The representation of Saint Benedict in songs of the Tambor de Crioula

Abstract

The article deals with the representation of St. Benedict in the popular songs (called “toadas”) of the Tambor de Crioula, which is a dance of extreme sensuality, whose songs reveal manifestations of celebration and references to a Catholic saint. The main technique used in this work was the bibliographical research on popular Catholicism and the Tambor de Crioula. Similarly, documents like books, videos and interviews were collected, as well as participant observation data. St. Benedict was found to be a saint of reference and to be presented as protector and patron of the Tambor. However, there is not an established time for dance performances in his honour; the dance sometimes begins with litanies (songs typically from the Catholic tradition to praise God and the Saints), which are incorporated into the drumming of the Tambor de Crioula in order to celebrate St. Benedict, the protector of black people. The study also allowed us to understand some characteristics of popular Catholicism in the Tambor de Crioula, like the keeping of promises - by praising St. Benedict as the “great patron saint”- and the deliberate role of women as one of the reasons for dancing. It is concluded that there is a representation of St. Benedict as protector of female dancers and games in the corners of the Tambor de Crioula. This reveals the absence of the official control of the Church as one of the features of popular Catholicism. People reinterpret the sacred in their own way: by dancing, singing, drinking and having fun with the eroticism and the swaying of female dancers, where the punga is at the peak of the dance.