In a classical orchestra, the conductor’s raised hands signal the beginning of a performance, guiding the musicians with subtle gestures that direct the flow of each beat and dynamic change. Similarly, the drummers in Rio de Janeiro’s Carnival parades are orchestrated by skilled maestros, whose hand movements transform the powerful rhythm of hundreds of drummers into a harmonious masterpiece.
For the 70,000 spectators filling the bleachers each night during the three-day parade, the flamboyant costumes, towering floats, and mesmerizing dancers are a sight to behold. But for many samba enthusiasts, the drums are the pulse of the celebration. The maestro’s hand gestures—swinging, flicking, twisting, and pointing—bring coherence to the diverse drumming sounds and elevate the parade to a remarkable level of synchronization.
The percussion section includes internationally recognized instruments like the snare and bass drums, along with traditional Brazilian instruments such as the tambourine hand drum, the cuica friction drum, the double-sided repique, chocalhos (metal shakers), and the agogo (a two-headed cowbell from West Africa).
The Mocidade Independente samba school, one of Rio’s most popular, boasts a drum section of 240 percussionists. Located in the working-class Vila Vintem neighborhood on Rio’s west side, Mocidade is renowned for its skilled drummers and iconic drum masters, such as José Pereira da Silva, affectionately called “Mestre Andre.” Six decades ago, Mestre Andre invented the “little stop,” a percussion break during the parade, allowing revelers to continue singing while emphasizing key parts of the samba lyrics.
Carlos Eduardo Oliveira, known as “Mestre Dudu,” has been Mocidade’s drum master for 14 years. He describes the drum section as an orchestra—one that exceeds even a classical orchestra in complexity, as all the drummers are trained musicians, not just performers.
“The drum section is really an orchestra. It’s greater than an orchestra, because all the people there are musicians, people who have studied. Not just in samba, but in drumming,” Mestre Dudu said.
Mestre Dudu communicates with directors scattered throughout the section, who in turn convey instructions to the drummers, ensuring the transition between various rhythms and the smooth flow of the parade’s theme song. “We understand each other. That’s our language,” Mestre Dudu explains. “I have 16 directors in the core of the section. When I raise my hand and give a signal, it is repeated by them, and the drummers understand immediately.”
Unlike some more tourist-friendly samba schools, Mocidade only allows locals in its drumming sections. Last night, they were set to open the final evening of Carnival with their performance in the Sambadrome.
Romualdo Gomes, a professional musician who drums for Mocidade, shares the passion for the rhythm with his fellow drummers. While their love for the music is evident, they are always attentive to the signals of the nearest director, who ensures the beat stays on track.
“You just pay attention to the director,” Gomes says. “You need to focus—there’s a rhythm to every groove.”
The drum section maintains a steady rhythm throughout the entire parade, which lasts between 70 and 80 minutes. Judges score the parades on a 10-point scale, evaluating various elements, including drumming. The drumming section is judged based on its creativity, consistency, and how well it supports the samba school’s theme and lyrics.
Classical music critic Irineu Franco Perpetuo believes that artists like Mestre Dudu are as talented as those leading orchestras. According to him, the drumming section can often be the deciding factor when two samba schools score equally in other categories.
“They are the conductors of this grand popular opera that is our Carnival,” Perpetuo notes. “They face the challenge of maintaining rhythmic consistency throughout the parade. They can’t rush it, nor can they fall behind. They need to keep everyone playing together.”
“A perfect 10 for the drum section holds as much significance as a Vienna Philharmonic performance in classical music,” he adds.
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