Field Notes on Current Research in Brazil and Elsewhere
Morte do Boi: Bumba-meu-boi de Axixa
The Morte do Boi is the final celebration of the season for this group which performs in the Orquestra rhythmic tradition. This tradition is somewhat newer than the other forms, having been developed since the 1950s.
Orquestra innovated the classic form of performance by adding costumed “indias,” young women in a few feathers, brightly dressed vaqueiros (cowhands in the story), and European instrumentation (rather than the percussion used in other groups). The classic narrative cycle of a prize ox stolen by a slave and slaughtered. The slave is caught by the vaqueiros (sometimes aided by indios). Faced with death if he does not restore the boi to its master, the group resorts to indigenous and African shamans who revive the boi. Over the years this slave narrative has become a devotion to Sao Joao (Saint John) and connected to his name day (24 June). In some groups the Catholic devotion and resurrection story (including communion) are melded with African-Brazilian spiritual practice. In this group the Catholic devotional heritage is dominant.
A vaqueiro
Orquestra is considered by some of the older styles as less “traditional, but this Morte follows some of the basic elements of a closing celebration. The photos are in more of less in the order of performance of the celebration.
The embroidered couro, or skin, of the ox decorated with the holy family
The Morte do Boi is the “death” of the symbolic ox that closes the performance and celebration season of a group in the Maranhao Bumba-meu-boi tradition.
The boi, or ox, was “baptized” in a ceremony (batizado) on the day of St. John (the night of the 23rd/24th June) and performed in public celebrations from June until the Morte.
The death is a symbolic act that closes the season, but it is also symbolic of the life cycle of the harvest, and of human life. It is also deeply significant that the blood of the slaughtered “ox” is distributed to the celebrants. In practice, the ox is a four-foot ox puppet that is “danced” by a “miolo” who is a strong, agile person who carries the puppet on his/her shoulders.
The leadership of the groups has traditionally been through male lineages and families, but several women have taken over groups. Often this is on the death of the leader who may have been a spouse, partner, or father. This is the leader of Axixa, taking over from her husband who died about two years ago.
“Leila” Naiva, leader of Bumba-meu-boi de Axixa, here in performance costume
By Maranhao tradition the ox is decorated with a couro or skin, that is usually embroidered — either with great affection by the celebrants in the pre-season, or by a professional embroider (at significant cost).
There are often two ox figures — the one that has been danced all season and another that is especially decorated for the slaughter.
There are other figures in the performance, such as this burrinha which is “worn” by a performer who stands inside the little donkey which is held up by a pair of suspenders
This ceremony is typically the end of the celebration season (though some of he more commercial groups continue throughout the year).
The celebration is at a “headquarters” near the town of Axixa. The banner lower left proclaims 50 years since the group’s founding. Its founder, Francisco Naiva, recently died and the leadership has been taken over by his wife
Here, in the 3rd week of October 2016 is the Morte as celebrated by the group Bumba-meu-boi de Axixa. Axixa is a small town near Rosario which is near Morros which is near the river Munim which is about 70 miles from Sao Luis which is about 5,000 miles from, say, Oshkosh, Wisconsin.
The storage room of the headquarter with costumes waiting for the performers to arrive
By heritage practice the “boi” escapes and hides in the forest or the community. The group then “searches” for the ox, visiting supporters and friends along the way. Here the Axixa performers are in the village neighborhood to perform
Indias performing on the street in Axixa
Catirina will also come to your house. Traditionally performed by guys in boots and macho drag, the character of Catirina has become more stylized and stylish
The beer tent is an important part of the celebration
The boi/ox enters. This ox is decorated with the season’s embroidered skin. By tradition it would have been baptized in June on Saint John’s day. This boi/ox dances and is not sacrificed — another specially decorated ox (see below) is “slaughtered”
This is the ox for “slaughter.” The leaves on its head mark it as a “boi de mata,” the ox of the forest. It was hiding from the vaqueiros, but has been brought by them to the slaughter.
The group’s band and singers, including the leader on the right
The performance (sometimes called a brincadeira or “play”). An India in front, vaqueiro at left, and other figures in the background (such as the ribboned costume at center left). Each character has a performance tradition and role to play in the story
The perspective of the audience/group supporters. The Morte draws a mix of supporters, family, friends, and those who come for the drinks and entertainment. In smaller communities the Bumba-meu-boi celebration is often a major form of recreation.
The ox is dragged to the post (left, in green) where it is tethered and “slaughtered”
The ox’s blood is gathered in a basin and distributed to the performers and audience. This ritual, reminiscent of religious communion, is the climax of the performance. Here a boy dips a glass of wine. This is wine by the gallon and drunk in plastic cups
The vaqueiros distribute wine to celebrants. This is often a sad moment because it is the death of the ox and traditionally has meant the end of the celebration. As performance groups become more commercial, the Morte is not always the end of the season’s performances. But the nominal tradition of the classical cycle is still honored by most groups.
The crowd is a mixed group — here a crowd of young boys attracted to the celebration (and to the camera). In all the celebrations I have photographed I have accumulated hundreds of children’s photos like this
This is the miolo who danced the embroidered boi/ox. Now off-duty. He adopted me as his official photographer and was my “guide” to the celebration. His advice got less distinct as the evening wore on. He was kind enough to do my drinking for me.
Some think that alcohol is sometimes a problem in the celebration. I have about as many photos of drunks as children, both of whom are attracted by the camera (and the “journalist’ from the U.S.)
Due to the wine, beer and the late hour, the Morte usually ends a bit less ceremoniously than it begins. The tradition blends religion, performance, and community celebration — it is not as openly ribald or sensuous as the Carnaval in Rio de Janeiro, perhaps because of it’s anchoring in small-town and rural devotional traditions.
