PARANA BOMFIM: Voz dos Tambores (Voice of the Drums)

Percussion between afro-religious rhythms and vanguard

Merly Donoso, Dietrich Kollöffel, Armando Chuh, José Luiz Silva
Rhythmus is the pulse of life.
Percussion is the oldest form of music.
For ages drums were played in sacred and profane rituals and festivities. All over the world they were able to express the feelings of people of the most different cultures. And drums did not go out of fashion, but entered with great variation of forms and sounds in all musical styles.
Together with his percussion quartet, Parana Bomfim presents the concert project Voz dos Tambores (Voice of the Drums), which aims to show the dimension of the drum from their ritual power over its use in the traditional music up to its possibilities in vanguard pieces. The repertoire of the instruments includes small percussive instruments,, acoustic drums as well as electronic drumpads.
Parana Bomfim is alabê of the Candomblé-house Ilè Asé Yemojá Orukóre Ògún in São Paulo. The drums play an important part in the Afro-Brazilian religion Candomblé, since they call the gods and make the mediums fall in trance.
All pieces of the concert are compositions of Parana Bomfim. Voz dos Deuses I and II are not an imitation of a religious ritual, but arrangements for the stage, elaborated by Parana Bomfim, presenting aspects of the orixás, the gods of Candomblé.
Part A
Voz dos Deuses I / Voice of the Gods I
Ogun - orixá of war and metal
Ossain - Forests, leaves, medicine and medicinal bathes
Oxossi - Trees and animals
Oxum - Calm rivers and waterfalls
Iemanjá - Rivers and the sea
Oyá - Wind and rain
Xangô - Thunder and lightning
Omolú - Mystery, illnesses, ground, grave-yard
Salva aos orixás  - Avassa-Rhythm in 15/8

Part B
In the Afro-Brazilian religion Candomblé Muzenza is a specific rhythm and dance of initiation in the Angola-rite. It is dedicated to the god Oxalá.
Developed in Dança Expressiva in a long standing cooperation with the dancer Elise Ralston. With odd rhythms is constructed a dialogue between body and music.
A piece which is played on the musical bow berimbau. In the Angola-language Cokwe Sónde means "brave ant".
Means "war" in Yoruba. Like on a musical battlefield, the different levels of rhythm, timbres and accents interfuse, overlap and compete against each other in temperamental variations.
The rhythm of the machine, the motor, the force, the desperation in view of a running machinery which can no longer be hold up. This composition has no model in the traditional repertoire. The leading "principale of motivic repetition" produces a rhythmical carpet, which suggests a percussive minimalism.
Its context is religious, but its power bursts the screened world of the ritual: the ijexá-rhythm. Three voices join to a rhythmic polyphony, which in its logical structure and in its continuation of the musical motifs draws from the same spiritual source as a fugue of Bach.
Harmony - War - Destruction - Resistance
The piece relates the history of the threat of the nature by war and greed of profit of man, which, in only a few centuries,  managed to destroy ancient harmony of nature and cosmos. But the earth resistes, as wll as some of its inhabitants. It is the history of the Amazonas, but also of any other place on this planet.

Part C
Voz dos Deuses II / Stimme der Götter II
Oxalá - orixá of mystery, wind, bells
Exu - all the elements
Avassa in 21/8
Information and booking

  • Concerts
  • Voz dos Tambores
  • BrasilAfroJazz
  • Dance and Theatre
  • Courses/Workshops
  • Research
  • List of Artists
  • Recordings
  • Television Programmes
  • home