The first record of the festival appeared in 1840, in a small Recife newspaper called O Carapuceiro, but its origins are certainly older. Some historians associate its birth with the expansion, in the Northeast, of the so-called Cattle Cycle – when, from the 17th century onwards, the animal gained great importance on farms in the region. Although the bumba-meu-boi is a typical manifestation of Brazilian folklore, it is somewhat reminiscent of medieval plays – simple stagings, with popular language and, in general, talking about the struggle of good against evil. “The ox is one of the most representative festivities (popular festivities) of Brazilian culture, as it brings together traits from three major branches of the formation of our people: European, indigenous and Afro-Black”, says Américo Pellegrini Filho, folklorist at the University of São Paulo (USP). The presentation, which takes place mainly at June festivals, shows the unequal relations between planters, slaves and indigenous people, in a subtle social critique.
There are different plots, but in one of the most popular stories, a couple of slaves face the fury of a plantation owner after killing an ox on the farm.
The two then try everything to resurrect the animal. The people who watch and dance during the folklore group’s performance, which can last for hours, are called revelers and also give a religious tone to the party, as they give thanks for favors achieved and make promises to the ox. The curious thing is that the word bumba expresses the supposed sound of a blow from the ox’s horn. Thus, bumba-meu-boi would mean something like “Chifra, my ox!”
Staging of bumba-meu-boi features several characters
The cow
A mythological figure in the most diverse cultures, the ox was seen by black and indigenous slaves as a workmate, a symbol of strength and resistance. That’s why the entire staging revolves around him. The person who wears the animal’s costume is called the Miolo and their costumes vary greatly from one party to another. Some abuse sequins, beads and sequins. Others prefer embroideries with less brightness and more colors.
Cowboy
Alongside caboclos, Indians and fantastic beings like the caipora (a figure from Tupi mythology), the cowboy is one of the supporting characters in bumba-meu-boi, but manages to impress with his costume, especially his hat, always adorned with long ribbons. In the plot, he is the one who notifies the owner of the farm of the death of the precious ox.
farm owner
Also called master or boss, he is the plantation owner who, owner of the dead ox, swears revenge against the couple Catirina and Nego Chico and demands that the animal be resurrected. In general, the person who plays this role is also responsible for organizing the folk group. In the photo on the side, the owner of the farm is played by Humberto de Maracanã, a famous ox singer from Maranhão.
The musicians
The bumba-meu-boi auto is always accompanied by a musical band. Various rhythms and instruments are used: in Maranhão alone there are more than one hundred folk groups. In some styles (or accents, as the locals say), you can even hear banjos and saxophones. The most common instruments, however, are percussion: drums, tambourines, rattles (two pieces of wood beaten against each other), maracas (a kind of rattle) and tambor-onça (a type of rustic cuíca, with a very low sound). .
Nego Chico and Catirina
After the ox, they are the main characters of the play. They represent a couple of slaves, or rural workers (depending on the type of plot chosen). Pregnant, Catirina feels a great desire to eat the tongue of the most precious ox on the farm where she works. Afraid that his son will be born with the face of the animal’s tongue if the wish is not granted, Nego Chico (or father Francisco) kills the animal to satisfy the woman. Her character is often played by a man dressed as a woman.