The Music of Candomblé and Afoxé

African Religion and Rhythms in Indigenous Brazilian Music

Jul 14, 2009

The spiritual rituals that originated in Africa flourished as Candomblé in Brazil, accompanied by highly percussive music that has shaped the samba and bossa nova today.

Candomblé, a complex religion full of passion and music, came to South America with the African slaves. The style of drumming, instrumentation, and compositions unique to Candomblé helped define the more modern forms of Brazilian music.

Origins of Candomblé

A religion that celebrates multiple deity-like saints known as Orixás that act as intermediaries to one god, Candomblé arrived in Salvador, Brazil, a slave trade port, and began to spread in the 17th century.

Ceremonies are crucial in Candomblé, and feature percussive music, sacrifices, trances, and dancing. During most rituals, the priests summon the Orixás, and are often said to be possessed by the deities.

Instruments in Candomblé

Drums known as atabaque are vital to Candomblé music. Atabaque are similar to congas in that they are barrel-shaped, and also bear a strong resemblance to the Anlo-Ewe drums of Ghana.

The drums are made of wood, and goat-skin heads are traditionally used. The atabaque are played with thin sticks and the hands simultaneously, rather than solely with the hands, like congas.

There are typically three different sizes of atabaque used in Candomblé music, which are called the lê, the rumpi, and the rum. They are accompanied by agogô bells, which keep a steady rhythm, much like the role of the clave in Latin music. The xequerê, a gourd covered with strung beads, is also frequently used.

The atabaque are so vital to the religion that the drums are often baptized before use in Candomblé ceremonies.

The music performed during a Candomblé ritual is intended to hypnotize and entrance. While the drummers themselves are never possessed by the Orixás, they watch and communicate with the priests and dancers, responding appropriately with their music.

This style of music is referred to as afoxé, and is often performed throughout Brazil, particularly during Carnival, with no affiliation with the religion.

The agogô bells, or gonguê, which can be one or more pitches, establish a repeated, syncopated pattern. The rum, as the biggest drum, leads the arrangement, commanding the lê and the rumpi.

The rhythms are complex and syncopated, creating a complex matrix of sound when each individual part is added to the group. Afoxé manages to be both mathematical and improvisational simultaneously.

Candomblé and Afoxé in Modern Brazil

Candomblé is still practiced in Brazil, as well as most of South America and several other countries around the world. The religion is beginning to fuse with Christianity, and Orixás are becoming more identified with Catholic saints.

Afoxé has influenced the scope of Brazilian music, with rhythms that have helped define unique styles like the samba and the bossa nova. Today, several afro blocos perform afoxé during Carnival, most notably Filhos de Ghandi (Sons of Ghandi) in Salvador.

The copyright of the article The Music of Candomblé and Afoxé in Indigenous Music is owned by Michelle Schusterman. Permission to republish The Music of Candomblé and Afoxé in print or online must be granted by the author in writing.