A TASTE OF THE NORTHEAST: CIRANDA

Professional Adventurer

History and Background of the Ciranda

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Cirandais a Brazilian term used to define a variety of folk circle dances (mostly in 4/4, but a few in 3/4 with a strongly accentuated first beat). It is always danced in groups (sometimes very big ones) and it is seen as an expression of community and a mixture of play and celebration (Campana, 2011). The original dance came from Portugal during the colonization period and when this tradition was mixed with native traditions and African percussion, the Brazilian ciranda became the well-known cultural expression that, even centuries after, is still popular in great part of country. 

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In certain parts of Brazil, the ciranda is mostly though of as a children’s game or circle dance. In other parts of the country (mostly in the Northeast region of Brazil and especially in the Pernanbuco state), ciranda is a very important cultural expression and it is present not only as an art form, but also as part of their cultural identity (Campana, 2011). This tradition has been passed on from generation to generation and almost every Brazilian can say they’ve danced cirandaat least once in their lifetime (even if only in their childhood).

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There is an intriguing debate on weather the cirandais a musical genre or a dance. The debate comes from the fact that when the Portuguese brought them to Brazil, cirandaswere mostly danced to folk music and accompanied by the harmonium(musical instrument of keyboard and free reads that vibrate through bellows), but there was no percussion, specific musical genre, or characteristic rhythms related to it. However, when it came in contact with the emerging Brazilian culture and the African and Native traditions, the cirandastarted to develop very peculiar musical characteristics that weren’t related to the Portuguese folk songs they were once danced to.  One of those characteristics is the accentuated first beat that was inherited from another Brazilian rhythm called coco. 

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The Coco is a musical genre characterized for its percussion instruments such as the ganzá (a type of shaker in a cylindrical form, made of metal and seeds), the pandeiro(Brazilian tambourine), and the bombo (a low pitched percussion instrument), as well as the percussive feet that accentuate the first beat of each musical bar (Campana, 2011). Coco’s origin is said to be related either to the music made by Brazilian natives or former slaves that escaped to Palmares (a hidden community during the slavery time) and used to sing while using a rock to break the cocos (coconuts). According to Campana (2011), this mixture of the Brazilian cocowith the Portuguese ciranda generated what we know nowadays as the ciranda de roda, or Brazilian ciranda.

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Practices, and Traditions 

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As in many of the Brazilian traditions, the Ciranda is usually transmitted orally (no sheet music is given to participants) and it is as much a musical genre as it is a dance so teaching the song through movement is important. In the first moment, the song can be presented as authentically as possible by teaching students the same way that it is taught in Brazil: orally in a call and response form and through movement. Cirandas have three important elements: the mestre cirandeiro(ciranda master) who “calls” the melody, the other cirandeirosand cirandeiraswho answer singing and dancing, and the percussion that is traditionally composed of the same instruments of the coco (bombo, pandeiro, and gazá), but can also include other instruments such as Zabumba(low pitched percussion instrument) and Caixa(instrument similar to a snare drum). When melodic accompaniment is provided, that is played in accordions. Unless the teacher is a skilled accordion player or knows one that can come into the classroom when the unit is being taught, it would be more authentic and culturally responsive to exclude the harmonic accompaniment in the first moment and teach the dance first, then the song orally, and later add the percussion. Once the full experience of the cirandahas been promoted, any other instruments can be added. For more ideas of how to integrate ciranda music in the music classroom, please check the Listening Activity page.

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Campana, M. A. L. (2011). Ciranda – do canto de roda ao universe composicional

contemporâneo(Masters Dissertation). Instituto de Artes da Unesp