TRADITIONAL DANCES FROM MATO GROSSO

INTERIORIZANDO A INFORMAO CULTURAL1

MATO GROSSO STATE DEPARTMENT OF CULTURE CULTURAL PRESERVATION DEPARTMENT

SUPPORT: NATIONAL FUND FOR THE CULTURE MINISTRY OF CULTURAL AFFAIRS

RESEARCH AND BOOK BY ROSANA BAPTISTELLA

1997

This book is part of a collection that comprises 9 books about Mato Grosso cultural heritage. The collection was named after a government program that intended to share the information about the state cultural heritage with every town in the state.

Ministry of Cultural Affairs FRANCISCO CORREA WEFFORT

Minister Mato Grosso State Government

DANTE MARTINS OLIVEIRA

Governor

MRCIO LACERDA
Vice-Governor Mato Grosso State Department of Culture

ELISMAR BEZERRA ARRUDA

Head Secretary

BENEDITO FRANCISCO DE ALMEIDA

Second Secretary Cultural Preservation Management Department

LEILA BORGES DE LACERDA

Manager

ROSANA BAPTISTELLA
Research and book

LUCAS FARIAS GOMES

Orthographic Review

ROGRIO C. MIGLIORINI
Translation into English (2001)2
CDD 398.098172

This book wasnt originally written to non-Brazilians. It was translated some years after it was first published, and the translation was reviewed in 2012. All the notes are the translators. The original book contains 19 black and white photos that couldnt be included here.

I Foreword

A Restatement of our Identities

The struggle to preserve our National Cultural Heritage has increased along the years, and it has conquered allies in several sectors of the society. In spite of that, the conceptions that oppose development against preservation of the Historic Heritage, upset us because of their prevalence, and because they justify the destruction of the things - or of its traces - that identify us as human beings. This government, which conceived Culture as a core element of citizenship when defined its guidelines to the cultural sector, sees the need to implement determinant actions that appoint the State the role of a modern patron. Therefore, we have implanted the State Law for Cultural Support according to this point of view, thus fixing a modern and productive joint venture with the private sector. We also sought the support of the Federal Government/Ministry of Cultural Affairs in order to develop programmes that put our cultural policy into practice. The programme Interiorizando a Informao Cultural represented this joint effort between the State and the Federal Governments that fights the preservation of Cultural Heritage worst enemy, the lack of information. This program, crucial to the statement of our identities as citizens from Mato Grosso, Brazil and Latin America, has induced us to publish this book that, together with other ones, seeks to provide support by guiding the works done by institutions and people who deal with cultural and educational affairs in our home-state. This book contains information, as well as technical and lawful proceedings, and it aims to facilitate and improve the production of all the works intended to promote, organise and preserve Mato Grosso rich Cultural Heritage. May we all benefit from it, Elismar Bezerra Arruda Head Secretary of the State Department of Culture

This work is dedicated to all dance masters, women prayers, dancers, Cururu dancers3, artisans, marrymakers, devotees, story-tellers, feast goers, and players, who devote their lives to the Brazilian Traditional Culture and its several forms of expressions.

See page 20

Contents
I Foreword ................................................................................. 3 II Introduction............................................................................ 6 III - Chorado (cry) ........................................................................ 8 IV Dana do Congo (Congo Dance) ......................................... 9 V - Cururu ................................................................................... 12 VI - Siriri / Rasqueado................................................................ 14 VII So Gonalo Dance ........................................................... 15 VIII Boi--Serra....................................................................... 16 IX Dana dos Mascarados (Masked Men Parade) .................. 17 VI - Cavalhada ............................................................................ 18 XI Folias de Santos (Saints Feast) ......................................... 19 Folia do Divino Esprito Santo (Feast of the Divine Holy Spirit) ...................................................................................... 20 Folia de Santos Reis (Feast of the Magi) ............................... 21 XII - Catira.................................................................................. 22 XIII - Lundum ............................................................................ 24 XIV - Final Considerations ........................................................ 25 XV - Research Sources............................................................... 26

II Introduction
In this brief work, by Mato Grosso Traditional Culture, we mean the Traditional Dances of this Brazilian State, since dance is a cultural form in which creativity and cultural resistance are embodied, so that they can be seen in the dance movements. Furthermore, the dance itself is never an isolated element: it is always part of some festival - sacred or not - where the devotion and the emotions of the participants are its raw material. Each single gesture, action, and sound have a deep symbolic meaning. Music, tunes, sacred objects, costumes, masks, and the scenery (the place where the feast takes place), are all linked. Everything is related to the reality of that given community in particular: Is it next to a river? Is it next to the bush? Is it urban? Is it rural? What people there do as a means of subsistence? All these are tinted by the popular imagery. Their dancers, feast-goers, and merry-makers usually inherit this traditional experience from their parents, grandparents or from someone else related to their personal background. Besides any devotional obligations, or responsibility to their community, they show pure joy in taking part in these dances. We dont intend to list all Mato Grosso dance forms in the present work, we actually aim to give a brief description of the traditional dance forms originally known to be from Mato Grosso but are not always so (even because it is difficult to define their precise origin) that are part of the daily life of the people who have lived in Mato Grosso for a long time. These dance forms passed from one generation to another, and thus integrate the daily setting, or the social and cultural life of many towns. To make this work, we have gone up and down several ranges of mountains, ridden for miles in paved roads as well as in dirt roads, and walked long ways afoot, always watching cults, feasts, and processions. We have gone into the original frame within which these dances spring from the in-depth of the dancers as an expression of their beings, of their ancestors beings, and of their communities. Dance, for those persons, is the most meaningful thing in their lives. At times it is playful, and at times it is more like a pray. To talk and to live with old masters, merry-makers, women prayers, dancers, Cururu dancers, artisans, horsemen, devotees, and players, is an infinite field of learning, and of discoveries.

We have transcribed the interviews, trying to keep the words and the jargons used in them4. The interviewed people here were ready to share their knowledge with us, a trusted the use we would do of the information given to us. Besides, they showed great interest in the dissemination of their knowledge, mainly because nowadays it is seldom transmitted to other people. Statements such as: Its all coming to an end; Nobody gives much value to it anymore; The youngsters dont want to learn it any longer are usual to those who are the guardians of the greatest knowledge surrounding these art forms. The recording and the dissemination of these practices are the main reason for the urge of this research. Actually, it intends to revitalise the interest of the younger generations for their cultural heritage. Although we found a good disposition in the children to learn them, we could note that sometimes the appropriate stimuli for their learning was lacking. However, we have noted that many children spontaneously take part in these dances, in a clear demonstration of continuity. Due to Mato Grosso State immense area, besides the diversity, and the complexity of each dance form, we couldnt study them as much as it would have been advisable. Therefore, we undertook the task of tracking and recording these dances, but we hope that the public and private, primary and secondary schools, as well as the Brazilian universities, take interest in this theme, and further study those dances. Other cultural festivals already extinct or that exist only in some parts of Mato Grosso, such as Pastoril (from Barra do Garas), Dana do Marujo (from Vila Bela), Curralheira (from Araguaiana), Lamentao das Almas (from Torixoru), Ladainhas (from several towns), and so on, arent mentioned in this work due to the difficulty to collect more data about them; nevertheless, we believe that they are worth further studies. Traditional Dances of Mato Grosso was written from field researches done between July 95, and October 97, as part of the Program Mato Grosso Cultural Heritage - research, records, and dissemination, undertaken by the Mato Grosso State Department of Culture together with the State Department of Social Communication and Education. Thanks to the joint venture with the Ministry of Cultural Affairs under the Program Interiorizando a Informao Cultural, this work could be published.

It wasnt possible to translate the true style of these interviews into English for they are proper to the Portuguese spoken by the uneducated people. Standard English was adopted in the translation, even though the interviewed people dont speak standard Portuguese. However, we have kept the italics that indicate the quotations in the original text.

III - Chorado (cry)

In Vila Bela da Santssima Trindade, the so called festanas (festivities) happen in July, beginning with the celebration of Festa do Divino Esprito Santo (Holy Spirit Feast), going on to Festa de So Benedito (Saint Beneditos Feast), and ending with Festa das Trs Pessoas da Santssima Trindade (The Three People of the Holy Trinity Feast). The last of which is the town patroness. During this period, the most noticeable dances are: Dana do Congo (Congo Dance), and Chorado (Cry). The first one is performed only by men, and the second one only by women. Dona Nemsia Profeta Ribeiro, who inherited the Chorado tradition from her ancestor, told us in a July 95 interview: Chorado is a dance of African origin, mainly from the hideouts of runaway slaves in Brazil. The slaves ran away because then theyd come here to meet hard work, and suffering. This dance is called Chorado (Cry), because it expresses their suffering. The Negro slaves preferred dancing to crying. So, theyd turn their suffering into happiness. In Vila Bela, everyone can sing Chorado tunes - even the children - because those traditions are part of our inner selves ... Here, theres a dance-drama performed in the streets. It isnt meant for anyone to see, for us its a religious obligation done with pleasure that brings us a deep sense of fulfilment. Dona Nemsia goes on: Chorado is also a dance to glorify So Benedito; we have a tune that goes like that: Senhores, me deixa/ Que eu t muito aflito/ Cuidando da festa de So Benedito.5 According to the tradition, at the end of Festa de So Benedito: the participants - the king, the queen, the judge, and his wife - arrive to a particular house - then, a group of women who are already there, waiting, dance Chorado.... Nevertheless, Chorado can also be danced at other times, mainly after the women have accomplished their duties in the kitchen - during these feasts an splendid meal is cooked by the women, and offered to whoever turns up, the town population or the visitors, most of which are people simply praising the saint, or paying votive offerings to him or her. A rather interesting and amusing game is played during the festivity: in order to enliven it, the women tie a handkerchief around a mans neck, meaning that he has to buy them a bottle of liquor. After having the handkerchief tied to his neck, the man buys a bottle of wine, puts it at the centre of the circle of dancing women, and then, one of them, usually the sharpest one, very gracefully takes the
5

As it would be impossible to keep the rhymes and the rhythmic patterns formed by the lyrics in the translation, it was left in Portuguese. It means approximately Gentlemen, leave alone as Im very busy arranging Saint Beneditos feast.

bottle and places it on top of her head. She, then, dances without holding it, mainly in front of the man that paid for the bottle. Dancing with the bottle on top of the head is also a way of thanking the person that offered it. As therere several groups of women, the more bottles there are, the more women dance with the bottle on top of their heads. Chorado is danced and sang to the beat of drums played by some women. According to Dona Nemsia: The drums can be pans, a piece of a wooden box, a board, and pieces of damaged furniture. In other words, anything can become an instrument. The dancers turn and move through the space as they were gliding, performing as subtle movements as needed to keep the bottles on top of their heads. They keep the arms outstretched, turning their wrist. Sometimes they hold their skirts, moving down to squat position, then going up again. Chorado tunes are about the daily life, about love, and about nature, such as those ones recorded in the field (July 95):
Bem-te-vi bateu asa Bateu asa e avoou Quando tu for embora D lembrana a meu amor. Adeus, passarinho, adeus, passarinho, Adeus, eu j vou-me embora. L no p da serra Eu deixei meu corao Saudade eu tenho De morar no meu serto. No p da bananeira Tem marimbondo, sinh. Bem-te-vi beat its wing Beat its wings and flew away When you go away Send my words to my love Farewell little bird, farewell Farewel, Im of. There, down the hills I left my heart I miss Living in my homeland. In the Banana tree Theres a wasp net, mm.6

IV Dana do Congo (Congo Dance)

In Mato Grosso, Dana do Congo, is danced to glorify So Benedito, and it is part of the social and cultural lives of the two towns: Vila Bela da Santssima Trindade, and Nossa Senhora do Livramento. In Vila Bela, the first capital city of Mato Grosso, founded in 1752 by Don Antonio Rolim de Moura Tavares, who was appointed by the Portuguese Crown, it represents the resistance of the Negroes who chose to stay behind when Mato Grosso State Government was transferred to Cuiab in 1835.

In this 2012 review, the lyrics were roughly translated just for the comfort of the reader. There was no intent to preserve the rhymes, or lingo.

As part of Festa de So Benedito, the dance always happens on a Monday of July, when the day of the Negro saint is celebrated. It dramatises a symbolic war between two African Kingdoms. It is triggered by the Congo King rejection of the Ambassadors request for marrying his daughter - in another version, the Ambassador carries the massage of the King of Bamba, who wishes to marry the Princess of the other kingdom. When his Kings request is rejected, the Ambassador of Bamba declares war against the King of Congo. Mr. Joaquim das Neves, from Vila Bela, who has played the role of the Prince, and who plays the role of the Congo King nowadays, explained to us in a July 95 interview: The King could even have accepted the Ambassadors request; itdve made no difference. What the Ambassador really wanted was to betray the King by marrying his daughter and reclaiming his throne afterwards! With the power on his hands, hed rule the kingdom himself, or hed kill the King, the War Secretary, and the Prince. The King, the Prince, and the War Secretary are the characters of the Congo Kingdom; the Ambassador and the soldiers are the characters of the rival Kingdom. The noble characters props are colourful robes, crowns, and staves ornamented with flowers. The objects with which the soldiers go to war are swords, helmets (ornamented with rhea feathers, flowers, and colourful ribbons), and a water-bottle. The Prince and the War Secretary also dress a petticoat with a wire frame, and have a heart-shaped chest shield. All Dana do Congo movements - the vertical stance, the arm movements with the swords, and the feet beats - originate from soldiers march. Either walking or dancing, the movements remind a march. Mr. Joaquim tell us about the meaning of the flowers in the ornaments: As the Soldiers cant stay together with the votive offering women (theyre called ramalhetes, a word that means bouquet), they represent So Beneditos oratory in their helmets and ornate them with ribbons, flowers and rhea feathers as if they were ornating the real ones. The Soldiers act as if they were in a war, and couldnt go into the church, so they make an oratory to the saint in their own helmets... They dance throughout the town, singing and marching to the ganz, rattles, large drums and to the cavaquinho (a small guitar with four strings), played by soldier musicians. One of the roles of the merry-makers is to protect the King, the Queen, the Judge and his wife, who take sacred objects. The merry-makers must also protect the votive offering women that follow the procession with flowers in their hands paying homage to the saint. In Nossa Senhora do Livramento, a town 42 km from the Capital City, and founded in 1883, Dana do Congo happens in May. A dance master leads the dance.

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Mr. Clio Francisco dos Santos, who has been a Congo dancer for a long time, explained to us in a May 96 interview: A So Beneditos Soldier cant say no. Just like in the army, the person has to be always ready; this is a So Beneditos School that works exactly like the army. The central theme of the dance form is the argument between the Congo King and the Monarca King. During the procession, the merry-makers march in two rows. Each of the Kings leads one of them, which make for his army. In the end, the defeated Congo King begs for quarter; when it happens they sing: O Rei do Congo/ Ficou vencido/ Agora chora a paz/ Arrependido.7. When his new request is accepted, they celebrate the peace. Beside the Kings, the following characters take part in this Congo dancedrama: two Princes, two Generals, two War Secretaries, two Dukes, the Mukuache (a funny and rampant character), and the soldiers. The entourage of the Monarca King is dressed in blue while the Congo Kings is dressed in red. Both Kings wear royal cloaks, crowns, and royal staves. Similarly to the Kings, both Princes wear small cloaks and crowns. The Kings and the Princes crowns are ornamented with flowers. Both Generals also wear cloaks and handle swords. The Mukuache wears dark glasses and a wig on top of which he sticks rhea feathers. The soldiers wear helmets (adorned with flowers and colourful ribbons), and handle a sword. The dance master, who ranks above all the other characters, and keeps his neutrality in the war, is dressed in white and holds a staff. Concerning the dance origin, we cannot precise its date. Mr. Clio tells us his version: This dance is so ancient, that it was originated long before we were born. The dance remained after slavery was abolished8. When I was born, you could already see this dance - how old is it, then?!... It has been approximately 50 years since Mr. Cezrio Sarat da Silva plays the role of Rei Perptuo (Eternal King) in Festa de So Benedito, and since that time, he has been the dance master in Dana do Congo. Mr. Cezrio, inherited this tradition from his father, who in turn, inherited it from his grandfather. Tereza Conceio Arruda, 59 years old, is Mr. Cezrios cousin. In a May 97 interview, she recalls So Beneditos Feasts of past days: The feasts were beautiful! Everyone that was devoted to So Benedito would dress up and dance thanking for the rice, bean, corn, manioc, and banana harvests... Everybody did what they could in the feast. Theyd bring rice, corn flour, or manioc. Somebody would press the sugar cane, and make sweets out of its juice... Everybody helped!

7 8

The Congo King lays defeated. Now, regretted, he begs for pace. May 13th, 1888.

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Dana do Congo tunes from Livramento are accompanied by percussion instruments such as marimba, drums, and ganz9, marking the movement sequences, and changing the beat according to what is required in the scenes. Parts of the lyrics go this way:
J estamos prontos Preparamos armas Chama o Sr. Fidalgo Vamos guerrea-ar Moa bonita Saia na janela Venha ver os Congos Que vai ter a guerra. Were ready Weve cocked our guns Call Mr. Nobleman Werere gonna fight Pretty woman Came out in the widow Come to see the Congo soldiers cause war is comming

V - Cururu10
Cururu is both, a musical and a dance expression. It is generally performed only by men except in some very unusual situations. Some men play the viola de cocho11, a kind of guitar typical to Mato Grosso while some others play the ganz, which is a kind of a noisemaker. An almost obsolete instrument, the adufo, is also played. Its a kind of tambourine with which people used to accompany the guitar and the noisemaker. Some Cururu dancers make their own instruments - they know the best woods to use (some examples are: sar, mango tree, and fig tree woods), the right time for them to be felled, the tools (axe, heavy knife, adze, plane, knife, mallet, and sandpaper), and the appropriate glues to use (glues from fish bone, potatoes, and from a plant called sumbar), and the best kind of strings from which to obtain the best sound (monkey, or hedge-hog guts). Nowadays, although it isnt always possible to follow all these steps, they carry on making their guitars the best way they can. Note that not every Cururu Dancers manufactures viola de cocho, but every craftsman is an expert Cururu dancer. The ganz or noisemaker is simpler to play, as well as to manufacture. It is usually made of bamboo, and is played, or better, beaten with a bovine bone. The term temperar or to temper means to tune it up. We found only one person who plays the adufo whenever he takes part in a Cururu dance: Mr. Antonio

Kind of noisemaker. The name of this dance has two possible origins. Either it originates from the name of a frog called Cururu (what would be possible because the movement of the dance is similar to those of the frog), or it originates from an indigenous dance. 11 Its carved out of a single tree trunk, like a cocho, or manger.
10

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Benedito Conceio, best known as Antonio de Mulato, 94 years old, from Nossa Senhora do Livramento, whose adufo he made himself many years ago. The party-goers, even those who have different roles in the festivity, and the visitors take part in the whole of it, especially in its religious part, when they praise the saint before the altar. Then, the dancers raise a mast singing proper tunes that accompany each part of the devotees actions. After the religious obligations are concluded, they go on dancing Cururu, or arrodeando a funo, as they say, through the night. Always obeying the dance master, they either reply to sung challenges, or sing composed tunes about love, religious or political issues. The lyrics written by them show their entire heritage. Mr. Osvaldino Rodrigues de Moraes, known as Vardino, from Barra do Bugres, in an April 96 interview, tells us: I make tunes about my wife! I also make tunes about Mato Grosso history. Theres one that has to do with the catechism; its about Jesus Christ, about His suffering in His way to the cross. When I sing I dont lie; whenever I use anything from the bible in my tunes, I sing it to the priest. It took me three months to make this one, about Mato Grosso towns:
Seja bem-vinda a visita, ai ai ai Ver a nossa tradio Rosrio oeste, Livramento e Pocon Santo Antonio e Vrzea Grande Viva a grande Cuiab! Barra do Bugres Terra de grande cultura Eu moro l Cidade de Mato Grosso Cceres, eu passo l. Welcome, ai ai ai Watch our heritage East Rosrio, Livrament and Pocon Santo Antonio and Vrzea Grande Hail the great Cuiabq Barra dos Bugres Land of great cuture I live there Mato Grosso City Crceres, its in my way.

They say the dance is a kind of tap dancing: when a Cururu dancer goes to the centre of the circle and tap-dances in front of another one, it is as if he was challenging that dancer or inviting him to dance - when this challenge is accepted, they both go forwards and backwards, provoking one another with blows of attack or movements of avoidance in a playful mood. While dancing, they never let go their instrument, showing skilfulness, dexterity, and subtlety. The term to play commonly used instead of to dance12, appropriately describes that playfulness. Mr. Joo Leite Galvo, 62 years old, from Nossa Senhora do Livramento, has been a Cururu dancer for a long time and tell us (May 97 interview):People dance throughout the night While Cururu is danced indoors, Siriri is danced outdoors... such is the tradition. Cururu is a dance only for men. Siriri is for everybody: men, women, children...

12

Actually, the term to play is commonly used instead of to dance in almost all Brazilian traditional Dances. Accordingly, the dancers are called merry-makers.

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Odlia Domingas Sarat Silva, Seo Joos niece, a Siriri dancer doesnt agree: But late uncle Macrios mother used to sing as well as to play the ganz! And aunt Gertrude, who was my fathers aunt, used to play, to sing, and to tapdance Cururu like men. Cururu is one of Mato Grosso best know dance forms, and is inserted in other dance-drama forms such as Siriri, Dana de So Gonalo, and Boi--Serra, in which the Cururu dancers are indispensable. Those dance-drama forms occur mainly in the following municipal towns: Cuiab, Rosrio Oeste, Nossa Senhora do Livramento, Santo Antonio de Leverger, Vrzea Grande, Cceres, Barra do Bugres, Baro de Melgao, Diamantino, Nobres, Acorizal, and in Chapada dos Guimares. But they also occur in other places - except Boi--Serra, which according to our findings, is danced only in Santo Antonio de Leverger.

VI - Siriri / Rasqueado
Siriri is danced and played by both men and women. In addition, children also like it very much. At times forming a circle, at times rows, the dancers clap and sing while dancing to the viola de cocho, and to the ganz - that are played by the Cururu dancers - or to the mocho and to the tambori - frequently played by the women. Its music has a strong and quick beat, and the dancers seem not to ever get tired for they keep on dancing throughout the night. The dance is called like that after a flying ant, probably due to the dance rhythm and to its quick, agile, and light movements. Tereza Conceio Arruda, 59 year old, a Siriri dancer from Nossa Senhora do Livramento, in a May 97 interview, recalls that: Siriri rhythm was beaten in a piece of leather: my grandma used to tell us that in her youth people would get wrap a 20 litters tin or a wooden box in a piece of leather. Besides dancing Siriri, theyd play the mocho that had a delicate sound. Theyd also play the viola de cocho) and the ganz. This dance, as well as Cururu, is always danced in the Traditional Feasts that happen in several towns. Some tunes frequently sung by Siriri groups are:
O siriri, o cururu a nossa tradio Siriri batendo palma Cururu de p no cho. Eu namorei uma morena Eu namorei, eu namor Ah, olha l, meu bem, no v zang Asa de pombo, corao de sabi Siriri and cururu Are in our tradition Clap when Siriri-ing Stamp the ground Cururuing. I went around with a Mulato gril I did, I do Ah, love, wont you get mad with me Pigeons wing, song-thrushs heart.

Rasqueado often follows Siriri since that the same instruments (viola de cocho, ganz and mocho) are played in it and that, in pairs, everyone can take part

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in the dancing that occurs everywhere; for instance, in backyards, squares or ballrooms. Several Siriri tunes have been adapted to Rasqueado. Those two traditional forms are being more and more disseminated because recording companies and professional musicians that make use of modern instruments and amplifiers, frequently create new tunes from old Rasqueado ones that are in the public domain. Then, these new tunes are played in every kind of festivities like balls, birthday parties, carnival, in the traditional ch co bolo (tea with cake), and mainly in the feasts for the saints. Rasqueados movements usually are as vibrant as the music; while some dancers vibrate their shoulders, some other ones stress the beat of the music with their knees or hips. However, what really matters is originality. We chose part of a well known lyric commonly sung by children, youngsters, and adults:
Vem c, morena / Sai na janela Venha ver a Lua / Como est to bela! Come here darling/away from this window Come and see the moon/Its so beautiful!

VII So Gonalo Dance

In So Gonalo feast, a mast (from where hangs a flag with the saints portrait) is forcibly erected as part of the feast, and lots of Cururu and Siriri are danced during this ceremony. The culminating point of the feast is when two rows, one of men, and another one of women parallel to it, are formed before the altar. Then, the devotees pay homage to the saint by singing, and dancing So Gonalo Dance. At a certain moment, when they are dancing in a circle, one of the women goes to its centre and dances there, while carrying the image of the saint on top of her head. The Cururu musicians, who play beside or before the altar, are the live presence that represents the saint, who is also a guitar player, and who is frequently pictured in Mato Grosso holding a viola de cocho. As it couldnt be different, the whole feast is accompanied by Cururu tunes about the saint, a cururu musician himself, and about his miracles. See the following example: Ora, viva meu So Gonalo Hail Saint Gonalo Viva e torna a revivar Hail, and hail again With hands clapping Com a palma With feet stomping Com o p Hail Saint Gonalo Ora, viva meu So Gonalo Hail, and hail again E torna a revivar. So Gonalos Dance isnt only danced in the Saints feasts, but its also danced in many other occasions in the towns mentioned in the chapter Cururu.

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VIII Boi--Serra
Boi--Serra is part of Mato Grosso carnival. It is commonly danced in Santo Antonio de Leverger, and it is the joy of the local population. The official participants musicians, characters and Siriri dancers - go about the streets dancing, singing, and playing, followed by lots of people who end up taking part in the feast. Mr. Jacinto Floriano, a Cururu master from Santo Antonio do Leverger, describes a scene in a February 97 interview: As soon as the group starts, the people in it go around calling out the locals; therere small groups of people everywhere waiting for the call: one at one corner, another one a little further ahead... after a while theres a huge queue following us. We simply walk around playing the viola, the ganz, and calling: Boizinho! (Little Ox) And thats only the beginning of the feast! In January 96, Mrs. Maria Elosa Gonalves, known as Dona Tu taught us how to make its main character: the fake ox. Dona Tu belongs to the group Unidos da Fronteira. According to her, first a frame melado de pomba is made of supple and light timber; then, this frame is covered with a rough and plain brown blanket. This makes for the body; the ox head is the skull of a bull, dried and painted in dark colours. Bottoms and mirrors are glued in the ox head, one mirror by each side, making for the eyes; its horns are adorned with colourful ribbons and its ears are made of card. The ox is the main character of several traditional festivities found in many Brazilian states. In these one, the ox is commonly called by different names, and may also have different features, depending on the place where it appears. Some examples are: Bumba-Meu-Boi, Boi-Bumb, Boi de Mamo etc. Probably because of the influence of these other festivities, nowadays the frame of Boi-Serra is frequently covered with printed cloth such as cotton instead of the traditional rough and plain brown blanket. For Dona Tu It looks better with the blanket because the blanket looks like the ox skin. A person carries the ox from inside, dancing, animating it, and making it to walk forward in the direction of the audience as if it were going to attack the people with its horns. Some other interesting characters are: a cabea de ap, a me do morro, o tuiui (a kind of bird from Mato Grosso), the rhea, the bat, the horse without a head, and some others - they vary from group to group. The entertainment starts in December and its highlight is at Carnival. According to Dona Tu: It starts by December 08, the day of Nossa Senhora da Conceio: everybody goes out attacking the people. Some men dressed up as cowboys pretend to fight the ox. This goes on until Carnival, ending on Ash Wednesday. The music that livens up the entertainment is played by Cururu musicians, in its typical instruments such as the mocho, the viola de cocho and the ganz. The

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mocho may be played either by men or women. The lyrics are about the ox, farm life, Carnival, and so on. Some examples are: Eu j vou com meu boizinho } 2x Im comming with the litlle ox } 2x Quero ver voc danar - ai } 2x I want to see it dancing } 2x Eu trouxe o meu boizinho } 2x Que veio do Pantanal - ai } 2x Venha, venha, meu boizinho } 2x Pr danar meu Carnaval - ai } 2x Eu j vou com meu boizinho } 2x Pr danar meu Carnaval - ai } 2x Eu peguei meu boi malhado } 2x Com nome de boi bamb - ai } 2x Onde t o meu boizinho } 2x T danando no terreiro } 2x Eu j vou com meu vaqueiro} 2x Pr comprar minha boiada - ai} 2x I brought the litlle ox } 2x All the way from the wetlands } 2x Come, come, litlle ox } 2x To dance in Carnival ai } 2x Im coming with the litle ox } 2x To dance in Carnival ai } 2x I got the spotted ox } 2x Called boi-bumb - ai} 2x Where is it? } 2x Its dancing in the yard } 2x Im coming with a cowboy} 2x To buy a heard of oxen } 2x

IX Dana dos Mascarados (Masked Men Parade)

Dana dos Mascarados is found in Pocon, a town that is part of Mato Grosso wetlands. According to Mr. Wilson da Conceio, the conductor of the local Municipal Band that always plays in the celebrations for the saints, in his May 97 interview he said: Since the last day is the day of the procession, dana dos Mascarados is always danced on the day before during Divino and So Benedito feasts. Its usually danced on Saturday, on the day of Enlightenment. The dancers that are always men make 08 to 14 pairs. They stand in two rows, one in front of the other. In one of them, they dress like women (ladies), and in the other, like men (gentlemen). They also wear masks and printed cotton clothes. Their hats are adorned with mirrors and feathers. Besides the dancing pairs, there are other characters such as the markers. One of them carries a mast adorned with colourful ribbons that latter will be used in a dance were the dancers walk about each other while criss-crossing the ribbons. The other marker holds a So Beneditos flag that is displayed in a given moment of the choreograph. Seo Wilson says that: Whenever the dance starts or finishes, the markers are in the front. They guide the group. All the three of them walk together.

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The one in the middle carries the mast, the other one carries So Beneditos flag. Their role is to organise the dance. The dance is divided into 12 parts: Entrances or foals; First part; Second part; Ribbons crossing; Joaquina; Harpejada; Caradura; Maxixe de Humberto; Carango; Lundu; Villan, and Retreat. Presently, they dont dance all the 12 parts in a show performance because the complete dance lasts about two hours. Seo Wilson explains about the music, and about the participation of children: Theres a special music for each part of the dance; in our Band we have 03 trumpets, 02 small trombones, 01 tenor sax, 02 alto saxes, 01 bass horn and the percussion made for the bass drum, cymbal, and the tarol. As there was no Municipal band in the past, three persons sang the melody, the bass, the tune, and played the percussion. Together with some more musicians there were about six or seven people. As far as I can remember, there were 01 sax, 01 trombone, 01 piston, 01 bass horn, the bass drum, the tarol, the large drum, and the cymbals. In the past, only adults participated in the band or in the dance. Presently, theyve started to teach children because they feel this dance-drama form is being forgotten; if nobody teaches the children, itll be forgotten all together; people get old, pass away... In the past, there were seniors over 60 dancing. Nowadays, you cant find people this age dancing anymore. The marcante (another kind of marker) goes in the front of the row leading the band and the other dancers. He blows a whistle to tell them what part will be next. Both, Mr. Damio Ramos Martins, 90 years old, who was a marcante and his son, Antonio Jos Martins, 60, called Seo Tot, who also danced, told us in a May 97 interview, that in the past the rehearsals were done in secrecy: no one knew what role one would play in the dance. Every participant had to prepare his own outfit; the ones who dressed up like women, would borrow clothes from the young ladies and from the women, things like dresses and adornments, but they would change the things among themselves to puzzle the audience and to avoid recognition. Presently, the costumes are made of colourful satin, given beforehand to the dancers. They are usually provided by the Mayor House or by the merrymakers themselves.

VI - Cavalhada
Cavalhada, is a kind of cultural form found in Pocon. It is part of Festa de So Benedito, a feast that follows Festa do Divino Esprito Santo (Divine Holly Spirit Feast). It was revived about seven years ago, after 20 years of complete oblivion. Other towns such as Crceres and Porto Esperidio, are also trying to revive this tradition.

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It is a fake battle between Moor and Christian knights where they fight over a princess. There are 12 pairs formed by 01 Maintainer, 01 Ambassador and 10 Soldiers. Their weapons are spears, swords and pistols. The Moors horsemen dress in flesh-coloured satin, and the Christian ones in blue. They also wear a feathered hat, plus a satin and much adorned cloak; the horses are adorned with ribbons, satin and paper flowers. The horsemen perform movements of fake battles and attacks while riding the horse. Each knight has an assistant or page, played by a child dressed up appropriately, similarly to the soldiers. There are also the masked knights in Cavalhada who stay out of the scene, and whose role is to protect the audience, the pages, and the horsemen. In the intermission they go on playing, and emulate scenes of the previous battle. The knights compete in several tournaments, games, and races. During the trials, two veteran knights play a march in their drums imitating the sound of hooves. Both teams celebrate every point scored to the sound of different kinds of music such as Rasqueado, Carnival tunes, and so on. These tunes are played by a band of several-instrument accompanied by the cries of the audience formed by two groups that cheer either for the Moors or for the Christians. At the end, independently of the score, the Christians are the winners and the flag with the picture of the patron of the feast, So Benedito, is held by both the Moor and the Christian maintainers that ride around the battlefield displaying the flag. Once the peace is restored, the hymn of Divino Esprito Santo is played, and everyone praises him in silence.

XI Folias de Santos (Saints Feast)

All kinds of Folias or bandeiras (flags), as they are usually called practically follow the same ceremonial: in the period before the religious feasts, the master, and the merry-makers go from house to house taking the flag and some other symbols of the celebrated saint. Either on foot or riding a horse, they visit every house in town, and sometimes even the ones in the countryside. Each Feast has its own characteristic musical instruments in which the merry-makers play the tunes that announce the arrival of the flag, ask for permission to go into the house, ask for alms, thank and say farewell excusing for leaving. The flag and the instruments, then, rest in the house over-night, and after being allowed by the owners of the house, the merry-makers go back to it on the following day and go over everything again, thanking for the good rest. Alms in the form of money, gifts, or food are given to the merry-makers to help with the Feast expenses. The best known Folias or bandeiras are Divino Esprito Santo and Santos Reis, described below. There are still other folias in Mato Grosso as, for instance, Folia de Santa Cruz.

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Folia do Divino Esprito Santo (Feast of the Divine Holy Spirit)

Also called O Divino (The Divine), this feast is celebrate in many Mato Grosso towns, and is represented by The white dove an emblem of peace displayed in huge red satin standards. The persons in charge of the feast are usually chosen from a disputed lottery or are formally nominated for it. Each one wears a holy token throughout the alms-asking, and procession. In Vila Bela, where we were in July 95, the crown is worn by the emperor, while the staff is hold by the empress, the rich flag by the standard-barer, and the poor one by the Captain of the Mast. The poor flag opens the procession during the alms-asking and when any money is donated it is then tied to satin ribbons in the flag sometimes the donation is put inside the crown or tied to another holy object. The rich flag is more adorned, and it is taken into a house only if its owner invites it in. A master who knows very well the rituals involved in the celebration, leads the procession. It is him who chooses and trains the kid merry-makers boys aged from 10 to 15, responsible for singing the holy chants in the alms-asking and in the feast. Both, the adult merry-makers and the kid ones dress up in white, with red satin laces on the shoulders of their costumes. There are usually three music players: the master plays the guitar, the foreman plays the accordion, and there is also a drum player. They play during the whole alms-asking, a pilgrimage that goes from house to house through the town or through its outskirts. The festivity is enlivened when the owner of the house asks them to play a Rasqueado; then, it is relaxation time for dancing and singing. Mr. Wilson da Conceio, conductor of the Pocon Municipal Band and Folia master, describes Folia do Divino in his town (May 97 interview): Therere five flags walking always in the main road and in crossing ones. Two days are saved for the alms-asking. During this, theres no dancing, but sometimes Rasqueado is played right there in the street. Bells, fireworks, singing and playing bring the mood to Festa do Divino. The persons that are going to be in charge of the following year feast are selected in a formal mass. In Vila Bela their selection is made known through the following tunes that the kid merry-makers sing:
A pombinha vem voando Por cima da bela matriz Vem dizendo viva, viva Viva nossa Imperatriz. The dove comes flying Over the beautiful church It comes saluting Our empress.

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A pombinha vem voando No seu bico traz uma flor Vem dizendo viva, viva Viva nosso Imperador. A pombinha vem voando Por cima da laranjeira Vem dizendo viva, viva Viva o Alferes da Bandeira. A pombinha vem voando Por cima do belo astro Vem dizendo viva, viva Viva o Capito do Mastro.

The dove comes flying Bringung a flower in its beak It comes saluting Our emperor. The dove comes flying Over the orange tree It comes saluting The standard-bearer. The dove comes flying Over the beautiful sun It comes saluting The captain of the mast

Folia de Santos Reis (Feast of the Magi)

Folia de Santos Reis or simply Folia de Reis, frequently occurs in the Araguaia Valley towns, but it can also occur in other Mato Grosso towns. The merry-makers usually start the festivities between December 20 and 25, with the alms-asking procession going from house to house with the flag of Santos Reis (the Magi). This procession is a representation of the three Magis journey as it is described in the New Testament. The magi followed the eastern star to find where the new born baby, Jesus, was. On the arrival day of the festivities, on January 05 or 06 (the exact date varies from place to place), they find the new born baby. There are 12 characters: the master, the clown and the music players. The master is the one that knows the most about this heritage. He also co-ordinates the festivity and leads the merry-makers. The clown, also known as doll, masked person or granddad, isnt mentioned in the holy book, so he is considered a disguised soldier meant to protect the Magi, by distracting and disarraying Herods troops that intended to slay Jesus. This performance lasts from 9 to 15 days, and is full of respect and seriousness by both the merry-makers and the devotees that receive the merrymakers in their homes. The highlight of the celebration is the arrival of the Folia, on the last day. Then, they meet with another flag, and both are taken by the merry-makers to where the Nativity Scene is. Mr. Manoel Pereira Garcia, known as Manoel Cascavel (Manoel Rattlesnake), is a master of Folia de Santos Reis. He learned Folia and Catira with his father, Frozino Cascavel, from whom he inherited his nickname. He describes it to us in a December 95 interview: Were out of work from December 24 onwards to take part in the festivity - its a religious obligation that we have. It

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goes on through nine days. So, we walk about town everyday till January 5, be it raining or sunny. The merry-makers hang a towel around their necks as uniforms. Some of these towels are richly embroidered, either with the saints or with the merrymakers name. Mr. Manoel tells us that just as soldiers wear stripes that identify them, so the merry-makers wear the towel: The white towels around their necks stand for the soldiers stripes. By wearing them, the merry-makers look different to everybody else; if the a meal is offered, the persons with the towel around their necks is identified straight away, then, he can be invited to it with no problems at all. He also can be called to tell ones beads if he is with the towel around his neck. An accordingly tune is sang for each occasion. The instruments are basically two guitars, one large drum, a noise-maker or rque as it is called, a tambourine, two guitars, and a p de bode accordion13. In Araguaiana, they ask for permission to enter with the flag in the house singing by the door like that:
de casa, de fora Necessrio quero chegar} 2x Aqui est o Santo Reis Que veio lhe visitar } 2x E tambm pedir a esmola Pr seu dia festejar } 2x Hi there, I want to get in}2x Here its the Magis Folia That came to visit you }2x And ask fos alms as well To celebrate its day. }2x

In Ribeirozinho, they farewell tune is like this: Despedida, despedida Farewell, farewell Despedida em Belm Farewell in Bethlen Despedida da Lapinha Farewell from Lapinha At para o ano que vem Till next year Pai, Filho, Esprito Santo Father, Son, and Holy Spirit Na hora de Deus, amm At Gods time, amen Os romeiros vo-se embora The pilgrins go away Pr voltar o ano que vem. To come back next year.

XII - Catira
Music, song and dance, Catira is almost always performed only by men.

13

a kind of accordion

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In Ribeirozinho, a town 465 kilometres from Cuiab, in the Araguaia Valley near the border of Mato Grosso and Gois states - Catira is part of Folia de Santos Reis in which, at the owner of the house request the merry-makers who went there asking for alms to play, sing and dance Catira. Nevertheless, it can also be performed in other periods of the year, separated from Folia. Mr. Manoel Cobra, a Folia master, says (December 95): After the religious part of Folia, the owners of the house go indoors with the flag and stay in there. Then, they offer the merry-makers a cup of coffee or a glass of pinga14. Catira comes afterwards as a retribution for their hospitality, and as a pastime to the merry-makers. Whoever wants to, may take part in the dance. Men, or women, theres no problem! If the word spreads that Catira is being danced in a particular house, it gets so crowded that people dont fit in! In case it has a dirty floor, it has to be dampened, otherwise so much dirt goes up that nobody can stand it. Catira tunes are usually a particular kind of moda de viola 15 sang by two viola players. It goes about daily cores, work, love, longed people or places. The dance movements are rhythmic, vigorous, and synchronised with hands clapping and ground stumping. The dancers stand in two rows pairing each other. We transcribed two extracts of Catira tunes below:
Eu vou subir no cu Pr pedir a Deus um castigo D lio nessas moas Que no qu cas comigo Quando eu descer do cu Com meu castigo na mo Ela vai se arrepend No adianta pedir perdo. Eu v cant essa moda Pr alegr meu corao Meu corao vive triste Vive cheio de solido Vou repicar essa viola Quero v trem o cho. Im going up to the sky To ask God for a punishment To that girl That doesnt want to marry me When I come down Holding the punishment in my hands She will repent Then, it will be too late. Im singing this moda To cheer up my heart Its always sad Alone it is how it feels Im playing this guitar I want to see the floor quaking.

14

Pinga or cachaa is a cheap alcoholic drink distilled from sugar cane, very appreciated by lower class men throughout the country. It is a Brazilian custom of politeness to offer coffee (cafezinho as it is called) to the guests. In some places and occasions pinga can be offered instead. 15 A kind of Brazilian folk music.

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XIII - Lundum
Lundum or Lundu, probably original from Bahia, is a dance for men and women alike. In Araguaiana, a town on the Araguaia River, 60 km from Barra do Garas, it is part of Folia de Reis. The group dances lundum when the owner of the house where the merrymakers are asking for alms gives them a bottle of liquor. The dance goes in the following way: the merry-makers form a circle and put the bottle at its centre; some of them go to the centre and dance around the bottle. One of the dancers, than, grabs the bottle with his mouth and puts it on top of his head. Following that, they form couples. One at a time, dance as follows: the women, holding the brim of their skirts, try to pass it over the mens head, but they skip the women attempts; then, the men in turn challenge the women by dancing around and close to them, pretending to be making things easier for them. Of course the women dont buy the gold brick, and when the men least expect, in quick dance movements, they dart nearer to the men and attempt to accomplish their action, but the men skilfully skip the women again, still performing quick dance movements. This dance game makes the audience laugh. Mr. Francisco Santana Corra, 66, Folia master in Araguaiana, tell us his experience with this dance form, in a December 95 interview: Since I was a little kid, I take part on this. My father used to play the viola in Folia de Reis and he clapped the rhythm for them to dance Lundum in the non-religious part of the festivity. Then, after my father passed away, as I already knew what to do, I started singing it. Sometime Id sing it even as a little kid. Then, Id be helped by some sisters of mine. Afterwards, I was in charge of playing the viola for them to dance Lundum and Folia. I will go on playing as long as it pleases God... Everybody in the circle sings and claps hands. The musicians mark the time of the dance game. The short lyrics are repeated many times getting faster and faster, what makes the dancers run out of breath. The Lundum instruments are: viola, tambourine and large drum. The tunes usually have a playful tone such as the following one:
Jacar t na lagoa Debaixo da samambaia Eu quero danar ca moa Essa via me atrapaia. Aligator is in the lagoon Under the fern leaves I want to danve with the girl As this old lady hinders my steps.

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XIV - Final Considerations

We are aware that we have left the reader with far more questions than answers. More than to inform or to furnish the reader with ready-made solutions, our aim was to goad on teachers and pupils to research their own personal, and collective cultural heritage as a departing point from where their knowledge can develop. Once one is aware of ones own cultural heritage, it is possible for one to open up to the new, and to deal with transformations without denying ones own traditions. For instance, it is possible to resist external pressures such as the consumption drive encouraged by the means of mass communication that enforce upon us certain music and dance styles, patterns of behaviour, of accents, and so on. Our suggestion is that the teachers always explore profoundly the way through which the local culture is expressed, for each town and each person has a proper mode of expression that must be taken into account in the educational process. Concerning the cultural forms described here, we want to make it clear that we have exceeded the limits of our research field when we described cultural forms that arent properly dance as Cavalhada and all the Folias, but that seem relevant to us because of the great use they make of movement, drama and music. Finally, we want to specially thank the cookers. In all the feasts related to dance and mentioned in this book, the great variety of dishes and the high quality of the meal offered to us and to the people in general, were carefully prepared by them. These special thanks go mainly to the cookers of the countryside towns, where the meals are free and the cookers are volunteers. The kitchen is a sacred and vital space - just like the place where the mast is erected, and the river waters in which the saint is washed - managed by seasoned and wise women. Sometimes, it also becomes a place for prays and dances. Each one follows his or her own expression in the way one feels more comfortable: so dance is the key of a treasure.

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XV - Research Sources
We have listed our research sources according to the municipal towns where they occur, mentioning the cultural heritage form, the researched groups, and the interviewed people found there. Town: Vila Bela da Santssim Trindade Cultural Heritage forms: - Chorado - Dana do Congo - Folia do Divino Interviewed groups and people: - Grupo de Chorado - Mrs. Nemsia Profeta Ribeiro - Sr. Mximo Assuno - Mr. Joaquim das Neves - Mr. Ismael Brito - Mr. Belmont Ribeiro - Mr. Augusto Brito - Mr. Urbano Fernandes Leite - Mr. Agripino Town: Santo Antonio de Leverger Cultural Heritage forms: - Siriri - Boi--Serra - Cururu Interviewed groups and people: - Grupo Unidos da Fronteira - Grupo Unidos da Avenida - Mrs. Maria Elosa Gonalves - Mrs. Maria Janete - Mr. Jacinto Floriano Town: Nossa Sra. do Livramento Cultural Heritage forms: - Dana do Congo -Cururu - Siriri Interviewed groups and people: - Grupo Folclrico Cezrio Sarat - Mr. Cezrio Sarat - Mrs. Antonia Sarat - Mr. Antonio Benedito da Conceio - Mrs. Tereza Conceio Arruda - Mrs. Odlia Domingas Sarat - Mr. Joo Leite Galvo - Mr. Clio Francisco dos Santos Town: Pocon Cultural Heritage forms: - Dana dos Mascarados - Cavalhada - Folia do Divino Interviewed groups and people: - Mr. Damio Ramos Martins - Mr. Antonio Jos Martins - Mr. Wilson da Conceio

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Town: Barra do Bugres Cultural Heritage forms: - Siriri - Dana de So Gonalo - Cururu - Festa de Santa Cruz

Town: Cceres Cultural Heritage forms: - Cururu - Siriri - Dana de So Gonalo

Interviewed groups and people: Interviewed groups and people: - Centro de Tradies Mato-Grossenses - Grupo Folclrico Tradio (CTM) - Mr. Jovino dos Santos Ramos - Mr. Antonio Catarino - Mr. Osvaldino Rodrigues Town: Cuiab Cultural Heritage forms: - Cururu - Siriri Interviewed groups and people: - Grupo Folclrico Z Bolo Flor - Mrs. Domingas Leonor da Silva - Mr. Joo Batista - Mr. Luiz Marques - Mr. Aquilino Jos da Silva Town: Araguaiana Cultural Heritage forms: - Folia de Reis - Lundum Interviewed groups and people: - Mr. Francisco Santana Correia - Mr. Antonio Correia Filho - Mrs. Luza N. do Esprito Santo - Mr. Eurico N. do Esprito Santo - Mrs. Maria Conceio N. Pinto - Mr. Terciliano Pereira da Costa - Mrs. Benedita N. do Esprito Santo - Mrs. Ceclia Rodrigues de Brito

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Town: Ribeirozinho Cultural Heritage forms: - Folia de Reis - Catira Interviewed groups and people: - Mr. Manoel Pereira Garcia - Mrs. Avantina Pereira Garcia - Mr. Joo Amaro - Mr. Sebastio Macaro - Mr. Cipriano de Freitas - Mr. Abel Gualberto de Freitas - Mr. Benjamim Francisco Chagas - Mr. Vanilson Carlos Ribeiro - Mr. Rogrio Silva - Mr. Joo Resende Oliveira - Mr. Lzaro Eurpides Pena - Mr. Jovino Luiz pena - Mr. Joo Batista dos Santos - Mr. Valmir Vilela de Moraes - Mr. Elias Souza - Mr. Gerson Pereira Feitosa - Mr. Joo Eugnio - Mr. Paulo Francisco

Town: Pontal do Araguaia Cultural Heritage forms: - Folia de Reis

Interviewed groups and people: - Mr. Ccero Jos Santos - Mr. Antonio Jos Gonalves - Mr. Gersi Gonalves da Cruz - Mrs. Elza Martins

About the author Rosana Baptistella gained a Dance BA from he State University of Campinas Arts Institute - IA, UNICAMP. During the course she took part in several research programs on numerous Brazilian cultural heritage forms that have dance as their main feature. Graziela Rodrigues, professor and researcher of the university, tutored Rosana. Presently, she is a Consultant of Mato Grosso State Culture Department, and co-ordinates the Program Cultural Heritage of Mato Grosso - Research, Recording and Dissemination. 28