OUR RHYTHMS, OUR COLLECTIVE IMAGINATION


THE BACNARÉ GROUP. Photo: Hans von Manteuffel		 The influence of the Brazilian natives, the Africans and the Europeans, has provoked  an extremely unique cultural identity in the Northeast. An identity that is revealed in its multiplicity of rhythms and artistic manifestations. It shows the face of our people who, in their everlasting fight for a dignified life, are eternally open to the day-to-day blossoming of happiness.

When you watch people of all ages accompanying and singing together with Dona Selma's Coco, it is quite apparent how enjoyment, dance and music (with its playful, contagious verses), are so important for the people of the Northeast. Today, this great conquest is clearly represented by the coco - the coconut dance - an ancient rhythm that has been retrieved and firmly planted in the Northeast. 

Within the beauty of its dance and the strength of its verses, many folkloric experts have created definitions regarding coco. The majority agree that it was originally a work song of the coconut pickers, and that only sometime after, it was transformed into a dance rhythm. Some affirm that it first made its humble appearance in the rural areas, on the sugar plantations, and later spread to the coastal regions, after which, it made its way to the more refined environments. Others, on the other hand, believe that it is essentially a dance of the beach, because of the predominance of coconut palms found in this region. In relation to which state of the Northeast the dance actually appeared first, the disagreements are even greater and more diverse. References to the three states of Alagoas, Paraíba and Pernambuco are found in the existing texts, indicating them all to be the probable "owners" of this dance. So, where is its real origin? This is a vacuum to be filled by those who are curious, interested and have the spirit to discover. In the middle of so many doubts, one thing is certain: the coco has its origins in the people - the masses. With regard to its form of expression, the researchers define many 'types of coco'. It would not be a trustworthy notion to be content with just one classification, before such an adversity of definitions. What we have noticed is that the variations of coco begin with the differing names given from one region to another. These variations can be identified in aspects of the dance itself, and mainly in the metric differences of the sung verses. Overall however, the coco is presented in one basic form: the participants form lines or circles in which they carry out a characteristic type of 'tap dance', react to the chorus, and clap their hands to the rhythm. It is also very common to find a leading singer, and it is from the moment that this person begins to sing, either improvising or or with traditionally known songs, that the festivities begin.

"Coqueiro, tá de coco novo minha gente o que é que há..." 

("Hey! Everybody! The coconut tree is full of coconuts - is there anything wrong with that........?)

The coco can be danced with or without shoes. Also, it does not have its own appropriate costume. In order to participate, the people can use any kind of clothing. There is also, apparently, no special time of the year to dance, although it is more often seen in June. Musically speaking, there is a predominance of percussion instruments. According to folklore researchers, the most commonly used instruments are -  ganzás (a kind of maraca), bombos (drums), zabumbas (a deeper drum), caracaxás (a kind of scraped rattle, often made of undulated metal and scraped with a small stick to produce the sound) and cuícas (a drum -like instrument that makes a squeaking sound). However, to form a circle of coco it is not necessary to have all, or indeed any of these instruments. Very often, the dance takes place with just the clapping of the participants' hands. 

Within its general characteristics it is possible to notice one distinct distinguishing feature - community spirit. There is always a very happy atmosphere where men, women, children of all social classes sing and dance together without distinction. In what is referred to as its ethnic influences, the African influence is most prevalent, mainly in its rhythm, and most certainly in its movements. But, there is also a very strong native contribution to the choreography. Both the circle and the lines are aspects that were inherited from our natives.


DONA SELMA'S COCO. Photo: Eduardo Queiroga		 Today the coco is ever present in the festivities of our people. Selma and many other traditional conquests are examples of the resistance and strength of an authentic and original manifestation. This contagious rhythm has influenced numerous popular composers through the ages, and even contemporary Pernambuco music . The famous Jackson do Pandeiro influenced Chico Science, Alceu Valença and many other local musicians who have consistently searched for this playful aspect in the creation of their work.