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The Carnival Frevo

Frevo Pernambucano - Photo: Prefeitura de Olinda (License: CC-BY-SA-3.0
Frevo Pernambucano - Photo: Prefeitura de Olinda (License: CC-BY-SA-3.0

Singers like Claudionor Germano and Expedito Baracho would become experts in the field. One of the main authors of the fossa samba-song, Antônio Maria (Araújo de Morais, 1921-1964) did not deny his Pernambuco origins in the frevos series (from numbers 1 to 3) that he dedicated to his native Recife. The splendid genre even touched the intimate bossa nova. From Tom Jobim and Vinicius de Moraes (Frevo) to Marcos and Paulo Sérgio Valle (Through the streets of Recife) and Edu Lobo (In Cordão da Saideira) all invested in (with) a fast pace that also infected Gilberto Gil with his Frevo guitars Torn in the middle of a tropicalist eruption.

The Bahian Gal Costa mixed frevo, dubado and funk tincture (by the arranger Lincoln Olivetti) in one of his greatest hits, Festa do Interior (Moraes Moreira / Abel Silva) and the later Northeastern crop did not let the umbrella fall. Carlos Fernando, from Pernambuco, author of the explosive Bath of Smell, success of the Paraiba Elba Ramalho, organized a series of records entitled Asas da América from the beginning of the 1980s.

Alceu Valença started in the genre with the series of albums Asas da América, conceived by Carlos Fernando, in the 80s. During this period, he composed the frivolous Homem da Meia-Noite, Sou Eu Teu Amor, Menina Pernambucana, Pitomba Pitombeira. Recreates the classic Voltei Recife, by Luiz Bandeira. Following are successes like Bom Demais, Me Segura Que Else I Fall, Kissing Flora, Roda and Warns, From January to January, among others. Tropicana won a frevo version, orchestrated by conductor Duda. In 2006, 150 thousand people gathered in Recife to record the carnival DVD Marco Zero. In 2013, he released the album Amigo da Arte, also dedicated to frevo and carnival genres. Its annual carnival show at Marco Zero is one of the main events in the music and culture calendar of Pernambuco.

The dance

From the junction of capoeira with the rhythm of frevo, the step was born, the frevo dance was initially used as defense weapons for passers-by who directly refer to struggle, resistance and camouflage, inherited from capoeira and capoeiristas, who used clubs or cables of old umbrellas as a weapon against rival groups. It was due to the need for imposition and nationalism exacerbated in the period of the Pernambucan revolutions that the representation of the will to independence and the struggle in the dance of the frevo was given.

The frevo dance can take two forms: when the crowd dances, or when passers-by perform the most difficult steps, in an acrobatic way along the way. The frevo has over 120 cataloged steps. The most requested muscles of the frevo are those of the legs, buttocks and abdomen.

Name origin

The word frevo comes from boiling, through corruption, frever, which came to mean: effervescence, agitation, confusion, uproar; squeeze in meetings of great popular mass in its coming and going in opposite directions, such as Carnival, according to the Pernambucano Vocabulary, by Pereira da Costa.

Disclosing what the anonymous mouth of the people already spread, the Jornal Pequeno, an afternoon in Recife that maintained a detailed carnival section of the time, signed by the journalist 'Oswaldo Oliveira', in the February 9, 1907 edition, made the first reference to the rhythm , in the report on the rehearsal of the Empalhadores do Feitosa club, in the Hipódromo neighborhood, which featured, among other songs, one called O frevo. And, in recognition of the importance of rhythm and its date of origin, on February 9, 2007, the City of Recife celebrated the XNUMXth anniversary of Frevo during the carnival.

Source: Kikipédia

Frevo Pernambucano - Photo: Antonio Cruz abr (License: CC-BY-SA-3.0)
Frevo Pernambucano - Photo: Antonio Cruz abr (License: CC-BY-SA-3.0)
Frevo Pernambucano - Photo: Prefeitura de Olinda (License: CC-BY-SA-3.0
Frevo Pernambucano - Photo: Prefeitura de Olinda (License: CC-BY-SA-3.0
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