Lula sanctions law that recognizes forró as a national cultural manifestation in Brazil

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Musical rhythm joins other cultural manifestations recognized as authentic expressions of the country’s culture, such as samba schools, June festivals and gospel music. President Luiz Inácio Lula da Silva (PT) sanctioned this Tuesday (7) the law that recognizes forró as a national cultural manifestation in Brazil. With this, the rhythm joins other cultural manifestations recognized as authentic expressions of the country’s culture, such as samba schools, June festivals and gospel music. The project to turn artistic expression – a symbol of the Northeast – into a national cultural manifestation is by federal deputy Zé Neto (PT-BA). In the Federal Senate, senator Teresa Leitão (PT-PE) was the rapporteur. Vila do Forró, in Aracaju. Arthuro Paganini/ASN What changes with the law? In her report, the senator recalled that forró is “a musical genre and dance that evokes the beauty and richness of the traditions of northeastern Brazil” and that “plays a fundamental role in preserving and celebrating the country’s cultural diversity.” “In addition to its cultural importance, forró also has great importance for the Brazilian economy. Forró festivals attract tourists from all over the country and the world and inject resources into local communities, promoting the economic development of these regions”, stated the rapporteur. When the proposal was approved by the Senate, professor and specialist in the history of colonial Brazil Estevam Machado pointed out the possible benefits for the genre from the new law. According to him, sectors involved in promoting musical rhythm can benefit from resources arising, for example, from the Rouanet Law. “This achievement of forró as a Brazilian cultural manifestation goes beyond the symbolic point of view as an appreciation of northeastern culture. It also points to the direction of public policies for promotion and appreciation that will preserve this heritage that is in the heart, in the soul of the Brazilian people “, stated Machado. Recognized cultural manifestations With the new law, forró becomes the 12th in a list of practices, places and events legally recognized as national cultural manifestations and/or intangible cultural heritage of the country since 2010. That year, a law sanctioned by Lula, then At the end of his second term, he recognized the São Cristóvão Fair, in Rio de Janeiro, as Intangible Cultural Heritage. This year alone, three other cultural manifestations laws were also recognized: June festivals, samba schools, the Carnival of Novas Russas, in Ceará and the use of passenger transport known as “pau de arara” in religious pilgrimages. See below the list of practices, places and events recognized as national cultural manifestations or intangible cultural heritage and the year in which they received the classification: Feira de São Cristóvão, in Rio de Janeiro (2010); Gospel music (2012); Walk with Mary, in Fortaleza (CE) (2015); Rodeo and vaquejada (2019); Aracati Carnival (CE) (2021); Riding Tournament, Freio de Ouro, in Esteio (RS) (2022); Creole horse resistance march (2022); June festivities (2023); Samba schools (2023); Carnival of Nova Russas (CE) (2023); Use of “pau de arara” in religious pilgrimages (2023). There are also seven projects being processed in the National Congress with the same objective for other practices: Carnival of Pernambuco; Christianity; Methods of production of samba musical instruments; Creole rodeo; Crafts in Capim Dourado; Production of crafts using ouricuri straw from Pontal de Coruripe (AL); Manufacture of nets in São Bento (PB). President Lula presents a sanctioned project that transforms forró into a national cultural event. Ricardo Stuckert/Presidency of the Republic Forrobodó According to professor Estevam Machado, the word forró is a derivation of forrobodó which, in turn, derives from “forbodó”. The word would be a Portuguese version of a French word: faux-bourdon, a type of music played in the Middle Ages. The rhythm that gave rise to forró arrived in Brazil in the 19th century, brought by the Portuguese and established itself in the interior of Brazil, mainly in the interior of the Northeast. “It was only in the 50s that the name forró began to be used for the musical rhythm and we owe a lot of this to the figure of Luiz Gonzaga, with the song ‘Forró de Mané Vito’, who really created this genre that is so important for northeastern culture”, explained Machado. Find out a little about the history of forró in Brazil below: Gerações do Forró Editoria de Arte/G1

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