Walkabout in São Luís (Maranhão), Brazil (May 2017)

 

These are photos from our six-week research visit to São Luís (Maranhão), Brazil, in the summer of 2017.  It does not have a special theme,  except that we are happy to be able to continue our research here and are continually amazed by the diversity and riches of the place.

We were preparing to go on the road again to interior to photograph and film a variety of local ways that Festa do Divino is celebrated here.

The following photos are from our first getting grounded in the city and attending a few events before getting on a bumpy bus ride to the interior.

 

The old Spanish/Portuguese steps were once a central path to the colonial center of São Luís. The Centro Historico is now preserved, more or less, but as an artifact. Non-tourist-related businesses and the middle class are scarcely represented, but the area is a primary a center for celebrations.

 

 

The old colonial walls are tatty and romantic on the surface, but the spaces behind them are often busy with market and artisan activity.

 

In the run-up to the festival, the central city teems with men and women in orange doing various preparations.

 

This area — Praia Grande — was once a busy waterfront shipping and fishing port. It has modernized to move cars and buses about, but the society around the area is complex and full of unresolved inequities.

 

Near Praia Grande, behind the vaguely romantic decay is some renovation (note windows) behind which are art galleries and shops.

 

In the central market building there are still traditional foods (here dried shrimp and farofa — processed cassava/mandioca flour). You can also buy a 50-kilo bag of garlic nearby — and, of course, bottles of fierce local products (see below)

 

The purple liqueur is tiquira, made from fermented manioc (cassava). The other products are various oils and sweets, mostly locally-produced (for example, candy from the buriti palm = buriti palm oil with lots of sugar).

 

This symbol is outside a liquor store in the central market.  when he saw my interest he took hat from where he had hung it on it horns and went about sorting his liquor bottles.  It seemed the wrong time to discuss theology and symbolics with him.

 

This macraméd tree stands in a plaza (Praça Nauro Machado) that is a center for popular celebrations and performances.

 

The city has a rich tradition of public art and graffiti. Old walls are often scenes of artistic and social expression. In São Paulo some of the public walls along the thoroughfares have been prepared with bricks and plantings to discourage public art such as this.  Here, in São Luís, there are plenty of old walls waiting for people to express their politics.

 

My neighor’s business is on the street just around the corner from our pousada.

 

Altar at the celebration of Festo do Divino at the Casa de Mina Santa Maria. These icons and festivals were once dominated and promoted by the institutional Catholic Church, but are carried out by alternate spiritual and community groups outside official sanction. This part of the ceremony is the installation of the “tribunal” or symbolic royalty, reminiscent of colonial Portugal.  The figure at lower right in the photo is wearing strings of beads that are symbolic of various Afro-Brazilian orixás worshiped here.  The doves crown are the symbols traditionally here to represent the Holy Ghost/Espirito Santo.

 

Celebrant, drummer, Festa do Divino, Case de Mina Santa Maria

 

Children represent the imperial court at this celebration. They are selected a year in advance and for this day are elaborately dressed and prepared with make up. The ceremony is often difficult for them in the heat and humidity, as is the procession from a church through the streets in 90+ degree sun.

 

Member of the symbolic “imperial” tribunal that is installed in this ceremony

 

Caxiera in the (mostly) women’s tradition of drummers dedicated to the Espirito Santo. The origins of this custom is not clear, but this practice of  “Drummers for the Holy Ghost) seems not to have stemmed from the original Catholic celebration.

 

Young caxeira, Casa de Mina Santa Maria, Festa do Espirito Santo. Although many of the drummers are of advanced age, the tradition is not dying out.

 

Caxiera, with younger members of the court/tribunal in the background.

 

Caboclo de Pena, Bumba-meu-boi de Maracanã. The entity “Guriatã” embroidered on his vest refers to a warrior spirit who prepares the way for the appearance of he enchanted being Rei Sebastião (the spirit of the Portuguese king lost in the 16th century in the Crusades).  Kn Sebastian’s body was never found and there emerged a Portuguese cult of “Sebastionism” that awaits his return.  the legend is merged with Maranhão lore, and King Sebastion is said to appear in the full moon on the dunes (Lencoís) as an enchanted ox with a red star on his head.  Many practices (the day of Saint John, Sebastionism, and others) have merged with regional Brazilian legends and African-Brazilian practices.

 

 

Caboclo de Pena (representing a feathered AmerIndian, or perhaps a forest spirit or enchanted being)

 

Young Caboclo de Fita (ribboned caboclo, usually invoking an indio or mestiço figure from the colonial period).

 

 

Two singers in a new Bumba-meu-boi group, Boi de Pindaré.  At left is Saviani who is best known for his years as a lead singer for Bumba-meu-boi de Floresta/Apolônio. Here he is supporting the new group, in its first rehearsals (held at the Casa de Nhozinho, a cultural center and museum)

 

Boy, with the new Bumba-meu-boi group, Boi de Pindaré.  Most Brazilians are not shy around cameras, but they insist on striking a pose.

 

Percussionist (actually all musical accompaniment is percussion and singing)

 

Boi de Pindaré, rehearsal

 

Rehearsal — eventually she will probably dress as a tapúia, a figure invoking the AmerIndians of Maranhão as portrayed in the Baixada tradition of the Bumba-meu-boi

 

Rehearsing, playing matracas (blocks of wood struck together for rhythm)

 

Percussion, Boi de Pindaré

 

While watching the parade through the street, we were in the upstairs of a cultural building/museum (Casa de Nhozinho) where this example of local “bobbin lace” (renda de bilro) is displayed. The pins mark a pattern that is executed by maneuvering the bobbins back and forth.

 

The group Boi de Pindaré finishes its rehearsal and parades through the street. The ox (boi) leading the procession is newly-embroidered.  It marks the occasion for founding this new group as a promessa (vow).  The group is the fulfilment of a vow to honor their patron saint for granting health to the daughter of the organizer. The religious promessa is a heritage tradition important in the history of the Bumba-meu-boi, though commercial and political motivations are becoming common also.

 

Daytime view from our pousada, over neighboring buildings looking out to the bridge

 

View from our pousada — the bridge across the Rio Anil.