In state of Bahia of all saints, the city of Santo Amaro de Purificacao is marked by the colors of carnivals. It is very abundant in popular cultural manifestations that were born in Africa, and now enrich Brasilian culture. It is the nucleus of Capoeira history and was greatly marked by the birth of Maculele.

Maculele is a dance of strong body expression, where people dance in a group and beat sticks to the rhythm of atabaques and the vibration of songs sung by the players. It has always been the high point in popular parties. Maculele was also played at religious celebrations such as the one honoring the towns patron saint, Nossa Senhora da Purificacao, on February 2nd. Among all of the festive acts in Santo Amaro, Maculele was always the most contagious to those who celebrated because of its beautiful colors and soulful rhythm.

Maculele’s origins are somewhat obscure. Some believe that it was a popular act that originated in Africa. It flourished in the beginning of the eighteenth century in carnivals in Santo Amaro and was later integrated into the towns many celebrations. Other people believe that Maculele has indigenous roots, which would make it Afro-indiginous.

In the beginning of the twentieth century, Maculele stopped being a part of many celebrations because the great Maculele masters of Santo Amaro da Purificacao died out. In 1943, a new master appeared. Paulino Aluisio de Andrade, better known as Popo do Maculele, is now considered the father of Maculele in Brasil. Mestre Popo gathered friends and family and taught them the dance. He based it on his memories and planned on re-introducing it into the local religious celebnrations. He formed a group called Conjunto de Maculele de Santo Amaro, that soon grew and became well known.

In studies done by Manoel Querino (1851-1923), more information was found on the roots of Maculele. He found indications that Maculele was derived from Cucumbi, a dramatic dance in which negroes would hit pieces of wood and sing to the rhythm. In the Dictionary of Brasilian Folclore, Luis da Camara Cascudo points out the similarities of Maculele with similar practices done in the Congo and in Mozambique. Another good source of information on Maculele is Olele Maculele, a book by Emilia Biancardi. It is one of the most complete studies done on the subject.

Now a days, Maculele has been integrated in folkloric activities done in Brasil. It is often performed during capoeira presentations, and in folkloric groups within schools and universities. That said, it is important to relate the words of Augusto Jose Fascio Lopes. He is mestre Bahiano Anzol, an ex-student of mestre Bimba’s and a Capoeira teacher at the Federal University in Rio de Janeiro.

“…Because of dissemination, Maculele has suffered profound alterations in its choreography and sound. The result translates into a de-characterization. For example: what used to be presented as a dance done in a circle with two people in the center moving to the command of the mestre of Maculele, was substituted by an entrance of two straight lines of people dancing in an isolated manner and no longer having the command of a Maculele master. The broken gingado somewhat like frevo, was substituted for a harder ginga, with little swing.

“In recent years, presentations have abandoned the two straight lines. Instead, each person stands alone and is not paired up. Each person works on moves separately. It looks more like a common gym class than a rich folkloric presentation.

“It must be noted that not only Maculele, but all popular manifestations are often exposed to changes as time goes by and the older they get. (…) It is my understanding that all these modifications must be registered so that researchers in the future can study the transformations undergone and to better orient those who wish to learn this popular practice of extreme aesthetic, rhythmic, and musical richness that is Maculele.”

An ancient legend tells that Maculele’s practice was based on one episode that took place in a primitive village in Nigeria, Africa. One day, all of the villages warriors went hunting. The village was left with 22 men (most of which were elderly), women, and children. Knowing of the fact, an enemy tribe took advantage of their absence and forged an attack using all of their warriors. The 22 men in the village only had short sticks to defend themselves with. They defied their offenders with such rage that the attacking tribe left. Upon their arrival, the villages warriors became aware of the event. They had a grand party in which the 22 men were to demonstrate how they won the battle. That day was later frequently celebrated by the tribe members. They enhanced it with atabaques, music, and rich corporal expression. The dance became a way of remembering and honoring the courage that the brave men had.

Source: http://www.mestrechuvisco.com/docs/TheHistoryofMaculele.html