They mixed the musical tradition of the interior - the indigenous toré (inheritance of the tribe Xucuru), the coco, samba, de reisado, confused her and the singers' music - and the popular poetry of names as Chico Pedrosa, Manoel Filó, Manoel Chadu, Inácio of Catingueira and Zé da Luz.
The premiere of the show happened in July of 97, with a theatrical structure that included characters, sceneries and the poetry occupying a privileged space. In 99, Lirinha and Clayton went out to take their chances in Recife, where the Line inaugurated participating in Rec-Beat, festival organized annually during the four days of Carnival.
In 2000 they recorded their first album, homonym and independent, produced by the percussionist Naná Vasconcellos. In their first tour in southeastern Brazil, promoting the album, they called the critic attention and public, filling theaters in Rio and São Paulo.
In the movies, the band participated in the soundtrack and in the film, “God is Brazilian”, directed by Cacá Diegues. In the breaches of the tours, Lira Paes appeared also in the soundtrack of "Lisbela e o Prisioneiro" (“Lisbela and the Prisoner”), of Guel Arraes, in which he interprets the music “O Amor é filme”("Love is a film").
In 2002, the group records their second work: "O Palhaço do Circo sem Futuro" (“The Clown of the Circus Without Future”), produced by themselves, in independently. Thrown in the first semester of 2003, the work was considered by the critics as one of the most inventive musical works produced in the last years.
In October 2005, the Line throws DVD “MTV Apresenta”, the first audiovisual registration of the band. In September 2006 they release "Transfiguração" ("Transfiguration"), their third album.
Chamada Dos Santos Africanos
Cordel do Fogo Encantado Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Na linha dos africanos, ninguém pode atravessar
Oh segura pemba eh
Oh segura pemba ehah
Oh segura pemba eh
Oh segura pemba no congá
The song "Chamada Dos Santos Africanos" by Cordel do Fogo Encantado is a powerful invocation of the presence of African spirits. The phrase "Na linha dos africanos, ninguém pode atravessar" means "In the line of the Africans, no one can cross." This line can be interpreted in a few different ways. On a literal level, it could refer to a particular procession or ritual in which the line of African spirits is being called upon, and the humans in attendance must not cross the line. Metaphorically, the line could represent a boundary or barrier that separates the humans from the spiritual world, and the message could be that only the African spirits can cross that line and make contact with the living. The repetition of the line throughout the song reinforces its importance and power, and the call-and-response structure of the verses and choruses creates a sense of urgency and intensity.
The phrase "Oh segura pemba eh" is a chant that accompanies the invocation of the African spirits. "Segura" means "hold" or "grab," and "pemba" refers to a type of chalk or powder that is used in different spiritual practices. The phrase could be translated as something like "grab the pemba" or "hold on to the pemba." The repetition of this phrase also creates a hypnotic, trance-like effect that reinforces the idea of invoking the spirits and entering into a heightened state of consciousness. The mention of the "congá" at the end of the line could refer to a particular sacred space or altar where the pemba is used, or it could be a general reference to the location where the ritual is taking place.
Line by Line Meaning
Na linha dos africanos, ninguém pode atravessar
No one can cross the line of the African people
Na linha dos africanos, ninguém pode atravessar
No one can cross the line of the African people
Oh segura pemba eh
Hold the pen tightly
Oh segura pemba ehah
Hold the pen tightly
Oh segura pemba eh
Hold the pen tightly
Oh segura pemba no congá
Hold the pen tightly in the Conga drum
Writer(s): Jose Paes De Lira Filho
Contributed by Leah Y. Suggest a correction in the comments below.