Choreography: Augusto Omolú
Music: Antônio Portella

Based on a legend depicting the creation of the Universe as interpreted by Candomblé, the African religion brought to Brazil by the slaves during the colonial period (16th and 17th centuries) and still practiced today in Bahia: "The Supreme God, Oxalá, with His sons, formed the the Universe from a mixture of sacred powder and water".  


Choreography: Walson Botelho
Music: Bahian Folklore

A popular demonstration, still seen on the beaches of Bahia, in which Iemanjá, the Goddess of the sea, is invoked by the fishermen and their wives who, through their dances and songs, ask for an abundant catch.  



Choreography: Amélia Conrado
Music: Amazonian Folklore

Boi-Bumbá, with its presentation drawn from the rich background of the North and North-eastern Regions of Brazil, including Bahia, intrigues the imagination of its audience, as the plot unfolds in a mythical world based on magic creatures, inhabitants of the forest, the beings that live among miraculous herbs, in waters that overflow to the end of the planet. Coupled with these magic creatures, are the contrasting forces of the monsters and sacred profane creatures with that of the people from the North-east wit their playfulness, their rhytms and their deep feeling of religion. This background is a world that depicts the richness of the folklore of the aboriginal peoples, the existing native population during the colonization of Brazil. Within this magic setting of Boi-Bumbá, unfolds a simple plot based on the folk-tale of a pregnant woman, CATIRINA, wife of the herdsman, PAI FRANCISCO, who wants to eat the tongue of his masterís ox. When his deed is discovered, the herdsman is imprisoned. In an effort to save him, the powers of the PAJÉ, a Supreme Religious Authority among the Indigenous Nations, experiment to revive the ox. As the plot advances, it takes on a frenetic pace, a world of madness in which one cannot distinguish where the tale starts and where reality ends. Besides the cast of those characters the tale is enhanced further by the outstanding characters of CUÑA-PORANGA, the most beautiful aboriginal female of the forest.  


Choreography: Amélia Conrado
Music: José Ricardo Sousa and North-east Folklore

During the conquests of Bahiaís interior lands in the North-east of Brazil, as well as other Brazilian States, there were great confrontations between the old CORONÉIS, the landowners, and respectively, the POSSEIROS, the poor people in search of a piece of land to cultivate and to live on. As these poor inhabitants during leisure times danced on the arid earth typical of the "Sertão" (Brazilian desert), there was produced a particular sound as verbally defined as Xaxado (shashado). Reminiscent of the conquest of the American West, the plot of Xaxado included as well, the Force of the Justice for the poor, the outlaws, the CANGACEIROS who lived in the "Caatinga", a sparse forest, delivering justice in defense of the oppressed against the rich and powerful masters. Such real outlaws are the historic characters LAMPIÃO and MARIA BONITA.  


Choreography: Rosângela Silvestre
Music: José Ricardo Sousa

A contemporary vision over all aspects of the Bahian popular culture. The strong influence of the African slaves, Portuguese people and Indígena natives created a rich mixed culture in which the stroll, the smile, the flirtation, the glance, the face, the voice, the skin and the color of the Bahian people are unique in the world.


Choreography: Rosângela Silvestre
Music: José Ricardo Sousa

Choreography inspired by the great force and energy of black women who lived in harmony and freedom in África until they were transported to Brazil as slaves.