Renata Rosa grasps the mystic universe within the traditional chants Read Full Bio ↴Renata Rosa grasps the mystic universe within the traditional chants
from Brazil's Northeast, highlighting the less regarded feminine
influences of the outback's popular culture.

Born in Sao Paulo, the composer and musician has gathered a vast array
of rhythmical, poetical structures, canons and voice dialogues from
the grassroot music of the Northeast. Her songs are inspired by
the Maracatu Rural, the Coco and the Cavalo Marinho, amongst others,
and reveal the richness of these traditions, exposing an authentic
repertoire made up of her own compositions, young and old composers
as well as songs that are now in the public domain.

Listening to Renata Rosa is a groundbreaking trip into the timeless
world of the Caboclos, the Native Indians and the Africans of Brazil.
Renata Rosa's performance intertwines the best of the Northeast music
with its dances. The power within the chant is a physical consequence
of the dance, and in some songs the stage ground actually becomes
a percussion instrument, as it is stomped by the artists. Renata plays
the "rabeca" (the traditional brazilian fiddle), alongside her
musicians, Seu Luis Paixao, a native master of this traditional fiddle,
a "viola" (a rare kind of acoustic guitar), 2 percussionists and
a bass guitar.

Renata has just released an outstanding debut album "Zunido da Mata",
produced by Mestre Ambrosio's musicians. After touring and teaching
her art in Italy, USA and Canada, Renata Rosa and band is now ready
to hit international roads, opening new horizons for Brazilian music.

Ms Rosa will teach the Samba de Coco, which is a variation of the Coco.
The origin of Coco lays on the meeting between the native Brazilian
culture and the central African culture, which came with the slaves to
the Northeast of Brazil and involves the circular dance that sights
the ground. The dance has a variety of steps, which the function is
the percussion and are connect to the poetry. Traditionally, the dance
is connected to the construction of houses made by clay and straw. The
owner of the house calls the people of the community to do the Coco
inside the house on the clay floor. While everyone is dancing, singing
and making percussion sounds with their feet, the clay is flattened to
ground level. Renata's workshop will work with the circular dance and
the relationship between the dance, the feet percussion and the poetic
aspects of the music.

Renata Rosa, musician, singer, poet and researcher, was born in
Sao Paulo, Brazil, in 1973. She is part of the "Maracatu de Baque
Solto Estrela de Ouro de Aliança", as Dama do Cacho, one of the
responsibles for the evolution of the maracatu - a traditional carnival
parade from the State of Pernambuco (NE), in which dance, improvised
poetry and music are included. "Maracatu" aggregates elements from
black, indigenous and iberic culture. She also conducts the Boi
da Gurita Seca group, in which she improvises poetry following
the musical and poetic tradition of the "maracatu rural".

She develops research on cultural manifestations of the people from
northeast. Some of her studies are focused on "coco", work chants
and traditional catholic chants such as "Benditos" - which are
performed during the traditional catholic parades - and "excelencia
chants" - chants to prepare the deads' soul to the encounter with
God, usually performed during death-watches.

Renata Rosa has been providing workshops in many Festivals and
Centers: Cleveland Museum of Art (Ohio) , Cathedral St John
the Divine (NY), Festival de Inverno de Garanhuns, (PE), Teatro
Arraial (Recife) , Studio Casa de Pedra (Rio de Janeiro),etc.

Caçador
Renata Rosa Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Caçador chama o cachorro
E vamos pro mato caçar,
Vamos pro mato caçar

Eu atirei
No tronco da cajarana,
Na onça sussuarana,
No gato maracajá.

E chega Pedro,
Chega Paulo e chega Chanti,
Chega Maica adiante
Pra comer aripuá.
O guaxinim
Que tava chupando cana,
Quando viu a bagaceira,
Cai aqui, cai acolá
Mas o veado
Corre mais do que o cão
E até o camaleão
Já queria se encovar
Já queria se encovar

Caçador chama o cachorro
E vamos pro mato caçar,
Vamos pro mato caçar

Eu me embarquei
Naquele avião vermelho
Quando chegou certos meios
Nos ares ele parou!
E derrubou
Dez pratos de gasolina
Chorava tanta menina
Que fazia um horror!
O aviador disse
- Minha filha segure neu!
Quando o avião desceu
E na simenteira pousou
Na simenteira pousou

Caçador chama o cachorro
E vamos pro mato caçar,
Vamos pro mato caçar

Caçador...

Overall Meaning

The song "Caçador" by Renata Rosa is an upbeat and energetic folk song that describes a day in the life of a hunter and his friends. The song begins with the hunter calling his dog and they venture into the woods to hunt. The hunter talks about shooting at different animals, including the cajarana tree, the sussuarana panther, and the maracajá wildcat. Eventually, his friends Pedro, Paulo, Chanti, and Maica arrive, and they all sit down to eat a hearty meal of aripuá (a type of fish stew).

As the song progresses, the hunter talks about seeing the guaxinim raccoon stealing sugar cane and trying to run away, and even the camaleão chameleon attempting to hide from them. The chorus is repeated several times throughout the song, with the hunter calling his dog once again to continue hunting in the woods.

The song is a celebration of nature and a reflection of traditional Brazilian life. It paints a vibrant picture of the forest and its inhabitants, and the relationship between humans and the creatures they hunt for food. The song also showcases the lively and rhythmic music that is typical of northeastern Brazil.

Line by Line Meaning

Caçador chama o cachorro
The hunter calls his dog to go into the woods and hunt.

E vamos pro mato caçar,
And we head to the woods to hunt.

Vamos pro mato caçar
Let's go to the woods and hunt.

Eu atirei
I shot my gun.

No tronco da cajarana,
At the trunk of a cajarana tree.

Na onça sussuarana,
At a puma or a cougar.

No gato maracajá.
At a margay cat.

E chega Pedro,
Then Pedro arrives.

Chega Paulo e chega Chanti,
Then Paulo and Chanti arrive.

Chega Maica adiante
Then Maica arrives afterward.

Pra comer aripuá.
To eat aripuá, a type of fish stew.