A product of the brilliant imagination of singer, songwriter and virtuoso percussionist Carlinhos Brown, Timbalada does justice to Bahia's rhythmic tradition and, at the same time, introduces modernity and boldness to it. The main singer's hoarse voice, the non-sense of the lyrics, the tribal painting an the collective use of sunglasses helped to place Timbalada among the most original and ceative bands to appear in the last years.
Timbalada is an Afro-Brazilian musician group from Candeal, Salvador, Brazil. It was founded by drummer Carlinhos Brown. The musical style is between samba reggae and axé, with strong influences from African music. They are a highly popular group that regularly plays sold-out shows throughout Brazil.
The group is mostly known for its active participation to the carnival each year in the streets of Salvador de Bahia. It also engages in social activism by working with needy children, providing education and drum courses to help them in social integration.
Musically, Timbalada is credited with two major innovations in the instrumentation of Afro-Brazilian music: the revival of the timbal (a tall, high-pitched hand drum), and the development of a rack of 3 surdos (bass drums) that can be played by a single player. The timbal, which had been nearly extinct before Timbalada began featuring it, has since become widespread in many Afro-Brazilian genres, including axé and samba-reggae. The rack of surdos, also called a bateria-de-surdo (surdo drumset) is now widely used by many groups for stage performances when not parading. Because the bateria-de-surdo can only hold 3 surdos within arm's reach of a single player, the traditional 4-surdo arrangements of many samba-reggae rhythms is often trimmed down to a 3-surdo arrangement
Motumbá
Timbalada Lyrics
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Da jangada vai jogar
Altas flores em alto mar
Pede ao mar pra ir ao mar
Sobá, sobá, sobá
Prepara o milho branco
Acaçá pra iara yá
Prepara o rito espelho do tipo de se enfeitar
O reino sagrado das águas de Yemanjá
Sobá, sobá, sobá
Yemanjá sobá
Sobá mierê
Sobá mierê
Yemanjá sobá loquê
Sobá, sobá, sobá
The lyrics to Timbalada's song Motumbá are reflective of Afro-Brazilian culture and contain allusions to traditional religious practices. The opening verse pays homage to the "Mãe de samba", a respected female figure in the samba community, and "motumbá", a term derived from the West African Bantu language which signifies reverence and respect. The reference to "capoeira camará" suggests a connection to the martial arts form which originated among African slaves in Brazil.
The verse about the jangada (raft) thrown into the sea with high flowers suggests a ritualistic offering to Yemanjá, the African goddess of water and the sea. The lines "Pede ao mar pra ir ao mar" ("Asks the sea to go to the sea") demonstrates the belief in the reciprocal relationship between human beings and the forces of nature, and the willingness to appease them for prosperity.
The following verses call for the preparation of white maize, a traditional food offering in Afro-Brazilian culture, and "acaçá pra iara yá", another offering to Yemanjá. The lyrics also mention "o rito espelho do tipo de se enfeitar" which refers to the practice of using mirrors in religious ceremonies to reflect the goddess's image. The repetition of "sobá, sobá, sobá" and "Yemanjá sobá loquê" emphasizes the importance of ritual preparation to honor the sacred realm of Yemanjá.
Line by Line Meaning
Mãe de samba motumbá Capoeira camará
The mother of samba, a powerful and respected figure, leads the rhythm of Capoeira with her fellow practitioners.
Da jangada vai jogar
They set out on a journey on a raft, hoping to find new lands and opportunities.
Altas flores em alto mar
As they sail on the high seas, they seek to blossom and flourish despite the challenges and dangers.
Pede ao mar pra ir ao mar
They ask the sea for guidance and blessings, knowing that it has the power to either support or reject their aspirations.
Sobá, sobá, sobá
The repeated chant invokes the spirits of the ancestors and the elements, seeking their protection and favor.
Prepara o milho branco
They gather and grind the white corn, a symbol of purity and sustenance, to offer to the gods and goddesses.
Acaçá pra iara yá
They make a special kind of dumpling, called acaçá, to honor the goddess of the waters, Iara Yá.
Prepara o rito espelho do tipo de se enfeitar
They prepare a ritual, which reflects their desire to adorn and beautify themselves, in order to express their gratitude and joy.
Prepara bonito que é para agradar
They make everything look beautiful and pleasing, knowing that it will enhance the spiritual connection and harmony.
O reino sagrado das águas de Yemanjá
They acknowledge the sacred realm of the goddess of the sea, Yemanjá, and seek her blessings and protection.
Yemanjá sobá
They invoke the name of Yemanjá as a symbol of their faith and devotion, and as a way to channel her power and grace.
Sobá mierê
The chant continues to summon the spirits, to honor the traditions, and to celebrate the joys and sorrows of life.
Sobá mierê
The chant affirms the unity and diversity of the community, and the strength and resilience of their culture and identity.
Yemanjá sobá loquê
The chant ends with a call to Yemanjá, to bless and protect them, and to guide them towards their destiny.
Sobá, sobá, sobá
The final chant echoes the beginning, as a way to close the ritual and to express their gratitude and respect.
Writer(s): Antonio Carlos Santos de Freitas
Contributed by Katherine D. Suggest a correction in the comments below.