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.
Arco Da Velha Índia
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Inda é marco na floresta
O arco da velha índia
Vale ainda o que retesa
O arco é croa e roca
Coroa a índia que tece
O arco ainda acontece
O arco em forma de boca
Sustenta a oca e a taba
Roca o fim, mas não acaba
E finda sempre afinado
O arco anarco da índia
Narcótico tico avoado
É o arco iris da vida
Em monocordo tornado
O arco da velha índia
E corda vocal insubmissa
Rabeca de uma corda
Que em desacordo atiça
A aldeia contra o futuro
Duro de dar dó
E preguiça
No arco a flecha de fogo
Incendeia o escuro
Parco parceiro do tempo
Toré em estado puro
O arco da velha índia
The lyrics of Maria Bethânia's song "Arco Da Velha Índia" carry a deep metaphorical meaning. The phrase "O arco da velha flecha" refers to an old bow and arrow, symbolizing ancient wisdom and tradition. It represents the longstanding cultural heritage that still holds significance in today's world. The line "Vale ainda o que retesa" suggests that the bow is still valuable because it maintains its tension and strength.
The following verses explore various aspects of the bow. "O arco é croa e roca" highlights how the arch supports and protects the indigenous culture, represented by the native Indian woman who weaves the fabric of tradition. It continues by emphasizing the continuity of this legacy, stating that "O arco ainda acontece" (the bow still happens) and "Corta o céu numa prece" (cuts through the sky like a prayer). The bow shapes the destiny of the community and sustains its spiritual and physical structures - "Sustenta a oca e a taba" (supports the indigenous hut and village).
The lyrics further speak about the power of the bow as a form of resistance and rebellion against the oppressive forces of modernity. The phrase "O arco anarco da índia" suggests that the bow is anarchic, disrupting established norms, while "Rabeca de uma corda" refers to a single-stringed musical instrument, symbolizing the resistance against dominant ideologies. The bow becomes a tool that confronts the future, which is depicted as "Duro de dar dó/E preguiça" (hard to bear, causing sadness and lethargy).
Overall, "Arco Da Velha Índia" celebrates the strength and value of indigenous traditions, highlighting their endurance and resilience in the face of modern challenges. It urges us to acknowledge and respect these ancient cultural roots in order to create a harmonious society.
Line by Line Meaning
O arco da velha flecha
The old arrow's bow
Inda é marco na floresta
Still marks in the forest
O arco da velha índia
The old Indian's bow
Vale ainda o que retesa
Still worth what it stretches
O arco é croa e roca
The bow is a crown and a spindle
Coroa a índia que tece
It crowns the Indian who weaves
O arco ainda acontece
The bow still happens
Corta o céu numa prece
Cuts the sky in a prayer
O arco em forma de boca
The bow in the shape of a mouth
Sustenta a oca e a taba
Sustains the hut and the village
Roca o fim, mas não acaba
Spins the end, but doesn't end
E finda sempre afinado
And always ends in tune
O arco anarco da índia
The anarchy bow of the Indian
Narcótico tico avoado
Narcotic flighty tic
É o arco iris da vida
It's the rainbow of life
Em monocordo tornado
Turned into a monochord
O arco da velha índia
The old Indian's bow
E corda vocal insubmissa
And unruly vocal cord
Rabeca de uma corda
Fiddle of one string
Que em desacordo atiça
That incites in disagreement
A aldeia contra o futuro
The village against the future
Duro de dar dó
Hard to bear
E preguiça
And laziness
No arco a flecha de fogo
In the bow, the fire arrow
Incendeia o escuro
Ignites the dark
Parco parceiro do tempo
Meager partner of time
Toré em estado puro
Pure toré
O arco da velha índia
The old Indian's bow
Lyrics © Warner Chappell Music, Inc.
Written by: Chico Cesar
Lyrics Licensed & Provided by LyricFind
Edinaldo Brito
Arco da Velha Índia é belíssima!
Josedearimatea Santos
Com todo respeito a Bethânia, do qual sou seu fã, a grande cantora que cantou seu povo, foi Clara Nunes, outrora, Bethânia era muito elitista no seu repertório.