Introduction

The cultural diversity of the Amazon is as vital as its biological diversity. The traditions, manifestations, gastronomy, dances, music, and literature display strong traces of indigenous and African ancestry. Spices, sounds, and stories span centuries, and now they enter the 21st century by adapting to modernity and technology. Learn a little more about amazon culture.

Dances, Rhythms and Music

“Toada” (a simple melody)

If you read the following sentence, “the color of my drumming shows the touch and the sound of my voice…” humming, congratulations! You know at least one “toada”. In this case, one of the most famous, named “Vermelho” (red), prepared for the “Boi Garantido” presentation, one of the two folkloric oxen that compete in the Parintins Festival.

“Toadas” are songs composed for performing Bois-Bumbás during the Parintins Festival. It takes place every year and presents Amazon regional subjects. This word means: to make a loud sound and to resonate the sound. A “Toada” is a song from the forest, rivers, indigenous communities, and their customs. Amazon speaks to those who do not know it, do not understand it, and try to modify it according to their interests.

David Assayag, the “Toada” Leader

David Assayag Neto is one of the main participants at the Parintins Folklore Festival. He began his career singing in the “Boi Caprichoso” (Capricious Ox) in the 1980s. Known as the “Most Popular Singer in the Northern Region,” David performed with Fafá de Belém on the song track “Vermelho” (Red).

“Marabaixo” (An afrodescendent dance)

“Marabaixo” is a cultural expression of devotion and protest made up of traditions, and cultural identification among the black communities of Amapá. The name of the demonstration dates back to the deaths of enslaved Africans on slave ships who were thrown into the ocean water. Hymns of mourning were sung in their honor. This tradition takes place based on the context of religious festivities linked to popular Catholicism. It is understood to offer their devotion to saints in gratitude for the granted graces and protection focused on the community.

“Carimbó” (Stamp-a type of rural-type dance from Pará)

Considered an Intangible Cultural Heritage of Brazil, “Carimbó” is present in almost all regions of Pará. Its instruments, dance, and music result from a fusion of indigenous, black, and Iberian cultural influences. The name “carimbó” comes from the drum.

The dances refer to the movement of the tides and forest animals, fishers, and farmers. The choreographies are driven by the sound of drums and express complicity and exchange looks throughout the performance.

Dona Onete, Queen of “Carimbó”

Ionete da Silveira Gama, known as the “Queen of Carimbó”, who captivates the public by the originality of her poetry, combined with a dancing musical aesthetics. The sound alternates between the “Carimbó” from Pará and the rhythm of romantic boleros.

“Brega” (Tacky-a sub-type of Brazilian music) 

Being called “Brega” (tacky) is a sign of success! The musical rhythm empowers peripheral populations of Brazilian cities, which created a rich phonographic market from music recordings featuring a strong sentimental appeal. According to anthropologist Hermano Vianna, “Brega” (Tacky) is one of the most beloved and enduring styles of Brazilian rock from the Cultural and Intangible Heritage of Pará.

“Tecnobrega” (Techno-tacky) originated in Belém, and it caused such success developing its rhythm, played on sound equipment – featured at large itinerant parties with fireworks shows – they calling cards.

Fafá de Belém, versatile “Brega”

Fafá made her professional career debut in the theater show “Tem Muita Goma no Meu Tacacá” (There is a lot of Gum in My Cassava Soup) as a singer and songwriter in 1973. The artist shifts between regional music from the Northern part of the country, popular genres with a romantic bias and “MPB” (Popular Brazilian Music) stars, such as those by composers as Chico Buarque and Caetano Veloso.

“Tecnobrega” (techno-tacky)

Lasers, bright and intense colors, and pulsating “brega” (tacky) music played as loud as possible, mark the sound equipment of a “Tecnobrega” DJ. There are large parties with thousands of people and many giant LED screens, listening to the pulsating sound of zouk, “brega”, lambada, and a lot of pyrotechnics assembled this type of Amazonian “sound system” as the most important stage of pop culture in Pará.

Gaby Amarantos, the queen of “Tecnobrega”

“To my ex-love, my ex-love, if you put your love in the shop window, it won’t even be worth R$1.99”. This bubble gum verse was sung at the opening of a soap opera, making Gaby Amarantos famous throughout Brazil. The artist was nominated for several major music awards, including the Latin Grammy.

Jaloo, Indie Technobrega 

Jaime Melo Júnior, better known by his artistic name Jaloo, is a Brazilian singer, composer, DJ, and music producer. He sings indie and “tecnobrega” type songs, combined with psychedelic beats.

“Noiadance” (Paranoia dance) 

“Noiadance” (Paranoia dance), also called “leskerray,” can be defined as a rhythm that creates new beats (versions) of several songs successful on streaming platforms. Even though it often faces restrictions due to copyright, the rhythm created in Porto Velho, the capital of Rondônia, is mainly played in underground electronic music parties.

“Calipso” (Calypso)

Calypso is a musical genre that gained its contours in Brazil but originally is from the Caribbean region. It was initially called “Brega Pop” from Pará. The rhythm was influenced by lambada, “carimbó”, and “guitarrada” (guitars). Almost every song began with keyboards and pop-rock elements from the 1950s and 1960s.

The “Banda Calypso” (Calypso Band) became the greatest exponent of Brega Pop from Pará. “Brega Pop” became an extremely profitable business, although it developed in the parallel market of the suburbs, conquering space in the media all over the country.

Joelma Mendes, a successful career

Joelma is recognized as a musical icon in Pará. She is credited with raising her musical style banner and her home state to the major national media. In 1999, she formed with guitarist Ximbinha the Banda Calypso, who reached the commercial peak of its career in the 2000s.

Festivities

“Parintins” Festival 

It is considered one of the biggest open-air festivals in Brazil. The annual competition between the “bois bumbás Garantido” (Guaranteed Bumbá Ox) and “Caprichoso” – broadcast on television and sponsored by large companies – lasts three days, usually in June. The preparation lasts all year, and it is essential to the city’s economy.

According to the Amazonian government, it is the most significant cultural event in the state that injected approximately R$ 426 million into the Parintins economy from 2005 to 2018. The famous festival was responsible for attracting around 700 thousand tourists during this period. Visitors came by air and river to the Tupinambarana Island.

In 2019, the population of Parintins increased at least 50% during the festival. The last pre-pandemic edition attracted 60,000 tourists. There are just over 115,000 inhabitants, according to the Brazilian Institute of Geography and Statistics (IBGE).

“Sairé” Festival (Tapuyas dance)

The “Alter do Chão” festival, in the Santarém district, Pará, has existed for around 350 years and has followed the style of the Parintins Festival, since the 1990s. However, porpoises are the main characters instead of oxen.

“Sairé” mixes popular Catholic rites with folk music and choreographies to celebrate the Holy Spirit. The Catholic Church banned it for over 30 years, but it reappeared in the 1970s when it became the biggest festive and tourist event in the Lower Amazon in Pará. The festival takes place in September. Two groups of porpoises perform in a spectacle arena: “Tucuxi” (a type of freshwater dolphin) and “Cor-de-Rosa” (Pink).

“Círio de Nazaré” (“Sairé” of Nazareth)

The “Círio de Nazaré” (“Sairé” of Nazareth) is considered the most prominent Catholic event on the planet.  Every second Sunday in October, more than two million Catholics go to the streets of Belém to carry the image of Our Lady of Nazareth, affectionately called by her devotees as “Naza” or “Nazinha” (Little Nazareth), from the Basilica to the Nazareth Square Sanctuary.

One of the most important icons of this festival, the rope is 400 meters long, made of sisal, and weighs around 700 kilograms; pilgrims often dispute the rope during pilgrimages. The procession is 3.6 km long.

The Sanctuary Basilica is part of the festival declaration as Intangible Cultural Humanity Heritage by the United Nations Educational, Scientific, and Cultural Organization (UNESCO).

“Cordão da bicharada” (Animal rope)

A carnival block paying homage to the Amazonian fauna featuring costumes and ecological messages on preservation: Juaba’s Animal Cord is a tradition that has lasted in Pará for over 70 years. The high point of the procession is when a tamer summons the revelers to act out the animal gestures and sounds they are costumed as.

“Marambire” (an Indigenous Christmastime dance)

The “Marambiré” dance represents the identity of the Afro-Brazilian maroon people from Pará, a record from the people of African ancestry. Thus knowledge has been shared orally for generations – encouraging Afro-descendants to face racism and the rejection of traditions.

The cultural event unites dance, music, and songs. It is characterized by a procession of members playing different roles. Usually, it is presented in a specific period, right after the Christmas festivities, starting on the Twelfth Night (January 6th) and ending on Saint Sebastian day (January 20th).

“Marujada” (people from the sea)

This tradition began in the 18th century. “Marujada” emerged in the Bragança region, in Pará, as a tribute to Saint Benedict, a Catholic saint believed to be descended from enslaved Africans. Although the name comes from a word traditionally used to designate men who are dedicated to working at sea – the “marujos” (sailors) -, women lead this tradition that permeates generations of families.

During the festivity, celebrating Pará’s cultural and artistic heritage, the “marujas” and sailors travel through the city of Bragança, imitating the rocking of a boat in the water, accompanied by different music and chants, as well as lots of dancing.

Literature

Thiago de Mello – Amazonas

One of Brazil’s most influential and respected poets, Thiago de Mello was born in Barreirinha, Amazonas, in 1926. He was arrested during the military dictatorship, went into exile in Chile, and met Pablo Neruda, who became a friend and collaborator: they translated each other’s poems. He returned to Brazil after political freedom was reopened and moved to Amazonas, where he continues to write about environmental, political, and humanitarian issues.

He is the author of books such as “Acerto de Contas” (Revenge), “Como Sou” (How I am) and “Amazonas – Pátria da Água” (The Amazon – Water Country). “Faz Escuro Mas Eu Canto” (It Became Dark but I Sing) was written and became the theme of the 34th São Paulo Biennial in 2021. Thiago de Mello’s productions have been translated into more than 30 languages and awarded several important literary entities. In 1960, the Brazilian Academy of Letters awarded him the Olavo Bilac National Poetry Prize.

Milton Hatoum – Amazonas

He was born in Manaus in 1952. Hatoum creates texts rich in details, presenting places, people, and situations extracted from his imagination as a Lebanese background living in Manaus. Among his publications are the novels “Cinzas do Norte” (Northern Ashes) and “Relato de um Certo Oriente” (Report of a specific Orient). The book “Dois Irmãos” (Two Brothers), about Lebanese immigration in the Amazon, became a television series in 2017.

Olga Savary – Pará

She was respected and admired by such names as Carlos Drummond de Andrade and Ferreira Gullar. Olga was a poet, short story writer, novelist, journalist, and an extremely important translator of the rich Latin American universe. She won awards and was a pioneer; Olga was also the first woman in Brazil to speak of eroticism in a poetic collection. She published her first poetry book “Espelho Provisório” (Provisional Mirror), in 1970. Her works include the following books “O Olhar Dourado do Abismo” (The Golden Eye of the Abyss), “Linha d’água” (Water Line), and “Sumidouro”, winner of the Poetry Prize awarded by the São Paulo Association of Art Critics (APCA).

Regina Melo – Amazonas

She is a journalist, poet, composer, and audiovisual producer. Regina has produced works ranging from literature to cinema, music to theater. Her books are inspired by the essential elements of nature and highlight the women warriors of the Amazon valley and the importance of the female role in preserving forests. She is the author of the following novels “Oceano Primeiro – mar de leite, rio de criação” (First Ocean – sea of milk, river of creation) and “Ykamiabas – filhas da lua, mulheres da terra” (Ykamiabas – daughters of the moon, women of the earth).

Astrid Cabral – Amazonas

She is considered the most outstanding female writer in Amazonian literature. Astrid is a poet, short-story writer, and university professor. Astrid has published 17 books, including “Lição de Alice” (Alice’s Lesson),“Intramuros” (Between Walls), and “Ante-sala” (Ante-room). She has been active for over five decades. Astrid won the Olavo Bilac awards, from the Brazilian Academy of Letters, Helena Kolody National Poetry Award, the National Poetry Award from the Brazilian Academy of Letters, among others.

Violeta Branca – Amazonas

Manauara born in 1915, she occupied 28th Chair of the “Academia Amazonense” (Amazonian Academy). Violeta was the first woman to join the Brazilian Literary Academy. She was considered one of the first poets of modernism, her texts are collected in the books “Ritmos de Inquieta Alegria” (Rhythms of Restless Happiness) and “Reencontro: poemas de ontem e de hoje” (Reunion: poems of yesterday and today).

José Veríssimo – Pará

He was the first to occupy the 18th chair at the Brazilian Academy of Letters. Born in Pará in 1857, Veríssimo was a journalist, teacher, educator, critic, and literary historian. He was referred to as the founder of the “Revista Brasileira” (Brazilian Magazine), his work as a writer highlights the various sociological, historical, and economic studies on the Amazon, his series on history, and literary criticism. José Veríssimo sought the feeling of Brazilianness in the work of poets and fiction writers since the beginning of Brazilian literature.

Inglês de Sousa – Pará

He was the author of “O Missionário” (The Missionary) (1891), in which he faithfully describes the daily life in a small town in Pará. Inglês de Sousa was a lawyer, teacher, journalist, story-writer, and novelist. In addition, he was the first occupant of 28th chair at the Brazilian Academy of Letters. His pseudonym was Luís Dolzani. Inglês published the novels “O cocoalista” (The Chocolatier) and “História de um pescador” (History of a fisherman). He also contributed articles to the “Revista Nacional, de Ciências, Artes e Letras” (The National Magazine of Science, Arts, and Literature), in addition to being responsible for several legal works.

Nene Macaggi – Roraima

Nenê was sent by President Getúlio Vargas to do a journalistic work on the situation of the territories of the Amazonian region in the 1940s. Since then, she has settled there, first in the Amazon and then in Roraima. The “Palácio da Cultura” (State Palace of Culture) was renamed after her death in her honor. “A Mulher do Garimpo” (The Gold Mining Woman) was the main work of the writer. The novel was released in the 1970s, and it was her first about the Amazonian arid lands is considered the starting point of Roraima’s literary production.

Dalcídio Jurandir – Pará

His first novel, “Chove nos Campos de Cachoeira” (Raining in the Waterfall Fields), was part of a series of fictional narratives that became known as “Ciclo do Extremo Norte” (Extreme Northern Cycle). He was restless and purposeful; in addition to joining the Communist Party. Dalcídio joined the modernist group the “Academia do Peixe Frito” (Fried Fish Academy), which in 1924 introduced literary Modernism to the Amazon. One of Dalcídio’s works was translated into Russian after traveling to the Soviet Union, where he was introduced and promoted by the novelist Jorge Amado.

Antônio Tavernard – Pará

Author of “Hino do Remo” (Oar Hymn), a soccer team from Belém, he was Maestro Waldemar Henrique’s partner as lyricist for the classics “Foi Boto, Sinhá” (It was a Dolphin Miss) and “Matinta Perera”, songs that perpetuate mystical elements of Amazonian culture.

Benedicto Monteiro – Pará

His main book of short stories was “Carro dos Milagres” (Miricle Car), was awarded by the “Academia Paraense de Letras” (Pará State Academy of Letters) and the novel, “A Terceira Margem” (The Third Border) received the National Literature Award from the “Fundação Cultural do Distrito Federal” (Federal District Cultural Foundation). The Amazonian tetralogy composed by “Verdevagomundo”, “O Minosauro” (The Minosaurous), “A Terceira Margem” (The Third Border), and “Aquele Um” (That One) is internationally recognized, studied, and prestigious.

Other artistic and cultural manifestations

“Uýra Sodoma”

Emerson Munduruku is a descendant of indigenous people and a biologist. He is known as Uýra Sodoma, a drag queen who teaches environmental conservation and LGBTQIA+ rights, with excellent style, to communities in Manaus and the surrounding areas. The elements used for his makeup are always linked to nature and can include branches, seeds, shells, leaves, and flowers. His appearance as a drag queen is constantly changing, just like the forest. He travels to river communities in the region, sharing awareness through the character as the “walking tree”.

Sebá Tapajos

Sebá Tapajós’s name carries not only a hefty artistic lineage, but also pride in his Amazonian origins. He is the creator of Street River, a project that has taken his art – and 10 other artists – to the homes to the communities in Igarapé Combu – “Ilha do Combu” (Combu Island), “Ilha das Onças” (Jaguar Island), Boa Vista, Barcarena, “Ilha do Papagaio” (Parrot Island), and “Ilha do Maracujá” (Maracujá Island) – resulting in one of the first Fluvial Galleries in the world. It is recognized by IPHAN (Institute of National Historical and Artistic Heritage); the gallery portrays, through graffiti, the life of the riverside population through shapes inspired by the movements of rivers and the colors of the forest.