Sister of the also popular and renowned singer and composer Caetano Veloso, she began her artistic career in 1963, appearing in the play "Boca de Ouro" by Nelson Rodrigues. A song about the play was written by Caetano Veloso, who opened the show singing a samba track by Ataulfo Alves. That year she met Gilberto Gil, Gal Costa, Tom Zé, Djalma Correa, Pitti, Alcivando Luz and Fernando Lona in Salvador, with whom she performed at the commemorations inaugurating the Vila Velha de Salvador theatre in 1964 in the shows "Nós por exemplo" and "Nova bossa velha, velha bossa nova". In 1964 she also appeared in "Mora na Filosofia", her first solo show, when she met Nara Leão. As 1965 she replaced the muse of bossa nova in the show at Teatro Opinião (Rio de Janeiro), sharing the stage with Zé Kéti and João do Vale. She stood out for her stirring interpretation of the song "Carcará". In 1965 she also recorded her first record, a single containing the tracks "Carcará" and "É de manhã", the first recording of Caetano Veloso’s composition. That same year she released a double single with the songs "Carcará", "No carnaval", "Mora na filosofia" and "Só eu sei", followed by her debut album "Maria Bethânia" and the record "Maria Bethânia canta Noel Rosa". That year she also performed in the show Arena canta Bahia, directed by Augusto Boal, alongside Gal, Gil, Caetano, Pitti and Tom Zé. Also under the direction of Boal, the same group performed the show Tempo de Guerra. In 1996 she shared the stage of Teatro Opinião with Vinícius de Moraes and Gilberto Gil, presenting the show "Pois é". In 1967 she released the album "Edu & Bethânia" with Edu Lobo. She appeared in the shows "Yes, nós temos Maria Bethânia" (Bolso theatre, Rio de Janeiro) and "Comigo me desavim" (Miguel Lemos theatre, Rio de Janeiro) and "Brasileiro profissão esperança", by Paulo Pontes, directed by Bibi Ferreira, at the Casa Grande theatre (Rio de Janeiro). In 1971 she recorded the album "A tua presença", which was praised by the select critics. In 1971 the show "Rosa dos ventos" premiered at Teatro da Praia (Rio de Janeiro), directed by Fauzi Arap and she released the album of the same name. In 1972 she appeared alongside Chico Buarque and Nara Leão in the film "Quando o carnaval chegar" by Cacá Diegues. After another trip to Europe, she launched the album "Drama - anjo exterminado" also that year. In 1973 the show Drama, luz da noite premiered at Teatro da Praia, directed by Antônio Bivar and Isabel Câmara, from which arose the record "Luz da noite". The following year she commemorated ten years in the music business with the show "A cena muda", directed by Fauzi Arap, at the Casa Grande Theatre (Rio de Janeiro). The show led to a live record of the same name. In 1975 she performed a lengthy season with Chico Buarque at the Canecão (Rio de Janeiro). In 1976 she recorded the album "Pássaro proibido" which earned her first gold record. Also that year she got together with Caetano, Gil and Gal, forming the group Os Doces Bárbaros. In 1977 she released the album "Pássaro da manhã", for which she received the second gold record of her career. That year she was considered one of the bestselling singers in Brazil, which opened new doors in the record industry. In 1978 she starred in the show "Maria Bethânia e Caetano Veloso ao vivo" alongside her brother. Also that year the album "Álibi" was released, which earned her third gold disk. In 1979 she recorded the album "Mel". She released a series of records in the following decades: "Alteza" (81), "Maria" (88), "Memória da pele" (89), "Olho d’água" (92), "As canções que você fez pra mim" (93), only recording records by Roberto and Erasmo Carlos Âmbar (96), "Imitação da vida" (97) and "A força que nunca seca" (99). In 1994 she performed alongside Caetano Veloso, Gal Costa and Gilberto Gil, in the show "Doces Bárbaros na Mangueira", reference to the tribute made to them by this samba school, with the theme "Atrás da verde e rosa só não vai quem já morreu". In 2000, she recorded limited-edition album "Cânticos, preces, súplicas à Senhora dos Jardins do Céu". In 2001, she recorded the album "Maricotinha", containing the tracks "Moça do sonho" (Edu Lobo and Chico Buarque), from the musical "Cambaio, Primavera" (Carlos Lyra and Vinícius de Moraes), "Quando você não está aqui" (Herbert Vianna and Paulo Sérgio Valle), "Antes que amanheça" (Chico César and Carlos Rennó) and "Se eu morresse de saudade" (Gilberto Gil), among others, in addition to the title track, by Dorival Caymmi. She released the record a special show at the Canecão (Rio de Janeiro). The show included appearances by Caetano Veloso, Carlos Lyra, Chico Buarque, Nana e Danilo Caymmi, Adriana Calcanhoto and Gilberto Gil, among other artists. Also in 2001, in commemoration of her 35 years in the music business, she returned to the Canecão in the show "Maricotinha", which led to the double album "Maricotinha ao vivo". On December 8 that same year, she performed before 100,000 people on Copacabana beach alongside Caetano Veloso, Gilberto Gil and Gal Costa in the show "Doces Bárbaros", which concluded the project Pão Music. In 2003 the show presented in 2001 at the Canecão was released on the DVD "Maricotinha ao vivo", directed by André Horta. In 2003 she was also nominated for the Multishow Award in the categories Best Show and Best Album for "Maricotinha ao vivo". Also that year she created her own label, Quitanda, in partnership with record company Biscoito Fino, inaugurated the company by releasing the album "Brasileirinho", containing songs about religion and Brazil, with guest appearances by Nana Caymmi, Miúcha, Denise Stoklos and Ferreira Gullar, in addition to the groups Tira Poeira and Uakti, and the album "Vozes da Purificação", the first song recorded by Dona Edith do Prato. In 2004 she received the Tim Award in the categories Best Singer, Best Record and best visual MPB project, the Rival BR Award in the category Best Album, and the Academia Brasileira de Letras Award in the category Best Singer, in addition to being nominated for the Latin Grammy. That same year she produced and appeared as a singer alongside other artists on the album "Namorando a Rosa", a tribute record to violinist Rosinha de Valença, released by her Quitanda label. In 2005 she released the album Que falta você me faz, recording works by Vincius de Moraes, in partnership with Tom Jobim, Chico Buarque, Carlos Lyra, Baden Powell, Toquinho, Adoniran Barbosa and Jards Macalé. That same year she appeared at Canecão (Rio de Janeiro) in the show "Tempo Tempo Tempo Tempo - Uma homenagem a Vinícius de Moraes". In 2005 she also received the Golden Music Dolphin Award from the Rio de Janeiro State Culture Council.
A Terra Tremeu / Ofá
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tremeu, tremeu, tremeu!
E o céu mudou de cor,
Mudou de cor, de cor, de cor!
Jamaica, salvador...
Seu grito me orgulhou
Sou filha do vencedor
Ofá na mão o protegeu
A paz da cor do céu, do céu
Ele em mim, ele sou eu
Contas, condão, que me envolveu, que me envolveu
E sua flecha percorreu
Guiada pelas mãos de deus
E o mal do mundo estremeceu,
Guerreiro negro
Que olorun, que olorun
Que olorun nos deu
Que olorun, que olorun
Que olorun nos deu.
The lyrics to Maria Bethânia's song A Terra Tremeu / Ofá describe a powerful moment of pride and protection. The opening lines speak of the earth trembling and the sky changing color, which could be interpreted as a metaphor for a moment of extreme intensity and transformation. The names Jamaica and Salvador, which are mentioned in these lines, may reference historical or cultural contexts that add further meaning to the lyrics.
The next lines speak of the singer's pride in her heritage and lineage as the daughter of a victorious person who has not forgotten her. She refers to "Ofá," which is a type of bow used in African and Afro-Brazilian spiritual practices. Holding the bow has protected her, and she feels a peace like that of the sky. The lines "Ele em mim, ele sou eu" (He in me, he is me) suggest a deep connection between the singer and the spiritual practice she is referencing.
The last lines refer to a "warrior" who has used his weapon to shake up the world's evil. The repetition of "Que Olorun nos deu" ("That Olorun gave us") at the end of the song suggests that Olorun, a Yoruba deity of the sky and creator of human destiny, played a role in this moment of protection and victory.
Line by Line Meaning
E a terra tremeu, Tremeu, tremeu, tremeu!
The earth shook with such force and intensity that it trembled repeatedly, causing widespread fear and panic.
E o céu mudou de cor, Mudou de cor, de cor, de cor!
The sky transformed into a different hue or shade, changing color repeatedly, perhaps even reflecting the turmoil on the ground.
Jamaica, Salvador...
These geographic locations evoke historical significance in the context of the Afro-Brazilian identity, particularly as it relates to the rhythm and soul of blackness.
Seu grito me orgulhou
The cry of the black warrior who fought for freedom and justice fills me with admiration and pride.
Sou filha do vencedor
As the daughter of a conqueror, I channel his strength and resilience in the face of adversity.
Que nunca me esqueceu
My father's legacy lives on through me, and I will never forget his sacrifices and triumphs.
Ofá na mão o protegeu
Holding the sacred instrument of Ofá, I am protected and guided by the divine force that empowers my spirit and body.
A paz da cor do céu, do céu
The peace that envelops me is as tranquil and serene as the color of the sky above, imbuing me with a sense of calm and hope in the face of challenges.
Ele em mim, ele sou eu
The spirit of Ofá that courses through me is an inseparable part of my identity and being, defining my purpose and vision of the world.
Contas, condão, que me envolveu, que me envolveu
The beads and enchantments that enfold me are sources of magical energy and spiritual protection, augmenting my strength and vitality.
E sua flecha percorreu
The arrow of the divine is unleashed, piercing through the darkness and illuminating the path of freedom and liberation.
Guiada pelas mãos de deus
The arrow is guided by the hand of God, a manifestation of the divine will and mercy that reigns supreme over all earthly struggles.
E o mal do mundo estremeceu, Guerreiro negro
The evil and corruption that afflict the world shudder and waver in the face of the black warrior, whose power and righteousness cannot be undermined.
Que olorun, que olorun, Que olorun nos deu, Que olorun, que olorun, Que olorun nos deu.
Praising Olorun, the supreme deity of the Yoruba tradition, for bestowing blessings and abundance on us, and acknowledging his unfathomable grace and wisdom that inspire us to persevere and thrive.
Contributed by Mackenzie M. Suggest a correction in the comments below.