From the primitive musical arch to the belly berimbau

the path of capoeira's main instrument

Abstract

This study aims to analyze the trajectory of the millenary musical arch until its Brazilian configuration as we know it. The belly berimbau is today considered, worldwide, the main instrument of capoeira in all its aspects. For the purpose of this investigation, we present some fights that use musical instruments for their practice, highlighting the fact that none of them use the musical bow as accompaniment, as it occurs in capoeira. We also present data alluding to some musical arches that preceded the belly berimbau, known and disseminated by humanity, as well as the first records that show the presence of this instrument in capoeira. We argue that the belly berimbau is a new meaning given to the African musical arch, done in Brazil, at the beginning of the 20th century. It is in this same period that the development of the automobile industry in the country begins, and that the capoeiras start to remove the steel wire that makes up the structure of automobile tires to make the belly berimbau, as they realize that this material brings a better sound and durability to the instrument. As a result of this discovery, the need arose to use the dobrão (copper coin) to differentiate the different tones that the instrument started to provide. We also show that we did not find the use of caxixi accompanying any musical instrument other than the belly berimbau, as well as in any other manifestation than capoeira. Our research found the caxixi being used in isolation as a musical instrument, either by percussionists or in Candomblé rituals. We verified, however, that the malunga musical bow is played with the accompaniment of a type of rattle called "mai misra", which has a different shape and function to the caxixi. In this article, we describe the main characteristics and composition of the belly berimbau, as well as its building elements: the lintel, the wire, the gourd, the caxixi, the dobrão and the drumstick. Finally, we present comparative data in a table, showing the difference in weight of the lintel between its removal in the forest and seven days after it was dried in the shade. In addition, by way of illustration, we also show the process of making the belly berimbau from a workshop carried out.