starts on the Campo Grande square, marching down through the Avenida Sete de Setembro, with a turn at the Castro Alves square (the hottest spot of the carnival) with a final marching back at the Avenida Carlos Gomes. It takes about say five hours or more for the blocos and trios to complete this parade and return to their starting point. This is because the streets around this area are relatively narrow and difficult for easy crowd flow. But if you come to Salvador during carnival and want to enjoy the thrill of being a pipoca this is absolutely the place to be.

The latter which is the Dodô route (Barra-Ondina area) starts just before the Barra lighthouse and goes all the way to the Ondina highway revealing a beautiful view of the coastline. Without turning back, the trios discretely vanish into thin air or possibly head back to their parking lots. For a longtime, as Carnival in Campo Grande was to only bloco afros, that of Barra was a reserved domain for Axé music, pagode and MPB’s artistes. But the intervention of different interest groups bridged the division of these routes as the years went by.

However, the Barra-Ondina route which has a breath-taking panoramic view remains the favorite spot for the play-boys and mauricinhos & patricinhas of the wealthier class, because it features renowned artistes, better TV coverage, extravagant camarotes and wider streets that allow easier maneuvering of the trios. Apart from the few mentioned advantages it has over the Campo Grande, this route has always been known for police brutality, pushing, pulling, drunkenness, fighting, stealing, assault, petty crime like pick pocketing, men trying to kiss women under duress, high disrespect for ladies, exhibition of fame and opulence and racial discrimination. Though, these atrocities have not stopped the participation of national and international artistes on this route over the years; like the appearance of the New York based Brazilian musician Arto Lindsay (with Cortejo Afro), Björk (not singing though) and Rio’s upcoming rap star and activist Bnegão. This years special appearance featured the UK rock group U2 who were guests of Gilberto Gil, the British DJ Fat Boy Slim and the national hip-hop star Falcão (from O ‘Rappa). Not forgetting the spectacular performance of Carlinhos Brown who can be referred to as an international and a remarkable national artiste.

By and large, carnival in the Osmar and Dodô regions of the city was a different ball game compared to that of the Pelourinho. It was a tumultuous affair that featured the participation of Bahia’s most renowned artistes performing and singing the people’s favorite tunes on the musically explosive Trio Electricos. Actually, the atmosphere in both routes, which could be compared to a battle field, took an upheaval nature during the entire seven days of the carnival. Unruly crowd, comprising mainly of provokingly and unwholesomely dressed ladies could be observed in wiggle lines ; wobbling, swinging, screaming, jumping and singing ahead and behind the trios. Carnival around these spots which portrayed little or nothing depicting the Brazilian culture apart from the music, comprised of mainly different colorful T-shirt wearing public who paid exorbitantly and expensively to be part of blocos and camarotes.

The awesome sight of the wheel chaired participants who registered their presence through dancing and singing on the Campo Grande square thrilled and captivated onlookers. One sorry sight that demoralized critics was the inhuman, unscrupulous and disheartening treatment that was given to the cordeiros (guys who pull the ropes that demarcate the blocos from the crowd). After having engaged in 18 hours of back breaking hard work that involved pulling and struggling back and forth with the ropes, these predominantly scraggy looking black men and mulatos, that were intermittently barked at by a supervising official (like a slave master), were relieved with an incredible daily take home of R$10 equivalent to $4. Such a raw deal wasn’t it? The remuneration details of the drivers of the trios who drove carefully and sluggishly for about 20 hours in order not to run over the hilarious dancing crowd was nothing different from that of the cordeiros .

Over 50 carnival groups took part in this year’s celebration. Some of them include Ile Aye, Interlada (Timbalada), Cortejo Afro, Coruja (Ivete Sangolo), Malcon X, Muzenza, Filho de Ganhdy, Quilombo, Monte Negro, Ara Ketu, Chiclete com Banana, Eva, Olodum, Eu Vou, Gilberto Gil, Daniela Mercury, Margaret Menezes and Blocão de Liberdade to mentioned but a few. Most Baianos participated actively in the entire seven days explosive event because of these centers of attractions. Some only took forty winks for two hours only to resume the following day looking half dazed and ready to go. Others who consecutively drank themselves to stupor or involved themselves in a marathon of sex did not survive the week long event, those who were unflappable and experienced put their feet up, spaced the days and judiciously made it to the end.

The beefed up security and the 24 hours medical cum dental attendance provided by the State government were things worth taking off ones cap for. They were simply unbeatable compared to past carnival celebrations in Salvador. No amount of deaths were recorded and fewer arrests were made of hoodlums. Most sexually ravenous male tourists who took unknown prostitutes to their hotel rooms ended up been robbed of their money, abadas and carnival outfits. Did I hear you say served them right?

In a whole, the carnival left a lot of Baianos with unforgettable memories, some painful and some worthwhile. One distinct factor to be noticed about the aftermath of the carnival was the simple fact that most Baianos painfully felt the emptiness in their pockets and bank accounts. Tourism, which is the major income yielding industry of the city, suffered non- patronage as most tourists returned to their countries after the carnival. The city became completely deserted at night. Malls and supermarkets became vacuous during the day and street bars which normally were filled on weekends, became no go areas. But sooner than imagined the financial “hang-over” of March is gradually sliding away, the blocos afros have resumed their weekly rehearsals, costumes designers and artistic directors have started brainstorming on some new inventions for next year’s parade and music composers have began racking their brains in search of a ground breaking anthem for the 2007 edition of the carnival. Meanwhile,”chicleteiras” and “chicleteiros” and followers of other blocos are already expecting the blocos’ new offer for “pagamento parcelado em x vezes” (pay in x installments), enjoying the illusion that they could afford this conscious or unconscious luxury; but avoiding the reality that, they would pay a little fortune that will before long vanish in sweat, alcohol, swollen feet, hotel bookings, laughs and kisses. Too bad that school fees, essential educational and other social expenses do not seem to provoke the same saving reactions amongnst most of the population…

Glossary

Abadas – Pronounced and spelt from its Nigerian Yoruba origin as Agbada, it is a loosed short sleeved shirt that goes as far as the knee or ankle depending on the design and purpose.
Atentado ao pudor – Practicing an act that is against public decency.
Baianos – Inhabitants of the state of Bahia.
Blocos – Carnival groups or blocks.
Blocos Afros – Supposedly Strictly Black Carnival groups whose music is heavily based on percussions, drums and African rhythms.
Campo Grande- Huge field /Park
Carnival’s Camarotes - Elevated bandstands and highly decorated VIP tents where people party and watch the blocos/trios passing by at eye level. Some camarotes unbelievably come with rest rooms, hair salon, bars, boutiques, clubs, restaurants and mini theatres known as ‘cine namoro’ (love or flirt cinema). The best camarotes provide a dance floor with an awesome DJ.
Chicleteiras & Chicleteiros – Fans of the musical group Chiclete com Banana.
Motels – Short time hotels for lovers
Mauricinho – Posh young boys that are richly spoilt by their folks
Patricinha – the feminine equivalent of the “mauricinho”
Pipocas – The crowd on the Streets during carnival
Play-boys – Young men who might not necessarily be rich but are highly conscious of their looks, hair, muscles, tan, chains, designer clothes etc…
Osmar and Dodô - the names of the two musicians who invented the very first trio elétrico
Trio Elétrico - Adapted truck with giant speakers and a platform where musicians play songs of local genres during the carnival. Some of them are well built with rooms, rest rooms and bars where special guests and musicians chill during the carnival craze.