In a classical orchestra, the raised hands of a conductor often signal the beginning of a performance. The movements of their hands can dictate how each beat should flow, and the subtle gestures of their fingers can indicate changes in dynamics.
Similarly, at Rio de Janeiro’s vibrant Carnival parades, a drum maestro uses intricate hand signals to coordinate the rhythm of the hundreds of drummers who bring the festivities to life.
Each night, about 70,000 spectators fill the bleachers to witness the dazzling costumes, towering floats, and spectacular dancers that parade through the Sambadrome. But for many samba enthusiasts, it’s the drums that form the true heart of the celebration. The maestro’s hand swings, flicks, twists, and pointed gestures transform what could be chaotic noise into flawless synchronization, keeping the energy flowing.
The percussionists play well-known instruments like snare and bass drums, as well as traditional Brazilian instruments such as the tamborim hand drum, the cuica friction drum, the double-sided repique, chocalhos (metal shakers), and the agogo — a two-headed cowbell that originates from West Africa.
The Mocidade Independente samba school, one of the most renowned in Rio, boasts 240 drummers in its section. Based in the working-class Vila Vintem neighborhood on the city’s west side, Mocidade is famous for its expert drummers and its legendary drum masters, including José Pereira da Silva, known as “Mestre André.” Over six decades ago, Mestre André invented the “little stop” — a percussion break in the parade, where the drummers pause momentarily while revelers continue to sing. This technique highlights key parts of the samba school’s lyrics, adding dramatic flair to the performance.
Carlos Eduardo Oliveira, known as “Mestre Dudu” and the drum master of Mocidade for 14 years, emphasized the importance of the drum section, calling it an orchestra in its own right. “It’s greater than an orchestra because all the people there are musicians. They studied,” Mestre Dudu said. “They’re not just part of a samba drum section; they’re true drummers.”
Mestre Dudu communicates with drum directors who are spread throughout the section. These directors relay his commands to the drummers and ensure that they transition smoothly between the various grooves that make up the parade’s theme song. “We understand each other. That’s our language,” Mestre Dudu explained. “I have 16 directors in the core. I raise my hand, give a signal, and it gets repeated through them. The rhythmist understands what to do.”
Unlike some samba schools, which allow tourists to join their drum sections, Mocidade only permits locals to play. On Tuesday night, the final evening of Carnival, Mocidade was set to be the first school to parade in the Sambadrome.
Romualdo Gomes, a professional musician, drums for Mocidade out of passion, just like his fellow drummers. However, he never loses sight of the director guiding the beat. “You just pay attention to the director,” Gomes said. “There’s a way to show every groove.”
The drum section plays throughout the entire parade, which lasts between 70 and 80 minutes, maintaining tempo and energy. Carnival judges score the parades on a 10-point scale across several categories, including drumming. The judging focuses on creativity, consistency, and how well the drumming complements the samba school’s theme and lyrics.
Classical music critic Irineu Franco Perpétuo compared the drummers to maestros, asserting that their role is as vital as that of conductors in orchestras. He highlighted that the drumming section is often the tiebreaker when two samba schools score the same number of points. “They are the conductors of this great popular opera that is our Carnival,” Perpétuo said. “They have the challenge of staying rhythmically constant throughout the parade. They can’t rush, they can’t lag behind. They need to ensure everyone is playing in sync.”
“A perfect 10 for the drum section carries as much weight as a Vienna Philharmonic in classical music,” he added.
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