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Layse carries in her artistic work, for example, the Bailes da Saudade, another manifestation where the encounter of references results in an environment that reveals the Amazonian identity. вЂњIt turns out that everything gets mixed up, because we learn to dance carimbГі, we learn to dance lundu, and the other rhythms hereвЂќ, she analyzes. Layse Rodrigues, vocalist of the group Layse e Os Sinceros, defends that this artistic production with the influence of territory as highlighted by FГ©lix, also comes as a result of a learning process and from the contact with traditional cultural expressions. So much so that we sometimes see people performing the same musical genre, yet, with peculiar marks ,in such a way that the artist is hardly ever mistakenвЂќ, explains FГ©lix. The thing is: the way we face and think culture and creation is different. It's not a narrow minded or exhibitionist thought about ParГЎ state being the best.

вЂњI always say that bands here, even if they are not into regional work, they can make a difference just because they are from here. вЂњI think that all of this has a lot of influence on the creative process, on the interpretation of the cultural actionвЂќ, he says. The artist, who lives in the capital of ParГЎ, believes that the meeting of all these references makes BelГ©m a different territory for creation. It seems to be the destination where all this flows toвЂќ, analyzes FГ©lix. BelГ©m, the capital is also a melting pot. There's also the lundu, the Marujada, the retumbГЈo, and the Boi-BumbГЎ. There's the carimbГі from the Salgado region, the carimbГі from Icoaraci and from MarajГі.

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вЂњParГЎ is, in fact, full of different folklore expressions, with different marks. Musician FГ©lix Robatto, who has researched the history of music in ParГЎ and the origins of guitar playing highlights that the musical manifestations of the Amazon, even when they are not necessarily traditional expressions, carry influences and marks from the territory.ДЇГ©lix Robatto is a musician (Bruno Carachesti / Divulgation) The Amazonian cultural manifestations can be compared to the encounters of rivers, which come from different places and flow into unique identities in a never-ending movement. Likewise, if SairГ© has its origins in the colonization period and process, today it also exalts elements of the culture of native peoples. Or, if the Festival de Parintins can be connected with the Brazilian northeast, it is difficult not to think of it as a contemporary representation of Amazonian peoples, as well as their yearnings. If Marujada was born in the slavery period, today it can express a glimpse of racial representation within Eurocentric Christianity, without denying the origins of the black people in Brazil. Something in common among most of these cultural manifestations, in addition to the existing connection between music and visual expressions, is the transformation they go through over time, remaining alive in contemporary days. And even though the music that sets the rhythm of the celebration is the toada, parades and lyrics are always full of references to traditionally Amazonian narratives, leading to presentations by indigenous and forest figures, as well as those linked to the religiosity of native peoples. Caprichoso and Garantido are the bois-bumbГЎ in the Amazonas state, a variation on the northeastern Brazilian bumba-meu-boi. In the Amazon state, cultural references, origins and influences are also mixed. The event, bearing the name of the island where it has been officially held since 1965, every month of June, involves parades full of visual elements and choreographies. Likewise, another event combines exuberant visuals with music: the Festival de Parintins, in Amazonas, where the Boi Garantido and Boi Caprichoso compete annually. One of these outstanding elements of Marujada is the Marujas' hat, which has delicate handmade flowers produced one by one with duck feathers. Families spend weeks dedicated to producing these garments. The retumbГЈo combines instruments from different origins, such as the fiddle, the bass drum and the triangle all of this is combined with the unique look of Marujada's traditional costumes, which have different colors depending on the day of the festivity. The retumbГЈo, for example, a hallmark of the musical manifestation of Marujada. The result is a singular local expression that mixes religiosity with a tradition of dance and music. The religious festivity holds references to all these historical relationships, with heritages from different territories. The festivity which celebrates the city's patron SГЈo Benedito вЂ“ вЂthe black saintвЂ™ has its beginnings in the late 18th century, inspired in the permissive relationships between white masters and their slaves. The event of Marujada in the municipality of BraganГ§a вЂ“ ParГЎ, for example, has its origins anchored in inheritances from the slavery period.

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