The term afoxé refers to a Carnival group that began in Salvador da Bahia, Brazil, in the 1920s. This group is connected to the Afro-Brazilian Candomblé religion, and its music comes from this faith. The music is called ijexá, a name taken from the ijexá nation within Candomblé. During performances, afoxé groups use dance, singing, special words, and ceremonies from the Candomblé religion. In Brazil, afoxé is usually performed by blocos afros, which are groups of mostly Black or mixed-race musicians who know African Brazilian music. Afoxé is a cultural and religious tradition that helps keep Afro-Brazilian heritage alive.

Afoxé in Afro-Brazilian Carnival

The annual Carnival in several cities across Brazil is the country's largest public festival. In the city of Salvador, Bahia, Carnival is the origin of groups from the Afro-Brazilian tradition called afoxé, which is connected to the Candomblé religion. Afro-Brazilian culture has a strong and ongoing role in Brazil's Carnival. The term "Afro" refers to a tradition that began in Africa but was developed in Brazil. Instead of practicing the Candomblé religion privately, afoxé traditions during Carnival publicly celebrate the religion, which is shown openly on the streets. Carnival is important for helping people understand and express Black identities within Brazilian society. In Brazil, Carnival is a time when the country's racial history and mixed cultural traditions are shared and celebrated.

History of the Afro-Brazilian Carnival Expression

At the end of the 1800s, after slavery was abolished, celebrations honoring African heritage became part of Brazil's annual Carnival in major cities. In cities like Recife and Salvador, groups of Black people participated in parades that highlighted African traditions, showing the growth of African identity in Brazil's new Republic. These public events helped Black people take an active and visible role in shaping cultural values that would influence modern Brazilian society.

In the early 1900s, powerful groups in society, made up of white people of European descent—such as members of wealthy families, merchants, government workers, and politicians—asked the government to stop African-related traditions in Carnival. They believed these traditions were making Carnival too "African," which they saw as a problem.

Between 1905 and 1914, Carnival events that included African music, dance, and costumes were banned by police in Bahia. The Afro-Bahian religious practice called Candomblé was labeled as violent, and people who practiced it faced legal restrictions and police actions. This caused large African groups to break apart. However, Afoxés continued their traditions in poor areas of the city.

On February 5, 1921, reports about African Carnival traditions were published again in the Bahian newspaper, Diário de Notícias.

Candomblé Religion

Candomblé is a religion that came from Africa and is practiced in northeastern Brazil, starting in the early 1800s. It is the most well-known and traditional religion in Brazil. Candomblé has a clear structure with different levels, and it comes from practices that enslaved Africans brought to Brazil. People who follow Candomblé honor and call upon the Orixás, which are African gods believed to guide and protect followers. This is done through singing, dancing, and drumming, which are central to their worship. The music used in Candomblé rituals includes a style of drumming from West Africa. This style has a rhythmic pattern called ijexá, which is an important symbol of Black identity during Carnival. The communities that performed Candomblé music were called afoxés.

Afoxé Music in Carnival

Respecting and honoring the African and African-Bahian religious Carnival heritage, the choice of certain instruments greatly affects the percussive culture and how individuals connect with the spiritual world. Candomblé music uses specific instruments, including the atabaque drums, the agogô bell, and the afoxé gourds, which are central to afoxé Carnival traditions. The atabaque is a conga-like drum linked to African heritage. These single-headed drums are made of wood and animal skins. In Candomblé, they come in three sizes: Rum (large), Rumpi (medium), and Lê (small). During afoxé performances, the lead drummer uses the largest drum, Rum, to create variations of rhythmic patterns that match dance movements.

The agogô bell is a metal bell with origins in West African musical traditions. It adds a syncopated rhythm to afoxé performances. The afoxé gourd shaker is a percussion instrument from West Africa. It consists of a gourd (cabaça) wrapped in a net with beads and plastic balls. These instruments are used to play and sing traditional Candomblé songs during afoxé Carnival.

The ijexá rhythm is a key element of afoxé music. It is a syncopated, basic rhythmic pattern played during Carnival. Candomblé singing uses five-note scales, call-and-response vocal patterns, and syncopated phrasing. Songs with the ijexá rhythm performed by afoxé groups honor and praise the African gods called Orixás of the Candomblé religion. These songs are sung in both African (often Yoruban) and Portuguese languages.

Filhos De Gandhi

Filhos de Gandhi is the most well-known afoxé group in Salvador, Brazil. It is considered the largest, oldest, and most respected Carnival group in the city. The group is made up only of men and is named after Mahatma Gandhi, an Indian leader who fought against racial injustice. The group was created in 1949, the year after Gandhi was killed. Inspired by Gandhi’s life and values, the group was formed by workers from the Port of Salvador. These men wanted to show peace and fight against unfair treatment of Afro-Brazilian people in the city. Some local priests from the Candomblé religion also joined the group. Women were not allowed to be part of the group because the members were all port workers. Women helped by caring for the men’s costumes and decorating their turbans.

Filhos de Gandhi is not only a Carnival group but also has a cultural, religious, and social role in the city throughout the year. The group is known for combining African and Indian traditions. African culture is shown through music, dance, and rituals, while Indian culture is seen in the group’s colorful and decorated costumes. The men’s costumes are one of the most noticeable parts of Bahian Carnival. During Carnival, the group displays religious symbols related to the Orixás, which are important figures in Candomblé, through songs, banners, floats, and costumes.

The men wear long white tunics shaped like a T, with the year’s Carnival theme printed in blue on the front. Each year, the design changes, and the tunics often show an image of Mahatma Gandhi. They also wear blue socks and white sandals with the word "Gandhy" printed on them. A blue sash is tied around their tunics at the waist, and blue ribbons are used to create bows on their shoulders.

Each member receives a long white cotton towel, which is turned into a custom-made head turban called "turbantes." These turbans are decorated with jewels and a brooch made of blue and silver sequins, beads, and gems. The brooch designs vary, and men can choose their own style. Each man also wears a small cotton bag around their wrist. This bag holds handkerchiefs and a lavender spray called Alfazema. People believe lavender has healing powers, so the men spray Alfazema during Carnival to help clean and calm the busy streets. The group uses this practice to promote peace in the city of Salvador.

The formation of an Afoxé

During Carnival, afoxé groups usually line up in a row. The line starts with the announcer, then the white guard, followed by the King and Queen. Next comes the maracatu doll, which is a traditional black clothed doll that represents tribal gods. After that, the flag bearer walks, then the guard of honor. Behind them, a group of musicians play drums, cowbells, and shakers.

The ijexá rhythm has a call-and-response melody. A solo singer sings, and a group of people repeat the song. This rhythm is danced to using simple steps that come from sacred Candomblé dances. The dance includes a swaying motion, with quick movements of the shoulders and arms. The steps are small and fast.