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The kaleidoscope project is an online digital museum.The goal of the kaleidoscope project is to preserve the culture of Brazil against the rising amount of generalization. Myself (Andy Tsuei) and Seita Katsuki are going to each provide 30 examples of Brazilian culture organized into the 16 types of culture with 8 types each. Brazilian culture is important to survive in because Brazil has influenced many other countries’ movies, food, and theater. Brazil was selected because of its geographic influence and patchwork of Indigenous, Portuguese, and African descent. Other major significant groups include Italians, Spaniards, Germans, Lebanese, and Japanese. Currently, Brazilian culture is dying due to the shifting of generations, at which point most of the cultures in the kaleidoscope project will be dead and gone.

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Pele was the only player to ever win three world cups, which inspired generations of Brazilian football long after he retired. Pele was also UNICEF Goodwill ambassador and an UN ambassador, helping protect Brazil’s environment and fight corruption within Brazil’s institutions.

https://www.britannica.com/question/Why-is-Pele-significant

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Capoeira, dance and martial art practice

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Capoeira, dance and martial art practice

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Capoeira is a sport/dance that Brazilians practice as a dance and a way to keep the culture of the Brazilian origins. There are also capoeira competitions where people can showcase their skills and such.

https://www.smithsonianmag.com/smithsonian-institution/capoeira-occult-martial-art-international-dance-180964924/

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Ayrton Senna was a legendary F1 driver who dominated the track over the course of his 10 year career, with many people considering him the greatest of all time. His rivalry with the professor, Alain Prost forced the entire F1 scene to grow a more self perfectionist mentality and a stronger drive to improve themselves.

https://www.amazon.com.br/Senna-Tipos-Capas-Envio-Aleat%C3%B3rio/dp/8560504680

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Ze Caipora is one of the first comics to be produced in Brazil, after the initial few chapters the series exploded into a 75 chapter comic. It was also made into a song, with its cultural significance extending into film and theater with four plays and two silent movies.

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As aventuras de Zé Caipora | work by Agostini

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Other articles where As aventuras de Zé Caipora is discussed: comic strip: The 19th century: His As aventuras de Nhô-Quim & Zé Caipora (initially 1883–86; “The Adventures of Nhô-Quim & Zé Caipora”) set a record length of 23 chapters and 378 drawings, a number eventually tripled to a total of 75 chapters by 1906. Thereafter the story was turned into a…

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The Rio movie was the first widely distributed animated movie about the culture of Brazil, raising awareness for Brazilian rainforest protection. It also shows the very real issue of illegal animal smuggling happening in areas like the Amazon.

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Nominated for 1 Oscar. Another 3 wins & 30 nominations. See more awards "

Cast

Cast overview, first billed only:

Storyline

In Rio de Janeiro, baby macaw, Blu, is captured by dealers and smuggled to the USA. While driving through Moose Lake, Minnesota, the truck that is transporting Blu accidentally drops Blu's box on the road. A girl, Linda, finds the bird and raises him with love. Fifteen years later, Blu is a domesticated and intelligent bird that does not fly and lives a comfortable life with bookshop owner Linda. Out of the blue, clumsy Brazilian ornithologist, Tulio, visits Linda and explains that Blu is the last male of his species, and he has a female called Jewel in Rio de Janeiro. He invites Linda to bring Blu to Rio so that he and Jewel can save their species. Linda travels with Blu and Tulio to Rio de Janeiro and they leave Blu and Jewel in a large cage in the institute where Tulio works. While they are having dinner, smugglers break into the institute and steal Blu and Jewel to sell them. Linda and Tulio look everywhere for Blu, who is chained to Jewel and hidden in a slum. Meanwhile, Jewel ... Written by Claudio Carvalho, Rio de Janeiro, Brazil

Taglines:

This turkey can't fly

Did You Know?

Trivia

Linda and Blu live in Moose Lake, which is an actual small town in northern Minnesota. See more "

Goofs

Linda serves Blu a cup of hot chocolate at the beginning of the film. Chocolate is toxic to Macaws. See more "

Quotes

: [jumping onto the cage Blu and Jewel are being held in] Oh, I know I'm not a pretty birdy. But I used to be quite a looker.
[shows them a poster with himself looking dashing on it]
: A star! Lights. Camera. Action!
[he starts singing]
: I was striking, suave, ambitious feet to beak, so birdy-licious. Now I am vile, I am villainous and vicious. Oh! And malicious. I had it all. A TV show, Women too! I was tall, over one foot two! And then they got a pretty parakeet to fill my shoes. That's why I am so ...
[...]
See more "

Crazy Credits

The initial set of credits is accompanied by a reprise of "Real in Rio" from the main cast. It is then followed by a scene of a featherless Nigel being photographed by Mauro. See more "

Alternate Versions

Also released in a 3D version. See more "

Connections

Spoofs Die Hard (1988) See more "

Soundtracks

The Chicken Dance
Written by Werner Thomas and Terry Rendall
See more "

User Reviews

Details

Release Date:

15 April 2011 (USA)

Also Known As:

Rio: The Movie

Box Office

Budget:

$90,000,000 (estimated)

Opening Weekend USA:

$39,225,962, 17 April 2011

Cumulative Worldwide Gross:

$483,866,518

Company Credits

Technical Specs

See full technical specs "

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Directed by Carlos Saldanha. With Jesse Eisenberg, Anne Hathaway, George Lopez, Karen Disher. When Blu, a domesticated macaw from small-town Minnesota, meets the fiercely independent Jewel, he takes off on an adventure to Rio de Janeiro with the bird of his dreams.

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The Headless Mule is a legend about a woman who was cursed for committing a sin. She was involved in an illegal relationship with a priest, and was then punished by a powerful entity and was turned into a flaming mule with fire coming out of its severed neck stump.

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Introduction:
Legends and folklore are woven into the fabric of every culture, captivating the imaginations of generations. Among the rich tapestry of Brazilian folklore, one chilling tale stands out - the legend of the Headless Mule. This haunting story tells of a woman cursed to transform into a fire-spewing, headless mule as a punishment for her sins. In this article, we delve deep into the origins, variations, and symbolism of this eerie legend that has gripped the hearts of Brazilians for centuries.
Origins and Variations:
The origins of the Headless Mule legend can be traced back to rural Brazil, where folklore thrived among the locals. The tale varies in different regions of the country, but the core narrative remains consistent. The legend revolves around a beautiful woman who was involved in a sinful relationship with a priest or engaged in illicit affairs. As a result of her transgressions, she is cursed by a powerful entity, doomed to roam the night as a headless mule.

According to one version of the legend, the cursed woman is transformed into the monstrous creature every Thursday night, galloping through the countryside, leaving a trail of fire and destruction in her wake. Her fiery breath is said to be so intense that it burns crops and kills livestock. The headless mule's gruesome appearance is described as a massive, jet-black mule with glowing red eyes, flames spewing from its neck stump.
Symbolism and Moral Lessons:
The Headless Mule legend carries several layers of symbolism and moral lessons within its eerie narrative. One interpretation suggests that the tale serves as a warning against sinful behavior, particularly promiscuity and adultery. The curse endured by the woman in the legend represents the consequences of moral transgressions, emphasizing the importance of virtuous living.

Furthermore, the transformation into a mule - a beast of burden - symbolizes the loss of humanity and the burden of guilt. The woman's punishment is a reflection of the societal stigma attached to illicit relationships and the perceived moral degradation associated with such actions.
Regional Adaptations:
Like many folk legends, the Headless Mule has undergone variations as it spread across different regions of Brazil. In some versions, the mule is said to be a possessed or cursed woman rather than a woman who is transformed. In others, the transformation is only temporary, occurring for a limited period or triggered by specific conditions.

In the state of Minas Gerais, for example, the legend takes on a unique twist. The cursed woman is said to transform into the Headless Mule on nights of the full moon, braying mournfully as she roams the countryside. In this variation, the curse can be broken if someone manages to place a blessed rosary around the creature's neck.
Cultural Impact and Modern Interpretations:
The Headless Mule legend continues to captivate the imagination of Brazilians, inspiring various artistic and cultural expressions. The tale has been adapted into literature, theater, and even films, bringing the chilling legend to a wider audience. These adaptations often explore the psychological and emotional torment endured by the cursed woman, providing a deeper understanding of her plight.

In recent years, the legend has also become a prominent part of Brazil's folklore tourism industry. Locals and tourists alike seek out places associated with the legend, such as crossroads, old churches, or remote paths, hoping to catch a glimpse of the headless creature or experience the supernatural aura that surrounds the tale.
Conclusion:
The Headless Mule legend remains a significant part of Brazil's folklore, embodying moral lessons and cautionary tales. This haunting story warns against the perils of sin and the devastating consequences of immoral behavior. As the legend continues to be passed down from generation to

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The Headless Mule: A Haunting Brazilian Legend

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Legends and folklore are woven into the fabric of every culture, captivating the imaginations of generations. Among the rich tapestry of Brazilian folklore, one chilling tale stands out - the legend...

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Tupa is considered the creator of the universe in Brazilian mythology. He and his wife, the goddess Arasy, the mother of the sky. Tupa and Arasy came to Earth and they created all the things in the universe. Afterward, they created the first human couple, which then duplicated into the rest of the population.

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Anhanga is the ruler of the dead and also the protector of the plants and animals. He curses and smites people who do crimes. He is considered the most evil spirit in all of Brazilian mythology, and is the only god strong enough to rival Tupa, the creator of the universe.

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Anhangá is the god of the infernal regions, a spirit that can take the form of various jungle animals, most commonly a deer. He is considered the protector of animals and hunters. Anhangá, as the god of the underworld, is known as the one who rules over the dead. He is often considered the embodimente of evil itself and is the only one to rival Tupã for power. He is known to punish bad people, especially those who inflict crimes against nature. His appearance is a sign of ill omen. Anhangá is al

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The Sorocaba Knife, a new knife construction technique

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The Sorocaba Knife, a new knife construction technique

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The knife was used in most of the big conflicts in Brazil. It was starting to be manufactured at the end of the Brazilian colonial period. It was constructed with the enterçado technique, which entails shoving the blade into the hilt, then affixing it with rivets.

https://dbpedia.org/page/Sorocaban_Knife

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The Sorocaban knife (Portuguese: faca Sorocabana) is the name given to a type of knife or short sword developed in Brazil, more precisely the state of São Paulo, around the turn of 18th to the 19th century. Its defining characteristics are the long and slender single-edged blade (frequently curved slightly upwards), the distinctive handle profile, tapering to a rounded pommel, and the enterçado construction technique, in which the blade is inserted into a slit opened in the ricasso and then fixed in place by three rivets.

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Shark teeth are often found in pre colonial sites of Brazil. Most of these were used in funeral or combusting settings, meaning that it was used for ceremonial purposes. However, they were still used as weapons like on the tips of arrowheads.

https://www.sciencedirect.com/science/article/abs/pii/S2352409X20305241

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The facon knife is a large bladed combat and utility knife used by the Gaucho people, or the cowboys of the Brazilian plains. It is often carried in a holster on the back, so it could be easily quickdrawn and stabbed into someone. This was commonly used with the esgrima criolla fighting style where you hold the knife in one hand and drape a poncho over the over to absorb hits.

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Knives made in Argentina

The Argentine knives are one of the pieces that has been traditionally with the gauchos. This cutting weapon, was useful because with her the gaucho killed his meat, ate, was protected, it made other tools, and it used it like razor.

The silversmiths were the ones in charge to make the Argentine knives among other many things.

Argentine silver knives and gold knives made artesan.

The Argentine knife, is cultural inheritance European arrival with the first conquerors of the Silver.

He is characteristic of the Argentine knives, his way to carry it: in the boot, the waist, on the kidneys, with the handle of the knife shown towards the right flank.

Facon knife with special engravings.
The Argentine knife is used by the gaucho like weapon and instrument of work.

To imagine to a gaucho without its knife facon, is more difficult that to imagine it without its horse. At the present time the Argentine knife continues being one of the most important tools of the field man. Many of the Argentine knives stand out by the delicate engravings in gold and silver that create dedicated to cutlers craftsmen

Criollo knife with sheat.

Within the history of Argentina it is necessary to distinguish a great variety of knives craftsmen.

Each one of these knives of Argentina is adapt to the residence place and offices. The known Argentine knives more are the Creole knife, the verijero knife, the dagger, the caronero knife and the facon knife.

All these knives constituted their rich range of manifestations and forms through the times.

Classes of Argentine knives:
The Argentine criollo knife:
These knives have a lanceolada blade, popularly denominates "puï¿½ales" to them;.

The art of platerï¿½a Creole, adopted more to the knife like an object to being decorated beautifully and rich with silver and gold.

Surely these knives made with precious metals were property of owners of stays, the military of high rank, politicians, or representing conspicuos of the high class of the cities, before knife utilitarian tool of the man of common field. Criollos is necessary to differentiate totally other knives; like for example, "daga" or legendary "facon".

The dagger:

It also has long and thin blade, but its blade is of double edge. The dagger was a weapon greater than the knife and minor who facon. The gauchos in general constructed with old bayonets or rest to them of swords.

Argentine knive is called Facon knife too.
The Caronero knife:

It is a dagger but of very long blade. It was transported between "caronas" from the market, from its name comes there.

CARONERO: facon made often of saber, sword blade, etc. of great dimensions that the countryman took formerly under caronas of his message.

Caronero knife in its sheat. The Facon knife:
It is a knife of long and tempered blade, facon Argentine was, before nothing, a formidable weapon battle that the rich countrymen had with silver blade and grip with initials recorded in the leaf or grip of the knife.

Facon knife made in Argentina.
In summary, facon knife was a formidable weapon battle, although the gaucho also has used them for other necessities: to finish or to kill a head of cattle, hunting or cuerear, and to even eat.

The verijero knife:

It is a knife of so large minor and with the small blade. It is used in the necessities in which "facon" by its form is very discomfort, its utility very is limited. It was the used knife more in the multiple tasks of the field.

Verijero knife with leather sheat.
The gaucho took this small knife, that can have the size of one of table, footwear in ingle of the side of his capable hand (in the animal "verija" inginal region of there its name).

Author: www.aceros-de-hispania.com

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Argentine knives, criollo, verijero, daggers and facon knife

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Argentinean knives made artesan by the best artesans.

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The bola is a pair of balls with a string in between. When thrown, the heavy metal balls wrap the string around the limb of whatever it was thrown towards. If thrown hard enough, the balls might actually break the bone of the animal, due to the heavy hits of the balls.

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Bolas survival weapon: throwing and crafting tips!

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The Zarabatana is a blowgun originating in Indonesia, but adapted by the Brazilians to be more effective in jungle combat. The Ticuas, a indigenous group from South America made a special dart gun poison called Ticuna. This is especially good for Brazil because it kills Toucans in a matter of minutes, and monkeys in around 10 minutes, making it perfect for hunting or self defense.

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blowgun, tubular weapon from which projectiles are forcefully propelled by human breath. Primarily for hunting, it is rarely used in warfare. Employed by Malaysians and other Southeast Asian aboriginals, in southern India and Sri Lanka, in Madagascar (Malagasy Republic), in northwestern South America, in Central America north to central Mexico, among southeastern American Indians, and in Melanesia (rarely), it also may have been used prehistorically in the Antilles. Apparently invented by Malaysians, blowguns were Pre-Columbian in both hemispheres; whether their occurrence in the New World represents reinvention or introduction remains uncertain.

Blowguns vary in length from 18 inches to more than 23 feet (45 centimetres to 7 metres). The simplest of the four basic types is a single tube, usually a section of cane or bamboo. If the bamboo internodes are short, the septa may be burned or punched out and the interior polished. Single-tube bamboo blowguns occur widely, often in peripheral regions of use or where the weapon serves as a toy. Another variety has an inner and an outer tube. In the Old World (notably Malaya) these are usually bamboo, the inner tube commonly being made of two sections fitted into a short length of bamboo; the outer tube also may be composite. In northernmost South America, a palm stem (pith removed) is the usual outer tube; occasionally another serves as the inner tube. A third major variety is made by splitting a length of wood, carving half the bore on each face, and binding the halves together. This split type is found in scattered locations including Malaya, Borneo, the Philippines, Japan, south India, and South America on the Pacific Coast and between the Negro and the Madeira rivers and has also been reported from Louisiana. Apparently unknown to New World artisans, the most difficult type of blowgun to construct is made from a single block of wood about 2.5 m (8 feet) long. After the bore is carefully drilled with a chisel on the end of a long rod, the block is trimmed to a cylinder. This type is most common in Borneo, with a spear usually attached. Single-piece wooden guns are known from Bali and the Celebes; in Madagascar the bore is burned out with a heated iron rod.

Darts are the most common blowgun missiles. They are usually made from palm-leaf midribs or from wood or bamboo splinters, and they may vary from 4 to 100 cm (1.5 to 40 inches) in length. A conelike bit of pith or a twist of fibre at the base of the dart makes it fit the tube snugly, ensuring that it will fly out of the tube from a puff of human breath. Clay pellets or bits of bone are also used as darts by some peoples. A hunter usually carries his darts in a quiver made of bamboo, basketry, wood, or leaves.

To be effective against quarry larger than small birds, blowgun darts require poison. The darts often are notched so that the poisoned tip will break off in the victim. The most common Old World poison is made from the sap of the upas tree ( Antiaris toxicaria) and kills by cardiac effects; also used are the lianas Strychnos strychnos and Strophanthus. In South America, curare, whose action is paralytic, is widely used, though obtained from relatively few tribes, who prepare it largely from the Strychnos toxifera vine. Other poisons are made from snake venom, insect poisons, and decaying flesh. Dart poisons are not recorded for North American peoples.

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Blowgun | Ancient Hunting Weapon & Traditional Martial Art

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Blowgun, tubular weapon from which projectiles are forcefully propelled by human breath. Primarily for hunting, it is rarely used in warfare. Employed by Malaysians and other Southeast Asian aboriginals, in southern India and Sri Lanka, in Madagascar (Malagasy Republic), in northwestern South

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Capoeira was developed by slaves to fend off slave owners. It was made to look like a dance so that slaves would be able to be practiced without being noticed. It was also used as a means to break free from slavery, both with it being able to be used for combat, and uniting the slaves with one purpose.

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About Capoeira

Capoeira is a Brazilian martial art disguised as a dance and performed to musical instruments and traditional Brazilian songs. It is comprised of specific offensive and defensive movements and, unlike in other martial arts, the participant is constantly in motion because of the basic movement, the ginga.

The movements also consist of positions on the ground, kicks, sweeps and acrobatics. Some believe that capoeira originated in Africa, others say that it was formed in Brazil. The regional style of capoeira originated in the 1930s in Brazil and, unlike capoeira angola, is usually practiced to a quicker beat and kicks are performed in an upright and aggressive style.

History

Capoeira's history begins with the adoption of African slavery by Portuguese colonists in Brazil. Since the 16th century, Portugal extensively adopted slavery to man their colonies, coming mainly from West and Central Africa. Brazil, with its vast territory, was the major destination of African slaves, receiving 38.5% of all slaves sent by ships across the Atlantic Ocean. Capoeira has a long and controversial history, since historical documentation in Brazil was very scarce in its colonial times. Evidences, studies and oral tradition leave little doubt about its Brazilian roots, but it is impossible to precisely identify the exact Brazilian region or time it began to take form.

Martial Art

Capoeira is a fast and versatile martial art that is historically focused on fighting outnumbered or in technological disadvantage. The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira, important both for attack and defense purposes. It has two main objectives. One is to keep the capoeirista in a state of constant motion, preventing him or her from being a still and easy target. The other, using also fakes and feints, is to mislead, fool, trick the opponent, leaving them open for an attack or a counter-attack. As is the case with most martial arts, capoeiristas are required to wear a uniform, which consists of white pants, or abada, and a t-shirt, typically white with the capoeira academy's logo. The pants are secured by a cordão, or belt, which is a specific color based on the capoeirista's level of experience. The beginning student receives a green cordão and receives subsequent belts after demonstrating her/his skills at an annual batizado and troca de graduações (graduation).

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Capoeira is a Brazilian martial art disguised as a dance and performed to musical instruments and traditional Brazilian songs. It is comprised of specific offensive and defensive movements and, unlike in other martial arts, the participant is constantly in motion because of the basic movement, the ginga.

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Christ the redeemer statue, the t posing statue

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Christ the redeemer statue, the t posing statue

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The Christ the redeemer statue is a giant masterpiece of Jesus Christ with his arms raised. It represents the blessing of the Brazilian peoples. It was also built to show the divinity of Jesus and the riches of his Paschal Mystery.

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Sanctuary of Christ the Redeemer - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Cathedral of Brasília, the center of Brasília

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Cathedral of Brasília, the center of Brasília

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The Cathedral of Brasília was designed by Oscar Niemeyer, and built in the middle of the monumental axis, and is one of the most iconic landmarks of the capital city of Brazil. It is also used as ecclesiastical territory for the Catholic church in Brasilia.

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The Cathedral of Brasília - Google Arts & Culture

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Step into the crown jewel of the city's architecture

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Planalto palace, the office of the president

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Planalto palace, the office of the president

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The Planalto palace was also built by Oscar Niemeyer during the modernization of Brazilian infrastructure. Ever since it was erected in 1960, it has housed every single Brazilian president to have come after this period.

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Planalto Palace and Supreme Court, Brasilia - Oscar Niemeyer

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The Planalto Palace (seat of government, where the President of the Republic meets with advisors and visitors) and the…

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The Amazon theater is an opera house located in the middle of the Amazon rainforest. It hosts the annual Amazonas Opera festival. It represents the massive financial development in Brazil’s economy during the peak of demand for rubber.

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Description

Teatro Amazonas: S3 7 49.01 W60 1 24.23
Teatro da Paz: S1 45 28.32 W48 49 38.18

Built in the late nineteenth century, both Teatro Amazonas (Amazon Theater) and Teatro da Paz (Peace Theater) are located in the Brazilian Amazon in the cities of Manaus and Belém, respectively. These theaters are significant monuments located in the two largest urban centers of the region, symbols of the economic boom achieved and represented by a model of Europeanized civility reproduced in the tropics due to the Amazon Rubber Boom in South America.

This modernity, fostered by rubber exports - a period in which the cities of Belém and Manaus monopolized the supply of latex for the manufacture of various products in the context of the Industrial Revolution underway in Europe, was made possible by the wealth generated by intercontinental trade resulting in sponsoring the arrival of architects, engineers and European artists, who promoted profound changes in the urban landscape of these cities.

The construction of these two monumental opera houses, in the middle of the Brazilian Amazon forest, symbolizes the deployment process in the tropics of the ideals of progress and civilization existent in the nineteenth century, when the ships that crossed the Atlantic Ocean, overflowing with latex, returned with people, products and ideas of the European Belle Époque.

Associated with the eclectic language, the ethnic regional elements of the fauna and the flora, in a stylized and allegorical manner, were incorporated into the interior decoration of these monuments, making up the decorative theme of theaters built in the Amazon environment, showing the search for a local bourgeois identity.

Larger and more luxurious than all Brazilian theaters previously built, both Teatro Amazonas and Teatro da Paz, here designated as "Teatros da Amazônia", have become urban landmarks representative of a time of intense commercial and cultural cosmopolitanism, which lasted to the present day in the urban centers of Manaus and Belém, symbolizing periods of economic boom. Within these eclectic monuments, opera festivals open to the public and other cultural events are still promoted, maintaining these places as traditional centers of cultural life.

Description of the component parts:

Teatro da Paz (Paz Theater)

One of the examples of neoclassical architecture in Brazil and the first show house of monumental character in the northern part of the country, the Teatro da Paz was erected in 1874 with an original project by José Tibúrcio de Magalhães. He presented an opera house typology, with the audience in a horseshoe shape, with orchestra pit, proscenium and curtain.

For the theater beautification, the local government undertook the first reform carried out between 1887 and 1890, where they contracted services for the painting of the concert hall and auditorium, by the Italian artists from the Roman Academy of San Luca, Domenico De Angelis and Giovanni Capranesi. The beautiful ceiling, painted by De Angelis, with light effects and sinuous shapes and the Baroque style, offers idyllic scenes with characters from Greek and Roman mythology, with representations of Amazonian Indigenous Peoples.

Another important artist in this intervention was the Brazilian Crispim do Amaral, hired to paint the stage curtain made in Paris by set designer Eugène Carpezat. This being the first Republican artistic representation of the state of Pará, alluding to the Allegory of the Republic, an oil painting that brings Marianne, the traditional representation of the French Republic, to the center amid mestizos, native inhabitants, mulattos and Greco-Roman mythological characters.

In 1904, in the prime of the Amazonian Belle Époque, during the government of Augusto Montenegro and the Municipal Commissioner Antonio Lemos, the theater underwent further intervention incorporating the luxurious interior design, the taste of eclecticism, which remains to this day. The facade has been redesigned to meet the classical standards, the electric lighting system has been improved, in addition to the refined and integrated furniture that are incorporated into the environment, including: hardwood floors in the area, wall coverings decorated with metal sheets, statues made in Carrara marble in Paris, representing Gonçalves Dias and José de Alencar, two representatives of the romantic literature canon, installed in hallways, caryatids in "Tercé stone", iron bars and bronze made in Paris, as well as chandeliers and crystal chandeliers highlighted by the concert hall luster acquired from the United States of America. It should also be noted that the auditorium additionally received, among other elements, the busts of the Brazilian maestros Carlos Gomes and Henrique Eulálio Gurjão, made in Genoa, Italy.

Due to its condition, which inspired care, in 2000, 2008 and 2010, some improvements were undertaken for the modernization of the infrastructure, occasion in which the electrical and hydraulic installations were recovered, with internal adjustments of use being made, along with the structural strengthening of the roof, and the restoration of all integrated artistic property.

Teatro Amazonas (Amazon Theater)

A building whose cornerstone was laid in 1884, the Teatro Amazonas had its design drawn up in Portugal at the Lisbon Engineering Office. As for the style of the facade, the Teatro Amazonas is essentially eclectic with many aspects close to Art Nouveau style. The construction of the theater used the most advanced construction techniques of the time, introducing metal structures, especially the dome, with its iron frame being brought from Europe. This grand element that does not have the function of giving light to the internal space, stands out not only for its size but also for its unique multicolored coating, in all 36,000 glazed scales that, besides providing a monumental character to the building, reflects the desire to make this theater an unique piece of work in architecture.

In order to achieve the desired luxury and refinement, most of the materials used in the construction were brought from Europe: glazed tiles from Alsace for the dome; iron railings and furniture in the style of Louis XV of France; Italian marble; steel beams from Glasgow; fittings and the rose window for the main hall from the Koch Fréres Parisian house.

The lack of manual labor in the region, scarce at the time, was remedied by the recruiting of various foreign professionals, including Domenico de Angelis, who was hired to paint the foyer with other Italian artists. The foyer, or Honor Room, features beautiful illusionist paintings that demonstrate the refined technique of these professionals. Over the metallic columns, cornices, balustrades and pillars, the technique of stucco has been used, making it resemble marble. The illusionist effect can also be seen in faux tapestry, on painted Gobelins representing the fauna and flora of the Amazon Region, a theme required by the Amazon State Government.

Another professional who has also stamped his art on the theater was Crispim do Amaral, who, along the responsibility for the decoration of the concert hall and other decorative elements, made the curtain representing the meeting of the waters of the Negro and Solimões Rivers, emblematic references of the landforms of the Amazon Region and its waterways.

The Teatro Amazonas has undergone some renovations since its opening in 1898. There was an effort in 1974 when a broad restoration took place, preserving its original architectural style and giving the building a more modern infrastructure, with new lighting and air conditioning. There were also some internal adjustments and restoration of furnishings at this time. The last intervention, back in 1990, corresponded to the full restoration of the theater, which had serious conservation issues. At the time, Brazilian and foreign technicians recovered the original features of all paintings by Domenico de Angelis and by Amaral Crispin, the bronze and crystal Murano chandeliers, the two house drapes, among other pieces of art.

Justification of Outstanding Universal Value

Justification for the selection of the constituent elements

The urban transformations made possible by the wealth generated from the rubber boom, radically changed the face of two landlocked cities in the Amazon rainforest. Inspired on European civility and progress templates, Belém and Manaus financed their improvement projects and beautification of spaces through the urban layout reforms, expansion of avenues, boulevards and construction of squares, monuments and socialization spaces such as shops and cafés.

With inseparable stories, as the theater were built around the same time and shared much of the manual labor and artists who build them, the Amazonia Theaters symbolize and fully embody the aspirations of ostentation of the commercial elites, as well as it embodies the economic and social changes that marked a unique historical period in the Amazon region.

Criterion (ii):From the first decades of the nineteenth century until the end of the 1910s, the northern cities of Brazil were involved in the development context at the time that was changing the course of humanity rapidly and definitely: the Industrial Revolution. The latex extracted from an Amazon rainforest native plant, Hevea brasiliensis, was sent to various countries in Europe and used for the manufacture of accessories, gears and tires, which ultimately affected livelihoods in the Old and the New World. In addition to the international demand for rubber, the local political context contributed to this exchange: the implementation of the Republican Regime in Brazil, and the opening of the Amazon River to all flags in 1867 allowed the wealth generated by the latex trade to generate profound social changes, implemented mainly in urban reforms and architecture. In this context associated with the distribution of Amazonian cities, far from the country capital, a direct flow was established with the main capitals of Europe where new things came: building materials, in-vogue architectural styles, projects, ideas and influences of all kinds.

The remodeling of urban spaces in Belém and Manaus, the major urban centers of the Amazon region, were inspired along the lines of the reforms promoted by Georges-Eugène Haussmann in Paris and crowned by the building of inspired architectural monuments in the cosmopolitan ideal of the civility and modernity of European cities, which lived through a period of profusion of art and knowledge. During the splendor period of the rubber boom, the cities of Belém and Manaus became Brazilian windows of the European Belle Époque. While the ports of these cities have become places of intense movement of goods, persons and raw materials, the construction of the Theatres in these cities involved artists, architects, foreign engineers, and numerous Brazilians from around the country. Manual labor that was recruited in impoverished regions of northeastern Brazil was divided between the latex extraction and manual labor on public works.

Although short, the 30-year period of the heyday in international trade of existing rubber in the region has definitively changed the social and urban context of Belém and Manaus, effectively contributing to the evolving industrial society that kept developing in the European continent, and which gave its first incipient steps in the Amazon, imprinting with Teatro Amazonas and Teatro da Paz an important record for humanity of this economic cycle that, from 1910 on, with the severe economic stagnation arising from the exploitation of rubber in Southeast Asia, began to lose its strength and splendor.

Criterion (iv): The Amazonia Theaters constitute true monuments in the jungle, expressing the desire of local society at that time to align with European standards, becoming icons of a standard of civility, urbanization and culture. The sizeable resources proceeded from the gum exploitation enabled an unprecedented urban renewal, reflected in a prominent position given to theaters in its implementation, both in the city of Belém as in Manaus. Today, the theaters figure as central areas of cultural activity in the Northern Region of Brazil as much as exceptional symbols of the prominent times that occurred in the Amazon Region.

The construction of the theaters brought together foreign artists, interior decorators, painters and sculptors, most of Italian origin, in light of the scarce local supply of skilled labor, which alternated between Belém and Manaus and was responsible for a considerable boost not only in the architectural and artistic field, but also in the wider cultural field. These artists, although aligned to European representation models, had incorporated regional elements, expressing the desire to affirm the local identity. In this respect, a natural beauty is given to the Amazonia Theaters that can be seen in the light of the conceptual quality of elaborate designs, the decorative elements that integrates it, and the prominence acquired in the urban context where they were built.

The main decorative elements that adorn the Teatro da Paz are the result of the interaction of European and regional influences. The ceiling painted by Domenico de Angelis Rococo is an exceptional example, with characters from Greek and Roman mythology and Amazonian indigenous inhabitants representing four scenes: Apollo's entrance into the Amazon rainforest, the goddess Talia surrounded by angelic figures, the goddess Diana on a hunt among native inhabitants through the forest, and the goddess Mnemosyne, portrayed as a painter whose model is an autochthon individual.

In the Teatro Amazonas, the decorative panels in the foyer acquire uniqueness as they allude to the Amazonian nature, fascinating foreign travelers and naturalists with its realistic depictions of jaguars, herons, streams and forests. Amaral Crispin's curtain, an homage to the famous meeting of the waters of the Negro and Solimões Rivers, also deserves to be highlighted.

The other building materials and movable property brought mainly from Europe denote the desire to be equal to the old world, to give preference for the use of noble materials from specialized regions, such as Carrara marble, sculptures from Genoa, decorative pieces in iron from Paris, and glazed tiles from Alsace for the dome.

Statements of authenticity and/or integrity

Authenticity

The Amazonia Theaters preserve, to the present day, their typological and morphological characteristics referring to the late nineteenth century and early twentieth century, still maintaining its prominent position in the urban area in which they operate. In addition, the profusion of sumptuous integrated decorative elements corroborate to the magnificence of both buildings, and the bedazzlement effect resulting in them can be seen.

The interventions undertaken over the decades occurred, overall, in order to modernize and maintain the buildings and their functions, all while preserving the architectural authenticity of these monuments.

Therefore, considering the attributes that persist as a documentation value of this unique experience undertaken in the Amazon, these theatres keep intact their basic design, materials and usage, as these show houses still function and are presented as cultural references in their locations with intense cultural agendas of concerts and plays, among other activities.

Integrity

The Amazonia Theaters retain their architectural features, allowing a reading and understanding of its architectural, historical, cultural and symbolic attributes, while with documentary values.

As for the management, both theaters are under legal protection as a national cultural heritage site, and the area enclosed for their protection - in the immediate surroundings - is enough to ensure the attributes they possess, ensuring their preservation and visibility.

The Teatro da Paz is under federal preservation normatives, combining Campina and Cidade Velha neighborhoods, and is housed in the Architectural, Landscape, Urbanistic Ensemble of the Republic Square, an area also listed by the Government of the State of Pará. The Government of the State of Pará, the theater's owner, was responsible for the last work of restoration carried out in 2010. The building has good preservation conditions.

The Teatro Amazonas, owned by the Amazonas State Government, is also listed the federal government, as it is by the Municipal government, as a result of being inserted in the Historic Center of Manaus.

Comparison with other similar properties

The Amazonia Theaters, the only opera houses erected throughout the Amazon Region, are striking examples afforded by the Industrial Revolution and the influence of European culture in the Amazon, translated into its implementation, architectural language, artistic elements and construction techniques. However, the strength of the thriving nature present in the region's environment eventually influenced this unique architectural production in the tropics represented in the fine art paintings on the walls and ceilings of both theaters.

For this mixture of references, it is closer to the Palau de la Musica Catalana (Barcelona), inscribed in the World Heritage List since 1997, which became one of the representative examples of the search for a Catalan national identity through an interpretation of Eclecticism under the modernist spirit which was spreading in Europe at the beginning of the twentieth century, made possible by industrial progress. The building features a fusion of influences of Baroque, Arabic and modern elements, where the Spanish vernacular architecture also was also expressed.

As for the unprecedented nature of the Amazonia Theaters in relation to the context and representing an important urban reference, they can be compared to the Margravial Opera House (Bayreuth), which became a World Heritage Site in 2012. Built between 1745 and 1750, it is the only Baroque theater still preserved intact, whose full implementation in a public space differs from other theaters of the time, those located in palaces, foreshadowing the great public opera houses of the nineteenth century.

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Theater of the oppressed, a political art form

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Theater of the oppressed, a political art form

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The theater of the oppressed is a performance art form that is supposed to create observation on society and a different outlook on reality. It is also meant to make the audience question the existence of conscious thoughts.

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Created by Brazilian visionary, Augusto Boal, Theatre of the Oppressed (TO) is a form of popular community-based education that uses theatre as a tool for transformation. Originally developed out of Boal's work with peasant and worker populations, it is now used all over the world for social and political activism, conflict resolution, community building, therapy, and government legislation.

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Mamulengo is a form of puppeteering that involves a style of puppet manipulation that makes the puppet move in a more natural form. Themes of gangster, underground crime, and street life are common in Mamulengo performances.

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Mamulengo | World Encyclopedia of Puppetry Arts

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Form of popular Brazilian puppet theatre, which was developed in the region of Nordeste (Northeast), mainly in the state of Pernambuco. Although the name “Mamulengo” is taken as a reference to the puppet theatre in the Northeast in general…

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The Bumba Meu Boi is an interactive play that usually revolves around the plot of an ox dying and then coming back from the dead. Bumba Meu Boi is also mostly hosted by the lower classes of Brazilian citizens who made them to mock the higher classes, making it important to street cultures of Brazil.

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Brazil

Inscribed in 2019 ( 14.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

© Bruno Saphira Ferreira Andrade

The Cultural Complex of Bumba-meu-boi from Maranhão is a ritualistic practice involving forms of musical, choreographic, performing and ludic expression, in which the practitioners' relationship with the sacred is mediated by the figure of the ox. The practice features certain key distinguishing elements: the cycle of life; the mystical-religious universe; and the ox itself. The practice is heavily charged with symbolism: by reproducing the cycle of birth, life and death, it offers a metaphor for human existence itself. There are similar forms of expression in other Brazilian states, but in Maranhão Bumba-meu-boi is distinguished by the various styles and groups it includes, as well as by the intrinsic relationship between faith, festivities and art. Each year, the Bumba groups from Maranhão reinvent this celebration, creating the songs, comedies, the embroideries on the ox leather and the performers' costumes. Divided into five main 'accents' with particular features, the groups, albeit diverse, share a yearly calendar of performances and festivities. The festival cycle - which reaches its peak at the end of June - may last for four to eight months, involving the following stages: rehearsals; the pre-season; baptisms; public performances or 'brincadas'; and rituals around the ox's death. The practice is a period of renovation during which energies are reinvigorated, and is transmitted through children's groups, dance workshops, and spontaneously within the group.

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UNESCO - Cultural Complex of Bumba-meu-boi from Maranhão

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The Cultural Complex of Bumba-meu-boi from Maranhão is a ritualistic practice involving forms of musical, choreographic, performing and ludic expression, in which the practitioners' relationship with the sacred is mediated by the figure of the ox. The practice features certain key distinguishing elements: the cycle of life; the mystical-religious universe; and the ox itself.

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The Jangada is a sailing raft that was used by Brazilian fishermen in the northern region of Brazil. The Jangada was also a key piece in nautical technologic innovations. It was built with more efficient materials that made it easier to manufacture and mass produce.

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Simple fishing rafts made from available materials, with designs adapted to local conditions, have been found across the globe: from their use in Polynesia, by Aboriginal Australians, via the Tamil coast of India, to the north east coast of Brazil.

When the Portuguese arrived in Brazil in the sixteenth century they encountered very simple square rigged rafts which they called jangas after similar examples they had seen in India. The name evolved over time into jangada and the fishermen using such craft came to be called jangadeiros. The Portuguese modified the design to add a mast and Bermudan style sail but otherwise the jangada has remained essentially unchanged since that time.

A jangada is constructed from logs of the piuba tree, whose wood, like balsa, is both light and naturally very buoyant. Typically six logs between five and eight metres in length are laid side by side and pinned together with hardwood pegs and fibre ropes - in the traditional version of the craft no metal fastenings are used anywhere - and the logs at the bow are trimmed into shape and upturned to create a prow. There is a single triangular sail of cotton or hemp set on a curved mast fastened against a bench seat with an adjustable foot, with usually five different foot positions which can be used depending on wind direction. The foot of the sail fastens to a very long boom often extending well aft of the stern. A deep dagger board or hinged centre plate counters sideways drift, and the whole craft is steered by a broad bladed oar lashed at the stern, handled by the helmsman from another athwartship's bench. The flat bottomed raft is stored on logs on the beach, over which it is rolled to launch by the crew of between two and five.

With the centre plate raised the shallow draft not only facilitates launching and recovery but also allows easy navigation over the reefs which are common both close inshore and indeed further out to sea. Although the sea can penetrate between the logs and waves can wash freely over them, conditions in inshore breakers and offshore that would swamp a hulled boat, nevertheless the jangada is prone to capsizing, and sailing what looks like a very simple craft is actually a very skilled operation: jangadas can reach speeds up to 10 knots. Fishing is by hook and line with the catch of smaller fish stored live in a basket at water level, while larger fish are brought aboard with a pronged spear.

Despite the apparent frailty of such craft they were not only used for inshore fishing, when they relied on the morning breeze to carry them out and the afternoon sea breeze to bring them back, but also for voyages up to 40 miles offshore. Such voyages could last up to four days with the fishermen lashing themselves to uprights to take brief naps.

The logs become water logged during each trip and the craft have to be hauled out of the water and allowed to dry out before being taken out again. After about a year a raft becomes so water logged that it needs to be replaced. This has placed a high demand on suitable piuba trees, which became scarce, so other woods had to be used. Since the 1940s construction has favoured planks, which are stronger and easier to maintain than logs.

This traditional method of fishing has struggled to survive in the modern world. The jangada has been unable to compete with modern powered boats serving the growing urban markets and better able to operate all year around. In addition, for a time, piracy by bandits on powered craft who also ignored fishery regulations, plus exploitation by rapacious middle men, combined to drive many jangadeiros out of business.

Meanwhile the process of urbanisation and the growth of tourism have turned many former fishing villages into urban sprawls or tourist resorts. Some enterprising jangadeiros have turned their hand to taking tourists for short trips on their simple craft, but many have forsaken the sea and their subsistence level of fishing for better paid jobs ashore.

Nevertheless the jangada and the jangadeiros retain a particular place in Brazilian folklore, literature and culture, with poetry, novels and songs dedicated to their way of life. This is not only because of their traditional craft and methods of fishing and all that they represent in terms of a struggle for survival, but also as a result of their involvement in various civil rights issues. In the 1880s a severe drought hit north east Brazil which impinged heavily on the slave-dependent agriculture of the region. Plantation owners began to sell their slaves and looked to the jangadeiros to ferry them out to ships to transport them south where demand remained stronger.

The jangadeiros however were opposed to this unjust activity, standing firm against the land owners and the threats of the emperor and the military: their activity was instrumental in the beginnings of the abolition of slavery. In 1941 they were active again, with four jangadeiros undertaking a 61 day voyage to Rio de Janeiro to protest against the poor conditions in their communities and to petition for their inclusion in the country's social security system. Their story so inspired the film maker Orson Welles that he broke his contract with the RKO studios to go and film the men as a tribute to their courage and way of life. Tragically, however, the leading jangadeiro was drowned during a re-enactment. The film project was abandoned and only completed decades later.

The museum's example, thought to have been built in the 1970s, was presented to the National Maritime Museum by Varig Brazilian Airlines in 1978.

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Jangada fishing raft - BAE0101 | National Maritime Museum Cornwall

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A jangada is a traditional Brazilian fishing raft constructed from logs of the piuba tree, whose wood, like balsa, is both light and naturally very buoyant.

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A mula is a mule. Brazilian farmers used to use mules to transport their crops and people. The supply of mules in Brazil originated from the Sorocaba, making mules an integral part Brazilian culture and trade.

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The Supply of Mules to Central Brazil: The Sorocaba Market, 1825-1880 on JSTOR

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Herbert S. Klein, The Supply of Mules to Central Brazil: The Sorocaba Market, 1825-1880, Agricultural History, Vol. 64, No. 4 (Autumn, 1990), pp. 1-25

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A kavalo is a horse. As gaucho culture is so prevalent in Brazil, using horses on ranches is very common in Brazil. The native breed of horse in Brazil is the Mangalarga Marchador. It has a thick mane and an arched neck. The Mangalarga Marchador is also known to have a very smooth ride, making it very comfortable to pilot.

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One of the main advantages of heading to Brazil for a riding holiday is the enormous open spaces in which to do it. While there isn't an out and out area, which specialises solely in riding, there are areas, which are well set-up for riding holidays. Take the Reserva do Ibitipoca for example, a hundred miles inland, north of Rio. It is an abandoned 7000-acre farm, which has been converted into a nature reserve, with riding trails that take you past mountain valleys, waterfalls, streams and lush greenery.

For those looking to combine the best of Brazil's beaches and riding, Brazil has some of the best beach riding in the world. In Bahia and Paraty, white sandy beaches and coves and are backed by lush rainforest, making them the perfect setting for exhilarating rides. In addition to this, in the UNESCO listed town of Paraty and the tiny fishing village of Trancoso, high quality accommodation and restaurants are a welcoming prospect after a day in the saddle.

Undoubtedly one of the best areas to experience riding and traditional gaúcho culture is the Pantanal wetlands. In these seasonally flooded wetlands, most of the land belongs to cattle farmers who have built guest lodges on their land to take advantage of wildlife tourism. Due to the nature of the Pantanal wetlands, fazendas stretch for miles and cattle graze far and wide, meaning horses are a key part of day-to-day life here and many of the lodges offer riding to their guests. Horse riding not only offers a unique way of taking in the wetlands but also offers an insight into the traditional way of life of the gaúchos who have a remarkable affinity with the land and their horses.

The native breed of horse in Brazil is the Mangalarga Marchador. It has an arched neck and thick mane and tail. The breed is renowned for its smooth gait, making it extremely comfortable to ride. Some of the main qualities of the Mangalarga Marchadores include being able ranch horses who can withstand working long days in hot and humid conditions, making them a reliable partner on long rides.

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Horse Riding in Brazil | The South America Specialists™

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While many will immediately associate horse riding in South America with Argentina, there is an important riding tradition throughout Brazil, especially in farming and agricultural areas. Whether you're looking to experience the way of life of the gaúchos, traverse national parks or ride along tropical beaches, Brazil has a variety of different options to satisfy the keenest of riders.

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The carro de boi, or bullock cart is a primitive form of transportation and load carrying. It is still used in rural areas of Brazil due to its simple yet reliable design. The bullock cart is used in many areas, but in Brazil the citizens use ox to tow the carts, sometimes attaching them all together with 50 or more ox for more towing capacity.

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O carro de boi, ou carro de bois, é um dos mais primitivos e simples meios de transporte, ainda em uso nos meios rurais, utilizado para o transporte de cargas (produtos agrícolas) e pessoas.

Na História

Rio Grande do Sul ( 1839) - travava-se a Guerra dos Farrapos. Tudo acertado para a invasão de Santa Catarina. Os revolucionários - de um lado Davi Canabarro chefiava as tropas de terra. Do outro, Giuseppe Garibaldi daria cobertura por mar, atacando os portos da província. Um problema, porém, precisava ser solucionado: os dois lanchões da frota revolucionária estavam imobilizados na foz do rio Capivari. Como a Lagoa dos Patos estava interceptada pela esquadra da União, restava a Garibaldi a saída por terra mas, sem os lanchões a tomada da província era impraticável. A solução veio pelas mãos do mestre Joaquim de Abreu, "carpinteiro de ofício e revolucionário por convicção", preparou dois estrados de vigamento reforçado, aparelhou troncos em formato de eixos e o resultado: dois carretões pesando 12 e 18 toneladas, respectivamente. As 50 juntas de bois atreladas a cada carretão, após seis dias de marcha, transportaram os barcos até o rio Tramandaí. A façanha não bastou para vencer a revolução: a causa farroupilha acabou sendo derrotada, mas constitui um capítulo na história do carro de bois.

"Boeiro" em Portugal, "carreta" nos pampas gaúchos e "cambona" em algumas regiões do interior do Brasil, o carro de boi já era conhecido dos chineses e hindus. Também os egípcios, babilônios, hebreus e fenícios utilizavam o transporte "via bois". Mais tarde, os europeus, quando se lançaram à colonização da África e da América, fizeram do boi um item indispensável da carga das caravelas.

Tomé de Sousa - primeiro governador-geral do Brasil - trouxe consigo carpinteiros e carreiros práticos e, em 1549, já se ouvia o "cantador" nas ruas da nascente cidade de Salvador. A presença do carro de bois também é mencionada no "Diálogo das Grandezas do Brasil", de Ambrósio Fernandes Brandão (segundo Capistrano de Abreu, páginas 38 e 64, 1956): "É necessário que tenha (...), 15 ou 20 juntas de bois com seus carros necessários aparelhados (...)", e mais adiante, "A vaca, sendo boa, é estimada a (...), e o novilho, que serve já para se poder meter em carro, a seis e a sete mil réis (...)".

Nos primeiros tempos da colonização, além de manter em movimento a indústria açucareira - da roça ao engenho, do engenho às cidades, o carro de bois mobilizava a maior parte do transporte terrestre durante os séculos XVI e XVII. Transportavam materiais de construção para o interior e voltavam para o litoral carregados com pau-brasil e produtos agrícolas produzidos nas lavouras interioranas. No Brasil colonial, além dos fretes, o carro de bois conduzia famílias de um povoado para outro - muitas vezes transformado em "carro-fúnebre" e os carreiros precisavam lubrificar os cocões para evitar a cantoria em hora imprópria.

No início do século XVI, o carro de bois era ainda absoluto no transporte de carga e de gente. No Sul, no Centro, no Nordeste, era indispensável nas fazendas. No Rio Grande do Sul as carretas conduziam para a Argentina e para o Uruguai a produção agrícola. Na Guerra do Paraguai, os carretões transportaram munições, víveres e serviram ainda como ambulâncias.

Em meados do século XVIII, entretanto, com o aparecimento da tropa de burros, o carro de bois perdeu sua primazia. Mais leves e mais rápidos, os muares não exigiam trilhas prévias e terrenos regulares. No final do século, vieram os cavalos para puxar carros, carroças e carruagens, e o carro de bois foi proibido por lei de transitar no centro das cidades, ficando o seu uso restrito ao meio rural.

Os veículos motorizados aceleraram o processo de decadência do carro de bois no Brasil, na Argentina, em Portugal, na Espanha, na Grécia, na Turquia, no Irã, na Indonésia e na Malásia. Contudo, em todos esses lugares, artesãos continuaram a construí-los e a aperfeiçoá-los e, graças a essa gente, o carro de bois persiste na sua marcha pela história.

Introduzido pelos colonizadores portugueses, o carro de boi difundiu-se por todo o país, existindo ainda no meio rural nordestino.

O carro de boi foi um dos principais meios de transporte utilizados para transportar a produção das fazendas para as cidades, mas ainda é utilizado em algumas regiões do país.

Em alguns municípios, como em algumas regiões do interior brasileiro, ainda há fazendeiros que realizam mutirões de carros de bois para transportar suas produções agrícolas e também outros produtos. O som estridente característico do carro de bois, chamado de canto, lamento ou gemido, também faz parte da nossa cultura.

Dotado de uma estrutura que não possui o diferencial, suas rodas travam durante as curvas. Quando em movimento, o autêntico carro de boi emite um som estridente característico - o cantador - que anuncia a sua passagem.

Algumas das partes do carro de boi (fonte: Dicionário de Caetitenês, de André Koehne; Museu do carro de boi): E conhecimento popular.

canga: peça em que se prende o cabeçalho ou o cambão e que é colocada sobre o pescoço de dois bois, responsável pela transferência de energia mecânica ao cabeçalho.

canzil: Peças em forma de estacas trabalhadas que atravessam a canga de cima para baixo em quatro pontos, de modo que o pescoço de cada boi fique entre duas dessas estacas;

arreia: suportes que atravessam transversalmente o cabeçalho, sobre os quais se apoiam as tábuas da mesa;

cabeçalho: a longa trave que liga o corpo do carro à canga, que se atrela aos bois;

cantadeira: parte do eixo que fica em contato com a parte inferior do chumaço. O contato entre eles produz o som característico do carro;

cheda: Prancha lateral do leito do carro de bois, na qual se metem os fueiros;

cocão: Cada uma das partes fixadas por baixo das chedas, que servem para fixar, duas de cada lado do carro, cada um dos chumaços;

Chaveia: cada parte lateral, fixado na cheda, fica situada na frente do cocão e segura a parte anterior do chumaço e o eixo.

Chumaço: Com forma que lembra um H,é a parte que fica presa entre o cocão e a chaveia, feito de jacarandazinho para resistir ao atrito sem pegar fogo, sendo a parte fixa que entra em contato com o rodante do eixo em baixo da mesa.

Eixo: Construído de aroeira sucupira ou jacarandá, que são madeiras resistentes e ruim de fogo, liga uma roda a outra sem diferencial.

fueiro: cada uma das estacas de madeira que servem para prender a carga ao carro;

mesa: a superfície onde se coloca a carga;

Recavém, ou requevém, é a parte traseira da mesa.também há lugares que é chamado de cadião.

tambueiro: Tira de couro cru, curtido e torcido, que serve para prender o cabeçalho ou o cambão à canga;

brocha: Tira de couro cru, curtido e torcido, que serve para prender um canzil ao outro passando por baixo do pescoço do boi.

Roda: feita de madeira nobre (Jacarandá), constituí de três pranchas unidas por travas de madeira(cambota)colocadas internamente nas pranchas por furos retangulares, estas fixadas por grampos e chapas de ferro. A circunferência é coberta com chapa de aço fixada à madeira com grampos de aço cuja forma arredondada deixa um rastro característico.

palmatora: partes laterais do cabeçalho na parte anterior da mesa do carro de boi.

Chocalho ou Guizo: Vara com ferrão usado pelo carreiro e pelo candieiro.

Ajojo: tira de couro que liga as aspas dos bois.

Por seu valor cultural, o carro de bois é homenageado em diversos festivais e encontros, onde se reúnem os últimos usuários e colecionadores desse meio de transporte rústico e simbólico do meio rural brasileiro.

Na região sudeste, em Minas Gerais são conhecidos os festivais de carro de boi de Formiga, Bambuí, Ibertioga, Desterro de Entre Rios, Vazante, Macuco de Minas , São Pedro Da União, Matutina, Caldas, Congonhal, Resende Costa (sobretudo no distrito de Jacarandira), Pará de Minas e Lima Duarte em Goiás na cidade de Portelândia tem uma das mais belas do estado. No estado do Rio de Janeiro, o festival de carros de boi de Raposo, distrito de Itaperuna, é um dos mais famosos. Em Goiás, na cidade histórica Pirenópolis, é utilizado no desfile em que os carreiros levam a imagem do santo na tradicional Festa de São Sebastião, festa realizada na cidade desde meados do século XVIII. Na manhã do último dia da novena, o desfile percorre as ruas do centro histórico, passando pelos principais marcos históricos, movimentando o turismo local .

Na região nordeste, em Alagoas, ocorre o festival na cidade de Inhapi, considerado o maior do mundo.

Livro: FESTAS DE CARROS DE BOI, do escritor e filósofo Rogério Corrêa.

Livro: HISTÓRIAS DE CARREIROS, do escritor e filósofo Rogério Corrêa.

O carro de boi é um elemento referencial, na intervenção feita no Solar do Unhão, atual sede do Museu de Arte Moderna da Bahia, pela arquiteta Lina Bo Bardi: uma escada de madeira, interna, foi toda feita sem o uso de parafusos ou pregos - tal como nos antigos carros.

A música sertaneja, com sua dupla pioneira, Tonico e Tinoco, junto a Anacleto Rosas Jr., compôs a canção "Boi de Carro", onde traçam um paralelo ao boi já velho com o trabalhador que avança na idade.

Em Portugal

O uso de carros de bois em Portugal é imemorial pois foi durante séculos um meio de transporte usado no transporte de mercadorias mas sobretudo f undamental como alfaia rural para transportes em pequenas distâncias.

Existiram até meados do século XX vários modelos regionais e locais de carros de bois em Portugal contudo o etnógrafo Fernando Galhano organizou-os em quatro tipos principais:

1.º Tipo - O carro de leito retangular.

2.º Tipo - Carro de chedeiro em ogiva com chedas ligadas ao cabeçalho.

3.º Tipo - Carro de cabeçalho fendido em grande parte do comprimento e as duas partes abrindo-se formando as chedas.

4.º Tipo - De transição, geralmente com marmelas emendadas.

A obra, O Carro de Bois em Portugal, de Fernando Galhano documenta as variantes dos carros de bois, a nomenclatura local associada e a construção dos mesmos.

Ligações externas

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Carro de boi - Wikipédia, a enciclopédia livre

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O carro de boi, ou carro de bois, é um dos mais primitivos e simples meios de transporte, ainda em uso nos meios rurais, utilizado para o transporte de cargas (produtos agrícolas) e pessoas. Rio Grande do Sul ( 1839) - travava-se a Guerra dos Farrapos. Tudo acertado para a invasão de Santa Catarina.

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Eco tourism is extremely popular in Brazil, not only for out-of-towners, but locals as well. Due to the close proximity to the Amazon, and its highly desirable rubber and trees, the ecosystems around Brazil are very much in danger of disappearing, so the locals and tourists make the best of the many flora and fauna that can be found there.

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Occupying half of South America's landmass, Brazil is the most biodiverse country in the world. It contains the world's largest rainforest, the Amazon and the world's largest tropical wetland, the Pantanal. Together with the last remnants of the Atlantic rainforest, these ecosystems are home to some extraordinary Brazilian animals.

In fact, the wildlife of Brazil is so rich and diverse that scientists are still discovering new species. Many Brazilian wildlife species are endemic to the country, meaning they do not occur anywhere else on earth. Curious which Brazilian animals are endemic to Brazil? Then check the FAQ below.

Are there tigers in Brazil?

What is Brazil's Big Five?

Here is a guide to 35 amazing Brazilian animals, including Brazil's Big Five that you can encounter on your travels in Brazil, together with suggestions on the best places for spotting wildlife in Brazil.
READ MORE: Where to see wildlife in Brazil without breaking the budget?
Jaguar - the National Animal of Brazil

Solitary and elusive, jaguars are the largest wild cats in the Americas and the third-largest big cats in the world (after tigers and lions). They have the most powerful bite among the big cats and can crush the skull of a fully-grown caiman.

The jaguars once ranged from the southern United States to northern Argentina. Today, they occupy only about 50 percent of their historic range and are listed as "Near Threatened" on the International Union for Conservation of Nature (IUCN) Red List of Threatened Species.

And this range keeps shrinking due to habitat destruction and degradation in the human-dominated world.

Currently, there are two strongholds for jaguars in Brazil. In the north of the country, the Amazon rainforest is home to the largest population of jaguars in the world. Further south, pretty much dab smack in the middle of the country, the Pantanal is home to the second-largest population.

So what is the best place in the world to see the national animal of Brazil in the wild? The Brazilian Pantanal. Unlike the Amazon, the Pantanal is an open landscape that presents the perfect stage for spotting some of the most iconic Brazilian wildlife. The network of streams and ox-bow lakes, upstream from the small fishing community of Porto Jofre (250 km from Cuiaba) is the best place for watching jaguars in the wild. Here is your best chance to see a 'shadow' of jaguars, which is a collective noun used for a group of jaguars
READ MORE: 50 Outstanding Safari Holidays Destinations Outside of Africa
At about twice the size of a domestic cat, Ocelot is the largest small cat in the Americas. It has a similar distribution range to the jaguar, from Texas and Arizona all the way to northern Argentina.

In the past, ocelots were heavily hunted for their beautiful coat, but today they are protected across most of their range. And while they are still threaded by the loss of habitat, ocelots are listed as "Least Concern" on the IUCN Red List of Threatened Species.

Curiously, ocelots, together with the other seven small spotted cats of South America, have 36 chromosomes rather than 38, like all other wild cats!

Spotting an ocelot in the wild is a challenging task unless you know where to look. The highest density of ocelots in the world is found on Barro Colorado Island in Panama. The island was formed during the creation of the Panama Channel. As the countryside flooded, the animals moved to higher ground and many become trapped on what is now Barro Colorado Island.

However, the best place to see an ocelot in the wild is Fazenda San Francisco in Brazil's southern Pantanal. The rice paddies of the fazenda attract a high number of rodents and the ocelots follow their prey.

On top of the rodents, the irrigation channels that bring water from the nearby river to the fields, are teeming with fish and other aquatic vertebrates. The ocelots have no shortage of food here and their relaxed attitude to safari vehicles allows for some close encounters (like the image above).

Of course, the southern Pantanal is not all about the ocelots. It is one of the best places to see a variety of Brazilian wildlife including jaguars, anteaters and an incredible abundance and diversity of birds.

The second-largest cat in Brazil, after the jaguar, puma (a.k.a. cougar) is quite rare in the country. While puma has one of the widest distribution ranges among felids, it tends to occur at low density in most places. The Pantanal is, of course, the best place to try your luck at spotting a puma, particularly, Fazenda Barranco Alto in the southern Pantanal.

However, some of the most extraordinary images of a puma ever taken were snapped by a camera trap in Serra dos Órgãos National Park in 2013. In these images, a magnificent young male with a flawless white coat strides confidently past the camera. This was the first-ever confirmed case of a wild cougar with leucism - a genetic condition characterized by partial loss of pigmentation.

South America's Maned wolf, is a wolf, like no other. Looking like a fox on stilts, it is neither a fox nor a wolf. It is the only canid (a member of the wild dog family) of its kind. This may mean that it is the only survivor of the Pleistocene extinction that wiped out the majority of the megafauna, including the Woolly mammoth.

Having survived for a million years, it is now listed as "Near Threatened" on the IUCN Red List of Threatened Species and considered "Vulnerable" in Brazil.

The maned wolves are impressive-looking animals. They stand 90 centimetres tall at the shoulder, supported by exceptionally long legs, that are thought to have evolved for life in the tall grasslands - their preferred habitat.

But despite their formidable size, these unique Brazilian animals are very shy creatures that are rarely encountered in the wild.

So where can you see a wild maned wolf in Brazil? They are occasionally spotted on night safaris at Fazenda San Francisco in the Southern Pantanal, but sightings are rare and brief.

For an almost guaranteed encounter, head to Santuário do Caraça in Minas Gerais. Thirty years ago, the monks at Caraça Monastery started leaving food scraps for a maned wolf that kept raiding their chicken pens. The tradition continued with future generations of wolves and today you can visit the monastery and watch a wild maned wolf come in for its evening meal.

Giant Otter

Known through much of its range as the 'river wolf' the giant otter is one of South America's top carnivores. Growing to up to 1.8 meters in length, it is the largest of the otter species.

Sadly, giant otters are also one of the most endangered animals in Brazil. Up until the 1970s, they were hunted for their valuable fur, and at present, they are threatened by habitat loss and pollution. Their habitat is being destroyed by mining, logging and damming of rivers.

As a result, the giant otter is listed as "Endangered" on the IUCN Red List of Threatened Species.

But if you do manage to find them in the wild, giant otters are one of the most entertaining Brazilian animals to watch. They live in social groups, composed of a breeding pair and their offspring that rest, play, fish and sleep together. They seem to exist in the constant state of motion of catching and eating fish.

The best place to see giant otters in the wild is the Brazilian Pantanal, on the banks of the Cuiaba River, around Porto Jofre. We spotted the group in the video above one late afternoon and spent a good half an hour watching their antiques.

By the way, did you know that the collective noun used for a group of otters is a raft? And a raft of otters is not even the strangest name. If you are curious, check out this list of some wonderfully bizarre collective nouns for animals.

Crab-eating Fox

The Crab-eating fox is an attractive canid that is not closely related to true foxes. These animals form monogamous pairs and congregate in small hunting packs that prey mainly on rodents, birds, reptiles and insects. During the wet season, they often search for crabs and other crustaceans on the muddy floodplains, which gives them their name.

They are widely distributed across central and southern Brazil and can be spotted in most forested areas. The Pantanal is one of the best places to see the Crab-eating fox, but there is also a high chance of spotting one of these cute Brazilian animals in most forests and savannas across the country.

Giant Anteater

The Giant anteater is one of the oddest-looking animals in Brazil. With its tiny face, long snout, massive body and exceptionally bushy tail, it looks like Mother Nature couldn't decide what animal it wanted to make.

Threatened by habitat destruction and modification, the giant anteater is listed as "Vulnerable" on the IUCN Red List of Threatened Species. The experts estimate that there are approximately 5000 individuals left in the wild.

As the name suggests, the giant anteater is the largest of all anteaters and can grow up to two meters in length. It is equipped with sharp bear-like claws and a very long tongue - the traits necessary for successfully raiding termite mounds and snatching up insects from their chambers. As the anteater feeds, its tongue shoots out up to 150 times every minute, allowing the animal to consume up to 30,000 insects in a day.

But despite all their adaptations, giant anteaters only take a small number of insects from each nest before moving to the next one, to avoid overexploiting the food sources within their home ranges.

The best place to see giant anteaters in the wild is the Southern Pantanal in Brazil. The open savannah is their preferred habitat type and the abundance of termite mounds guarantees a renewable food supply for them.

Southern Tamandua

Also known as the Lesser Anteater, the lesser anteater is another odd creature of the Brazilian savannah. Unlike their giant cousins, the lesser anteaters are active mainly at night, spending their days in hollow tree trunks or in the burrows of other animals, such as armadillos.

Like the giant anteater, the lesser anteaters possess long and sharp claws on their feet and walk on the outer surfaces of their front feet to avoid puncturing their palms with the claws. For a human, it would be like walking on your knuckles.

The lesser anteater has a wide distribution range throughout most of South America, and it is listed as "Least Concern" on the IUCN Red List of Threatened Species.

However, despite their wide distribution, the lesser anteater is shy and rarely encountered in the wild. The best place to look for these shy Brazilian animals is Fazenda San Francisco in the Southern Pantanal in Brazil.

Saki Monkey

Brazil is beyond doubt, the land of monkeys. There are so many monkeys in the Amazon rainforest alone that scientists are still discovering new species. One of the iconic monkeys of the Amazon rainforest is the White-faced Saki monkey. The name comes from the light-coloured fur on the face of the male monkeys. Female faces are not as exuberant.

These unusual-looking primates live in small groups that can vary from 4 to 12 individuals. Given how thick the Amazon jungle is, you are more likely to hear than to see saki monkeys. The mating pair establishes their bond by singing in duet, their calls filling the forest.

The Amazon is not the easiest place to see wildlife in Brazil. The thick tropical jungle obscures its inhabitants from sight. But if you are determined to see monkeys in the Amazon, a good place to visit is Pousada Rio Roosevelt lodge. It lies deep within the forest and there are no roads leading to the lodge. It can only be accessed by a small plane. But once you are there, you have a chance of spotting 12 different species of primates.

Brazil is home to more monkeys than any other country in the world, and many of Brazil's monkeys do not occur anywhere else. Of course, just because there are many monkeys around, doesn't mean that they are easy to see. The smaller primates, like the marmosets, can be particularly hard to spot unless you know where to look. It took us a week in the Pantanal to spot our first Black-tailed marmosets and even then, we only found them because our guide recognized their call.

However, if you do know where to look for them, you can find marmosets even in such major tourist destinations like the coastal town of Paraty and the Botanical Gardens of Rio de Janeiro. At a height of under 20cm and weight of just over 250 grams, marmosets are some of the smallest Brazilian animals and many of them look like tiny Yodas.

Golden Lion Tamarin

Named for their impressive manes, reminiscent of Africa's big cat, the Golden lion tamarin is perhaps the most beautiful of all tamarin species. It is an iconic species of endemic wildlife in Brazil and, sadly, one of the most endangered animals of Brazil.

These tiny primates live in social groups in Brazil's Atlantic coastal rain forests. Unfortunately, these coastal rain forests are where the people like to live in Brazil as well. The giant metropolises of Rio and Sao Paulo replaced the large tracts of Atlantic forest.

This was very bad news for the Golden lion tamarins and by the early 1990s, the species were tittering on the brink of extinction, with about 200 individuals scattered among isolated populations.

Thankfully measures were taken and the first-ever attempt to re-introduce captive-bred animals into the wild habitat was made by the conservation organizations and the disappearing wild population of Golden lion tamarins in Poço das Antas reserve was supplemented by zoo-bred animals. Some of the animals from the unprotected areas were also relocated to União Biological Reserve and Poço das Antas reserve.

After an initial period of trial and error, the wild population started to stabilize and today there are thousands of Golden lion tamarins living in all the reserves and ranches in Brazil. They have become one of the best-known animals from Brazil.

Tufted Capuchin

Brazilian Tufted capuchins are the original clever monkeys. They have been observed using more tools than almost any animal apart from chimps and, of course, humans.

They use sticks to get food out of cracks and crevices, rocks to crack open seeds, and sharp stones to dig in the hard soil for roots and fungi. They also have been observed throwing rocks at predators and walking upright on their back feet. And like their relatives, the White-faced capuchins in Costa Rica, they are insatiably curious and will often approach people for a better look.

The Pantanal is a good place to see capuchins in the wild. They are usually heard before they are seen as they often make a racket as they move through the canopy.

We observed capuchins walking on their back legs, like tiny little humans as they emerged from the forest toward a watering hole in the Pantanal.

Three-toed Sloth

About the size of a small dog, the three-toed sloth is a tree-dwelling animal. Despite appearing slow and clumsy, it is spectacularly well-adapted to the arboreal lifestyle.

Since they never move far from their food supply, they can spend their entire lives in the canopy, hanging upside-down. They eat, sleep, mate and even give birth upside-down. Even their internal organs have shifted to accommodate for their upside-down lifestyle.

Their fur is parted along the stomach and falls from belly to back so that the rainwater can drip off easily. And the shafts of their hair have special groves that house algae. And since they are never in a hurry, algae grow well in their fur and gives it a greenish tint that serves as camouflage against the predators.

Brazil has its very own three-toed sloth - the Maned sloth. It occurs in the Atlantic coastal rainforest in south-eastern Brazil. A good spot to look for the Maned sloth is Monte Pascoal National Park in Bahia.

Yellow Armadillo

Another odd-looking creature, the Armadillo is protected from the dangers of the world by a thick leathery shell. There are 21 different species of armadillo, ranging in size from 150 centimetre-long Giant Armadillo to 15 centimetre-long Pink fairy armadillo.

The Giant Armadillo is very rarely seen in the wild in Brazil. But the smaller Yellow armadillo can be easily seen at Fazenda San Francisco in the Southern Pantanal. Most of the time they are seen on night safaris, but occasionally, they wander to the lodge during the daylight hours, attracted by the corn seed overflowing from the bird feeders.

Brazilian Tapir

Also known as a South American tapir, the Brazilian tapir is one of five tapir species in the world, all of them are sadly in decline. The Brazilian tapir is threatened by poaching and habitat destruction and as a result, it is listed as "Endangered" on the IUCN Red List of Threatened Species.

These gentle relatives of rhinoceros are herbivores and use their long snouts to grab leaves, shotts and fruit as they brows. They are mostly active at night, retiring under the cover of the forest during the day.

Tapirs are good swimmers and can often be found in or near water. Their feet are equipped with three large toes that help them walk through soggy terrain. In Costa Rica, you can even see the tapirs take a dip in the ocean, in Corcovado National Park.

In Brazil, the Pantanal is the best place to spot the tapir in the wild, particularly the Pouso Alegre eco-lodge, where you can often watch them emerge out of the forest at sundown and wade into a watering hole for a long unhurried drink.

The capybara is one of the most common Brazilian animals. You can spot them even on a taxi ride from Sao Paulo airport to the city. In fact, the largest capybara ever measured was from Sao Paulo. It weighed in at 81 kg (178 lb).

This odd-looking, barrel-shaped animal is the largest rodent in the world and a close relative of the Guinea pig. It is also the favourite prey animal of Brazil's predators.

A highly social animal, the capybara is often found in groups of 20-30 animals, though some groups can contain up to 100 individuals.

They are semiaquatic animals and superb swimmers, able to hold their breath for up to 5 minutes. Not surprisingly, the best places to see capybaras are the Amazon and the Pantanal.

Azara's Agouti

Looking like a tiny deer, the dainty Agouti is actually a rodent, closely related to guinea pigs. They are one of the shiest wild animals in Brazil and are not often seen. Weighing no more than 3 kg, they scurry around the forest floor really venturing out into the open.

Much like the red squirrels in Europe, Azara's agoutis are accidental gardeners - they often bury nuts and seeds and then forget where they put them, leaving the seeds to germinate and grow into new trees.

They also have a squirrel-like manner of feeding - sitting on their haunches and holding food between their forefeet. A good place to see them is the Pantanal, as well as the Atlantic forest, including Iguazu Falls.

South American Coati

Looking like a cross between a raccoon and a ring-tailed lemur, the Coati is Brazil's answer to meerkats. They belong to the raccoon family and like raccoons, they eat just about anything. Coati is one of the most commonly encountered species of wildlife in Brazil, mostly because they easily become accustomed to people and can often be seen around popular tourist attractions.

Like their Central American cousins, the White-nosed coatis, they spend a large amount of time foraging on the forest floor holding their long tails up. You can see coatis in the Pantanal and at Iguazu Falls where they became quite problematic for their dependence on tourists for food.

Collared Peccary

While they look like wild boars, peccaries are not pigs. They belong to a family of their own. Collared peccary is the smallest family member, measuring around 50-60 centimetres (20-24 in) at the shoulder and weighing between 16 and 27 kg (35 and 60 lb).

Peccaries are social animals that live in herds of about 15 individuals and spend their days looking for succulent plants, small lizards and insects in the grass.

You can see them across Brazil, including the Pantanal and cerrado habitats.

Red Brocket Deer

Broket deers are a family of small to medium-sized deer native to Latin America. The largest of broket deer species is the Red broket deer. Although despite this status it is still a rather demure deer, growing to around 67 to 80 centimetres (26 to 31 inches) at the shoulder, and weighing between 24 and 48 kilograms (50 to 100 pounds).

Because it is one of the favourite prey species for predators like jaguars and pumas, it is quite a shy animal that tends to retreat at the slightest disturbance. So while they have quite a wide distribution range in Brazil they are not often easy to see.

Pantanal is a good place to watch them in the wild. More heavily trafficked areas, like the Iguazu Falls, are also a possibility, although you are more likely to see a retreating back end than have a chance to observe the animal going about its business.

Here is the largest deer species in South America. Also known as swamp deer (not to be confused with Barasinga swamp deer in India), marsh deer stands up to 1.2 m (3.9 ft) at the shoulder. Previously an abundant species across its range, today marsh deer are restricted to small populations and listed as Vulnerable on the IUCN Red List of Threatened Species.

One of the reasons for the marsh deer decline is their dependence on marsh areas like the Chaco and Pantanal in Brazil. As more marshes are drained to convert the land for agriculture, the deer's habitat disappears at an alarming rate.

Marsh deer are some of the best swimmers among Brazilian animals and feel comfortable wading chest-deep in the water feeding on aquatic vegetation.

Macaws are beautiful, brilliantly coloured members of the parrot family. The magnificent Hyacinth macaw is the largest macaw and the largest flying parrot in the world, reaching 100 centimetres in length.

Because of their striking looks, Hyacinth macaws are popular in the exotic pet trade. The capture of birds, together with habitat loss are the main causes of these magnificent birds' decline. They are listed as "Vulnerable" on the IUCN Red List of Threatened Species.

However, despite the decreasing numbers, Hyacinth macaws can be easily spotted around Porto Jofre in the Northern Pantanal. They like to feed on the low-hanging fruit of palm trees, which means that you can often watch them at eye level.

Another macaw that can be spotted in the Pantanal is the Blue and Yellow macaw. One of the best places to see this species is Fazenda San Francisco.

Brazil is home to an incredible variety of parrots and they can be seen almost anywhere you go in Brazil. Monk parakeets are some of the most common parrots in the country. Blue-fronted parrots, Yellow-chevroned parakeets and Peach-fronted parakeets are common in the Pantanal.

There is an entire genus of Amazon parrots. Although not all of them occur specifically in the Amazon: Red-spectacled amazon, Red-browed amazon, Red-tailed amazon, Festive amazon, Kawall's amazon, Yellow-winged amazon and Vinaceous-breasted amazon.

In the cerrado habitat, the Yellow-faced parrot is fairly common. The best place to look for them is Emas National Park.

As a bonus, here is another fascinating family of Brazilian wildlife that you will likely encounter on your travels - the toucans. All birds in this family feature spectacularly oversized and often colourful beaks.

It is not known exactly why these birds evolved to have such an extravagant appendage, but one of its benefits is the all-important energy conservation. Feeding primarily on fruit, the toucans can park themselves in a fruiting tree and reach the faraway fruit from their perch without the need of hopping around.

The most common toucan in Brazil is the Toco toucan. It can be found in the Pantanal, at Iguazu Falls and along the eastern coast, near Rio and São Paulo.

Aracari is closely related to toucans - they are also known as toucanets. Just like toucans, aracaris have magnificent beaks, but some aracaris are even more colourful than their better-known cousins.

One of the most striking members of the family is the Chestnut-eared araçari. It is also quite widespread, but the best place to see it is the Northern Pantanal.

Rheas are large, flightless birds, similar to the African ostrich and Australian emu. Unlike most birds, rheas tend to be silent apart from the time when the male is seeking a mate. During the breeding season, the male emits a loud booming call that female rheas find irresistible.

Curiously, in Greek mythology, Rhea was the mother of the gods, and goddess of female fertility and motherhood. Yet in the bird world, rheas are not exactly mothers of the year.

It is the male that builds a nest and courts the females to lay eggs for him. Once the eggs are laid, male rhea will either incubate them or recruit a subordinate male to incubate the clutch while he builds another nest and courts more females.

Tanagers are some of the most brilliantly coloured birds in Brazil. They come in all colours of the rainbow. There are red Brazilian tanagers, Blue-grey tanagers, bright blue Swallow tanagers, Turquoise tanagers, vividly multicoloured Paradise tanagers, Bay-headed tanagers and Green-and-Gold tanagers.

Tanagers are the second-largest family of birds and represent about 4% of all bird species in the world and 12% of all Neotropical birds.

Most tanagers are omnivorous feeding on fruit, nectar and insects. They live in pairs or in small family groups of three to five individuals consisting of the mating pair and their offspring.

You can spot tanagers almost anywhere. One of the best places to see a good variety of species is the Atlantic forest near the coastal town of Parati.

Hummingbirds

On the opposite end of the size, scale are the Hummingbirds, Brazil's smallest birds. There are a few species of hummingbirds in Brazil, particularly in the Atlantic forest, and none of them grows to more than 13 cm in length.

The name hummingbird comes from the humming sound created by their flapping wings. As the birds hover in mid-air, their wings move so fast (up to 80 flaps per second) that the human eye is unable to discern individual flaps. All we see is a fuzzy blur.

To compensate for such an extraordinary expenditure of energy, the hummingbirds go into torpor, a state similar to hibernation, each night.

One of the best ways to see the Hummingbirds in Brazil is to join a birdwatching tour to the Atlantic rainforest around the coastal town of Paraty, a popular holiday destination not far from Rio.

Roadside Hawk

Brazil is home to an incredible diversity of birds of prey. From the magnificent Harpy eagle to the dainty American kestrel, these birds are some of the most interesting creatures to see in the wild. And while Harpy eagles may be incredibly difficult to track down, there are plenty of other birds of prey to observe.

One of the most common feathered predators is the Roadside hawk. It can be spotted sitting alone on top of the bushes and small trees in the open areas and at the forest edge.

It feeds on a variety of small prey including reptiles, small mammals, and birds, but the majority of the roadside hawk's diet is made up of insects.

It is one of the easiest birds of prey to see in Brazil, and a good place to look for it is, yes, you guessed right, in the roadside trees and bushes.

Yacare caiman

If you visit the Brazilian Pantanal, you will think that Yacare caiman is the most abundant species of Brazilian wildlife. Hundreds of these crocodile-like reptiles bake on the riverbanks and lurk in the muddy waters of marshes and streams. But by the 1980s the caimans were hunted almost to extinction.

Unlike the Australian saltwater crocodiles, that habitually kill humans, the smaller Yacare caimans are not dangerous to humans. They feed mainly on aquatic invertebrates, like snails, and fish.

Thankfully, the trade of wild crocodilian skins was finally banded across the globe in 1992 and Yacara caimans came back with a vengeance. The current combined population in Argentina, Bolivia, Brazil and Paraguay numbers approximately ten million individuals. However, poaching is still a problem in many of these countries.

Green Anaconda

Another creature with a sinister reputation is the Anaconda - the largest snake in the world and one of the most dangerous Brazilian animals. Technically, Asia's reticulated python is longer, but the Anaconda packs a lot more bulk. Females tend to be significantly larger than males. The longest and heaviest female Anaconda on record measured 5.21 m long and weighed 97.5 kg.

These giant reptiles live in swamps, marshes and slow-moving rivers and ambush their prey much like the crocodiles. They float beneath the surface of the water with only their snouts resting above the surface. Their eyes and nostrils are positioned on the top (rather than on the sides) of their heads to accommodate their aquatic lifestyle.

When their prey stops for a drink, the anaconda strikes and coils around it with its body. Once it has a good grip, the snake slowly constricts its hold until the prey suffocates. Like all boa constrictors, the Anaconda then swallows its prey whole and spends a couple of weeks digesting it.

For your best chance to spot the Green Anaconda in the wild, head to the Amazon rainforest.

Fer-de-Lance

Fer-de-Lance is one of the most venomous pit-viper species in South America and one that causes the most snake-bite related mortalities. So if you are looking for one of the most dangerous Brazilian animals - this is it. Its perfect camouflage, defensive temperament, and its tendency to live near human settlements are the main reasons that it comes into conflict with people and is considered one of the most dangerous Brazilian animals.

Fer-de-Lance is a nocturnal snake. It spends its days basking in the sun and it's nights lying in ambush, perfectly camouflaged among the leaf litter, waiting for its prey to approach within striking range.

Green Iguana

One of the most conspicuous lizards in the Americas, the Green Iguana is a large terrestrial lizard that is active during the day. It feeds on fruit, leaves and flowers.

Iguanas generally live near water and they are excellent swimmers. Like many other lizards, Iguanas can detach their tails to avoid predation. However, if getting away is not an option, they will use their razor-sharp teeth and sharp tails that they can swing as a whip to defend themselves.

Poison dart frogs

The poison dart frogs are some of the most colourful Brazilian animals on the rainforest floor. Most of them are tiny, no bigger than your thumbnail and can sometimes be tricky to find. Thankfully, like all frogs, they are highly vocal and their calls will give you a clue where to look for the animals themselves.

Occasionally, they will be calling out in the open - sitting on plant leaves or rocks, but more often they will conceal themselves on the forest floor among the leaf litter. This is where their bright colours come in handy - a bright blue tiny blob will stick out against the dark background of dead leaves and twigs like a sore thumb.

Most Brazilian poison dart frogs, like the Blue poison dart frog and Brazilian endemic Brazil-nut poison frog, occur in the north of the country. The best place to look for them is the Amazon rainforest.

The piranha often gets the bad rap as a ferocious flash-eater. Of all the wildlife of Brazil, the piranha is often portrayed as the most sinister creature and one of the most dangerous Brazilian animals. In reality, while these fish do possess a frightening set of teeth, they are unlikely to eat you alive if you go for a swim in their habitat. Piranhas feed mainly on other fish and they are not averse to consuming aquatic plants.

Unless you go snorkelling in the Pantanal or the Amazon, you are unlikely to spot the piranhas. But if you are really keen to see one, stick close to the local fisherman and check out their catch. Piranhas make for a delicious stew.

Brazilian Morpho

A stunning splash of colour in the forest is the Brazilian Morpho butterfly. These brilliantly blue butterflies have a wingspan of 10 centimetres (4 in). You usually spot them flapping lazily along open corridors through forests or along riverbanks on sunny days.

But once they land, they suddenly disappear from view. That's because the underside of their wings is speckled brown with a pattern of eye-like circles and zigzag lines to help them camouflage while at rest.

You can see them anywhere in the low land forests. Iguazu Falls are quite a good spot for them.

This list of Brazilian animals only begins to scratch the surface. In Brazil, wildlife is so diverse that no single guide could cover every species. This guide covered the animals that you are most likely to see on your travels. So what are your favourite Brazilian animals? Have you already seen them in their natural habitat? Or planning a future trip?

Some useful books about Brazilian Wildlife

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Capoeira is still widely practiced in regions of Brazil as a dance and art form. Although there is no need for using capoeira in combat outside of MMA, people still practice this art as it is a part of their culture, and is an important element in keeping the majority of Brazilian culture alive. Due to the international respect and recognition that capoeira has gained, capoeira is also a form of cultural empowerment.

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Capoeira Information

Introduction

Capoeira is one of the most unique martial arts practiced in the world today. But isn't most martial arts little more than punching and kicking? Seems like a silly question, especially for someone who practices a martial art, but the simple answer is, yes. Where most martial arts focus on punching and kicking techniques, Capoeira is in a league of its own. The most simplistic description of Capoeira is a combination of martial arts, gymnastics, and dance. By combining music with the other aspects associated with the sport, Capoeira transcends traditional aspects of martial arts ,and actually reaches a high level of performance quality that makes this martial art more of an art form than anything else.

Although it is an amazing martial art to train in, it is also quite difficult to find a school that teaches it. Unlike most martial arts that have become widespread, Capoeira is still fairly small in North America, but more and more schools are beginning to pop up. The other problem that students face when the opportunity presents itself is that it is a very demanding martial art to master. Complete dedication is an absolute necessities, but if new students focus on the fun aspects of music, dance, and singing associated with Capoeira, the sky is truly the limits. Before the decision to dedicate oneself to the Afro-Brazilian martial art, it is important and fascinating to explore this sport's rich history.

What is Capoeira?

Capoeira is an Afro-Brazilian art form that combines elements of martial arts, music, and dance. It was created in Brazil by slaves from Africa by mixing the different fighting styles from their tribes, sometime after the fifteenth century.

Start to Learn Capoeira

Beginning to learn Capoeira may seem to be a daunting task at first because the reason people want to join the martial art is because of the crazy movies they see online. But the fact of the matter is that like all other things in life, you have to start at the beginning and work your way to the top one step at a time. There is no instructor in the world that will expect you to do handsprings and back flips on your first day, so you just have to relax and go with the flow.

The first steep in learning this unique martial art is to find an instructor. Unlike other things that can be learned from books and videos, there is no possible way you can learn this martial art on your own. Sure, you can mimic some of the movements, but to truly understand the movements, you must have an instructor. A good instructor will introduce you to all the elements of Capoeira not just the movements. To understand Capoeira, you must also understand the rich history and music along with the mystery behind it all. Your first step in finding an instructor is to simply do an internet search for Capoeira and your home town. In large cities, there are typically an abundance of instructors and schools, but small towns may prove to be more difficult.

Once you have found your instructor, it is time to start training and learning what Capoeira is that cannot be known from the outside. As a beginner, you will be overwhelmed with information at first, but with concentration and dedication, you will find the absorption of the information quite easy, but you must position yourself in such a way that you will maximize your learning. You must respect your instructor at all times despite their method of teaching or their strange rules they may have in class. Since you are beginning to build a strong bond with your instructor, it is essential to show your respect in order to build a strong foundation.

Your method of training will go a long way to your learning of the martial art. If you truly want to learn Capoeira, it is essential to train regularly, and to also commit your body and mind to your training. By doing this you will learn and improve much faster than someone there half the time and your instructor will learn to respect you in return. More important to training hard in class is training hard outside of class. When sitting at home, there are always opportunities to watch Capoeira videos, listen to Capoeira music, practice singing Capoeira music or playing the instruments. The easiest way to train outside of class is when you don't want to train. When you're watching TV, movies, or playing video games, you should be stretching the entire time to increase your flexibility. By practicing on your own time, it only increases how much you learn in class and really immerses you in the world of Capoeira.

Required Equipment

The best part about learning Capoeira is there are essentially no costs associated with equipment. At most, a uniform is supplied by the instructor for a relatively low cost to the student, and at certain stages in the student's development; a new belt is presented to the student to represent certain stages of development in the student's skills. Like most martial arts, the student wears no shoes, but depending on the school, martial art shows may be worn on the digression of the instructor. The only other cost associated with learning Capoeira is the actual cost of the training to learn the martial art. Since the martial art is still relatively new to North America, new students will find that as new schools open to begin teaching new students, classes will be relatively inexpensive, but as class sizes and popularity grows, costs may rise accordingly.

Capoeira in Popular Culture

Since Capoeira has such a strong performance quality, it seems like its transition to film and television was in the martial art's destiny. It didn't take producers long to realize that the martial art is simply amazing to watch and that people would love to see it in movies and television shows. The most influential movie that featured Capoeira from beginning to end is the film Only the Strong. Although the movie was generally poor in quality, it did showcase the sport and its positive influence on its students and society. The movie basically featured out of control teens that are taught Capoeira as a last ditch effort to turn the kids straight. If it is a movie that is unknown to you, it is interesting to note that the movie was recently remade into the film Take the Lead featuring actor Antonio Bandaras and dancing instead of Capoeira. Other influences of Capoeira in movies includes Aeon Flux where Charlize Theron trained and performed Capoeira movements, many of Wesley Snipes' action films feature Capoeira (one of the many martial arts he practices), and in the film Transformers, Jazz showcases his Capoeira for Sam when they first meet.

It is interesting to note that for some reason or another it is usually the bad guys that are featured practicing Capoeira in television. For instance, in the famous television show Kung Fu, featuring the late David Carradine, encounters an Afro-businessman that is trained in Capoeira. The martial art first entered public consciousness in the Uk from the Nokia Mobile 2000 advertisement showing a Capoeira being practiced on a beach. Once instance where Capoeira is practiced by a good guy is in the hit kids television show Mighty Morphin Power Rangers where the character Zack, the black ranger, uses a martial art style that includes forms of dance.

It is almost impossible to see Capoeira performed and not instantly thinkm Break Dancing! Developed in the 1970, break dancing has many analogous moves , and because many Brazilians had immigrated to the Us during this time, they would practice Capoeira in the streets that highly influenced this new dance form. Although original break dancers claim the dance form is based on kung fu films, the comparison between break dancing and Capoeira is quite apparent.

Conclusion

Capoeira is one of the most fascinating martial art in the world today, and the only reason it isn't more popular than it currently is right now is because the fluid movements and rhythmic music looks so fantastic. There is a mistaken belief that the martial art is impossible to learn because it appears to be difficult, but in retrospect, every martial art looks difficult from the outside. After training in a martial art for days, months, years, it becomes a second nature to yourself that outsiders think is amazing yet you think it is normal. One of the most compelling reasons to join this martial art over all others is that the focus is on techniques not on using your techniques to hurt another person. In most competitions, there is little or no contact present. In one matched viewed online, one master performs a three minute handstand until his competitor mirrors the image of the first. No contact whatsoever, just skill and love for the sport. But the true fact that most people don't understand is that every single person is capable of performing the movements, singing the songs, and playing the instruments of Capoeira because with dedication to the sport, anything becomes possible, and everything is outrageous fun.

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capoeira. origins  capoeira is a brazilian martial art that combines elements of dance

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Capoeira. Origins  Capoeira is a brazilian martial art that combines elements of dance, acrobatics and music and is sometimes referred as a game.  It. - ppt download

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 In the sixteen century Portugal claimed one of the largest territories of the colonial empires but lacked the people to work it, as many colonist Portugal chose to use slavery to supply the shortage of workers

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Capoeira, dancelike martial art of Brazil, performed to the accompaniment of call-and-response choral singing and percussive instrumental music. It is most strongly associated with the country's northeastern region.

The basic aesthetic elements of capoeira were brought to Brazil by enslaved people, primarily from west and west-central Africa. These elements were recombined and reinterpreted within the diverse enslaved community of Brazil to create a unique means of self defense, both driven and disguised-as merely a dance-by its musical accompaniment. Slavery was abolished in Brazil in 1888, but capoeira continued to flourish within the Afro-Brazilian population, particularly in the northeastern state of Bahia. The government, however, recognizing the physical and spiritual potency of the art form and considering it a threat to society, continued to outlaw the practice until the early 20th century.

capoeira© Rafael Martin-Gaitero/Shutterstock.com

Capoeira is best described not as a dance but as a sport in which the participants-historically, sometimes with blades strapped to their ankles or held between their toes-swing their legs high in attack, perform aerial somersaults, and pass within a hairsbreadth of each other's knees, head, groin, or stomach. Flexibility, stamina, rapidity of movement, and malicia (deception) are more important than sheer muscular strength. Although marked by the use of graceful, fluid, and often acrobatic movements as a means to escape rather than block an attack, the "game" of capoeira, as it is called by its practitioners, can nonetheless be lethal when contact is actually made with a well-timed, well-placed blow.

In current practice, two opponents face each other within the roda-a circle of capoeiristas (practitioners of capoeira)-emulating in a stylized manner the strikes and parries of combat, in time with the rhythms of a small musical ensemble. Music is indeed integral to the practice of capoeira. The ensemble typically consists of one to three berimbaus (struck musical bows), one or two atabaques (single-headed, standing, conical drums), a pandeiro (tambourine), an agogô (double bell), and sometimes also a reco-reco (scraped bamboo tube), all of which accompany call-and-response songs, usually led by one of the berimbau players.

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Since about the 1930s in the state of Bahia and somewhat later in Rio de Janeiro, clubs have trained students in precise kicking, passing, and strategic deception. In the late 20th century capoeira began to gain an international following, and by the early 21st century active clubs existed in many cities throughout the world. Moreover, the art had gained many highly skilled female practitioners, though in its early years capoeira was an exclusively male domain.

The Editors of Encyclopaedia Britannica Patricia Bauer, Assistant Editor.

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capoeira | Description, History, & Facts

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Capoeira, dancelike martial art of Brazil, performed to the accompaniment of call-and-response choral singing and percussive instrumental music. Participants swing their legs high in attack, perform aerial somersaults, and pass within a hairsbreadth of each other's knees, head, groin, or stomach.

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Introduction:
Legends and folklore are woven into the fabric of every culture, captivating the imaginations of generations. Among the rich tapestry of Brazilian folklore, one chilling tale stands out - the legend of the Headless Mule. This haunting story tells of a woman cursed to transform into a fire-spewing, headless mule as a punishment for her sins. In this article, we delve deep into the origins, variations, and symbolism of this eerie legend that has gripped the hearts of Brazilians for centuries.
Origins and Variations:
The origins of the Headless Mule legend can be traced back to rural Brazil, where folklore thrived among the locals. The tale varies in different regions of the country, but the core narrative remains consistent. The legend revolves around a beautiful woman who was involved in a sinful relationship with a priest or engaged in illicit affairs. As a result of her transgressions, she is cursed by a powerful entity, doomed to roam the night as a headless mule.

According to one version of the legend, the cursed woman is transformed into the monstrous creature every Thursday night, galloping through the countryside, leaving a trail of fire and destruction in her wake. Her fiery breath is said to be so intense that it burns crops and kills livestock. The headless mule's gruesome appearance is described as a massive, jet-black mule with glowing red eyes, flames spewing from its neck stump.
Symbolism and Moral Lessons:
The Headless Mule legend carries several layers of symbolism and moral lessons within its eerie narrative. One interpretation suggests that the tale serves as a warning against sinful behavior, particularly promiscuity and adultery. The curse endured by the woman in the legend represents the consequences of moral transgressions, emphasizing the importance of virtuous living.

Furthermore, the transformation into a mule - a beast of burden - symbolizes the loss of humanity and the burden of guilt. The woman's punishment is a reflection of the societal stigma attached to illicit relationships and the perceived moral degradation associated with such actions.
Regional Adaptations:
Like many folk legends, the Headless Mule has undergone variations as it spread across different regions of Brazil. In some versions, the mule is said to be a possessed or cursed woman rather than a woman who is transformed. In others, the transformation is only temporary, occurring for a limited period or triggered by specific conditions.

In the state of Minas Gerais, for example, the legend takes on a unique twist. The cursed woman is said to transform into the Headless Mule on nights of the full moon, braying mournfully as she roams the countryside. In this variation, the curse can be broken if someone manages to place a blessed rosary around the creature's neck.
Cultural Impact and Modern Interpretations:
The Headless Mule legend continues to captivate the imagination of Brazilians, inspiring various artistic and cultural expressions. The tale has been adapted into literature, theater, and even films, bringing the chilling legend to a wider audience. These adaptations often explore the psychological and emotional torment endured by the cursed woman, providing a deeper understanding of her plight.

In recent years, the legend has also become a prominent part of Brazil's folklore tourism industry. Locals and tourists alike seek out places associated with the legend, such as crossroads, old churches, or remote paths, hoping to catch a glimpse of the headless creature or experience the supernatural aura that surrounds the tale.
Conclusion:
The Headless Mule legend remains a significant part of Brazil's folklore, embodying moral lessons and cautionary tales. This haunting story warns against the perils of sin and the devastating consequences of immoral behavior. As the legend continues to be passed down from generation to

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The Headless Mule: A Haunting Brazilian Legend

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Legends and folklore are woven into the fabric of every culture, captivating the imaginations of generations. Among the rich tapestry of Brazilian folklore, one chilling tale stands out - the legend...

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100 Senna. 2 Tipos de Capas com Envio Aleatório

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"Quando Ayrton Senna nos deixou, não firam apenas as memórias inesquecíveis que ficaram entre nós. Seus capacetes, macacões, luvas e troféus. Além de diversos itens de uso pessoal, foram reunidos pela família do tricampeão em um acervo de relíquias que hoje está sob os cuidados do Instituto Ayrto...