The Carnival of Salvador is a popular celebration that combines tradition, music and innovation and is one of the biggest and liveliest in the world.

Its history includes several historical influences and the creation of the Trio Elétrico, which revolutionised the festival. The following are some of the highlights:

1. Introduction – The origin and development of Carnival
2. History, origin and chronology of the Carnival
3. Chronology of the Carnival of Salvador de Bahia
4. Chronology of the Trio Elétrico in Salvador de Bahia
5. Axé Music
6. Salvador Carnival – Year, Music, Bloco and Vocalists

1. Introduction – The origin and development of Carnival

There are several versions of the origin of the word “carnival”. In the Milanese dialect, Carnevale means“the time when meat is taken off“, referring to the period leading up to Ash Wednesday. Historically, Carnival corresponds to the time before the beginning of Lent, marked by intense celebrations before the spiritual reflection proposed by the Christian tradition.

1. Carnival in the Brazilian context

In Brazil, Carnival has established itself as the largest manifestation of popular culture and is often associated in symbolic importance with football. It is a hybrid cultural expression, combining elements of revelry, celebration and theatre, and incorporating dimensions of art and folklore.

Originally conceived as a popular street festival, carnival in the main Brazilian cities has increasingly been held in closed spaces, such as sambadromes and social clubs, as a result of its growing institutional organisation and commercialisation.

2. Historical records in colonial Brazil

Although Carnival was officially recognised in Salvador in 1884, historical records indicate the existence of Carnival celebrations as early as the 16th and 17th centuries, including reports during the Dutch invasion of 1624. Among these records, the testimony of Father Anchieta stands out, who mentions festive practices linked to the carnival tradition promoted by the Jesuits, who were responsible for introducing this culture to the indigenous populations as part of the catechesis process. The use of music and playfulness was seen by religious as an effective pedagogical tool for evangelisation.

In addition, there is the account of a soldier who was present during the Dutch invasion in 1624, who describes the celebration of a carnival even in the midst of the conflict, promoted on four ships, which shows the resilience and symbolic power of the festivity.

3. European influence and Catholicism

Carnival in colonial Brazil was modelled on European festivals, especially those of Portugal and Spain, and was closely linked to the prescriptions of the Catholic Church. According to Christian tradition, Carnival was a time of freedom and extravagance, preceding the spiritual reflection of Lent.

4. Popularisation in Bahia and cultural integration

From the 18th and 19th centuries, Carnival took on a more popular character, taking over the streets of Salvador, especially Rua Chile in the city centre.

In this context, the presence of a significant number of enslaved people contributed to the incorporation of Afro-Brazilian dances and ritual elements of African origin, which were integrated into the so-called street carnival.

These manifestations also merged with the practices of entrudo, a popular Portuguese game characterised by the use of water, flour and other elements, which was later assimilated into the Brazilian carnival tradition.

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Video about the history and chronology of Carnival in Salvador de Bahia

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2. History, origin and chronology of the Carnival

1. Origin of Carnival
2. Entrudo: Carnival in Portugal
3. Carnival in Brazil
4. The emergence of street and parlour carnivals
5. Masks, dances and subsidies
6. The announcing band and the first clubs
7. Dances at the São João Theatre
8. Street Carnival in Salvador
9. First rules and organisation
10. Carnival in Rio de Janeiro

1. Origin of Carnival

The origins of Carnival can be traced back to pre-Christian popular celebrations, beginning in Italy with the Saturnalia, festivals in honour of the god Saturn.

These festivals also worshipped Bacchus and Momus, figures from Greco-Roman mythology.

The celebrations involved a temporary reversal of the social order, with slaves and free citizens mingling in public.

With the expansion of the Roman Empire, the celebrations became more frequent and exuberant, even including real bacchanals.

With the consolidation of the Catholic Church at the beginning of the Christian era, attempts were made to curb pagan excesses. Thus, celebrations were only allowed before Lent – which led to the use of the word Carnevale, meaning “abstinence from meat”.

2. Entrudo: Carnival in Portugal

In the 15th and 16th centuries, carnival arrived in Portugal under the name of Entrudo, marking the beginning of Lent with serious games. The celebrations were marked by wars of “oranges” filled with eau de vie, which in time came to contain unpleasant substances. The festivities gradually became violent and lost their festive character.

3. Entrudo in Brazil

Entrudo arrived in Brazil and spread, particularly in Salvador. Around 1853, newspapers such as the Diário da Bahia and the Catholic Church began to criticise the practice and put pressure on the authorities to crack down. Nevertheless, the games involving water, flour and unpleasant substances continued for some time.

There were two kinds of Entrudo:

• Parlour Shrovetide: more refined, with perfumed wax “lemons”.
• Street Entrudo: popular and vulgar, using water, flour, eggs and even pig intestines.

Due to its excesses, the Salvador City Council banned Entrudo, considering it harmful to public health and dangerous for participants and passers-by.

4. The emergence of the street and parlour carnivals

With the suppression of Entrudo, Carnival began to change:

• The Saloon Carnival began to attract middle-class whites and mulattos.
• The Street Carnival was made up of poor blacks and mulattos.

The São João Theatre in Salvador was one of the first to organise sophisticated masked balls, starting in 1860. The 800-seat theatre hosted parties with classical music and costumes imported from Europe.

5. Masks, balls and subsidies

In those days, people were afraid of being seen in masks. Specialist shops such as “Pinelli” and “Balalaia” offered elaborate disguises. The police even handed out free masks to encourage street carnival.

Organising committees sprang up in neighbourhoods across the city, and businesses saw carnival as an opportunity to make a profit. The festival thus gained institutional and commercial support.

6. The Bando Anunciador and the first clubs

In the 1870s, the Bandos Anunciadores appeared, going around the streets inviting people to take part in the carnival. At this time, the Carnival Clubs also began, such as

• Zé Pereira
• The Eaters
• The Engineers

These groups used to meet at Campo Grande, which became the official meeting place for the Masqueraders.

7. The Balls of the São João Theatre

The São João Theatre organised its balls a year in advance.

In 1878, the group “Os Cavaleiros da Noite” caused a sensation when they took part in a gala ball.

By 1880, Salvador had 120,000 inhabitants and a carnival of European luxury: clothes, decorations and drinks were imported from Paris and London.

8. Street Carnival in Salvador

Five years before the proclamation of the Republic (1889), Salvador held its first major street carnival. The festival combined European luxury with popular spirit. Bands, stages and flamboyant costumes dominated the streets.

9. First rules and organisation

In 1882, shops closed at 1pm on Carnival Tuesday. From 2pm the street parties intensified. The carnival gained more and more public support, clearly divided between the refined salons and the popular joy of the streets.

10. Carnival in Rio de Janeiro

Meanwhile, in Rio de Janeiro, the first carnival ball was held in 1840, with dances such as the polka and the waltz. The samba was not added to the festivities until 1917, marking a significant change in Brazilian Carnival music.

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3. Chronology of the Carnival of Salvador de Bahia

1. The great carnival of 1884
2. Rivalry between clubs
3. Carnival gains popularity
4. News from the end of the 19th century
5. First Afoxés
6. Clube dos Inocentes and Afoxé Filhos de Gandhy
7. Birth of the Trio Elétrico
8. Carnival in the 60s
9. Carnival in the 70s
10. Affirmation of black identity
11. Carnival in the 1980s
12. Barra-Ondina Carnival Circuit

1. The Great Carnival of 1884

The year 1884 is considered the turning point for the Carnival in Bahia. Although the festival had already grown to a considerable size – mainly in the halls – it was in this year that the street festivities began to be organised, with parades of clubs, corsos, floats and various popular groups.

From then on, the popular participation and fame of the street carnival intensified, a characteristic that remains to this day.

At the time, Salvador was experiencing rapid urban growth, driven by agricultural progress in other regions and the need to reorganise the urban space due to the rural exodus.

Progress was breathed: merchants advertised in the newspapers during the festivities, and both the revelers and the public were elegantly dressed – linen suits, gaiters, hats.

The Cruz Vermelha Carnival Club, founded on 1 March 1833, did not take part in the carnival until 1884.

This club organised a procession of richly dressed young men and women, the big novelty being a float with the theme“Criticism of the Lottery Game“, decorated with pieces imported from Europe.

The procession started from one of the streets in Comércio, went up Montanha, through Barroquinha, Rua Chile, Direita da Misericórdia, Direita do Colégio and returned to Politeama de Baixo (now the Women’s Institute).

The initiative was an absolute success, receiving applause and flower petals from the public in the streets. The Red Cross transformed the carnival.

In March 1884, a group of young people founded the Fantoches da Euterpe Carnival Club, led by four elite figures: Antônio Carlos Magalhães Costa (ACM’s great-grandfather), João Vaz Agostinho, Francisco Saraiva and Luís Tarquínio (its first president).

2. The rivalry between the clubs

In 1885, the dispute between Cruz Vermelha and Fantoches intensified. The Diário de Notícias, the most influential newspaper of the time, published a ¼ page advertisement at the request of the Red Cross, describing their parade.

Fantoches responded with a three-column party programme. Both paraded with flamboyant themes and European costumes. The floats represented Fame (the Red Cross) and Europe (puppets). Other clubs also took part, such as Saca Rolhas, Cavalheiros de Malta, Clube dos Cacetes and Grupo dos Nenês.

Without a judging panel, the press took on this role, measuring the public reaction. The Red Cross, which was more popular, usually won, while the Puppets, which were linked to the aristocracy, received less popular support. The other organisations represented the middle classes.

3. Carnival gains popularity

In 1886 the merchants decided not to open for business on Carnival Tuesday. The presidents of the main clubs met in the Commercial Association to plan a unified route for the parades.

Two years later, Cruz Vermelha and Fantoches organised a Grand Ball at the Politeama. The streets were packed on the big carnival Sunday. First came the Red Cross with spirit and coordination. Then the Fantoches paraded their beautifully decorated floats to the applause of the crowds.

Carnival was already a consolidated reality, definitively defeating Shrovetide.

4. What’s new at the end of the 19th century

• 1892: Confetti and Streamers were introduced. Confetti was exchanged between organisations; streamers replaced flowers thrown at cars.
• 1894: Carnival was still mainly for the elite, with clubs such as Cruz Vermelha and Fantoches attending balls at the São João Theatre and Politeama. The poor population organised parallel events.

5. First Afoxés

• 1895: Black natives create the first afoxé, the “African Embassy”, with African costumes and props.
• 1896: The second afoxé, “Pândegos da África”, also created by blacks. The groups represented Afro-Brazilian places of worship, with traditional songs and music.

The afoxés marched in Baixa dos Sapateiros, Taboão, Barroquinha and Pelourinho, while the elite clubs occupied the best areas. Nine years later, an afoxé marched up the Ladeira de São Bento, breaking the segregation between classes – and sparking protests.

6. Club dos Inocentes and Afoxé Filhos de Gandhy

• 1900: Dissidents from the Red Cross form the club “Os Inocentes em Progresso” (The Innocents in Progress), named after boys who sang while playing cans.
• 1949: The “Filhos de Gandhy” afoxé is born, founded by the dockers of the Port of Salvador in honour of the Indian leader Mahatma Gandhi.

7. Birth of the Trio Elétrico

• 1950: Inspired by the “Vassourinha” block in Pernambuco, the duo Dodô (Adolfo Nascimento) and Osmar (Osmar Macêdo) restore a 1929 Ford and take to the road with electric instruments. The car, with its loudspeakers, attracts crowds.
• 1951: The name “trio elétrico” was coined when the musician Temístocles Aragão joined the group. Dodô played the electric guitar, Osmar the Bahian guitar and Aragão the triolin (tenor guitar).

8. Carnival in the 60s

• 1961: First public King Momo, played by Ferreirinha.
• 1962: The all-male bloc “Os Internacionais” appears.
• Ropes and shrouds appear to protect the revellers around the trios.
• 1965: A decree bans the use of perfume lances, which have been in use since 1906.

9. Carnival in the 70s

The 1970s established the Praça Castro Alves as the heart of Carnival. It was a time of cultural, social and sexual liberation.

• Trios were still simple vehicles, with loudspeakers and no singers.
• Morais Moreira lends his voice to the trio with Pombo Correio.
• Novos Baianos innovate with speakers and transistorised equipment.
• Baby Consuelo sings with a microphone plugged into her guitar.

The song “Colombina” by Armando Sá and Miquel Brito becomes the official anthem of the Salvador carnival.

10. Affirmation of black identity

• 1974: The Afro bloc Ilê Aiyê appears, marking the beginning of the process of refranchising Carnival.
• Afoxé Badauê and the rebirth of the Filhos de Gandhy appear.
• The festival includes protests against racism and expressions of black culture.
• 1975: The Dodô and Osmar trio celebrate their silver jubilee and return to the stage with Armandinho, Osmar’s son.
• The name changes to “Trio Elétrico de Armandinho, Dodô e Osmar”.
• 1976: The Novos Baianos trio appears, further innovating the format.

11. Carnival in the 1980s

At the beginning of the 1980s, the transformation of Salvador’s Carnival intensified even more, and it was up to the Traz Os Montes block to introduce some innovations, such as the installation of a electric trio with transistorised equipment, the installation of air conditioning to cool the equipment and keep it at a bearable temperature, the removal of the loudspeaker mouths, the installation of rectangular speakers, the removal of the traditional side percussion of the trio and the addition of a band with drums, vocalist and other musicians on top of the truck.

In 1981, the Eva Bloco, which had been formed in 1980 and was considered one of the most irreverent and innovative groups in Carnival, decided to go even more radical than Traz Os Montes. He hired engineers to draw up the structural calculations for the new trio and the entire sound system imported from the United States – including a new sound console and various peripherals necessary for the perfect functioning of the trio and the band. In this way, Eva forced the other blocos to invest in their trios as well.

The public and critics began to clearly notice the difference between Eva’s equipment and the others, as well as the quality of the singers and bands.

Also in 1981, the governor of Bahia signed Decree No. 27.811, which ordered the suspension of work in public offices on Friday of the week before Carnival.

In 1982, there was such a large crowd in the streets of Salvador that the traditional regulars of Praça Castro Alves – such as intellectuals, liberal professionals and transvestites – became very angry at the invasion” of the liberal stronghold. That year, the shroud began to disappear as carnival attire, replaced by shorts, shorts or overalls.

In 1983 Carnival, between 30 and 40 new rhythms appeared.

In 1988, for the first time, a big Afro bloco, Olodum, paraded in Barra, celebrating the centenary of the abolition of slavery in Brazil, with the theme: “Bahia de Todas as Áfricas”.

12. Barra-Ondina Carnival Circuit

The glamorous “Sea Circuit”, later baptised Dodô – Barra-Ondina, was made official in 1992 and is now one of the most exuberant points of the Salvadorian Carnival. This is where most of the cabins are located, a new invention of this festival that has changed over the years.

From the Entrudo, to the Parades of Clubs and Corsos, to the Afro-Brazilian influence, which began with the Afoxés, to the Discovery of the Bahian guitar, which gave birth to the Trios Elétricos.

With the trios came the explosion of the biggest popular event on the planet – Salvador Carnival – which multiplied rhythms and beats, consecrated samba reggae and axé music, and produced thousands of musicians and artists who work tirelessly to dazzle the millions of revellers who come to the Capital of Joy from all over Brazil and the world to experience this magical way of being happy.

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4. Chronology of the Trio Elétrico in Salvador de Bahia

“The Trio Elétrico, with its anthropophagic sound, carnalises everything. From the most popular classics to the most popular classics”.

1930s

• In Salvador, Dorival Caymmi’s musical group, Três e Meio, was a hit on the radio and at parties.
• When Caymmi left in 1938, the group was restructured to include Osmar Macêdo.

1942

• Guitarist Benedito Chaves, from Rio de Janeiro, presents an “electrified guitar” in Salvador, arousing the interest of Dodô and Osmar, who begin to develop their own instruments.
• The “Electric Duo” was born.
• Dodô’s experiment with stretched strings and microphones resulted in the Bahian guitar, which avoided microphonics with its solid body – nicknamed the “pau elétrico” (electric stick).

1943-49

• The duo began playing their instruments at clubs, parties and dances.

1950

• Inspired by Recife’s Vassourinhas Club, Dodô and Osmar create their first electric trio, using a 1929 Ford (the Fobica), decorated and equipped with loudspeakers and signs reading “Dupla Elétrica”.

1951

• Temístocles Aragão was invited and the name “Trio Elétrico” began to become popular.

1952

• Sponsored by Fratelli Vita, the trio use a larger vehicle with eight loudspeakers, generators and fluorescent lights.

1953-58

• New trios were formed, such as Ypiranga, Cinco Irmãos, Atlas, Jacaré (later Saborosa) and Paturi (from Feira de Santana).

1956

• The Tapajós group appears, largely responsible for consolidating the Trio Elétrico as the physical structure of the carnival.

1957-58

• Tapajós brings carnival to the railway suburb.
• Dodô and Osmar‘s trio is sponsored by the City Hall of Salvador.

1959-61

• The trio takes part in the Recife Carnival, sponsored by Coca-Cola.
• Tapajós sign commercial contracts and entertain at micaretas in the interior of Bahia.

1962-64

• The Dodô and Osmar trio returns, sponsored by the Mataripe Refinery.
• The young Armandinho (9 years old) is already a soloist.
• The mini-trio elétrico is born, created for the children of the founders.

1965-67

• Armandinho and Betinho’s mini-trio liven up the carnival.
• Tapajós is crowned champion of the Salvador Carnival for the third time.

1969

• Caetano Veloso released the song “Atrás do Trio Elétrico Só Não Vai Quem Já Morreu”.
• The Tapajós trio launched the first disc recorded by an electric trio on the music market and went to Rio de Janeiro to boost the song’s national launch.
• Within a week, the song jumped from seventh to second place in the charts and was featured on the television programme A Grande Chance.

1972

• A historic meeting in Praça Castro Alves brought together Osmar, who played in the trio Caetanave, and Armandinho, in the trio Saborosa, who played “Desafilho”.
• Tapajós honoured Caetano Veloso, who returned from exile in London, with the launch of the Caetanave – a trio of bold architectural lines, a true work of art that, proportionally, has yet to be surpassed.
• The audience in the streets saw Gilberto Gil, Caetano Veloso and Gal Costa together in the trio.
• The electric trio Marajós was born.

1973

• The Tapajós trio entertained at the Curitiba Carnival.

1974

• After a long absence, the duo Dodô e Osmar returned to the carnival with a new line-up: “Trio Elétrico Armandinho, Dodô e Osmar”.
• They recorded the disc “Jubileu de Prata” (Silver Jubilee) to celebrate the 25th anniversary of the trio.
• Tapajós, which released six LPs and two compact discs, went on to entertain at the Belo Horizonte Carnival.

1975

• After its debut in 1950, the fobica returned to the streets to celebrate the Silver Jubilee of the Trio Elétrico.
• A huge party honoured the inventors, with a parade of several trios drawn by Dodô and Osmar.
• The trios marched from Campo Grande to Praça Castro Alves and played “Happy Birthday” together.
• The duo received the commemorative trophy in an apotheotic instrumental farewell to Carnival.
• The Souza Cruz company hired two Tapajós trios for Rio de Janeiro.

1976

• Tapajós entertained at the carnivals of Salvador, Belo Horizonte and Santos.
• The company Tapajós Promoções Artísticas e Publicidade Ltda was founded in .
• At a concert in Salvador’s Concha Acústica, Armandinho presented the two-string guitar designed by Dodô and named Dodô and Osmar.
• The Novos Baianos trio appeared on the streets of Salvador, causing a revolution in the music scene: replacing the valve amplifiers and Sedam horns with speakers, tweeters and snak horns, and changing the musical language, with the Novos Baianos singing popular repertoire.
• Caetano Veloso, Gilberto Gil, Gal Costa and Maria Bethânia christened the group “Os Doces Bárbaros”.

1977

• Tapajós livened up the Carnival in Brasilia.
• With the release of the song “Pombo Correio”, the Dodô and Osmar trio was joined by a gigantic white bird that flapped its wings to the rhythm of the trio.

1978

• Adolfo Nascimento, or Dodô, one of the fathers of the Trio Elétrico, died.
• His funeral was accompanied by Tapajós, wearing a black mourning sash and playing Gounod’s Ave Maria, Chopin’s Funeral March and the Hymn to the Lord of Bonfim.
• The sound of the afoxés and the Trio Elétrico were combined, thanks to Moraes Moreira and the poet Antônio Risério, with the song “Assim Pintou Moçambique”.

1979

• Three trolley buses of the Tapajós company were hired by organisations in Salvador.
• At the Flamengo’s Triple Championship party, the trio dragged a crowd from the Maracanã to the Gávea, to the sound of a frevo by Moraes Moreira.

1980

• The Traz os Montes trio, part of a carnival organisation, made its debut on the streets of Salvador.
• They became famous for introducing technical innovations, a powerful, transistorised sound.
• The most played song was “Beleza Pura” by Caetano Veloso, arranged by Armandinho.
• In Rio de Janeiro, Carnival began with a Confetti Battle in Madureira, with Tapajós as the main attraction.
• In Natal (RN), three trios emerged with the advice of Osmar Macêdo.

1981

• Armandinho, Dodô and Osmar‘s new trio had “Vassourinha Elétrica” as their theme, a national hit.
• The Novos Baianos trio was led by Baby Consuelo, the only female singer in the trio.

1983

• An electric trio built in Italy was inaugurated in Piazza Navona in front of 80,000 people, rocked by the band of Armandinho, Dodô and Osmar.

1985

• Another electric trio was built in France for the carnival in Toulouse.

1986

• The trio of Armandinho, Dodô and Osmar travelled to the Mexico World Cup, and on the way back they visited towns on the French Riviera, ending up in Lyon.

1988

• The Space trio was created, with a revolving stage and automatic lift.

1990

• The Trio Elétrico turned 40.

1992

• Orlandinho, son of Orlando Campos, saved the Caetanave trio and honoured his father with a gathering of the generations at Carnival.

1997

• Osmar Macêdo, the other father of the trio, died.
• His funeral was accompanied by a procession of electric trios through Castro Alves Square.

1998

• The Monument to Dodô and Osmar was inaugurated in the Praça Castro Alves.
• The fobica returned to the streets during Carnival.

1999

• Percussionist Carlinhos Brown restarts the Caetanave project, bringing new equipment to the streets of Salvador.

2000

• The Trio Elétrico celebrated its 50th anniversary and received new tributes from Fobica and its creators.

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5. Axé Music

• Axé music was born from the drums of the Afro-Carnival entities in the mid-1970s.
• There were the Ilê Aiyê, Badauê, the revival of the Filhos de Gandhy, and then Olodum and Muzenza.
• These groups had a profound influence on the artists who emerged from the Trios Elétricos in the 80s.
• At first, their success was limited to Bahia, thanks to the WR studio, Itapoan FM and TV Itapoan.
• In 1985, the song “Fricote” by Paulinho Camafeu and Luiz Caldas broke barriers and made axé conquer Brazil.
• With Luiz Caldas and Acordes Verdes, Bahian music entered the national music market.
• Axé music broke paradigms, mixed styles and behaviours, and had an impact on the Bahian economy, with: CD sales, attracting tourists, creating jobs and growing the Salvador Carnival.
• It also put Brazilian music back on national radio and influenced new styles such as Sertanejo from São Paulo, Pagode from Rio de Janeiro, Lambada from Pará and Pop from Recife.
• This success fuelled the growth of the Out-of-Season Carnival.

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6. Salvador Carnival – Year, song, bloco and singers

Year	Type of music	Block	Singer/Band
1985	Fricote	–	Luiz Caldas
1986	I’m black	–	Geronimo
1987	Pharaoh, divinity of Egypt	Olodum	Olodum
1988	Olodum Protest	–	Bandamel
1989	Kiss on the mouth	Kiss Band	Banda Beijo
1990	Olodum Rebellion	Olodum	Olodum
1991	Summer prefix	–	Bandamel
1992	Baianidade Nagô	Banda Mel	Banda Mel
1993	Sweet Obsession	Scent of Love	Scent of Love
1994	Requebra	Olodum	Olodum
1995	Tell me	Olodum	Olodum
1996	Araketu Bom Demais	Araketu	Araketu
1997	Rapunzel	Crocodile	Daniela Mercury
1998	A Latinha	Timbalada	Timbalada
1999	Juliana	–	Pierre Onasis
2000	Scraggly hair	Chameleon	Chiclete com Banana
2001	Bate-Lata	Kiss Band	Banda Beijo
2002	Party / Say it was worth it	Owl / Chameleon	Ivete Sangalo / Chiclete com Banana
2003	Dandalunda	AfroPop	Margareth Menezes
2004	Maimbê Dandá	Crocodile	Daniela Mercury
2005	Heart	–	Boy
2006	Coffee with bread	–	Vixe Mainha
2007	Pause	–	Eagle Wing
2008	All good	–	Psirico

History and Chronology of Bahia’s Salvador Carnival

Bahia.ws – Tourist Guide to the Northeast, Bahia and Salvador

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