afoxê

The term afoxé refers to a Carnival group originating from Salvador da Bahia, Brazil, in the 1920s, and the music it plays deriving from the Afro-Brazilian Candomblé religion. It came to indicate a musical rhythm, named ijexá derived from the ijexá nation within Candomblé. Cultural performances of the afoxés, typically at Brazilian Carnival, incorporate choreography, song, ritual language and ceremonies deriving from the Candomblé religion. In Brazil, afoxé is generally performed by blocos, afros-groups of mostly black or mulatto musicians who are familiar with African Brazilian music. Afoxés are a cultural and religious entity that preserves a tradition of Afro-Brazilian culture.¶

Afoxé in Afro-Brazilian Carnival

The annual Carnival that takes place in several cities of Brazil is considered the country's largest public festival. Specifically, Carnival in Bahia Salvador is the birthplace of several groups from the Afro-Brazilian tradition, afoxé, which relates to Afro-Brazilian Carnival traditions linked to the Candomblé religion. Carnival in Brazil has a strong and on-going presence of Afro-Brazilian culture The term "Afro" is utilised with reference to a phenomenon originating in Africa but developed in Brazil. Rather than celebrating the sacred Candomblé religion privately, the afoxé Carnival traditions are a public affirmation of the religion, which is openly displayed on the streets in a Carnival context. Carnival plays a fundamental role in defining black identities in the context of the larger society. In Brazil, Carnival is a moment when the racial heritage of Brazil as well as its hybrid cultural traditions is continually presented.¶

History of the Afro-Brazilian Carnival Expression

Towards the end of the nineteenth century, following the abolition of slavery, processions celebrating African heritage took place in the annual Carnival celebrations in Brazil's major cities. The Brazilian cities of Recife and Salvador saw black Carnival groups powerfully and actively parading 'African' themes, which announced the development of African consciousness within the new Republic. Public events allowed blacks to determine an active and visible role in establishing cultural values that would define modern Brazilian society. In the early 1900s, dominant sectors of society, formed exclusively by white individuals of European descent: members of traditional families, wealthy merchants, high-level government employees and politicians, called for a state intervention in order to prohibit African related practices in Brazil. It was feared that these practices were 'Africanizing' the country's Carnival. Between the years 1905 and 1914, Carnival expressions that included African music, dancing and costumes were banned and forced out of the city's official Carnival by Bahian police. The Afro-bahian practice of Candomblé was recognised as violent and individuals following the religion were subjected to legal prohibitions and police action. This caused these large, organised African groups to separate. Afoxés continued their traditions in the poor neighbourhoods of the city. On February 5, 1921, mentions of 'African' Carnival practices were reintroduced, appearing in the Bahian newspaper, Diário de Notícias.¶

Candomblé Religion

Candomblé is an African-derived religion practiced in North-eastern Brazil, beginning in the early 19th century. It is considered the best known and most orthodox religion in Brazil. Candomblé is a hierarchical religion, which derives from a variety of practices that enslaved Africans brought to Brazil. Candomblé practice honours and summons the Orixás, the African gods, which are believed to guide and protect devotees. This is achieved through the power of song, dancing and drumming, as a central feature of worship. Music that accompanies the religious rituals of Candomblé feature a West African style of drumming. This drumming style includes a syncopated musical pattern and rhythm, referred to as ijexá. Ijexá is an integral symbol of black identity in Carnival. The Afro-religious communities who performed Candomblé music, were known as afoxés.¶

Afoxé Music in Carnival

Whilst respecting and honouring the African and African-Bahian religious Carnival heritage, the careful selection of certain instruments greatly affects and impacts the percussive culture as well as an individual's relationship with the spiritual realm. The music of Candomblé uses the atabaque drums, the agogô bell and the afoxés (also refers to the small beaded gourds used by the afoxé groups), which all play central roles in afoxé Carnival traditions. An atabaque is the name given to a conga-like drum, which is closely associated with African heritage. These single-headed drums are made from wood and animal skins. Traditionally, in the Afro- Brazilian religious setting of Candomblé, these drums come in three sizes; Rum (large), Rumpi (medium), and Lê (small). In the afoxé, the lead drummer will use the largest size drum (Rum) and will improvise variations of set patterns, which are coordinated with dance movements. The agogô bell refers to a metal bell, in Yoruba, deriving from West African musical cultures. The bell's role is to provide a syncopated rhythm in afoxé performances. The afoxé gourd shaker is a percussion instrument deriving from West Africa. The instrument contains the gourd (cabaça), which is wrapped in a net with threaded beads and plastic balls. With these instruments, traditional songs deriving from the Candomblé religion are played and sung during afoxé Carnival. These instruments are performed using the ijexá rhythm, a fundamental element of afoxé, which refers to the syncopated and basic rhythmic pattern played by the Carnival afoxé. The singing style of Candomblé includes scales with five pitches, call-and-response vocal organisation and syncopated phrasing.¶

Filhos De Gandhi

Filhos De Gandhi is the most acknowledged afoxé group, as it is considered the largest, oldest and most respected Carnival group in Salvador, Brazil. The exclusively all-male group, Filhos De Gandhi meaning Sons of Gandhi, was founded in the year 1949, the year following the assassination of the well-respected Indian leader, Mahatma Gandhi. The creation of this afoxé group was inspired by Gandhi's death, who was an advocate for racial injustice in India. The anti-violence and civil rights activist was transformed into a sacred Carnival icon. As a result, a group of stevedores originating from the Port of Salvador were inspired to form this Carnival group, with the intent of being symbols of peace whilst combating discrimination against Afro-Brazilian peoples in the city of Salvador. Local priests of the Candomblé religion also participated in this afoxé group. Women were not allowed to participate. Due to the fact that the group was formed by stevedores, there was an absence of women working and unloading the ships.¶

The text above is adapted from the Wikipedia article “Afoxé (musical tradition)”, available under the Creative Commons Attribution-ShareAlike 4.0 licence.¶

afoxê is genre of music, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition.¹¶

The source record links this tradition to 5 external registers, which can be verified through the citation.¹¶