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NA N A G IR A D O E X U The Th e Brazil Brazilia ian n Cult o f Quimban da
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NA GIR GIRA A DO EX UThe Brazilian Brazilian Cnlt of Quimb anda Author: Mario dos Ventos ISBN: 8-8786-116 1-78 Printed: 332 pages, with illustrations Copyright Year: © 20(1 20(16, 6, Nzo Quim banda Exu Ventania
All rig hts res er ve d .
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: be rep rodu ced o r tra nsm itted in an y fo rm or b y any reaso ns.e lect rical ; f :; :, m y s photocopying . .cording, or information stora and I t-iri -\ 11 cm r the inclusion <>f brief Wrirten permission from the author, except f notations in a
NA GIR GIRA A DO EX UThe Brazilian Brazilian Cnlt of Quimb anda Author: Mario dos Ventos ISBN: 8-8786-116 1-78 Printed: 332 pages, with illustrations Copyright Year: © 20(1 20(16, 6, Nzo Quim banda Exu Ventania
All rig hts res er ve d .
v : ;
:
: be rep rodu ced o r tra nsm itted in an y fo rm or b y any reaso ns.e lect rical ; f :; :, m y s photocopying . .cording, or information stora and I t-iri -\ 11 cm r the inclusion <>f brief Wrirten permission from the author, except f notations in a
INDEX
Dedication
Page 5
Acknowledgement
Page 7
preface
Page 9
Introduction What is Quimbanda?
Page 15
Shamanism and Sorcery
Page 18
The Influence Influence of Kantu Kantu M ytho lo^
Page 21
M acum ba
Page 25
Quimbanda Creation hl th
Page 27
Organisational Struemre
Page 29
W or kin g w it h E x u
Page 59
Songs & Invocatio ns Oeneral Pontos Cantados
Page 41
Pontos Dos Gitanos
Page 195
Various Various O de r Pontos
Page 245
Drawn Pontos
Page 299
Quimbanda Vocabulary
Page 311
Bibliography
Page 317
Epilogue
Page 320
About the Author
Page 327
DEDICATION
To Vento and Mulanrbo
TbankjOHjorjom. a50 n jbiw J)0u>erand :bad.. S a m E xm ! - S ar an a х м
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ACKNOWLEDGMENT
My deepest gratitude for their help and support in finalizing this project
goes to Tata Remolino
Thank you for you constant support and encouragement in working with die spirits o f Quimbanda, and for allowing me to use so much ofj 'ou r personal material in this book!
The Mem bers of our N 20 in tire UK
Tliis project would n ot have been possible without your love and laughter.
N un o d’O xa gu ia n
For endless lrours of translation, correction and inspiration!
PREFACE TO THE REVISED EDIT ION
.l'.hJs boo k wa s original!) intended as a personal reference for members of our Quimbanda family ^ z o ) in tire UK. It does not claim to be allcomplete or exhausted in tire information it provides on a traditions as extensive as Quimbanda. But it can stand on its own as tire first Eirglish boo k of alnro st 400 Po nto s (so ngs /in voc atio ns) and mor e tlren 100 Prrntos Riscados (ritual drawings) of tire Exus and Pomba Giras. The information lridde.n in tlrese songs and invocations is of utmost Unportance if a perso.n wishes to understand tire nature and clraracteristics of a jrarticular eirtity. Tlris book also pro^des some information on tire olrscure and complex history of Quimbanda and oir the organizational structure o f tire entities ve love and res pect so muclr. AD songs are given in alplralretical order of tire Exus they are meairt to invoke. Where more tlreir one song for a particular Exu or Pomba Gira .is listed, tlren tlrese are clearly divided by a skrrll - to mark the eird of one and tire start o f a new song. Quimbanda as a spirinral tradition is often misunderstood and at tiirres snidcly disdairred as 'evil w itchcraft’ or c en Satanisnr. Ot.lrcrs believe th at everything lridden aird mysterious is Just waiting to explode witlr curiosity and intrusiveness. This tradition - just like any other spirinral path - slrould Ire approaclred witlr respect aird caution. The entities we invoke are not mere tlrouglrtfomrs as some snrdents of tire magical arts w an t US to bel ieve, ircitlrer are they 0 setvants. To master tlr.is tradition will take tirrre, ajrpreciation and willingness to look at ) our own ‘dark side’. If you succeed, a world of supernatural beauty will Ire opetr to you arrd you will lrave gained the trust and Stipport of some of t-lre most wonderful, protective aird clraritable spirits...
hlario Dos Ventos Surrey, United Kingdom Septeirrlrcr 2006
INTRODUCTION
\ н д г IS QUIMBANDA? .[.() understand Quimbanda, it is first of all important to unde s and the people wh o gene rate d this magical trad itio n - ra ilians! Brazil is by fa most magical cGUntrie^ in Larin America. The believe in supernatura l entities, charms, talismans and witchcraft is ever-present fiom among the ske-scrapers of the capital, Brasflia, to tile slums of Bio, the so-called Favelas, illegal and uncharted 10 v-inc 0me areas vhich, along with irregular land developments, are responsible for a tltird of all housing til Rio. Rut don’t be fooled! Brazti is a continent-sized nation, marked by profo und cont rast s and diversity. Some o f tliese are geogr aphic or climactic in nature, others are racial or ctlinic. Brazil’s population draws on Native American, African, and European roots, and successive Avaves of immigrants, principally fiom Asia anti Europe, have added to tile mis. Yet otlier contrasts are social in nature and generallj less welcome. Living conditions for Brazil’s 170 million people vary dramatically, and income disparities in Brazti are significant - not only across regions but also between me trop olita n cente rs, non -m etr opo lita n urba n cent ers, and rural areas. Brazti’s modern capital, Brasilia, is an architccftiral wonder, ricli til sculpmres tliat include a catliedral in die sliape of tlie crown of thorns. Some of the world’s m ost glorious esamples of colonial architechire are to be seen til Brazil, and the Jesuit missions are on Unesco’s world licritage list. Famous tlie world over for Carnival, tile samba, its popular bands, beach es, and atlilct es, Brazil is equ ally famo us for Igua u, among the bi^est and most spectacular waterfalls in die world. L’pon seeing tlie waterfalls for tile first time, Eleanor Roosevelt remarked, "Ihey make Niagara Falls l ook like a leak) faucet.’
The vast Amazonian jungle, Amazonia, sometimes erroneously described as the world’s lungs, is the largest tract of rainforest on die planet. Home to coundess flora and fauna, sucli as tlie giant water lily anti tlie jaguar, it !: believed to con tain .many u nkn ow n specie s and medictiia l remedies . Some of die world’s last knoivn groups of Indians living in tlieir original state are found in the vast readies of diis last great wilderness
E^en before Columbus discovered t e AntiUes 49 the 1; ! : | had been aware of lands across the Atlantic and Irad nradc several expetlitions to the West, but the) had kept this knowledge secret from tlreir amlritious neighbour. The official discovery, of Brazil was made on 22 April 1500 by tire Portuguese explorer Pedro Alvares Cabral. To expand on Cabral's discovery tire Portuguese employed Italian navigator Amerigo Vespucci who in 1499, under Spanish patronage, had explored the mouth of the Amazon and the northern shore of South America. In 1501, in Portuguese service, Vespucci return ed to tire Soutlr I Atlantic, tl s time exploring the southern coast of wha t is now Brazil. It longitude (previously determined by dead reckon ing, who prtrved that a I new continent lrad Ireen discovered, ^ d it is Amei^igr ^espucci 1 | whose !ronour America was named. Nei the r the explo rers o f N or th Ameri ca no r the Potr trgue se expl orer s of Brazd fouird the elaborate, urlratr Indian civilizations tlrat the Spairiards I fountl in Mexico and tire Andes. Tire first permaneirt settletrrcirt itr Brazil was fomrded in 1532 oir the coast of tire present-day State of sao Paulo. Iir both countries, with vast lands to subdue and make productive.! coloirization was difficult. In Brazil, as long as tire Portugese limited their actittities to barter, tlrch relationship with the Indians remained peacefo l. But t his clrange d quickl y w hen the colo nizer s d ecide d to use tire indigenous population either as soldiers in battles against tlreir French and Dutch competitors or as manual labourers - first for the exploitation 1 of Brazd W o ^ , and afterward for the cultivation of sugar cane. Rather than submit to the economic and social constraints of the plairtation I system, the Indians fought or fled. In the British colonies, tire story was the same. The Indians would be enslaved. John Cabot, under the patronage of Henry VII of England, landed on the North American continent in 1497. (Although Christopher Columbus made four voyages to the Caribbean benveen 1492 and 1504, I he never set foot on the North American continent.) As in Brazil, the first permanent settlement in the present-day United States was also the I result of foerian exploration. Both Britain and Portugal ttrmed to tire ^African slave trade as tlreir source for manual labour. As early as 1538, Africans were brought to Brazd to exploit its Nortlr-East coastal areas. Bettveen the 16tlr aird the 19th centtrries, tirree to four million Africans were brough t to Brazil. I Most wo rked o n the., plantat ions, in su gar mills, or in dom estic service.
Since Angolans were the first of the large African groups in Brazil, tliey came into contact vitl1 the Amerindians and Caboclos, people of Portuguese-Amerindian descent. To this day in Brazil, one often finds Angolan and Amerindian elements closely associated, as in the expression ‘Caboclos dc Aruanda’, literally Indians from I.uanda, the capital of Angola. In Afro-Brazilian religious contexts, a Caboclo is the spirit of a dead Indian, and Aruanda means something like ‘spirit land.’ While tlie Catholic church appeared to reach some levels of success in converting some of tlic native people of Brazil to Roman Catholicism, it tlid not liavc tbis kind of success witli the largest population o f Afii can slaves in the New World. The number of African slaves brought to Brazil by the Portu gues e surp asse d tha t o f the sec ond con cen tra tio n o f slaves found in Haiti and later in the US. Under extreme pressure by the sla e masters, owners and the Catholic church, tire slaves were compelled to incorporate their beliefs into the spirits and the magic of the native faith. Basically, the African slaves publicly followed tire church while they secretly practiced tlreir African religions until the), became free in 1888. '!'he same also occurred in most other Latin American countries. For example, under French slavery, tlie African slaves found in Saint Dominguc (now Haiti) resorted to tile same secret practices and mixmre of spirits and faith to su^ive die many years of slavery and prohibition. Some of the persecution even occurred long after Haiti became the second independent republic in this hemisphere and the 1st Black Country to put an end to slavery in 1804. Ih e slaves found in Cuba also went to a long period o f concealment of their religious practices. But back to Brazil. For two hundred years, 1440-1640, Pormgal had a monopoly on the export of slaves from Africa. It is notable tliat they were also the last European coun try to abolish tlie institution - although, like France, it still continued to work former slaves as contract labourers, which they called librettos or engagCs a temps. It is estimated that during the 4 1/2 centuries of tire trans-Atlantic slave trade, Portugal was responsible for transporting over 4.5 million Africans (roughly 40./0 of the total). Africans lrad been traded slaves for cenmries - reaclring Europe via tire Islamic-run, trans-Salraran, trade routes. But slaves obtained fronr the Muslim dominated North African coast however proved to be too well edu cat ed to be tnr sted and had a tendencj - to rebellion. Bettveen 1450 and tire end of tire nineteenth century, slaves were obtained from along tire west coast of Afiica with tire firll and active CO-
operati on of African kings and mercliants. ^ h er e w.ere occasional militaty campaigns organized by Europeans to capture slaves, especially by the Port ugue se in wha t is now Angola , but this accou nts for only a small percentage of the total.) In remrn, the African kings and merchants received various trade goods including beads, cowty shells (used as money), textiles, brandy, horses, and perhaps most importantl} , guns. These guns were used to help expand empires and obtain more slaves, until the} w.ere finally used against the European colonizers, lb e export of trade goods from Europe to Africa forms the first side of the triangular trade. The transport of slaves from Africa to the Americas forms the so called Middle Passage of the triangular trade. Several distinct regions can be identified along the West African coast. These are distinguislied by the parti cular Eur ope an count ries wh o visited the slave por ts, the people s wlio were enslaved, and the dominant African society(s) who provided tlie slaves. Conditions on tlie slave silips were terrible, but the estimated death rate of around 13./0 is lower than the mortality rate for seamen, officers and passengers on the same voyages. '1'lie first and by far largest group of slaves was brouglit to Brazil from the Congo/Angola region of Africa. Ibis group is referred to as the Banm and includes people from areas such as Congo, Angola, Zambia, former Zaire, Gabon, Zimbabwe, the Central African Republic, Equatorial Guinea, Luanda, Rwanda and 'I'anzania. 'Hie term Bantu however refers to over 400 different etlmic groups, from Cameroon to South Africa. Whilst the nor th o f Brazil was mainl} influenced by Yoruba (Nigerian) religions, the south of tlie country has very much been influenced b} the religion and spirimal concepts of the Bantu.
SHAMANS AN D SORCERERS
And this is where we find the roots of Quimbanda! The Quimlianda was - and still is - the title of tlie priest/shama ns o f many of the African Banm societies in West and South-West Africa. The prefix ‘Ki’ refers to ‘language’ or ‘knowledge’ whilst ‘mlianda’ can be translated as ‘tlie power to cure’. A shaman/priest - widely called a Quimbanda or, depending on tlie region Nganga - may tlierefore ha e extensive knowledge of herbal
medicine, and at least some part ofliis work is devoted to tlic application of that knowledge. '1’he Quimbanda is said to have inherited or acquired the ability to communicate with the spirit world. In man} cases, the acquisition of such powe r f ollows illness and posse ssion by a specific spirit. Th e proficie ncy and degree o f specialization of diviners varies widel} . home will deal only with particular symptoms others enjoy broad repute and may include more tlian one village, or even more than one province, in their rounds. 'Ike greater tile reputation of tile Quimbanda, tile more the} charge for tlieir scrttices. '1'his widespread term for diviner/healcr has entered into local Brazilian-Portuguese, and so central is tlie role of tlie Quimbanda to the complex system of beliefs and practices characterizing most indigenous religions tliat some sources, such as the Journal de Angola, a newspaper published in Luanda, Republic of Angola, have applied tlie term ‘kimbandism’ to indigenous systems when referring to Angolan/Bantu religions. Even today, hohstic liealth practitioners in West and South-West Africa are still known as Quimbandas. They can be hcrlialists, diviners or spiritmediums. People take recourse to tratlitional medical systems not onl} to cure physically manifested illnesses but also to seek protection from the man} hazards ofdail} life, to discover tlie causes of a deatli in the family, see why domestic animals are dying or why the fields are barren and the harvest not enough. Above all, African people seek the powers of traditional practitioners to communicate with the ancestral world and to uncover the reasons lieliind extraordinary events and to restore lialance into tlieir lives. In mail} Central and West African societies, a Quimbanda is first and foremtist seen as an intermediary bertveen liumans and tlie god Kalunga - tlie Ling of tlie Realni of the Dead. A man is chosen f or this role by a spirit, and undergoes a transformative (initiation-) period. Male Quimbandas in Bantu-Congo societies occasionally practice same-sex eroticism and mart}’ other man. These men often take on women's garments, work and names. ’! lie proficienc} and degree of specialization of Quimbandas may vary widely. Some will deal only with particular symptoms others enjo} bro ad repute and may setwe more tlian one village, or e en more tlian one province. The grea ter the rep uta tion of tlie Qui mb and a, tlie mor e he charges for sendees.
Should someone be called to become a Quimbanda, he or she will have to be trained and later initiated by another member of tlie priesthood. The initiation process normally starts with a period of isolation in the forest. Here the soon to be Shaman has to search for Iris or her power and establisli a link to a spirit who is willing to work with him or her. In general, there are rtvo main types of Quimban das the Herbalists and the Diviners. Divine» arc specifically called to their profession by their ancestors through tlie sending of a illness syndrome. The Zulu, one of die Bantu tribes, referred to this process as Thwasa or Intwaso a term wliicl, refers to the process of gradually becoming or emerging as a diviner. The per son is said not to cho ose to be a diviner but is cho sen by the ancestors, '! he Intwaso ctjndition is characterised by the initiate suffering from various illnesses copious dreams, visions and mental disturbances sucli as .nadness and anxiety believed to be sent by tlie ancestors. Hovvevcr, to become a diviner the initiate has to be first cured of the Intwaso through a series of rituals, which include tlie use of special plant metlicines, and had tlien to receive training in techniques of divination and curing. Ibis involves tile novice or cantlidate diviner being apprenticed to a practi cing hea ler w ho teaches him or her the ways of traditi onal healing.
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INFLUENCE OF BANTU M T H O L O G Y
be Bantu believe in the survival of rhe soul afte r death a nd link this believe to the idea tliat the spirits o f the dead can influe nce rlic living. If somebody falls ill, it is assumed that an ancestral spirit has sent the disease or that the sick person is bewitched by a living enemy. In any case, the Quimbanda - Shaman/D iviner - must consult with the Spirits to investigate the case and find the remedy to cure the patient. For the 2
Bantu the notion of disease encompasses physical sickness togetlier with misforrnne and imbalance. Thus, anything that brfogs one into disharmony, be it with the environment or others can be perceived as pote ntiall y di seas c/il lnes s causing. Misformne, in all its more serious forms, was believed to be caused either by ancest ral wra th, witc hcra ft or pol lutio n and it was the diviner 's fUnction to uncover the exact cause and prescribe the appropriate actions to be taken. However some forms of misforrnne were believed to have natural causes i.e to result from environmental factors.
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Religion and disease/illness causation are always closely interwoven. The Banm believe t hat the spirits of the dead inhabi t the place in w hich they are buried. The trees of those sacred burial groves are spared from harm caused by natural disasters and liglitning and are never cut or destroyed. At the base o f such trees ve usually find arrow lieads, broken earthen vare vessels, broken tools, etc. whicli make the actaal burial places of people . The entity * for example, seen as the personification of death, who is worshipped in Angola and the southern part of Zaire and known to tlie w hole Bantu Natio n in Aftica, is also present in Brazilian Q * He holds the same fonctions and attributes in Brazil and interacts witli the Qumbanderos in the same was as he once had and still does in Africa. The Bantu are organized in tribes or nation, each nation being dedicated to the worship of a certain Nkisis or spirit. Each clan has certain taboos or prohibitions, called ‘nzio’, ‘mwidzilo’, ‘kizilia’ or ‘nzila’, depending on the particular Banm dialect. One taboo obsetved by man) Kimbanderos in Brazil is not to get wet in the rain. This derives from the Uwtingu Tribe (meaning ‘of the sky^ who’s nkisi/spirits are very prominent in Brazdian Quimbanda. It is also taboo for the Jiving to eat the food offerings w hich are given to the dead. According to several Banm legends, a person who enters the kingdom of the dead by chance or purposeful intention (tlirough ceremony or dreams), is prohibited to taste the food of the dead. It is believ ed tha t they are bou nd to rem ain in the ‘Kingd om of De atli ’, should they disobey or disrespect tliis taboo. '1'he African Quimbandas (Priest/Shamans) are in con stant contact with tile spirit world. Only in this way are they able to perform oracles, deliver messages, cure the sick and enter into trance. Depending on the area and
dialect, the Quimbanda is also called: ‘sing'aitga’, ‘nganga’ or ‘mganga invanga’ or ‘wanga’. It is interesting to note tliat the terms ‘ganga’ and ‘wanga’ arc also known in Haitian Vodo u - another tradition hea )!ie influenced by Banm religif)n and philosophy, '!"he ‘ganga’ of Haiti is a herbalist and healer, whilst the term ‘wanga’ is used to refer to tied packets containing herbs and otlier ingredients as well as to magical workings in general. It is not uncommon to liear Haitians use tire phrase ‘to tic a wanga’ in relation to spiritual work.
th e ori^nal m eaning ofQu imb anda can therefore be defined as: 1) the science or tlie art to cure by means o f natural medicine (remedies or enchantments) whereby the exact medicine is tlctcrmined with the means of divination to employing or questioning the spirits of tlie dead 2) the supernatural forces which aid in healing 5) an objects which make tile linking bet een the spiritual and the physical world such objects are called ‘enchantments’. 4)
tile shaman and healer who used tliese powe rs
However, in the context of this book and in the light of Brazil’s spirimal traditions, Quimbanda is a rich magical religion, deeplj. rooted in Bantu/Congo religion and spirituality.
MACUMBA
Now tlia t w e ha e looked at the historical development of this tradition and its African roots, let’s see how Quimba nda is practiced today. After Its arrival in Brazil, the spiritual tradition of the Bantu which, as we ha e seen centres primarily around spirit entities called Npungus (spirits of the dead) and Nkisi (spirits associated with the forces of Nature) was heavily influenced by Western Magic - ceremonial and sympatheti c - as well as the spiritual tradition of the aboriginal Indians of Brazil.
As a result of the slave trade, wilieh forcibly brought people from a variety of ethnic and spirimal backgrounds together in the New World, Quimbanda was also heavily influenced by the religious beliefs of the Yorubas of W est A fiica and by Roman Catholicism as well as Spiritism. O f great importance is also the influence of Aboriginal Indian believes. Among the many similarities in Banm and Amerindian cosmology is the bel ief in the supe rnam ral, the cult of the dea d, they belie ve tha t illnesses are caused b) spirits and tlie ever-present figure of the tribal shaman. Although we have no detailed description of the spirimal practices of the Indians at the time of the discovety of Brazil, we can still compare them to anthropological research and discoveries of some of the most recluse tribes in Brazd toda) . On e of these tribes are the fenetehe ra Indians. Despite the contact they had with civilisation, they have maintained their traditional creeds practicall)' unaltered. The Tenetchera attribute all difficulties in hunting, childbirth and general illness to the influence of either die spirits of the dead or spirits of nature who mle over either the forest and all of its animals or inhibit rivers and waterfalls. The man w ho can placate and control tliese powerful forces if tile tribal shaman, who exercise his magical powers through his interaction with the spirit world. The use of cigars for example, was introduced to Quim banda in this way. If a person dies of natural causes, the Brazilian Indians believe, his soul will enter the Kingdom of Death, a place of rest abundance and happiness. But sliould a person die an ‘ugly death’, if he lias eitlier harmed his communit). in live or becam e a victim to witchcraft, then his soul will restlessly wonder the forests and graveyards. Each spirit in tlie pantheon of the Brazilian Indians as well as the Bantu has liis or her own song, drtim beat or dance, favourite food and drink and needs to be treated accordingly. Rooted in Bantu as well as Aboriginal Indian believes is the co ncept tha t a person’s difficulties are always attributed to w.itclicraft, sorcery, or tlie acts of ancestral or namre spirits. The exact causes is usuall) determined by a divin er, a special ist wh ose sup ern atu ral pow er an d use o f mate rial olijects are held to be generally benevolent (althougli there are cases in which a diviner may be accused of sorcety) and whose sensitivity to pat ter ns o f stre ss and strai n in the com mu nity help him or he r arri ve at a diagnosis. In general, the belief in spirits (ancestral or natural spirits), witches, and sorcerers is associated with a worldview that leaves no room for the accidental, bl e th e r events are favourable or adverse, responsibility for
them can in principle be attributed to a causal agent. If things go well, the correct ritual has been performed to placate the spirits or invoke their help. If things go badly, the correct ritual lias not been performed, or a spirit has been otherwise provoked, or malevolent individuals have succeeded in breaching whatever protective (magical) measures have been taken again st the m. Th is ou tlo ok oft en pe rsis ted in A n ^ la and other parts tjf Africa among individuals who liad been influenced by Christianity or secular education. With some clianges in particulars, it seemed to percade urban areas, where a Quimba nda rarely lacked clients. 'ITis magical practice was only given a name approximately 100 years ago. As with many other self-contained religions and traditions, the pract ition ers nev er liad any nee d to des crib e or def ine thei r prac tice to tlie outside world with terms otlicr then *witchcraft’. Until the second lialf of tlie 20th century, all Afro-Brazilian religions were considered criminal activity by the Brazilian government and periodicall). repressed. More recentl). the) have become part of popular culture as many novelists and songwriters have written or sung abo ut them. Another term comtnonly used to describe Quimbanda is Macumba. This is a reference to rude, simple or evil spell working, and was originally applied to Congo related magical workings. It is frequently used in Brazil to refer to any ritual or religion (,f African origin (as slanj^, although it's general.) seen as a pejorative and offensive. Its modern day meaning is related to negative witchcraft, bindings, curses etc, and the phrase ‘doing a Macumba’ is gcncrall) employed in reference to any kind of witchcraft in Brazil. Macu mba - , which interestingly enoug h derived from the Bantu ‘ma-Kiumba’ - looscl) translates to ‘Spirits of the Night’. Reference is here given to the practice of secret, nightly meetings. The word ‘Macumba’ if use among actual practitioners is not viewed as negative, but its use by non-practitioners remains largel) derogatoty in intent. Quimbanda has been subject to a long history of largely urban development. People cultivate what they need in their lives and their religion develops, if it is a usefiil one, along the lines the), need, not along formalities that fit the received notions o f what a po pular religion sliould represent. .Ihcse are popular religions not ‘earth’ religions, itself a very 20th centuty urban conceit. They are nothing if not practical for those who follow them. Ih e central ‘deities’ of worship - or better put, the entities around which the Quimbanda cult is based, are Exu and Pomba (iira. It is important not to confuse the Exu of Quimbanda with the Orisha Eshu or Elcggua
of the Yoruba based traditions of CandombJc and Santeria. The Exus of Quimbanda are in fact spirits of the dead and in particular the spirits of deceased Quimbanda priests or individuals otherwise involved with Bantu/Congo spirituality. God knows that being ‘only liuman’ is to be weak, to be filled with doubt and all sorts of frailties. That's why He has allows tliese spirits, who liave been on earth before, to help US in this life. They are all around US and are willing to be called upon. After all, it’s to their advantage to listen to US! ’ ' * have their way t f getting what tliey want from these spirits. We do not liesitate to call on them. Usually we try to solve problems without spirit intervention, but if it is a case beyond human effort, then the spirits are sought! As with the European Witch cult, Quimbanda also had a reputation of liuman sacrifices and orgastic gatlierings. It is tme thougli that most dances - and dance is a mayor part on this religion - are of erotic and flirtatious namre. upon possession, the Exus will also ask for Rum, Gin or otlier strong, alcoholic beverages and will also smoke large amounts of strong cigars. The cult is, however, far removed from dmnken orgies.
It is interesting to note tliat, among the Banms, woman had an equal j posi tion to m an. Wo ma n coul d lie com e qu eens , pri ncess es o r sham ans or hold other important positions witilin tlie tribe. It was also not uncommon for woman in such powcrfill positions to ha 'e more then one husband. Some of these husbands were kept as slaves. Pomba Gira, seen as a powerfill queen and sorceress in Quimbanda, also has the reputation of halting ‘seven husbands’. Even tliough she is sometimes seen as a prostimte, examining the Banm roots of Quimbanda, we can see that the tradition of powerful woman who had several husbands has suntived. The Exus are the mirrors which reflect the essence of the common man, an instmment of communication I bertv een two worl ds: the spirit ual and the mate rial serving as custodians on the spiritu al plan. They are the ‘police of the astral plane’, responsible for carrying tlie souls of tlie departed unto tlieir destiny and to reward or to punish the actions tliat men carried out on the pliysical plan while he or slie was alive. It is important to understand that Quimbanda is neitlier synonymous for Satanism or Devil worship. The mos t important aspect of tliis religion is that people arc able to related to it. The common, ordinary man in the srteet is able to get closer to the world of spirit, is able to communicate
with the dead, to ask favours of African and * * " entities and actuall)- to see tlie spirits descend and take over tile bodies of theti worshippers. It is not simply a passive reflection of Brazdian cultine but a creative factor in the formation of a coliercnt Brazilian national identity. Quimbanda is as much part of our lives as are our fantilies, our fiiends and the country we li e Ul! We accept it and take it serious. We try to understand the spirits and the)', in remrn, try to understand US! The world oftlie spirits and ours work togctlier and liclp each otlier. It’s that simple and vet it’s so coniplexJ
QUIMBANDA CREATION MYTH
.The liantu, like most African nations, hold a monotheistic worldview Nzamli i, tlie G rea t Go d, is tlie cre ato r o f everyt hing. He ma tiifr sts in .nature and rules the universe via liis appohited spirits
:leg en d tells US tha t
he beginning on »1' N bo is be eternal one, owner of all atnbi existed. 1 i.s be rairongiu (secre ). N ambi was filled witb energy and power, ready 0 bnrs a any we. N ąm bi detided ba be was ready 0 crea e. In be gliw pse 0 an eye, millions and tnill^iotts o f pieces of matt er sttdrletl cownfer-clockwise arownd him, wbo is be centre. N e wn rse - stars an d planets, and a ll risible.bad created Ngombe, tl a«1b .matter Morement was brawgbt into fbe nnirerse and ’be ma .er N^ am bi created began to ebange and to dri.ft apart. N awbi detided to create a being tbat would be able to trarel tbe nnirerse, to travel and mediate between matter and space. Ngambi bn aia was both/- concentrate on a .fixed point and gave life to -Л 1м 1’ . E x 1 wan and woman at tbe same tim e- a manifestation of tbe nafnre o/ N ~.awbi :To
га ш were given tbe following?gifts by N^ambi
So t bat yon can trarel.freefy, to places wbere I can not always be, I give" -1 e limits between one space and mother, between.!yon tbe key tbat opens t |,gbt ot an d tbe cold:and dark ness, between ,..." l
2- "1give yo u free will
0
boose between pod an d bad..."
-0 remember all tbe 5- Yo u sbali bat* knowledge of all things, be able t things yo u see and bear fro m tliis d a) forward, so yo u will be able to enrieb
ORGANISATIONAL STRUCTURE OF THE QUIMBANDA SPIRITS
your wisdom from your own experiences and those of others...” Tbe world « wbicli we lived belong to fbe E x u s’
4- "1 grant )OM tbe power to bring forth changes in tbe matter 1 bat* created...”
01i eira Magno
5- "Yo u shall be alile to see through time, to lie able to knowing tbe past and the future o f all beings, bn not yo ur own.futnre..." 6 " Yo n sha ll possess the intelligence to nnderstand all creatnres, high and low and in b etween...” 7- "1 gp ey ou tbe power to multiply yourself, to create similar spirifnal beings as yourself, bnt lower in powers an dj dd ti es . Be careen! with tbis, because once divide yo u no longer will be able to unite yoursel again. That mystery is with me alone.”
Due to its African roots, the highest spiritual authority of Quimbanda is Nzam bi —Go d. This is n ot just to be un der sto od ' Exus and Pomba Giras in possession will sometimes refer to Nzambi as their highest authority. During rituals God’s name is invoked but God is believed to wo rk thr oug h his ‘ambas sad ors’ (the ance sto rs as well as other spirit beings). Marvin Harris in his book Our Kind states that ‘...most of tile earlj. .creator gods abstained from contact with human beings.’ Pe rhap s only wi th the arrival o f m ono the ism did the be hef arise that God is directl)- involved in humans lives. God, however, is not directl) involved in man’s day-to-day business. Hence He appointed (:alunga and Omolu as his ambassadors. Alice Werner in *Myths and Legends of the Banm ' tells US that Galunga donates the Kingdom of tile Dead as well as its ruler. The same cosmology is applied in Brazilian Quim banda. C alunga, IS the great lo rd of Deatli. His domains are firstly tlie ocean, called ‘Galunga Granda’ or Great Galunga and secondl). the graveyard, simpl) called Galunga. Omolu, another West-African spirit is seen as the bringer of deatli and sickness. Amoung Iris names in West Afrika is Sharpana. The Brazilian spelling of tliis name is Kapana. The ethymologie of Iris name can be understood as follows: Shon meaning ‘to take in small quantities'. Pa ‘to kill’and Enia ‘a per son ’. '1'lius, his nam e s tands for ‘He w ho kills slowly». These two spirits can be understood as the two remaining Nkisi of Quimbanda - the personifications of natural forces - who rule over all Exus and Pomba Giras.
Next in t he orga niza tion stru ctu re is w hat we caU tlie 'Tl ue e P illars of the Universe'.
Exu Rei das
Sete
Encruzilhadas
His deputies are Exu Veludo and Exu D os Rios
Exu Mor
4) The K ingdom/T ribe of the Cemetety
His deputies are Exu Tranca Ruas and Exu Tiriri
Ruled over by Exu Rei das Sete Kalungas and Pomba Gira Rainha das Sete Kalungas, who can also be called Exu Rei dos Cementerios and Pomba Gira Rainha dos Cementerios. These two entities govern all spirits and all magical work associated witlr and performed in the cemetety. Within tile context of Quim banda the term ‘Kalunga’ is often used interchangeable with 'cemetety'.
Exu Rei das Sete Liras
His deputies are Exu Marabo and Exu Mangueira
We can further divide the different Exus and P omba Giras in a variety of ways. What follows is a contemporaty outline of the 7 Kingdoms natural habitats which are frequented by certain Exus and Pomba Giras. These can be seen as 7 tribes, headed by 7 'chiefs' and a 'council' of 9 elders in each tribe. Please note that their position in the following tribe/kingdom outline is not necessarily the same as their rank in the hierarchy!
5) The K ingdom /Tribe o f Souls
Governed by Exu Rei das Almas Omulu and Pomba Gira Rainha das Almas. Tlrese two spirits are also called Exu Rei da Lomba and Pomba Gira Rainlia da Lomba, because they govern all spirits and all magical work associated with and performed in high places and on hills. However, tile Exus of tlris kingdom also work in hospitals, morgues, etc. and are sometimes referred to as 'Omulu Spirits'.
1) The Kingdo m/Tribe of the Crossroad
6) The Kingdom/Tribe oftlie Lyres
Governed by Exu Rei das Sete Encrtizilhadas and Pomba Gira Rainha das Sete Enciuzilhadas. These two entities govern all spirits and all magical work associated with and performed at the cro'ssroad.
The heads of this kingdom are not known by their syncretistic natnes: Exu Lucifer and Maria Padilha, tlrcir truth Quim banda names being Exu Rei das Sete Liras and Rainha do Candombie. Ibis name shows tile affinity of these spirits for dance, music and the fine arts. The ‘Kingdom of die Dance’ is also sometimes called ‘Kingdom of Candombie' - but not for the African Orisha Cult, but rather for being synonymous with dance and rimal music. All spirits and all magical work associated with card divination and ‘Gypsy Lore’, music, poetty, art, etc, arc associated with tliis Kingdom - also all Ciganos Quimbanderos - Gypsy spirits of Quimbanda, as well as all Malandros Quimbanderos. Lira, tlie Portuguese name for tliis Kingdom, is also said to derive from die West-African town of Lira, near the Eastern borders of the Baganda Kingdom.
2) The Kin gdom/T ribe of tlie Cross
Governed by Exu Rei dos Sete Crtizciros and Pomba Gira Rainha dos Sete Cruzeiros. 'Ibese two entities govern all spirits and all magical work associated with and perfortned in the streets and street corners (not to be confosed with crossroads).
3) The Kingd om/Trib e of the Forest
Governed by Exu Rei das Matas and Pomba Gira Raittha das Matas. ILese two enti ties govern all spirits and all magical work associated w ith and performed with bushes, trees, parks or forests —except bushes or trees in the cemetety, which belongs to yet another kingdom. In this kingdom ve also find the Caboclos Quimbandeiros - spirits of Native American Indians that manifest in Quimbanda.
7) The Kin gdom/T ribe of the Beache
Ihis Kingdom is governed by Exu Rei da Praia and Pomba Gira Rainha da Praia. I hcs e two entiti es govern all magical work and all spirits which are close to the water or in tlie water - be it at the beach o f the sea, of rivers, lakes or sp rin g. I n tliis kingdom ve also fine the Marinheiros Quimbanderos - spirits of Sailors and Pirates who manifest in Quimbanda.
Each Kingdonr is further organised as follows:
K I N G D O M O F T H E C R O SS R OA D S 1) The p eople o f the Crossroads Ur the Street - Govern ed by Exu Tranca Ruas 2) The people o f the Crossroads of dre lyr e - G overned by Exu Sete Encruzilhadas
)he people of the Crosses o f tlie Sea - Governed by Cxu Kalunga
KINGDOM OF THE WOODS
1) The people oftlie Trees - Governed by Exu Quebra Galho 2) The people oftl ie Parks - Governed by Exu das Sombras 3) rhe people of the Woods by the Beach - Governe d by Exu das Matas
3) The people of the Crossroads in higlr places - G overned by Exu das Alnras
4) rh e people of tlie Fields - Governed by Exu das Campinas
4) The people of the CrossUrgs of tire Railroad Tracks - Governed by Exu Marabo
6) The people of tire Mines - Governed by Exu Sete Pedras 7) 'lire people of the Snakes - Gov erned by Exu Sete Cobras
5) The people of the Crossroads in tire Woods - Gov erned by Exu Tiriri
8) The people of tire Flowers - Governe d by Exu do f Cheiro
6) 'r ire people o f tire Crossroads in the Cemetery - Gove rned by Exu Yeludo
9) The people of tire Platrt Nurseries - Governed by Exu Arranca TOco
7) The people of tire Crossroads of the Square - Governed by Exu Morcego
KINGDOM OF THE SMALL CEMETERY
5) The people of tire Mountains - Governed by Exu da Serra Negra
1) The people of the Do ors o f tire Cemetery - Go verned by Exu Portiere
8) "lire people of tire Crossroads of open Spaces - Governed by Exu Sete Gargalhadas
2) 'lire people of the Tomlrs - Governed by Exu Sete Tunrbas
9) Tire people o f the Crossroads by the Beaclr - Governed by Exu Mirim
3) The people of the Catacombs - Gove rned by Exu Sete Catacunrbas
K I N G D O M O F T H E C R OS S ES
5) lire people o f the Skull - Gove rned by Exu Caveira
1) The people o f the Crosses of the Street - Gove rned by Exu Trairca Tudo
6) The people of the Bushes of the Cemetery - G overned by Exu Kalunga
4) !.he people of the Crematorium - G overned by E xu da Brasa
2) The people of the Crosses of the Plaza - Governed by Exu KirombO 3) 'Hre people o f the Crosses of tire Lyre - Governed by Exu Sete Cruzeiros 4) The people o f the Crosses of Forest- G overned by E xu Mangueira
7) The people o f the Hill o f tire Ccmetcty - Governe d try Exu Corcutrda 8) The people of tire Caves - Governed by Exu Sete Covas 9) ! Ire people of Dark Magic - Governed by Exu Capa Prcta, who is also known as Exu Mironga
5) The people of the Crosses of Cemetery Governed by E^ r Kaminaloa KINGDOM OF THE SOULS
6) The people of the Crosses of Souls - Govern ed by Exu Sete Cruzas 7) The people of the Crosses of Open space (Cardinal PoUrts) Governed by Exu Sete Portas 8) The people of tire Crosses of the Beaclr - Governed by Exu Meia No ite
1) The people of tire Souls of High Places - Governed by Exu Sete lombas 2) The people of the Souls the Captive (Slaves) - Governed by Exu Pemba
3) The people of the Souls of Funeral Homes - Go verned by Exu Maraba 4) The people of the Souls of Hospitals - Governed by Exu Curado 5) The people of the Souls of Beach - Governed by Exu Gira-mu ndo 6) The people of the Souls ofGhurches and Temples - Governed by Exu No ve L uzes 7) The people o f the Souls Souls of the Woods - G overned by Exu Sete Montanhas 8) .Hie .Hie people o f the Souls Souls of the Gemetcry - Governed by Exu Tata Cavcira 9) The people o f the Souls Souls of the E ast - Governed by Exu Sete Poeiras Poeiras
8) The people oftlie Winds - Governed by Exu Dos Ventos 9) .ilie people of the Islands - Governed for Exu do COco COco Some Kimbandistas connect these seven kingdoms to ‘seven roads a man has to travel in liis life’: 1) The road of spirituality 2) The road o f matter o r material ‘things. ‘things. ) П 1е road o f off-spring or children children 4) The road o f abundance and wealth 5) The road of physical labour
KINGDOM OF TH E LYRE
6) The road o f pleasure pleasure
1) The people o f Hell - Governed by Exu dos Infernos
7) The roa d o f love
2) The people o f the Cabarets - Governed by Exu do Cabar CabarC C 3) The people of the Lyres - Governed by Exu Sete Liras 4) The Gypsy people - Governed by Exu Cigano Cigano 5) 'Hie people o f the East - Governed by Exu Pagao 6) The people of Pimps and Gamblers - Governe d by Exu
ze Pclintra
7) The people of the Garbage - Governed by Exu Ganga 8) The people of the Moon Govern ed by Exu Male 9) 'Hie people of Commerce - Governed by Exu Chama Dinheiro
KINGDOM OF THE BEACH
1) The people of the Rivers - Governed by Exu dos Rios 2) Tlie people o f tlic Waterfalls Waterfalls - Governed by Exu das Caclioeira Caclioeira 3) Fhe people people of tlie Quarries Governed by Exu da Pcdra Prcta 4) The people o f tlie Sailor Sailorss - Go verned by Exu Marinheiro 5) The people of the Sea - Governed by Exu MarC. 6) The people of the Swamps - Gover ned by Exu do Lodo 7) 'Fhe souls of the Baliian’s - Governed by Exu Bahiant)
Several other organisational struemres of the Exus are possible, but the one above above is - in my humble opinion - die m ost comprehensive and in my view the one most easily understood. The religious traditions of Africa were not transferred to the New World in a static form. Rather, slaves and their descendants in Brazil selected from and reshaped the meanings of the old beliefs to make sense of, and to cope with, the devastation and exploitation of New World slavery and racism. The spirit of tile Gld World helped them, in tlie end, to discover, develop bonds with, and, to a certain extent, be healed by the spirits of the New. The most important liicrarclry for each and every Quimbandero is related to his or her personal Exu and Pomba Giral Besides tliis hierarchy, we also find that most Exus and Pomba Giras also have what can be called ‘roads’ or ‘manifestations’. To better understand this, here the example of Exu Cigano. From the hierarchy above we know that tliis Exu belongs to tlic Kingdom/Tribe of the Lyre and represents all gypsies who manifest there. What we know about him is as folloivs:
EXU CIGANO
This Exu appears as a gypsy. When Ire was alive on the eartlr, he was an Arabian gypsy who came to Brazil as a slave. His name in life was Hassam and Ire was the first gypsy to be initiated into the Afro-Brazilian tradition of Quimbanda, and leader of all gypsies gypsies who w ere Uritiat Uritiated ed after lUnr. He first started manifesting in Quimbanda, then in Umbanda. Finally he became known as ‘Gypsy L' erU’ which means ‘the gypsy who once was a slave’. He dresses in very colourful cloths, with an Arabian style nrrban and pants. He is one of tire few male gypsies who present themselves this way, as tire majority, prefers a felt hat or head scarf as well as shirt and jackets. What we see here is tlrat most gypsies are incorporated in to Quimbairda in resent times. times. We also need to see that not evety Gypsy spirit is is an Er a o r Pomba Gira. Gira. Umbanda and other spiritual traditions also have nranifestations of Gypsy Spirits. The Gypsies of Quimbanda are generally called Ciganos Quimb anderos - Gypsies of Quimlranda - and were in life life associated associated with this cult. Some other Gypsy roads/manifestations are associated with places places where ^ s ie s usual usually ly appear appear::
Exu Cigiino do Oricnte - Exu the Gypsy of the East He comes fronr the East Africa, Arabia and others Middle Eastern countries Exu Cigano do Circo - Exu the Gypsy of the Circus. He works as indicates his name - in the circus and also in arenas and stadiutns as well as other places of public spectacles. Exu Cigano d o Pandeiro - Exu the Gypsy of the Tambourine He comes with a tambourine in the hand and is a good ditnccr. ditnccr. Exu Cigano CalO CalO - Exu, the CalO CalO (-speaking) Gypsy. He represents all tire tire ^.psies th at came to Brazil Brazil from Portugal, Spain and France. Referenc e is is given here to CalO, CalO, the language of the Spanish Gypsies who are also refered to as Zincarli Exu Cigano da Praęa - Exu the Gypsy of the Plaza. He is the merchant seeking oppormnities in the plazas, fairs and parks, doing business.
Exu Cigano RomanO RomanO
Exu the Romanian Romanian Gyps.
fie represents the gypsies of Easter Europe. Exu Cigano do Vioiino - Exu the Gypsy of the Viofin. Viofin. In tliis aspect, he is known to be a violin player, a Romanian gypsy. Exu Cigano da Lira - Exu the Gypsy of tlie Lyre. fie is a skilful musician and singer who plays a lyre or guitar. Exu Cigano Gira-mundo - Exu the Gypsy who tnakes the world turn. 'Ihis Exu is the traveler in his caravan, who moves from place to place. Exu Cigano do Garito Garito - Exu tlie Gypsy of the Casino. lie is tlie gypsy who works in tire ‘sacred gambling lrouse’.
WORK ING WITH EXU
and to ouf shadow, the "negative" part o f US ve like to ove rloo k and
Ignore. Your Personal Exu
It must be stressed again tliat it is not advisable to "pick and clioose" any Exu or Pomba Gira to randoml)randoml)- work with. Many western practitioners of various magical and new age traditions not only believe tliat it is perfe ctly valid to invok e just any spiriftial entit y at thei r leisure, bu t also have a tendency to completely ignore any hierarchy and go "straiglit to the top". This is not just dangerous but simply smpid! If you are looking for a job a Microsoft, you would not call Bill Gates directly, but would either contact your regional/national Microsoft office and ask to speak to IIR or see if one of your friends who alread) knows "someone on the inside" might be able to help you. In the same aspect, most high profile Managing Directors, Politicians or Military Generals do not concern themselves themselves with the average average person that just stumbles in off the street to sec of there are any vacancies, buch minor decisions are usuall) left to their subordinate staff. Tlie Exus and Po mba Gfras are no different. Just because we are dealing dealing with the spirit world does not mean that we can completely forget or ignore common sense and all rules of conduct - which are almost the same on this plane as they are in the realm of spirit. Even though it would be ideal to work with a Quimbandero or Quimbandcra to determine a person's personal Exu, this is not always possible. The following rimal is a little "push" in the right direction and can help you to contact your personal Exu - and in time develop a working relationship with him. '^ is should not be mistaken for a true divination divination or initiation initiation into Quimba nda. There are no self-initia self-initiations tions in Quimbanda or any other African derived tradition, and the rimal below vill only substimte until the opportunity to work with a house of Quimbanda becomes availab available. le. ) Before you perform this little little ceremony, ask ask yourself WHY you want to work w.ith Exu. What is it you are looking for? Are you simply curious about Quimanda and enchanted by the myths and legends surrounding this tradition? Are you attracted by the darkness and power some individuals glorify so much? Or are you interested in cottfronting your deepest and truest self and live life more successfiilly and to the follest? All this miglit sound vety "new age" or come across as "arm chair psycho logy", bu t t he spirits of Qu imb and a are - co mp are d to oth er spirit entities - much closer to earth and therefore vety close to our lower self
What ever ) our reasons might be, und erstand that is might not be so easy to disntiss, ignore and dispatch of Exu once you have awakened him! Once a spirit of this genre lias taken an interest in you and lias been accustomed to tile attention and offerings of smoke, alcoliol and food, he ill want to keep this relationship going. Above all else, ask yourself if you are able to liandle what you are about to conjure up! No offence to anyone, but tliis is not simply a "though form" or some sort of spfrit pet which will go away i f you ignore it lon g enouglil On a Friday night, after sunset, take one red and one black candle and place tlieni in cand le hold ers on tile floor. Prep are one cup o f stro ng black coffe e and one glass of whit e rum. Place all this on the floo r as well. Ught tlic candles and knock on the floor 3 times, as if you were knocking on a door. Say "Exu, Exu, Exu". Stand up straight and state who you are. Don't try to impress the spirits with all sorts of degrees or initiation, but simply state your full natne and your date as well as place of birth, (:ontinue by stating that you wish to invite your PERSONAL Exu to work with you. Tell liUn why you want to work with Ilim and that you have brought Ilim tile gifts in front of you - candles, strong coffee a 1d mm. Ask Ilim to come to you in dreams, to teach you his mysteries and to work with you. Tell him that from now. on you will liglit one black and one red candle for Ilim every Friday. Ask Ilim to open tile roads for you to learn tile tradition of Quimbanda properly, under the guidance of a liouse, if tliis is w hat you arc looking for - and if Exu tliinks this would be rig ht f or you. Turn around and go to sleep. sleep. D o n ot look over your shoulder, but leave the candles burning as they are. Remove the offering in the morning, disposing of tile candle rctnnants and liquids at a cross road near you* liouse. Stick Witl1 tlie promise you made to Exu and indeed light him tivo candles every Friday!
SPECIAL DATS
Like any other spirimal tradition, Quimbanda also has special feast days for tlie spirits - a nd it is ahvays ahvays advised to keep tho se days in mind when perfo rmin g speci al cere tnon ies for Ex u and Po mb a Gira. Ou r li ouse, the Quimbanda Quim banda Exu Ventauia Ventauia, honors Exu on the following days.-
Janu aty 1 - New Year’s cerebration in honor o fEx u On this day we ask for the blessing and protection of for the year ahead. We perform cleansings, works to “o pen the roads" for love, success and all other blessing oflifo.
May 24 - Feast day of Santa Sara Santa Sara is a Patron Saint of the Gypsy people. She is also known as Sara-la-Kali (Sara the black) and associated with Indian goddess Kali. The center of her cult is Saintes-Maries-de-la-Mer, a place of pilgrimage for the Gypsy people in the Canrargue, in southern France, wlierc legend identifies her as tile semant o f the two saints Mary commem orated in the town. Another legend links her to Sara, the wife of the biblical Abraliam - who was. Just like tlie Gypsy people them selves, a traveling nomad! On this day we honor the Ciganos Quimbanderos, the Gypsy spirits that manifest in our tradition. We prepare a special basket with fruits, champagne, costume Jewelry, cigarettes and many colored ribbons, which is placed in tire woods or in the boshes whilst prayers are said to tire Gypsy spirits.
July 7 - Feast ofE xu This is tire traditional feast day ofExu. We prepare lrim his favorite food - com meal with dende oil, onions aird lrot chili peppers. According to tire preferences of our personal Exu we also give lrim cigars, cigarettes, bear , win e o r st ron g liqu or.
September 9 - Feast of Pomba Gira On tlris day we celebrate Poirrba Gira, the queen of Quimbanda. Much like on the day of Exu, we prepare her favourite foods and drinks atrd give her fine cigarettes and clranrpagne.
Eaclr and every house of Quimlranda has its o vn feast days and celebrations for Exu and Pomba Gira. Tire above mentioired celebrations should not be taken as universal laws, but as the workings of one single: house of Quimbanda onl) .
GENERAL PONT OS CANT ADOS
The next pages contain snng invocations (Pontos Cantados) for some o f the most popular Exus and Pomba G iras of Quimbanda.
MEUS AMIGOS -MY FRIENDS-
SEV MAR/1BÓ, m iR J, SEV M C I RUA, EU VEN HO P’R AENCRUZILHADA, PEDIR UMAJUDA SUA. (REPEAL
SEUSETE CAPAS, MEUEXU, MEU DEFENSOR, ZE PEU NTRA N A ENCRUZ.A, EVSEIQUE TUEDOUTOR. MA RIA PADILHA, RA INHA CANDOMBLE, VENHAME VALERAGOR'l, EU PRECISO DA SENHORA. OU1SER/1M PÓR FOGO NO AIEU B ARR /lC/10, ESQUECERAMQUE EU TAMBEM, T E iO EXU E CORACAO. (REPEAJ
GRITOBEMITO, MEUS AMIGOS DA EN CR UZ A. VOCES VAOM E DEFENDER, COM UMPAININGUEMABUSA. QUISERAM PÓR FOGO NO AIEU BARRAG o , ESQUECERAMQUEEU TAMBEM, TENHO Й E CORA^AO. (REPEAL
GRl'1'O BEMALTO,
FOR TORIOUS EXUS
MEU S AM IGO S D AE NC RU ZA , VOCES VAOM E D E F E N D E R . COM и
PAlN ING UE M ABl’S/1.
EX U Ё DE Ql 'ERER, QLTiRIZR, N A SU A BA ND A E UjQU ERO 1'E R (REPEAL
M IS ELF. CHEGA NO ROMPER
) . Jf'ROR,!.
SEU SETE ENCRUZ/IS AlANDA AGORA, SEUM/IRABOQUEMM/INDAAGORA. SEU....
EXU ARRANCA TOCO
E X U MOJUBA, ENA , E NA EMOJUB. i. (REPEAL
e x u b a r
A
A N D O U H A v o o u N A N UT A, N A ENC RUZA FOl P A R I (REPEAL
ARRANCA TOCO E ENA, E N A Ś MOJUBA.
SALVE ESTA CASA SANTA,
(REPEAL
TALKE ETTA BANDA U N D A , TARAl A E XU B U .
E X U BRASA
E XU BR AS A N z io
u
C A L U N G U IN H A D O MAR
p
,
I A D I T E А
Ё
QUE SE EN GA NA COM TOSTAO.
L E A UEIO A N U N C L t
(REPEAL
(REPEAL
-
SO SE LEMBRAM DE SEU BM SA,
F . U J/ i v o u V E N C E R D E M A N D A ,
QUANDO ESTAO EMA FUęA O.
S A R A V A C A L U N G U I N HA D O M AR .
(REPEAL
(REPEAL
QUEM VOA B/1IXO SEMPRE VOA, QUEMMUlTOSEELEVAQUFjBRAAASA. CUIDADO COM SUA MIRONGA SINHO, EU CO NT O COM E X U BR AS A.
s ---------------------------------------- ------------------------------------------------
EXU CAPA PRETA
CAPA PRETA N O REINO , U M A B E L E Z A ( RE PE 4 T) E U N U N C A V I UM EX UA SS IM , E L E E M 4 D E 1 1 4 Q E N A 0 D A C P1M.
EXUCAVEI^
TOMA LA, TRA Z CA, OCAVEIU TOmU/rRAZCA, OCAVEIRA.
A O VE R E X U N A EN CR UZ A, COM ELE N AO SE META. (REPEAl}
PORTAODEFEIUIO, C AD EA DO D E M A D E I U N A POR TA DO CE MITERIO ,
E A U Q V E E E E TRABALHA, o RSNO
CAPA PRETA.
QVEMMORA
EXU CU'niR/1.
EXU CORTA CORTA
EXUDACAMPINA
SE O SEU OBE D EA ęO ,
CAMPINERO , RE RE,
O S E U G AR BO
E DE M A D EIU
CAMPINEROA.
(REPEA(
(REPEA(
s a r a v A s u a m i r o n g a ,
S A R A V A E X U C A M PI NA ,
SEU CORTA-CORTA DE QU IM BA ND A, EI j E MOR/1 n . 1I J M l i - l . (REPEA(
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57
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AE N C RU ZA ES TR E M EC EU , U MA G A R G A L H AD A s o o u N O A L E M . (REPEAL
B A R A D A R U A , SARAVA DESTR/INCA RUA, M A S E U N A O SAI O N A RU A, M zl S E U N A O EOLTO DA RUA , SEM CUMPRJMENTAR, O MEU BAR/4 DA RUA, B A R A D A R U A , BA RA 0 EX U, B A R A D A R U A , S A R A V A D E S T R A N C 4 R U A, E XU BA RA DA RUA, S A R A V A D E S T R AN C A R UA . (REPEAL
S i V E E X U Q U E E B AT IU DO , e x u d o f o g o n A o a t a c a n i n g u e m
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EX U ORIOCORREPROM/iR,
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DA KALU NGA AUE.. . (REPEAL
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(REPEAL
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B A N D A D E E X U , EM15/1R/1,EMB/1R.4, D E E X U L /i U , А
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EL E\ 'EM DE LONGE, MA S . EG ! AQUI... EQU ANDO LEM, /ILGUEM LHE CHAMOU. (REPEAL
VE M SiV AN D O TODA AENCRUZA, JACHE GO US EUMARAB O. (REPEiVI)
QUEMNUNCA [- ,', VENHA KER... MARAB O NA ENCRUZA, B D E Q U E N G U E i
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POEIRA, POEIRA POEIRA DB EXUMARABO, POEIRA, POEIRA DE EXU M iA B O , POEIRA, POEIRA DA ENCRUZILHADA, P O E ii P O E Ili POEIRA.
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EU VOUMANDAR CHAMAR, EU v o u CHAMAR LA DE ARUANDA. (REPEAL
EU M ID I c a n , SEU MARABO (REPEA [)
MARABÓ/POMBA GIRA
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(REPEAL
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(REPEAL
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Е Е ( Ё MARL-1 PADILHA,
AM UL HE RD EL OC IFEK (REPEAL
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POMBA GIR/1 ],‘i B/1IX0U... E LA MAN DA NA E N d L A . . POAfBA GIRE CACURUCAl, O W Ą POMBA GIRE CACURUCAl. (REPEA
P O i A G l CAC lIUCAt, O W A POMBA GIRE CACURUCAl. (REPEAL
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MARE, MARE!... VEMDOMAR. AL IRE, MARE!... V E M PIA T R A B A W i (REPEAI)
MARE!... MARE!... TEA TEA POVO POVO TE CHAM A, MARE!... MARE!... T EU EU PO PO VO VO A O i A M A i MA RŚ, RŚ , VEM DEA D EA RU AN DA , A i lE l E , VEMPR.4 M 4 I (REPEAL
QUAN DOAM ARE BSCOA BSCOA,, A PRA IA VAIFIC VA IFIC AN DO VA ZM . (REPEAL
E E XUM /IREQUE VEM CIIEG/I CIIEG/INDO NDO,, SARAV/DOENCRUZIIHAD.AS, TvlZENDO SUA M/1GL4. (REPEAT)
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Ё Ai'lRE, MARE, AŁ4R AŁ4RE. E... .. (REPEAL
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EX U DA AL 4D R UG AD A. (REPEAL
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COM COM SETE F AC 4S CR/1 CR/1 ]/AD AS NUM/'i MESA, S E TE TE I E U S A L UM UM IN IN AR AR , CHAMA A GIRA POMBA POMBA GI14 , SEU MEIA-NOITE, NO PONTO DE MINA. (REPE j I'I)
L i o m G D j A c i T o u , L/IROIE, G IO JA C A N T O U , UROmGiOjJCANlVU. (REPEAL
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EX U MIRIM E UM EXU FORM FORMOS OSO, O, ELEfeEXUDEFfe. (REPEAL
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(REPEAL
MA S EL E E I DEQ UIMB AND A, SEUMOLAMBO NA O REJEITA EBÓ.
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MEU DEUSQUE !■ WTA NIA , ME UD EU SQUE T E M P O R l U U L A , U L 4 1Ś , EXUPOEIR/l A IA IO R l (REPEAL
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SEGURA,4 BAN DAQ UE OGUAl MANDOU. (REPEAT)
ELE GIRA LA, MA S EL E Ё 0 EXU, QUE VEM TRAB,LI IAR, 1J. .. LA... LALA (REPEAT)
EXUQUIROMBO, V EM DO LADO D EL A. (REPEAL
EXUQUIROMBO Й MEU PROEETOR ТРЕМ DO L IDO DE L i
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EOI EXUQUIROMBO. QUE GziNI IOU SUA DEMANDA. (REPEAL 108
»
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EX l! NO TERKELRO Ё REI, N A E NC RU ZA EL E Ё DOUTOR. (REPEAL
EX U PEG^-i DEM AND A, EXUECUR/IDOR SETE P0NX4S DE E4C4, EM А DE UMA M ESA, . 'PE VELASACESAS l i N A E N d Z I L H I A EXU E R E I , H I D E EXU, Й , 1Ш Х ., EX U REI, U n a s SETE ENCRUZILRADAS. SETEFAQtSDEPONTA, EMOAŁ4 DE UMA MESA, SETE VELASACESAS, LA N A ENCR UZILHADA, й . Ё Х , EX U E REI, IU B A N D Ś EXU, Х Х У Ё REI, U n a s SETE ENC RU ZBJ l'HS,
(REPEAL
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SA M VA PO VO DEQUTMB/INDA, S/lIL ll 'A NOSSO EX U REI. (REPEAL
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EX U NO T E i E D E R E I , NA EN CR U ZA EUE Ё . DOUTOR. (REPEAL
NO C O I E D O I D O U N O E l V I SETE CATACU MBAS Gr L 4\ /A NU MP E SO PULANDO PELASMACUMBAS.
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SE 0 EX UE BOM, ELE VENCE SEU SETE COV ASŚRE INAJ2 IMBA NDA. (REPEAL
EXU SETE CRUZES
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(REPEAL
SEU SETE ENCRUZAS NA QU IMBA ND A м REI, E L E 1 1 4 0 D E E XU V ELUDO. (REPEAL
Q U I D O CHEGAEM S U A B I D A SARAVA, DEM ANDA ~ QUEBR/4 TUDO. (REPEAL
SEE SETE aU ZE SN O CRUZEIRO, ESTAPRANOSAJUDi SEUMARAFOESEUDENDŹ, EL E GOSTA DE CUIDAR.
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(REPEAL
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A CA PA EN C AR N AD A , QUEE UM ANDEI FAZER, 40
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TOCOMO EU TOCO TAMBOR,
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A B R E E S S A C O V A , QUERO VER TREMER,
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(REPEA'E
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182
183
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185
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D A K A LU N G Ą
E U E ST A N O R EINO , A U E .E U VE M S A R A V A , AU A , P O A IE IG I R T
Ё R AIN H A
RA IN H j I D O
ли , 1 '. E U iq t a i l EzlR OF A /I 4 R E L / 1 (REPEAL
A U E,
Р О
Л
1
G T R T
RA IN H A,
C0A14ND/ IND0 A M/IDRUG/IDA. (REPEAL
u e m n A o a c r e d e a
EM P O M B A C IR i MUITO
М
D O
» M EXERN ETA. (R E P E A T )
QU/4ND0 CHEGA NAS ENCRUZ/IS, D A
L O G O
G , T R O ' .'
(REPEAL
90
.
- . lD
.I
CRUZEIRO,
PONTO D DOS CIGANOS
The following Pontos Ros cados belong to the lines of Exus and Pomba Gitas of die line of tlie Gypsies.
ALL THE CIGANOS
! 1-1/iRRlBA! M EU PO VO CIG ANO . (REPEAT)
COM SUAS C 'IRRUA GEN SA PASS B/IR, E LE S V AO P E U ES TR AD A A FORA, VAO CANTAROLANDO, 4 0 TEMPO PASSA R, M A S A E S T l' lD A E LO NG A, Ё SEU DESTINO
С
,
ME UP OV O, M EU PO VO QC..1NO.
Q U A N DO А
1 ./1 1 P A R A D ES C AN S /I R,
FAZENDO SUAS FOGUETRAS, PARA TRAB/ILHAR... HAR IUB A!
H.4RRI B.4! H s lK R l W M E U P O W CTG.HNO...
PONTO DE CIGANOS
AMORCIGANO
S I V E 0 SOL,
MA S VEJAAISO,
SIVEALUA,
SE] A M só ,
M
SAL VE OFOGO,
Q U E M A l l U t H A E A Q U E LA ,
SIVEOSVENTOS,
A O SOM DO S EU V JO U N O /l TO CAR ,
S I V E OS CAMINHOSABERTOS.
E I C I G I O ,
S I V E A S P RA DARL iS,
Q UE 1 1 1
SA LV EA S CAMPHINAS,
.
м C I G I O VAIEN TE,
S i V E A S EST REL AS.
. М
C I G I O G l E i U
)U E VEM N O S
]Ш
, 1
(REPEAL
TRANSMITTNDO PAZ, ALE GRL 4 E AMO R, М
FASONA,
rOCEMEIRRAD/.'!.
O CIG/WO DO ,. WOK... AO SOM DO SEU V IO UN OA TOCAR, VEM 77R/1R TODAAADILDADE, TODA FETTięARlA QUE Т A LU A
|
М NESTE LUGAR,
A LU sl B R I I M
SUA ESTREL/l RELUZ, S/1NTA .
KAUUEtQUEM LHE CONDIJZ.
CABANA FLORESTAL
CARMEM DO ORIENTE
NU MA CA BA NA F L J O R E m
A ES TR EL A DA CIG AN A CAR ME M
AP AR EC EU U M A U N D A C lG s U ,. ..
Q U B L i 0 0 O RI EN T E BR IL HA S EM P A H
(REPEAL
E T M ES TR EL A E L I T K IZ EM SE U PEITO E T O D A A UM BA NDA E M VEM CL4 REAR
VEST IDA TODA DE OURO, E S P E IW D O S E U i O R С Н Е С E D E R E P E N T E . 1 0 C T C I O SURGJ/l, COM SEU yiOLINO N A AMO, TOCANDO SEM P I I , E DEU INiC IO P A R A A FE ST A COMECAR, E A CI GA NA I B M . COAi O Q U E E L E DIZM, PARA 0 TEE COR IO .1'0, E S A L U Z D A M IN H A IZIDA, A E ST R E L A g U E H U N A , OAIEU VII I , C I G i / 1 !... 1 - ')
COAEGO FA ZA ROD A,
COM SEU PANDEIRO E A S CASTANH OLIS. E EU C 4N T 0 PR/<1 VOCE. (REPEA .
CLAREIA, EST RE Ll FORMOSA DA CI GA NA CAR ME M QUE Ё AS TR O S EU E COMO
л
ES TR EM DO OR IEN TE
JLU MIN A OS CA MIN HO SQ UE CI GA NA A CO LH EU
CARMENCITA
C^M ENC ITA DA CAMPINA
CARMENCITA, CARMENCTTA,
Ё D A S CA M P IN A S QU E E L Ą
E TA CI GA NA BONITA .
VEM PKA TRABALHAR
AIUITO G RA ND E E SEU PODER.
CAWvffiNCTTADAS CAMPINAS
C O M A SU A S A I A A R0D.JR,
COM A FORC:4 DA LU A,
А
PELO CAMINHOS DA [ADA, E D I SEGU E A C AN TAR, Q UA ND O A L U A Ё L U A CHEDI, ES TA ND O AF O G U E IR /I A QU EIM AR , E S P .L H A GR AC A E BE LE TA ,
C IG AN A C iR ME M
DO 1 xx ;(j E D O SOL F.I.A V I P i 4 Ш E A C IG AN A c
8 1 М m
CARMENCITA D j AS C AM PIN AS C IG AN A C A I E N O T A
CHEIRO DE R0S.AS NO -AR N U M A N O IT E L IN D A, CARMENCITA, CARMENCITA,
EU V IU M A CIG AN A,
E T A CI GA NA BONIT A.
COM SUA PULSEIRA DOURADA,
T0C .IND 0 SEU PANDEIRO,
E N O S EU PETTO
FA Z UADI ROD A F ORMOSA,
COM SEU PANDBTRO DE F IT Ą
PERGUNTA SUA SIND/4,
e l a l e u m n h a m
COimAO,
A o {CARMENCITA).
ONDE ESTA'0/IS CASTANHOOLS, OH! DEU -ME T A N T A A LE G R IA , EU JA M AI S E l D E E Sg UE CE R DEATH DIA, EX IST EM DU A S ES TR AD AS P i A 1,1“
IV C E ,
D E ESPINH OS,
A OUT RA
Л
ESC OL HE K
OH CIGANA, OH CIG ANA, S EIQ UE У
Ё N A O M E E NG AN A,
O lU jf, 1.\ I. JOT
CIGANO CARLOS
TODOSOS CIGANOSSAOA SSIM
CIGANA CELORI
P I S A N A Р О И
DO
,
GIRAAl 0 MUND O SEM PAR AR
E V Q VE RO V B R A C E L O R IL .
GOSTAM D E FICAR SOB O LEAR
01 PISANAP ONTA DO PE ,
D E F R EN TE -A O FO GO A SA IL A R
E U gU E R O V E R A C E I D R E
D E F R E N T E A O F O G O A C A N T A R
(REPEAL
E ll PE RG VN TE LA S C ART AS, PERG UNTEI AS C A R E T DE TARO. ... (REPEAT)
А
С
М !
A E A E CELORI !
CIG j 4 N / l TEL POVO T E CHAMA,
El IQ UE RO V E R A CELORT (REPEAL
202
2. 3
CIGANA DO P ANDEIRO
01p.liNDAMELHEREMj, U N O C RUZEIRO,
A CI GA NA D O PANDEIRO,
E L A T i A H t tA E X U ,
VEM CHEG/1ND0, ['EM SORRINDO, VEM T RAZ END OA SAUD E, p r o s f i l h o s q u e e s t A o
CAINDO.
l A NO CRUZEIRO, А
P O M B A G IŁ 4
,
L A NO d Z E D .
(REPEAL
A IQ U E LI N D A E U VEM NA TEMPESTADE, m JUNTO COM 0 TEMPORAL, VEM SAAIBANDO, VEMD ANQAND O,
-
L A K U Z E I O , А Й А У Н А
Х Й ,
LE V A N TA N D O T O D O O M l
L A N O C R im iR O , Ё A POMBA GIRA EXÓ,
(REPEAL
L A N O CRUZEIR O.
F.TA TR AZ AS SU AS GUIAS, D E TE R R /I SA LE M D O M /I R , E L A VEM l i D A H i d /1 А N O S A B E N f O i ELA Т
М CABELOS LONGOS,
OUE BRILHAM COM 0 LU AR , E U h
l
A d a m u a n d a ,
C OM X AN GO V zl I T R A R A L f i i (REPEAL
204
CIGANA DA PRAIA
A O N D E E U
о
E U FA Z О BEM, ].4ERAITAMADRUGADA,
E N j O F A Z O M i
PASS/WDO NUNIA ESTRADA,
(REPEAT)
E U V L U M A C IG IA , PERGUNTEl O NOME DELA, E U E N TA O M E RES PON DEU
-.i PRAI A
SOUA C I GAN A
E N C I T i O E U | E
I
POR MUTTO TEMPO LH E PROCUK4R , SEI QUEABA IXO DE DEUS, SO VOC E EQU EM PODE ME AJ U D Ą RET IROU r o n i Mz iN DIN GA , TODA |
,
2 U E T L4 1T A E M С S E N A O FOSSE У
Л D E MIM,
Ё L IN D A C IG AN A,
TALV EZ FOSSEOM EUFIM.
EU AG RA DE CO , OH C I G I A p D A , aUEESTENDEU А
А
MIM.
О AMIGA.
C I GAN IN HA DA SAN D /iU/ 1 DE PAU
G GA N NH , , C l G A N I iA ,
n i S A N D / 1 1 4 D E PAU. (REPEAT)
20(.
.
CIGANAD AS ROSAS
CJGANA FORMOSA
SE EU COEHE^E TO DASz iS ROS/1S,
CJGzlNA, TAO BONITA E TAO FORMOSA,
QLE NASCEM NOS MAIS UNDOS JzD IN S,
DO MEUJAR DIM TO E S A ROSA,
NA O TERLA A MAGIzl,
EB RJS AL FJ /E,
DO PERFUME QUE VOCE TRANSMTTE, EM MIN OH CIGANA,
SOPRANDO p o r ONDE f o r ,
OH C I G I A .
Т
М SU A M AG IA ,
COMSUA SALA RODzlDA,
SEU PERFUME ME SEDUZ,
ENFE ITAD zl DE VARJzlS CORES,
TEU BAR/IUTO ME IRR/IDLA
TR/1ZEND0 SEUSMISTERIOS, QUE UMA RAINHA POSSUI,
C I G I A , SUATRIBO C I T I D O ,
COM TODOS OS SEUS ESPLENDORES,
S AN TA S H A i ' lA B E N ę 0 / D 0 ,
OH CIGANA
E.STE ENCONTRO DE р
.
OG/1NA, EM INH /l LUZ. MINHsi ALEGRIA. NA O
; CANSO DE LOUUAR.
EST A TRIBO NOITE E CIGIA
F1.
CIGANA MADALENA
CIGANO RAMIREZ
ER A UMA NOITE DE LE A
D E IO N G E E U V IM
UM4 ESTRELIINCANDESCEN TE APARECEU
C4MINHEI SETE PEDREIKIS
SEUBRILHO FORTE
PASSEIPOR C'ICIIOEIRIS
POVO CIGANO ENXERGOU
E LOGO COMPREENDEU ER A A CIGA NA E SPE RA NC i A CIGA NA C RIA Nę A QUE CHEGAVA PARAAJUDAR AO S FILHOS SEUS M/1D /IIJ-.N /I..MA UAU :;NA CIGANO RAJKO
TOR TODOS OS CAMINHOS ,QUE AIEfj'. PES P I S A M I
(,OR IO DA SA S E S T li D A S D E M I N A JOR NADA SOU CIGyiNO RAIKO
GUERRERO DE TODAS j U I D A S COMA FORpI DA LUA, BRILLIO DE LU/1R CIGANOЁ GUERREIRO, CIGANO VAIL UTA R
ONDE
!
1 1
i J n a c a a i p i n a o n d e a l u a
so u CIGANO NA . )El (
1
Р Я А Т
-, (-1
SOU CIGANO, E U SOU MA IS EU
/
CIGANAROSITA
CIGANO RAMON
N A GIRA DOS CIGANOS RAMON r/: .\r n< IB 11.11 IR /l O B R IU il R A L U A
ROSTTA E VMA Aioę -l BONITA
.
:' USA VESTIDO DE CHITA
EL E I 'EM C H A R
E VE M PAR A GIRA
N A GIRA DOS CIGANOS
R-'W.ION Т
М
,
T RA BA LH AR
N A GIRA DOS CIGANOS RAM ON У
E lA E IR A
PR-1 TODOSAGRADAR
NA FO RC ID OF OG O GIR l AlUNDO SEM PAR 4R
о
E A Q UE У
ROSITA М P R4 T RA BA LH AR
OGANA SALAMANDA
М TRA BAL HA R EL A V
i DE ID NG E.
PETA ESTR ADA A FOR4, CIGANA ROSALINA
У P H
М T RA ZE N DO A PAZ, TODOSQUEAQUI TEAT.
EM UMA GR IN D E C IMPIN 4 NU MA NOITE DE LU A SENT ADA JUNTO AO TOGO C1GAN/1 ROSALINA COMAFORCADALUA
C OM SE U B A R I H O N A
OSEU M H
Л140,
O NA
E L A E A CJG/INA,
M M TODOSQUE TEMFE.
COMA FORęA DO FOGO CIQ4NA ROS/HJN/1
S . 4 U E , S / U J Z EA о и м ;
EST END E SU AAJ UD A
S AL VE , S i V E A CIG AN A!
C IG AN A R O S A H A
EL A E A O G AN A S AL AM AN D A
;«).1'
1 ., . DES EVT LHA
CIGANA DA
DO OVO DO ORIE NIE.
/1 Ш
CIGINA ROSA, ROSAUNA
M/ lSE L-1
I EM DE...
CIGANA SILVANA
CIGANA SONI IAD O R
- ! CAMPINA VEM SILVAN A
E L iS A IU E M B U S C A ,
POIS F0R/IM Affi C H / I 4 R
M A S B l BUSC 4 D E [JAI GR'LWEAMOR.
COM.4 EORę.1 DA LU A,
CONTEMPL4NDOANATURFjZ/l,
DOF OG OED OSO L
P/IR. I SVA SORTE E N C O N lllR .
SEGUINDO .1.1 77' REI.-If
A S FOL HAS FA KF AL HA VA M,
.
EL Ą l/
PR.-l IR II! I ' li li i
COM SUA ENERGIA ELA a g o r a e s t A a q u i
A S A G U /I S A ROLA R, A S l iO R E S E Z A L A A IS E U S P ERFUMES,
E OS PASS/1ROSA
..
SILVANA QUE
CHEGOEPR.) 71.1117.17.11
OEHEM SO S U I T A E M o ęA o , 0
ENCONTROU.
O SEUG RAN DEAMOR, E UM C IG^ NO GUER SEIRO , c o w SVA ESPADA NA A140, E L E DISS E E U SOU FIv lDIM IR, POIS SOU UM CIG/iNO S ONH/IDOR, POR ISSO UN DA CIGANA, N A O VI VO SE M 0 S E U A M O i
CIGANA SORAIA
S ORA IA У
Ё Ё C IG AN A L IN DA
AO ND E E ST AS gU E VO CE NA O VE IO A IN D A ? MA S E LA I H N O BALA NGO DO MA R
CIGANA SOLEA (GITANA SOLEA)
DE L 4 S CU EV AS DE G RA NA DA C ON E LF UE GO D E s u B A H . VIENE POR ID S OL IVA RE S
V EM D AS K i U N G A S , EL A VE M BEIR ANDQ 0 MAR
H IU N D O RA YOS DE PLA TA TRAE LA MAGIA DE L I LUNA YE N SUS DEDOS FIUGRANAS GIT/INA SOLEA D/INLANDO T O D A L A T i U CANTANDO ... GITANA VA CORTINDO MŁ EF1 CI0S E N SU C H A LE ST A E LS E C RE T O CARACOLASENSUPECHO YEN.mSMANOSSORTm.EGmS L i GIT AN A S OLE A DA NZ AN DO T O D A L A T i U CAN TANDO GTTANA... GIT ANA
CIGANA SUIAMITA
CIGANA TANIA
A i o p i S UA C AS A Ё А E ST RA DA ,
SE 1'OCE SENTTRA BELEZA DAS CAMPINAS
SUM L U G i C ERTO PARI FIC IR,
VER A UMA CIGANA JUNTO
V I V E A
U IP R A li, V I V E D E L A I A C A ,
COAI SEU P/1NDEIR0 DE FITA,
/I S li O R H S /l R E Z A R
SALVE JESUS CRIST0E/1 IIG E M MARIA
E UAl BARAL HO P R /i J O G i
NO T P RO TEG E.
NOS AJUD A E NOS GUIA Т
j UZNOSSEUSOLHOS, М UMA I
PROCGRAR r n 14 AJUDAR,QUEM u
А CIGANA T jN I A D A A N D i U Z I A SAilD A SEU POVO E А М В Ё М
VEAI 'PR. IR'fJJIAR
ESTA C IG A N A E t AO liONTTA, ESTOU F AJ JN DO DA CIGA NA SU LAMT TA
A a c .- N A . N IA
TiM T R i i R
SUAAMIZADE
','»-17 FEUCIDADE, и г
A .'OR(;
Т й .
и г А
М
о д л о
CIG ANA NU NCA V'.-II HMBORA
FORTALECEA FE EAI DEUS
E EAI NOSS/1 SENHO R/I A CIG ANA TA NI A VA IC H EG A RA GO L4 SUAMAOAAIIGA DAAMPAROA O CORAQiO
2 .8
CI GANA ZAiRA
Q G AN A, C i G I A L A M CIGA NA D AS SETE U NH A S QGANA DOSANDAMLUOS
CIGANO PABLO
LONGO FO I O MEU I D E I N ESS E U N D O , AN D EI UMANDAIULHO s o u
QUE VEMAOUITRABALHAR
SOU CIGANO, HOJE EUSEI
CIG^A'CIGANA
S E I a E AO c u t
ZA iRA ClG AN AD OS EN CA NT AD OS
CUMPRO MINH A M ISS Jo
JOGOU A S C/IRT AS NA m S A ED ISS EQ UE VA IM EA JU DA SJ
DOU O MEU A X E AQ U EM ME ESTEN DER A M 4 0 TODOSME CHAAlAAt PABLO OGANO
PROTEęAo
d e c ig a n o
FLORES E PERFUMES - FLOWERS AND PERFUME -
BRILHA UMA ESTRE LA, NO CEU, ME E NC AN TO U UM \ 4 0 0
AMIGOS ]OGUEM FLORES E PERFUMES,
aGANO, CJGANO, CIGANO,
JOGUEM FLORE SEPERFU MES,
A EST REL A DO ORIENTE,
Q UE A CIGANA ESTA EM FESTAL..
GUJOU O SEU DESTINO.
(REPEAT)
SANTA SHARAEAMOR
AMOR),
AllN HA ESTR ADA NA O , 'ORIUl,
OOO oo o POVO C IG IO i
OOP OOO POVO CIGANO!
ASSIMIL UMINO U, UMAMIGO, UMIRMAO, EL E Т
М BOM CORAQAO,
EST REL A GUIA DO ORIENTE, LU M IN A E STE CIGANO VAL EN TE . F E r nę O D z i a G A N A CIGANA LINDA, DO O l H I F E m C E i , CIG M A DAS ROSAS VERMEIHAS, 0 SEU PERFUME, Т
М 0 FEraęO,
D E M A T i OSFEITICEIROS. NA SU AC OR ,
E L I TRANSMITE 0 AMOR, NO S EU PERFUME. A AL E G R IA D E H E R ,
OH aG AN A LINDA, OH UNDA aGANA , CIGANINH A DO AMOK
AMIGOS....
LINDA CIGANA
MINHA CIGANA DE
f
E
VEMUNDACIGANA,
I f H A, C -m iN H A N D O A P E ,
R 4 Z SE TE ROS/4S VE RM EL H/I S,
PARA !7ER SE ENCONTRA VA,
A N O IT E E S T JE N L U A R A D A , Ё N / l E S T R / W A A S U A M O RA DA.
M I NH A C I G I A D E FE,
(REPEAL
. EL RANDEIRO IOCOU, E L I N O CEE, I E 4 E S I L A T E GUIOU,
E U PAR OU E LE U M IN H A M /i O , DISSE , TO DA S AS M IN H AS
CHEGOUFORMOSA,
E V S d Q U E M A S A B E R A ON DE M OR A,
QUEIRRADIA,
A M IN H A CI GA NA DE ЕЙ .
PRA TODOS NOS, A S U A A L E G R L i O T E U C iiO , QUENOSSEDUZ, T R A Z D / l E S T R A D A, FAGULIUSDELUZ.
1)
POMBAGIRA CIGANA
D 0M 4 Р L E V A OQ UE Т
А C IG IA , PR.4 L E V A l
(REPEAL
L E V A A M IN HA QU IZ IL A, L E V A В Е Л ! R i l l O FUNDO DO A L II (REPEAT)
E U 1 1 1 4 , C A M IN II AN D O A PE. P.1IKI U S E E N C O N T R A V A , РО Л1&4 G il l CIG AXA D E Е Й , (REPEA E E I PAROU II LE U M LX fll MAO,
DISMi. T O D - - I \/ / .\ 7 1.-1 I ERD IDE. ). EU... E U S O Q U F M A T I B E R OA'DE.l'OR-1. POMRA GII A CIGANA D E Е Й ,
,
(REPEAL
M AS BE MQ UE E U L H E A VISE I, UE EU LHEЛ К ЕЕ Е.. UE 1
4
0 7 4 0 0 ;. [
E J T I CARRADA С О Л ! EL-1... (REPEAT) 226
К О С Й PAROU NO K^LETE, E EU...
EVPAREINADADAMA, EU RAREINA DMIA... AMI GO, VOC E MA O M E EN G AN A, Ш A G l in C IGANA, Ś A M U L H E R D E FA M A AMI GO, VO CE NA O E NG AN /l, A MUL HE R D E E/iM.A, ... POMRA G il l CIG/INA. m
e
POMBA GIRA CIGANA MARIA MADALENA
(FAREWELL TO MARIA MADALENA)
A CIG AN A MA RI A M AD A LE N A,
A CI GA NA , M AR IA M A D A LE N A,
VEM DE LONGE DAN CIR NESTE CONGA, TRAZ A PAZ, A SAUDE E 0 AMOR,
SE DESPEDEAGOR/l . 0 CONGA, DE IX A A PAZ, A S/I UD E
o AMOR ,
C OM PERMISSyiO DE Z ziM B I E O X li,
COM PERMISSAO DE ZAM BIE OXAly'f,
P i i TODOS OS FI LHOS N ESTE ELE,
P/IRA TODOS OS FILHOS NE STE ELE,
MUITO A X i MU ITA LU Z P AR A E ST E E N D l :
MV ITO /Т
, M IT TA LU Z P AR A ES TE E ND .-i
POMBA GIRA CIGANA SETE SAIAS
~
SANTA SARA - PATRON OF THE CIGANOS
LU A S M ,
SiVESARA,
QUANDOALUA SAIR 0,0...
PROTETORA DOS CIGANOS
E 0 C R UZ EI RO I U M I N A R ,
E S T i O S AO U I PA RA M E PEDIR
A M AI S B EL A D A S GI RAS,
H I A B R J R NO SSO S C IM IN H O S
S E T E S i A S V AI GI RA RJ .. .
NO SM O ST RE D
lU S PA R I PROSSEGUIR
TANTALUZUMINANDO
(REPEAL
A S CORED D 0A RC 0- IR 1S
E SAN TA S AR 4 QXJE ESTA CHEGANDO PAR-1 :IBENCO R о Р О Л V C IG /IN O A NO SS A LU TE E CO NS TA N TS PARE DEFENDER:] UBERDADE M IN H A S A N T A NO S AJU DA A ME RE DE R E ST A F EU CI DA D'A SANTASARAIWMINAINOSSOSCHOS A OSSE FE, N O S A JU D E A C O N S T R I L E V E E S T A PREC E, COM OS NO SSO S DE STI NO S P A RA U M M U N D O M E L H O R Q U E N A D E I f
a G A N O , NO SS O P R i T O E D E A LE G R IA VEUCIDADE E S E N T IR S E U V R E
DE c E t
e n
™
m
POR ESSE S CAMPOS О DOAUNAR 0 CORACAO
NO SS A GE NT E V A IS E M E /I R
E N E ST A TE RR A D E IX IR R AI Z
N O SS O M tO R IR /l SR0R/1T NO C0 R /4 C4 0 DE STE PAJS ES TE SC AM PO SE ST A FLOR IDOA COM O EU A R E MA IS BONITO
CIGANO BATE 0 .)
U ND O S OL V i A Q U E C E R
CIGANO
Т
PE
a G A N O E N E I A N A R OD A
A O CH EG AR OA M A NH E CE R
PRATALFARFEITIFE
UBERDADE VAMOS CRESCER
QUEMVEMDELA
NE ST A TE RR A TAOQ UERJ D.A
QVEM ] AiM DE с
E N C O N m m O S A C O U U D A
SAO OGANO SQUE VEM B/UL.4R
LU TA R EM O SA TE VE NC ER COGANO S,UMABRA CODEUMAO VAM OS TODOS D. IR/4S MA OS FINAIMENTE RECO^ECIDOS I S T A T E I T COMO IRM TO S UBERDADE VAMOS CRESCER
a G A N O , Т О T E NS A F O R ę i D A I U A TO V E N S A Q U I N A I A C A N T A R A TOA PAIXAO aGA NO , TEUS OLHOS SAO FASCINANTES A R R E DA TODO 0 M
i
QUE CAUSA TANTO DESALENTO
CIGANQ, AMIGO D A TOA D E NO T TE FA ZF A RR A , DE D lA A N D A N s l RU/1 A N D AR , I
I
, A N D A R ,
VEND END OILUSOES PAR/4 ALG AZU COMPRAR PORQUE CIG/INO т о л A l OR(:A SE У
д а
LU A
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ADEUS.'. .. A D E U SQ U E E U JA v o u EMBO RA...
(REPEAL
SIGO 0 AIEU CAMTNHO, G m i D O N A U N H A D A S AL M AS , UM A D EU S P s l lQ U E M F I C A , B0 A-N 01T E, E U JA v o u E M B O U ..
(REPEAL
TEMMORAOOR
MEU CARNEIRINHO
' 'EM MOMADOR, DE CERTO TEAT,
D Z
TEMMORADOR,
UE o DIABO
FEIO,
BONTIO E LE N A O
O E CERTO TEAJAJORMDOR.
(REPEAT)
N A PORT..) ME U Q U O CA NT A,
DE CERTO TEA, ATORTDOR.
E LE Т
(REPEAL
E
М
C4 R/ 1 D E HOM EM .
7 j\ '7 I I Y H / 1 d e m u l i ,e r .
(REPEAL
ROU BAR /iAI M EU CA M EI RJ NH O , C O R T A U X l O S S E U S Q U A T RO PET.
(REPEAL
t A c h e g m d o a m e i a n o i t e ,
А CEEGANOO А MADRCGADA. (REPEAL
S z l V E 0 POVO D E
AE0 ~
WMaANDA,
DERO TIBER D E N A D A , CARNEIRO Е Л ,
(REPEAT,
SEMEXUNAOSEFAZNADA.
(REPEAL
m
.
V E R M E I H O E N EG R O -RED AND BIACK-
DE VE RM EL HO E N EG RO , VE STI ND O A NOTTE 0 MIST ŚR IO TRA Z, DE COH R D E CONCI 1/lS, BRINC OS DO UM DO S, AP RO M ES SA FA Z. .. SB Ё <2 ER IR, VOCE PODE IR. Р Л O Q UE Q U ISE l.
EXUFEZ UMACASA
T
T - EXL IFEZ UAL4 CASA,
PORTEIRA E S E M J A N E I A / m D A N A O A C H O U , M 0R .4 D 0R PRA M 01 14 RN EL -1 . A IN D A N AO AC HO U MO RADO R, PRAMORARNEU R - A IN D A N/ Ю
PRA
/IC HO U м
- lDOR,
N E L I .
M AS CUI Dj4 DOA MlG O,
A IN D A N AO AC H O U ,
E l A Ё B ON ITA, E L ^ Й A fU LH ER
M OR 4D OR PRA M O I A R N E U
ENUM CANTO DA R UA, ZOM BAN DO, ZOM BAND O,
(REPEAT)
Z O M B ID O
..
E U E M O Q l BONITA, G IB JD O , G I D O , G!/lNDOL4,OI... OIGIRA NDOU.OI... OIGIR/INDOLA, O L.
E PR A Q U EM Т Е М F E
Л GIR./1
,
MU LH ER DE SE TE M i m o , A SOR T/:
P R4 1 ' ^ s o m u
а
EM SON HO S OM EN TE FICOU...
0 MU ND O N A O G i l SEM GIR L VOCE.NEMUGOU.
CHUVA DEM4IS TRAZ RUiNA, i CEGOU...
P R O a i R A A P R I M E i ' l E SQ U IN A , DE ITA UM PEDIDO A MA RI A, COMFE.QUE VOCE MJUROU.
E A G U /l R D E ,A
К
,
A II R AD A D A N D IR E. .. P O I S N A 170/1 SO 1 QU EM Т ó AJEM
М
> ,
HM EH,
F O LH A M O R TA R E V I V E Q U A N D O
c n i
E S P E R IN ęA N A O M ORR E SE LU TA R, TODA SORTE PERDIDA, E BO BE 1R 4Q U ED A.
(REPEAT)
i ’M PERIGO.
(REPEAL
E PR/1 GFR/1 DA I'I D/ l,
О GBIDE L
IDO COM E U
POMB/1 G/R4
ENA ENA E
m
OGIBA
(REPEAL
SOLTARAM 0 POMBO LA N A MATA , A LA SN A PED REIR /‘! NA O POUSOU, FOl P0 U S.4 N A ENCRUZILHADA, SEU OMULU FOIQUEM M/iNDOU,
SOLTARAM o POMBO LA N A MATA.,
FOl P O U Si NA ENCRUZILHADA, SEU X/AP ANA FOIQUEM AlANDOU,
A lA S N A PED RE IRA N A O POSOU, F O I P O U S A R N A E N C R U Z E H A D /1 ,
FOl POUS/IR N A m a u z i L H / . SETE CA VE IIA S QUEM ALANDOU.
SEU SETE ENCRUZAQUEMMANDOU, FOIPOUSARNA ENCRUZILH/IDA, S E U T B I C A U i fl E M M l D O U , FOIPOUSARNA ENCRUZILHADA, Ё l/E L UD O Q IM M A N D O U .
E N A E N A Ś M O G I B sl Й...
SOLTAILIAI 0 POMBO LA N A MATA,
EN/1 ENA EMOGIBA, Ё ...
A lA S N A P W R E IR A N A O POUSOU, FOI P O U S I I M E N C R U Z I L H A D / I
ENA ENA Ё AlOGIBA, Й ... ŚMOGJBA,
Ё м о а в А
о а в , (REPEAL
SEU EXU REl FOl QUEM MANDOU,
(REPEAL
FOIPOUS/IRNA ENCRUZILHADA, SEUGIRA MUNDOQUEMAMN DOU,
SOLTAR/AM 0 POMBO l A n a MATA, ALAS NA PE D RE lll A Ś POUSOU, FOIPOUSARNA ENCRUZILHADA, SEU TTRIRl FOI QUE M AŁ4ND0U ,
FOI P O U S I R A E N C R U Z I L H I A DE ST RA NC A W A Q U E M M A N D O U .
FOl POUS/IR № 4 ENCRUZILHADA, A R R /I N C A TOCO OUEM MA NDO U,
(REPEAL
FOI POUS/IR NA ENCRUZIU₪ IAD/I, SEU TRANCA GIIAQUEAI ALANDOU. ENA ENA Ё AlOGIBA, Й ... EMOGIB/i. (REPEAL
SOLTARAM 0 POMBO L I NA MATA, AL AS NA PE DR EI llA N A O POUSOU, FOI POUS/IR N A ENCRU ZILHAD /L A L I A PA D IL HA Q U EM MAN D OU , FOI P0US/1RNA ENC RUZILHADA,
282
283
ERA ENA Ё Т й А Ё ... EMOGIBA,
M A R L 4 M 0 L 4 M W Q m M A N D 0 u ,
EU A o T E Q UERO и м DIA
FOIPOUSARNA ENCRUZILHsiDA,
- 1WILL NOT WANT YOU O NE DAY -
M AR IA DA S AL M A SQ U E M M AND OU.
'ANA ENA
1
, ..
EAfOGIRi,
E U N A O 0 Т
(REPEAL
е 0
Ш
QUERO и м
LIM DIA,
NO ITE , R A O ,
PORQUE EU Т
QUERO,
POR TODA A ETERNIDADE. SOLT/tRAM O TOAIBO L A N A MA TA ,
(REPEAT)
M AS N A P E D R E IM IM'fO POLJSOU, FOIPOUSAR N A ENCRUZILHADA, SEUS ETE C APASQU EMMAN DOV, FOI POUSAR NA ENCR UZILILIDA,
OSEUSETESABE, Я А A ^IE
Н А У
,
A
.
SEUC AP APRETAQUE MMAN DOU,
Q U E E V iO У О С Ё .
FOI POU SARN AEN C RUZI LHA DA,
(REPEAT,
E X U D O LODO QUE M MAN DOU . e n a i^ a
E m o g ir A'E .
!AIOGTBi',
A P A D IL H A S A B E , AQ UT TE RI yl
(REPEAT,
,
A MOL AMB O
.
j2 E E U A \ f 0 К О С Е . ® ,И М
« o POMBO u
N A M A TA ,
(REPEAT,
M A S N A f f i D R E I R A N 4 0 POUSOV, FOI TOI '.f.-fR N 4 E N C R U Zl lJ bl D A ,
TRANCA R л SABE, 0 UELUDO
TATA CAI'TARAQUEM MANDOU,
/J i P EU NT RA COMENTA,
TO P O U S A R N A U Z I L H A D A
Q U E E U M O и о с й .
SEUS ETE C OVASgU EMM/I N DOU,
(REPEAL
FOI POUSAR N A ENCRUZILHADA,
0 B0L4DEIR0^UEAIAL4^0U. E N A EN ^I
MOGIBA, Ё ...
0 .' U LTRA SABE, 0 DO LODO [/( ., K /MUN GU I N lLi
Й А Ю авЛ ,
QU EEU A MO VOC E.
(REPEAL
(REPEAT)
.
,
L A A T R A S D A Q U E L E M O D , BOI, PA SS A B0 L4D A, TAMBliM P/ISSA MA R14 H U A
M AR IA MOLAM BO, M AR IA MU LH ER, M AR IA PA DI LH A,
R -- I/ A/ /- J . 0 C ^
OA/BLE.
(REPEAL
FOIUMAROSA, QUE EUPLANTEINA ENaUZILH ADA , FOIUMA ROSA, QUE E U PLA NTEI NO MEU JARDIM, M AR IA MOL AMB O, M A RI A M UL HE R, M AR IA PA DI LH A, R/ U NH A DO C AND OM BLE.
(REPEAL
A t ! т а / A R M PADILHA, DE TA M AN QU IN HO DE PAU, E I E V EM F A ZE RO B E M , E
А
Ё
F A Z E R 0 M /Ł
286
I
D A E N d U Z IL H IA
-
Q U A N D O D E U M E I A N O IT E - WHEN IT WAS MIDNIGHT -
т
- SUA QiP A DE VELUDO,
QUANDO
D E K O U L A
QUAN DO DA VAMEI A - N OITE, T - LA R O U E X ,
M OG IB li
E X U C 4 V EI RA 1/1 НиЛ-'А.
R -E E E E ... T - IM R OU Х
. Х
MOGIB^
' - ENA MOGIBA LEE...
R•
(REPEAL
T - SUA CAPA D E VELUDO, QUANDO
MOGIBA E EE ...
DEK OU L■ .
(REPEAL
QUANDO D.4VA MEIANOITE, m ix ) EXU JA BUSCA. EN AM OG IB AE I.. . (REPEAT)
T - SU A CAPA DE VEL UDO , QUAN DO
D E K O U 1 4 .
QUANDO DA VA MElA-NQiTE, TRAN C A RU A M BUS Oi.
E N A MOGIB A Ё !... (REPEAT)
R -ENA MOGIBA EEE... (REPEAL
SUA CAPA D E VELUDO, QU/iNDO Н Е Ю D E K O U l A :
E N AA IO G IB IE E E ...
QUAN DO DA VA ME I AN OI TE,
(REPEAL
TODO E XU LA BUSCA. T - SUA CAPA DE VELUDO, R - E N A MOG IBA EEE... (REPEAL
QUANDO
D E K O U 1 4 .
QUANDO DAVAMELfl-NOTTE, POMBO CARA LA BUSCA
E N AA IO Gl B -lE EE ... (REPEAL
W -EN A MOGIBA EEE... (REPEAT)
:s :
2s >
EN AM OG 1B .4E EE ...
P R A Y E RS T O B Ar A
(REPEAT) YUlACHERl т
- SUA C I P A DE [ ETGDO,
B X A B /ł N A D /i
D ' f D O ^ Е Г О D EJA 'O D L T.
] VAUAC H ERJ OK YBAR/ i
QUANDO DA \'A M FlAN OrrE,
e x u a b . a n a d A .
TODO E X iJ IA BUSCA. U \OH \ Y С И Ё С lE M D G lB A E E E . .. (REPEAT)
YUA DEMY С
Ё М
-С
YVA d e m y С Н
-С Н
YUA D m r Y С
-С
Ё ,
Ё
.
Д 1Л 8Д Ё M lW A R/i
E N A MOGJBA EEE... (REPEA .
EXU T/U j AN A FUMIÓ, EXU TA LAN A FUMALEW.
T SUA CAPA D E VELUDO,
(REPEAT)
OU/iNDO m io DEI XOU Ui. QUsiNDO DAVA MELA-Norm,
BARAABAYSSOW
TODOEXillABUSQi. U E E X U !
M i i E j Q U E B i A , B A R A E Q V E B /i R A A B A Y SS O lF .
R - EEE. ...
B M iE Q U E B A l i A B A Y S S O f .
b a r
A g a r o w
O H tB A RA , B A l A E Q V E B/ 11 4 , E Q U E B/1RA GAROIP: B AR AQ U E B .4RA, QUE BAR /( BARO f (REPEA .
290
ba r
A o
t w
TRADITIONAL CONGO-PONTOS FOR EXU
BA R A O TY N ,
A f l l T L E , M A l'I L E , M f l i E , M /H '/ hXGO,
07m 07m, O T Y N M R A , B1R.I 07' 'N'.
REC OM PEN SUI ,, Ц
4 R A,
r e c o m p e n s u A
(REPEAT) E V M M A l t E . M A l'IL E, BARAWODUNAZA
E и
A H V IL E , M AV AN G O .
(REPEAT) TELE RlR/f RODUN AZA p ^
o e r e k e r
E
Yiil.E BART W'ODUNAZA,
E X U E P A V E N A
(REPEAT)
PAQUERE KERE. E X U E P A V E N A
(REPEAT)
N A S U A I D E I A E h E E , e x v
B p
a v e n A .
E POMBO GIRA, Р 0 Л Т 8 0 G U I , POMBO GJI14.
E POMBO GIRA, POMBO GIRA, POMBO GIRA POMBO GIRA.
, CORO,
,
LARO JE.
. и L A , ZECO Ё С 01/lSE U CURIA.
,
T OM A L i , ZEC O z E c o . CHASED C I A Р О
В Ё . и Ё ,
Р О М В О С т Ё .А и Ё , POAIBO GIRE, VAM VCO NG UE, Р О М В О
g i r e , v A m u c o n g u E
BOMBO GIRA I /EMTOMACHÓ CHÓ, BOMBOGIR A VE M TO M A CHÓ CHÓ.
M A V n i CONGO, MA CO TO IL E М , M A V tL E CONGO, Ё М А И Ё , от POMBO GIRA, VAMVCO NGU E, 01Л , ORIRll (REPEAL
U D A ,U D A POMBO G » A , U D A I . U D A U D A
GIRA. TENDAJÓ. p o m o EXDENi, E X U Ć .N A N -В г . L E G B / i B A E X U E l M , LE GB AR A, E X U A Q U E i 294
o m o l
U / x a p a n A
T
.
?
ME U PAT O X A l A E 0 REI, V E N H A M E E ^ E E R . . EU V I I A C I I N H I D O , EUШ PEDI B EN ę/ ,
(REPEAL
EO^EHOOMUEU, AT OT O O B I I .
o m u l
(],
AT OT O O B I U A E ,
A lA SE U VI N H A CA MI NH AN DO ,
(REPEAL
EU Ш
AT OT O OB AL UA Ź,
PEDJ I N ę . i O ,
E R A o V E L H O
o m u l
(],
AT OT O OH ALU AE.
AT OT O B ziBA, AT OT O
E R A 0 VELHO
14 ,
AT OT O Ё
.
AT OT O O B I U A E , A TO TO BAB A... AT OT O OB AL UA E, A TO TO E O R IX A . (REPEAL
S E U O MU LU
,
SEUOAIULUAA, ^ T O T O DA SA O M AS ,
SEUOAWUJAŻ, (REPEAL
01 S H E , S I V E , S I V E A KALUNGA, S I V E , SA LV E, SALVEAK/ALUNG.A, (REPEA’I) 29
PONT OS AND PRAYERS FOR XAPANA
x a p a n
A p Op o d i m o n a y
PONTOS RISCADOS
ZAM BO E RE RŹ , 14MBO й POPO DIMONAY, ZAM BO E RE RŚ , ZAAIBO POPO DIMONAY.
Drawn invocations of the Exus and Pomba Giras. These drawings are used to invoke die po wer o f tlie particular entiti) with wliicli they are associated - mucli like keys who are used to open doors.
ZAAIBO Ё X A P A N A , ZAAIBO Ё VE LH O OMU Llj, ZAM BO Ё / , ZAAIBO Ё POPO DIM ON AY, ZAAIBO Ё IE LH O OMULU, ZAM BO Ё PÓP0 DI MO NAY .
CALLING x a p a n A
X A P A N A M /I N D 0 QU ERE, X,- 1PA ±Y/f1\l /1SD ÓO ULl {[l у г р к й , M A N D Ó A W t,
A \V E ,A W Ź ! (REPEAL
29 s
2 99
EXU
"
D.
roco
, EX U М А Ш А М в .л р Л
EXU CANGA
1Т П 1 А
1НА
ex u
MANGUElRA
M A I.
EXU MAMGUEIRA
EXU
Ex u POEIRA
EXU MARAB .
“
..
“«
EXU RCI
EXU POEIRA
EX UR EI
EXU QUIROMBO
"
EXU DCS RIOS
EXU
EXU
T .C .
PRETO
EXU TOCO
PRETO
306
EXU TOOUINMO
7
CRUZES
ENCRUZAS
EXU
EXU 7
7
CRUZES
PEORAS
307
EXU
EXU
7
7
ENCRUZAS
POEIRAS
i
(
) . os
m m
EXU
oos
VENIOS
309 '
QUIMBANDA VOCABULARY
Ihe primary language of Quim banda is Pormguese, b ut additional words and phrases of different origins are also employed- This again reflects tlie fusion of different races and cults in Brazil. Some of the most common words used originate from Khrrbundu, Kikongo Guarani, Romani and Tupi. It is also not uncommon to encounter spirits who will - in pos ses sion - com mu nica te wit h a mix o f Por tug ues e and Ara bian, .!apanese, English. Erencli or German. However, the greatest and most obvious language influence comes from Angola, mainly from the Albundu and Mbangala people.
ALUA - Drink made of maize, rice and sugar. ALUVAIA - Nkisi, messenger spirit, associated with the street ARU AND A Ih e mythical of origin of Quhnbanda. Also synonymous for Paradise among tile Bantus Brazil \RUE /ARU EIRA - Tree native to Brazil, ! he owner of this ttee in Quimbanda is Exu Ante. ATABAKE/ATABAQUE - Ritual Drum BANSA - Banm term meaning Fire BANSO - Bantu term meaning Hot BIKAN DA - Banm term meaning Herbs BILO NG O - Banm term meaning Medicine BURACO - Bantu term meaning Hovel, poor liouse COM PADR E/COM ADR E - Quimbanda term for Spirits Guides CONGA/CONGAL - Banm term meaning Altar in Banm influenced Cults in Brazil such as Umbanmda. It makes reference to ‘Congada’, meaning ‘a place where tire Congo people meet’ DICKERING - trreaning Good luck, palm reading or general formne telling. This is a word used by Gypsy sp ts DI KL O - A Handkerclricf which Gypsy Spirits use to cover their lread vith DIMBO - Banm term meaning Sweet
DINGAN SUA - Banm term meaning To Bless DISANGA - Banm term meaning.)ar
KIJILA/KIZILIA - Bantu term describing taboos and prohibitions which have been given to the initiates
DIZUN DU - Banm term meaning Frog/Toad
M O N G O - tlie language of tlie Kongo tribes
EBÓ - Yoruba term meaning O ffering or Sacrifice
к и и MBA - Bantu term meaning Young, girl. Young woman
FEND INDĆ - Banm term meaning Arrow
KIMBUNDU - The language of die Mbundu tribe
FUNDANGA - Banm term meaning Powder
KIUblBA - Banm term meaning Darkness, The Dark. Also used to refer to troub lesome spirit entities.
FUNJI - A dish of Banm origin, similar to Polenta. In Quimbanda two types of funji arc known, one for the ancestors and another one for die I'.xus
KU AL ONG - Bantu term '1.0 Harm
FUKAMA - Bantu tettii meaning To Kneel
KUFUNDA - Banm term meaning'I'o Bury
GANA /DAN A - Gypsy Goddess of the bloon
KUN DIA Bantu term meaning Toffee
GIRA - Term used for Quimba nda gatherings or parties
KURIAR - Bantu tertn meaning 'I'o Eat and 'To Drink
FFAMBI - Banm term meaning Rimal Undertaker
KURIMBA - Banm term meaning To Sing and To Dance. Same as PONTO CANTADO
KAEUMBA - Synonymous of Kalu.nga KAEUNGA NGOb'lBE - powerful Nkisi/spirit who brings plagues, lives in the sea and tlic cemeteries (or grove, wliicli is where the Banms buty tlieir deatl). He i s se en as ‘Kin g o f th e De ad’ - his name tran slate s to ‘Death of the catde’. His messenger in Quimbanda is Exu Rei da Kalunga (Exu King of the Cemetety.)
KIZObfBA - a drumming ceremony of Quimbanda
EANGO - Bantu term meaning Rain EEbIBA - Bantu term meaning Gentleman, blaster IIBA NG O - Bantu term meaning Iron Thain 1.IEENSO - Banm term meaning Handkerchief
KAbfBONO/KAblBON/KAMBONE - Banm term meaning Initiate, steward or ush er at religious ceremonies
lOMBA - Banm term meaning Elevated Place, blountain. Hill
KANGU LA - Bantu term meaning Scissors
MANDANKU - Banm term meaning Spider
KARUNGA NJAMBI - Nkisi/spirit who lives in depth of the sea. He is considered to be very powerfill and has the form of a great marine serpent. His messenger in Quimbanda is Exu Rei da Praia (Exu King of the Beach)
MANSA - Banm term meaning Water
KAWUANDI - Banm term meaning Basket KI - Bantu term meaning Language, dialect KIAMBOTE - Banm peering KIBANGO - Banm term meaning Wizard, Folk healer. Priest or Shaman. Short for ‘Quimband a’ KIBINDA - Banm term meaning Hunter, solder
MAIO NGA - see MASI NSABA
MARIA - name which is applied to a multimde of feminine spirits MASI NSABA - Banm term meaning Ritual Bath made from herbs and plants MASOSI - Banm term m eaning Tears blA SU - Ban tu ter m mea ning spi de r MBELE - Banm term meaning Knife or Blade MBISI - Banm term meaning bleat MBONDO - Baobad, African tree bl EN G A - Ba nm ter m mea ning Blood
MIFUITA - Banm term meaning Black , - Banm term meaning Small, Dwarf, Youn g Boy. Also the name o f a certaht Exu who appears in tlte form o f an adolescent boy: Exu Mirim MIRONGA - Banm term meaning Mystery, Secret. Mironga can also describe the secret materials/medicines one receives upon initiation
N K O B O - B antu ter m m eani ng Shell NK UT U DI LA NG A - Bant u term refe rrin g t . bea ded necklace s who contain magical powers NS IMA
Bant u t erm mea nin g Snak e
N T A NG U - B anm term mea ning Sun
MISEKE - Bantu term meaning Sand
N T O TO - B antu term mea ning Ear th. Th e Ban ms gre et the ance stor s by touching the ground and saying; *Ah ntoto’
М О Л М В А - Banm term meaning Yellow
N T U N D E - Ba nm term mea ning Palm Oil
MOLALO - Banm term meaning Onion MORIN GA - Bantu term meaning Claj’Jug
N Z O - org aniz atio n of Qu imb and a, a religious family .i t. mea ning ‘house’)
MPOLO BANSO - Banm term meaning Ashes
NZ AM BI MP UN GU - AU pow erft il G od the supreme deity for the
MUJINDA - Banm term meaning Storm MUKASO - Banm term referring to marks done on the body with a special pow’der to protection from evil
Bantus NZ IM BU Bant u term mea ning Cowr y Shells wh o were used as currency for trade ith India and China
MUKULU - Banm term m eaning Elevated Spiritual Guides or Teachers
PAjE - Indigenous Brazilian Priest-shaman
MULAMBA - Banm term meaning Cook
PAMBUANJI^/PAMBCNGERA/BOMOBOMJIRA/BOMBOGIR /POM BA GIR A - From Aluvaia or Pambuangila (Bantu Nkisi of tlie Roads and Pathways). In Quimbanda this name is sometimes used to make reference to female spirits (Exuas/Pomba Giras). The term originates from a kimbundu reference of a spirit entity which works in the crossroads (not concerting gender). Pambu-Ngila is often translated as’Crossroad’
MULEMBA - African Fig tree MU NDEL E - Banm term meaning White MUNGUA - Banm term meaning Salt MU SIGATANA - Descendant of the town of Sigatana (near Aluvaia). Associated with Exu Yeludo N D lA - Ban m ter m mea ning Foo d ND IÓN S1L A - B anm ter m mea ning T oad ND UN G U - Ba ntu term mea ning Pe ppe r NF UM BE - Ba nm term mean ing T he Spirits o f th e D ead NG AN GA - Hea d or pries t o f t he Ban m cult. Ilii s term is also used to describe the secret wilieh is places inside a cauldron or container and acts as a focal point for interaction w.ith the spirit world N G O N G O - Ba nm term mea ning Kn ot or T o T ie NG UA LA - B anm team mea ning W hite Rum NG UN DA - Ba nm term mea ning Cre scen t ^ lo o n) NK AN D A - B antu term mea ning Leaf
“
PARNE - 1'erm meaning Money in Gyps), language PEMBA /MPEMBA - rimal chalk PUERE - 'I'o move; To dance0 '1 sltake. Name tliat is sometimes used by a Gypsy Spirit who se virm e i s t o stan d ou t in the dance: C ig na PuerC (Gypsy dancer) !)ON TO CAN'1'ADO Rimal song, lit. ‘Sung Point’ PONTO RISCADO - Ritual drawing, personal signature of each spirit, lit. ‘Drawn Point’ QUIAiBANDA —1. Bantii term meaning a Priest among the Mbundu and Mbangala tribes, pertaining to tlie Banm group in Angola, 'litis can be trans lates as ‘the one wh o com mu nica tes wi th spir its’ or ‘one who knows the medicines to cure’. 2. A Banm/Congo dreifed Shamanic Witcltcraft 'l.radition practiced in Brazil
RISHI - Bantti term meaning Smoke
BIBLIOGRAPHY
RUFU - Bantu term for Powder SANGULA - Bantu term meaning To Lift SIKIRI MATO - Bantti term meaning To Hear
‘3 3 33 Po nf oi C i f ś s Riscados.( vo\.
SUNGA - Bantts tertn meaning Cigar
Cultura Negfa Rio de Janeiro, 2001
SUNSUKETO - Bantti term meaning Hen SUSUN WERE - Bantti term meaning Rooster
‘333 3 PontojCanJados Ri5 ad05
TATA - Bantti term meaning Father, superior. Also used as an honoraty title for a male Ulitiate of the Quimbanda Cult
Pallas, 2002
TATA NFUMBE - Powerfill Bantti entity, considered the father of the ancestors. In Cuba he is syncretic with Omolu/Obaluaiye. In Brazil he becam e and Exu o f Qu imb and a abo ut wh om is very little kno wn and who is almost forgotten. He is also called Omolu in Quimbanda.
( v o \2
Kimbwandende Ria Bunseki 1'u-hdau ‘/Af rica n Cosmology
lb« Bd«J«-Ko go
.Athelia Henrietta PR, 2001
TATA NGANGA - Bantu term meaning Senior Priest TATU - Bantu term meaning Four TUTU
Dish made of farinha, porotos and bacon
UAN GA/W ANG A - Banm term meaning spell or Work of magic UKUSU - Bantu tertn referring to Red Paint, which is used to attract the pow er o f the spirits WANKALA - Bantu term meaning Goose WIRIKO
Bantu tertn meaning To Awake.
Richard Fd ard Ocnnett ./\
Back of le Black Plan's Min d'
. 'rank Cass, 1968 (first published in 1906)
Simon Bockie ‘Dealb an d be I«risible Potwrs: Tbc Worl d of Kongo B li J
Indiana University Press, 1993
YAYALANGA NGUI - Bantti term meaning ‘come fotward’ Da id. St. Clair *D m and Candle'
Doubleda y, 1971
Serge Bramly ‘Mac nwba : Tbe Teachings J be Gods’ 0 ^ laria- 0se, A0 be J 0
City Lights Publishers, 1994
Alice Werner Myt M ’ yths hs and and Legends of the Ban Bantu tu‘
Frank Cass, 1968 (first published in 1933) Richard Richard Edward Dennet t l i e s 0« .he .he Folklo Folklore re of ' be Fjo
The Folk-Tore Society, London , 1898 Malidoma Fatrice Some D J I . iterand be spin :
Magic Magic,, and Initiat Initiation ion in be
of an /African
’Sbawan
Srkana'^, 1995 Marcin Harris З г Rind: Rind : Wbo We
, Wbere bere We We Catw atwe row, Wbere We Are Are Goin
Harper Perennial Perennial, 1990 Gilberto Freyre TbeMasters and beStares: A s «d) 'in be development o^hra^ban ti i
a ion
Knopf, 1956 (first published in 1933) Pedro hlcGregor Tbe Moon and two h 30 nn a .ns:Tbe M^tbs, Ri ńa < Mag Magic ic o Bra^.l Bra^.l ’an Spifitisw
Souvenir Press, 1966
Other resources: resources:
The Cauldron Brazil’- Brazilian hlagazine on die Occult, published in Portuguese 318
EPILOGUE
rhe following following article article was was printed in Pentacle Pentacle hlagaz ^e. August 2006. 2006.
Quimband a - Witchcraft in Brazil
by Mario dos Vento Ventoss What if our search for Witchcraft Witchcraf t has acmally brought brou ght US away away from the source of its tnje being, instead of closer to it? What if we have strained so far away away from the ancestral wisdom wisdom of o ur witch-fathers and mothers that we arc no longer able to see, feel and most of all, practice what they wanted US to remember reme mber and carty on? What if we have re-paint ed the original sketches so many times that they onl) give US a shadow of the trtje ‘meaning of w.itchcraft’? What if the last 50, 60 ) ears have tainted our image of witchcraft so much, that it no longer resembles our ancestral wisdom, but our own dream of how things could and should have been, instead of what they reall) were? "Itiere lias never been a time when more information has been available to the general public than in our day and age. Public libraries and the internet inter net give US access to ‘long lost treasures’ and the latest resear ch and findings of anthropologist and archaeologists, (:hakras, crystals, rebirthing, UFOs and plastic skeletons live next to Tibetan incense burners, burners, statues statues of Kali, Kali, Wodan Wodan and Isis Isis all all nicely nicely arranged arranged on a Mayan ayan Calendar print and decorated with Native American eagle feathers. Not to forget the new ‘IN tiling’ Vodou masks and images of bare-breasted African woman. How lieautiful to be Eclectic! When Gerald Gardner sat til liis chair on the Isle of Man thinking up Wicca, lie believed it to be the revival of witchcraft - how things could have been. His knowledge gained in travels througli /Vsia and parts of Africa as well as the w.orks of Crowley, Inland and Margaret Murrey inspired Ilim to revive w.hat had long been lost. When his pen touched paper, paper, he surprised surprised the world world with ideas, ideas, rimals rimals,, philosoph philosophies ies and a religion that filled our need to step out of our busy life style and take our minds off the hustle and stressful demands of everyday life. Many people were finally able to breathe and to reconnect to their wild side. Rut what if less had been lost and e en more had actually survived?
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Since Since hen, hen, many many have tried tried to impose impose their own forms of ‘heredi hereditaty taty witchcraft' on the general public, claiming that their family has been the only true keeper of long lost knowledge. Regional witchcraft traditions, Shamanic Shamanic family family lines and psychedelic psychedelic research all claimed their part in the great famil) tree of 20th century revivalism. Hippolyte Leon Denizard Rivail Rivail
Rivail Rivail was bom in Lyon, France, in 1804. 1804. He was alread). in his carl) fifties when he became interested in the wildly popular phenomenon of spirit-tapping. At the time, strange plienomena attributed to the action of spirits were reported in many different places, most notably in tile U.S. and France, attracting the attention of high society. The first such plienomena plienomena were were at best best frivolous frivolous and and entertain entertaining, ing, fcamring fcamring objects that that moved or ‘tapped’ under what was said to be spirit control. In some cases, this was alleged to be a type of communication: the supposed spirits answered questions by controlling the movements of objects so as to pick out letters to form words, or simply indicate ‘yes’ or ‘no.’ In 1857 1857 Rivail Rivail (signing himself *Allan Kardec^ published publi shed his first book boo k on Spiritism, The Spirits Rook. It comprised a series of 1,018 questions exploring matters concerning the nature of spirits, the spirit world, and the relations bertveen the spirit world and the material world. This was followed by a series of other books, the most important being The Gospel According to Spiritism. Tire Witch of Endor
!Hardee’s form of spirit Communication, however, is much older. In the Hebrew Rible, tlic Witcli of Endor, found in the 1st Rook of Samuel, chapter 28:4-25, is describes as a woman ‘who possesses a talisman’, through w.hich she called up tlie gliost of the recent!) deceased prophet Samuel, at the dcinand of Ling Saul of Israel. 1 \ this happened around the year 980 RCE —a good 5000 ) ears ago! After Samuel's deatli and !)urial. !)urial. King Saul banned all necromancers and an d magicians from Israel. 1hen, in a bitter iron) , Saul sought out the witch, anonymously and in disguise. As we are told, the prophet's gliost offered no advice but predicted predicted Saul's Saul's downfa downfall ll as king. king. Was Was the Witch Witch o f Endor a surt.iva surt.ivall of archaic Canaanite religion - similar to a shaman?
Spirit possession Cnlike demonic possession, W'here the person is thought to be taken over by the ‘Devil’ or his dem ons for har m, spir it possess'io n is a volunt ary, culmrall)- sanctioned displacement of the personality. The spirits, be they deities, angels, advanced entities, or the dead, are invited to enter a human person to educate, communicate with the living or Just because they do not realize they are dead and need help in passing to their next realm.
The concept of spirit possession by various entities plays a major role in religious w.orship in the Caribbean, the Middle East, India, Tibet and almost all ;African Religions. In tire Caribbean and especiall)- ^^frica, a ' ariety of religions are found who are entirel) build build on spirit spirit posses possession sion.. Possession is known as ‘mounting the horse.’ The horse is the person who ‘manifests’ the spirit, and the spirit is the one who ‘rides’ Irim or her. Often devotees enter a trance and dance and do tilings which they would be unable unable to do in their consciou consciouss state o f awaren awareness ess.. Many Many elde elderly rly and and phys physica ically lly disabl disabled ed persons persons have have displa displayed yed this this unique unique abilit ability y and and behavi behavior. or. Similar Similar posses possession sionss occur occur in Santeria Santeria,, Vodou and Quimband Quimbandaa among other traditions. traditions. Mediums involved in Spiritualism and clranneling do not fear the spirits wliiclr speak through tliem. They believe tliis influence is temporary and if the spirit linger too long its ‘exorcism’ takes the form of a stem conversation in which it is told to depart. Tire phenomenon of spirit possession lias entirely disappearetl from modern-day paganism and witchcraft. What renrains, however, is a shadowy idea that tile most powerful and most intimate interaction bettvee bettveen n the spirit spirit world world and and tlie world world of man man is via via posses possessio sion. n. Tlri Tlriss can can be seen seen in the attempt to foster foster possession possession in pagan rimals rimals such as the ‘Drawing down of the Moon’ - an attempt to remember and to replace true possession. Quimbanda The Anthropologist and Sociologist Wyatt Macgaffey in his book ‘Religion and Society in Centtal Africa: The Bakongo of Low.er Zaire’ makes several remarks to tlie Bantu/Kongo believe about the dead. One such remark clearly e lains tlie Bakongo beliei.e tliat tlie souls of tlie dead ttavel across the water to a new countty . Sometimes people interpret this place as ‘the country under the water’. However, Macgaffey
states that scleral Missionaries and Anthropologists were asked by the Bakongo how tJieir ancestors are getting on ‘in the land across the sea’ — meaning Europe and the ;Americas. What if the spirit of Medieval witchcraft has survived right under our nose? What if the teachings of Spiritism are true and the souls of the departed live on after their bodies have long been put into the ground? What if the European settlers in South America brought those spirits with them to the New World? What if there is no need to re-construct? And what if those spirits li e on in the Cult of Witclicraft known as Quimbanda - a word derived from tlic language of tile Bantu/Kongo people people roug roughly hly translated translated into ‘Lan ‘Langu guage age oftli e Spirit Spiritss of the dead’ dead’. Quimbanda was only given a name approximately 100 years ago. As with many other self-contained religions and traditions, the practitioners never had an) need to describe or define tlieir practice to tire outside world with terms otlrcr tlren ‘witchcraft’. Lntil tire second half of the 20th century, all Afro-Brazilian religions were considered crhuinal acthrity by tire Brazilian government and periodicall). repressed. More rccentl) they have become part of popular culture as many novelists and song vriters have written or sung about tlrem. lire spiritual roots of Quimbanda can be found among the Banm people of West anti South-West Africa. These people were brought to Brazil as slaves as early as as 1558. 1558. While tlic tl ic Catlrolic clrurch appeared to rcaclr some levels of success in converting some of the native Indian tribes of Brazil to Catholicism, it did not have tlris kind of success with tire largest populatio population n of African African slav slaves es in in the New World. orld. Among tlrese African slave-ancestors, we find the spiritual roots and the etymolog) of Quimbanda. '!he Quimbanda was - and still is - tire title of tire priest/shamans of man) of tire African Bantu societies in West and Soutlr-West Africa. The prefix ‘Ki’ refers to ‘language’ or ‘knowledge’ whilst ‘miranda’ can be translated as ‘the power to cure’. A shanran/priest widely called a Quimbanda or, depending on the re^on ‘Nganga’ - may tJiercfore have extensive knowledge oflierlral medicine, anti at least some parr parr of his his work work is devoted devoted to the applica application tion of that kno know w-led -ledge ge.. Even today, lrolistic healtli practitioners in West and South-West Africa arc still known as Quimbandas. They can be herbalists, diviners or spiritmediums. People take recourse to tratlitional medical systems not only to cure plrysicall) manifested illnesses Irut also to seek protection from the man) hazards ofdail) lifo, lifo, to discover tile causes of a death in the family. family. 323
see why domestic animals are dying or wliy the fields are barren and die hareest not enough. In many Centtal and West Afocan societies, a Quimbanda is first and foremost seen as an intermediary bertveen humans and the god Kalunga - the King of the Realm of the Dead. A man is chosen for this role by a spirit, and undergoes a transformative (initiation-) period. Mlale Quimbandas in Bantu-Congo societies occasionally practice same-sex eroticism and marty other man. 'rhe Banm believe in the surttival of the soul after deatli and relate this belief to the idea that the spirits of the dead can influence tile living. If somebody falls ill, it is assumed that an ancestral spirit has sent the disease or that the sick person is bewitched by a living enemy. In any case, the Quimbanda - Shaman/Diviner - must consult with the Spirits to investigate die case and find the remedy to cure the patient. For the Bantu the notion of disease encompasses physical sickness together wtith misfortune and imlialance. Thus, anything that !)rings one into disharmony, be it with tlie environment or wtith others, can be perceived as a potential disease or dlness. Mlisformne, in all its more serious forms, was believed to be caused eitlier by ancestral wratli, witclicraft or pollution and it was the diviner's fiinction to uncover tlie exact cause and prescribe tine appropriate actions to lie taken. However some forms of misforttine were believed to liave nattiral causes i.e. to result from environmental factors. Religion and disease/illness causation are always closely interwoven. The African Quimbandas ^riest/Shamans) - Just like their Brazilian counterparts, tlie Quimbandeiros - are in constant contact with die spirit world. Only in tliis way are they able to perform oracles, deliver messages, cure the sick and enter into trance. Ih e central ‘deities’ of worship - or bett er, the entities on w7hich the Brazdian Quimbanda tradition is based, are Exu and Pomba Gira. It is iniportant not to confiise tire Exu of Quimbanda with tlie Orislia Eshu or Ele^ua of die Yoruba derived religions of Candomble and Santeria. The Exus of Quimbanda are in fact spirits of tile dead and in particular the sjlirits of deceased quimbandeiros. Quimbanda priests or individuals otlie^vise involved wtith Bantu/Congo spirituality. God knows tliat being ‘only human’ is to be weak, to be filled with doubt and all sorts of frailties. That’s why He has allowed tliese spirits, who have been on eardi before, to help US in tliis lifo. They are all around US and are willing to be called upon. After all, it’s to tlieir advantage to listen to usl 324
The Exus arc the mirrors which reflect the essence of the common man, an instrument of communication between two worlds: the spiritual and the material; senting as custodians on the spiritual plan. They are the 'police of the astral plane’, responsible for carrying the souls of tile departed unto tlieir destiny and to reward or to punisli the actions that men carried out on the physical plan while he or she was ali'.e. As with the Europe an wtitch cult, Quhnbanda also had a reputation of orgiastic gatherings. It is true though that most dances —and dance is a major part on tliis religion - are of erotic and flirtatious nature. During possession, the Exus will also ask for Rum, Gin or other strong, alcoliolic beverages and util also smoke large amounts of strong cigars, t he cult is, however, far removed from drtinken orgies. The European roots of Quimbanda arc often overlooked but go much deeper then tlic idea of some practitioners, to syncretise the Exus of Quimbanda wtith the demons of Grimorium Terum and other medieval grimoires. Many of tile spirits which manifest in tliis tradition arc clearly of European descent. Gne example is Pomba Gira Bruxa Evora - the ‘wtitch' who eligibly taught the Dark Arts to St Cyprian, a Catholic saint vho by legend is seen as the Patron of Sorcerers. Alan) other Pomba Giras are believed to have lived in !' ranсe, Spain, Portugal, Italy and otlier parts of Europe. A great deal of tlie magical workings of Quimbanda not only resemble African and .Amerindian shamanic practices, but also show clear traces of European ‘sympathetic’ folk magic. Descriptions of the 'witches sabbat’ and ‘nightly meetings’ found in Medieval European accounts of witch trials recorded by the Inquisition could have been written about Quimbanda. It is important to understand tltat this tradition is not synonymous with Satanism or Devil worship. The most iniportant aspect of tltis religioti is that people are able to relate to it. Ih c common, ordinary man in the street is able to get closer to tlie world of spirit, is able to communicate with the dead, to ask favors of African, ^Amerindian and European derived entities and actually to see the spirits descend and take o er die bodies of tlicir worshippers. It is not simpl) a passive reflection of Brazilian culmre but a creative factor the formation of a colierent Brazilian identity. Quimbandciros have tlieir way of getting what they want from tliese spirits. We do not liesitate to call on tliem. Esually we tty. to solve problems without spirit intetwention, but if it is a case beyond human effort, tlien tile spirits are sought! As Quimbandeiros, this tradition is as
much part of our li es as are our families, our friends and the country we live in! We accept it and take it serious. We try to understand the spirits and they, in return, try to understand us! The world of the spirits and ours work together and help each other. It’s that simple and yet it’s so complex!
ABOUT THE AUTHOR
Mario dos Ventos lives in Surrey, United .Kingdom. He is an initiated (^uimbandeiro and member of N Quimbanda Ел. Ventania a Nzo Quimbanda/House of Quimbanda in the UK - a direct offspring of Nzila Aluvaia Kiumbanda Kimbiza, the Quimbanda House of 'lata Remolino in Extrema, province of Alinas Oerais, Brazil. He is available for Tcnormand Card Reading and consultations with the tratlitional Nzimbu/Nkobo Cow.ry-shell divination system, and regularly gives talks on Quimbanda, Macumba, and Witchcraft. His homepage is http://www.exu.moonfruit.com 1Ie can be contacted ia the following emad address: casa_dos_vcntos^ hotmail.com
OTHER WORKS BY THE SAME AUTHOR
T H E R E D BO OK OF P OM B A G I ^ TH E BLACK BOOK OF EXU
Taping into the Power of the Qneen oftlie Night
Taping into the Power oftlie Master of Reality
Within this book you will be able to solve most of the problems of day to day lifo that may be encountered with people, places and situations. The Black Book of Exu contains over 20 magical workings for economic improvement, spells for dealing wtith work and employment, romance and how to defeat your enemies. Workings include: how. to approach Exu do Lodo for prosperity, a working for love with Exu Quirombo, defeat your enemies with Exu Cavaira, how to find fame and fortune with Exu dos Rios, a working for success in business with Exu Tranca Ruas. Workings also includes amulets and talismans. Tltis book is a practical guide for tltose who are interested in African Witchcraft as a practice, written for those who want to tap into the power of Exu, the powerful ruler of Quimbanda and Master of Reality. AVAILABLE AT LULU.COM 328
This hook is a practical guide for those who arc interested in crnde, oldfashioned European Witchcraft and Folk Magic. Written for those who ant to tap into tile power of Pomba Gira, the enchanted and seductive Queen of Quimhanda, The Red Book of Pomba Gira contains magical workings for economic Unprovement, spells for dealing with work and employment, romance and marriage. You will learn, among other things, how to approacli Pomba Gira Maria Mulambo for wealth and money, a working for love with Maria Padillta, how to defeat your enemies with Rosa Caveira. a vorki ng to find true love with Pomba Gira Meninha, how to have success in business with Pomba Gira Cigana. Spell workings also include cliarms, amulets and talismans.
AVAILABLE AT LULU.COM
More then 20 cliapters, spread over almost 400 pages, explain the histoty, cosmology and theology of Umbanda, look at ceremonies, the organizational structare of individual temples and o f the pantheon of this religion. SAR/iVA UMBANDA! also explains tlie ‘necklaces of the worshipers’, gives recipes for orixa foods (adimu) and special workings for cleansing, prosperity, luck and love. Also included is an appentlix containing a collection of Pontos Cantados (sung invocations) for all the different lines of spirit and orixas. The main part of this book however is dedicated to the application of Umbanda outside of Brazd. What problems can be encountered W ’hen practicing this religion, which is tied to the land, outside of its country of origin? What new challenges must be faced and how can we adapt without compromising the roots, values and believes of Fmbanda? AVAILABLE AT LULU.COM
T H E G A ME O F D E S T I O T Fortune Telling with Lenormand Cards
Knows in Brazil as 0 Barulbo CiganO) the Gypsy Deck, the Fortune Telling Cards of Mile Lenormand have long been employed by many followers of Umbanda and Quimbanda/Macumba to read the future and give insights into the 0rkings of the spirit world. This book contains the meanings of all 36 cards, card combinations, different spreads and special meanings. It also contains an extra chapter on how to invoke the aid of the Gyps)’ Spirits in card divination and gives instructions and recipes to aid clients and readers alike. All in all, die most comprehensive book on tile Lenormand f ortune Telling Cards ever published in tile Englisli language!
AVAILABLE A'l LULU.COM
