The rhythm of Candomblé in Bahia

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Cerimonia de Candomble
Candomble ceremony

In Candomblé, music plays a primary role in the invocation of the orixás, acting as an intermediary between humans and the gods. Through rhythms and chants, followers establish a spiritual connection that allows the manifestation of the orixás.

In Bahia de Todos os Deuses, the priestesses and devotees of Candomblé, with their elaborate attire—turbans (torços), panos da costa, loose-fitting batas, flared skirts with multiple starched and lace-trimmed petticoats, along with bracelets and necklaces in the colors of the orixás—created an image that has become a traditional symbol of Afro-Brazilian culture.

The sacred drums, known as Run (the largest), Rumpi (the medium), and (the smallest), play a fundamental role in rituals and are treated by followers as true deities. These drums receive offerings and reverence and are an integral part of the worship.

Ritmo do Candomblé

They are not ordinary or “pagan” instruments; they were baptized in a ceremony involving a godfather and godmother, holy water, and specific rituals.

They are “fed” annually with palm oil, honey, holy water, and the blood of a chicken, ritually sacrificed, as four-legged animals are never offered to the drums.

Music is essential to Candomblé, as it is through music that the incorporation of the orixás occurs.

The drums communicate directly with the deities, calling them to return to earth. In addition to the atabaques, other instruments like the aguidavi (green wooden sticks) are used to play the drums, and the agogô (a metal bell, single or double) marks the rhythm with a metal stick.

Each Candomblé nation has its variations in the way the atabaques are played. For example, in Angola nation houses, the drums are played with hands, while in Ketu nation houses, aguidavis are used.

Each orixá has its own distinct rhythms, reflecting its nature. Among the most well-known Candomblé rhythms are:

  • Ajagun, a warrior rhythm dedicated to Ogum;
  • Alujá, the powerful rhythm of Xangô;
  • Agueré, used by Oxóssi, the orixá of hunters;
  • Igbin, a slow rhythm consecrated to Oxalá;
  • Opanijé, characteristic of Omolú.

Ijexá is another important rhythm, primarily associated with Oxum, but also with Ogum, Oxóssi, Logunedé, and Oxalá.

These rhythms, with their diversity and complexity, are central elements of Candomblé’s religious practice, deserving in-depth studies to understand their cultural and spiritual richness.

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