The materials used in the cults afro-Brazilians come being modified for the introduction of techniques and new materials, as weaveeed synthetic, metalloids, plastic lines of nylon, accounts and of resins, metal galvanization, that is widely used for craftsmen, making possible the object production in bigger scale, what it sells at a loss the end item, the musical instruments and the rhythms who are executed possesss historical values. They are medias and of information, they are sacred e, after the obligations, become instruments of materialization and exteriorizao of the vital forces, that is, of the 9 Ax. This is, for example, the case of atabaques. In Salvador it is great the consumption of musical instruments, for the integrant ones of professional and amateur bands, for the entailed tocadores to the cult afro, for the amateur public and the tourists that visit the city periodically, notadamente the foreigners. The preference falls again on percussion instruments. With the creation of bahian rhythms as afroreagge and ax, these musical instruments had wide passed to be used by percussionistas, data to the predominance of the African rhythm that is dominant in the city. The list of the instruments of the Brazilian rhythms is great diversified e, of the most varied origins (European, eastern, African, etc.), beyond autctones, where if they include the instruments aboriginal. Most of the produced musical instruments in Salvador is percussivo.

In general, they are of African origin, with small modifications carried through when passing of the time better to take care of to the new musical styles created by the Brazilians. They had come at the time brought for the blacks of the slavery and, initially, they served to ritmar the cantos and the parties of the cults afros. Due to ethnic origin of these instruments, the produziz form them and to touch them, survived all these years being the last information to the successive generations for the verbal tradition.

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