By Luan Costa and photos by Nelson Malfacini
Império Serrano was responsible for closing the parades on the second day of the Gold Series. After the relegation considered unfair by many last year, Reizinho de Madureira entered the avenue willing to show that it is in fact a Special Group school. The ancestry brought up in the plot infected the Imperian, who stepped into the Sambadrome emotional, fierce and with a lot of energy. Driven by the “Sinfônica do Samba”, led by master Vitinho, the samba-enredo was one of the protagonists of the parade. However, despite putting on a good performance, Império made some finishing mistakes in its floats that could compromise the fight for the title, even so, the public shouted ‘he’s champion’ at the end of the parade.
Presenting the plot “Ilú-oba Òyó: a gira dos ancestrales”, developed by carnival artist Alex de Souza, the Serrinha school showed the importance of the orixás and told the story of theirs not only as deities, but as founders and kings of several cities and African kingdoms that made up an empire of Oyó, of the Yoruba culture, of the Nagô people. The group finished its presentation after 53 minutes.
The front commission choreographed by Marlon Cruz was entitled “As Mães do Candomblé”, she represented three princesses from the court of Alafin de Oyó: Iyá Akalá and Iyá Adetá and Iya Nassô, who founded the first Candomblé terreiro in Bahia, Ilê Axé Airá Intilê. Composed only of women, all of them with their feet in direct contact with the floor, the committee delivered a beautiful work, combining the modernity of scenic light with traditional dance. The timing was impressive, the movements were fast and intense, yet everyone performed in an exciting way. The tripod used as support served to reveal one of the princesses.
Master Room and Flag Bearer
The first couple of masters and flag bearers Anderson Abreu and Eliza Xavier made their debut for the king of Madureira in this Saturday’s parade. He represented the Orixá Exú, predominantly in black with feather art in tones of fire, representing the itan, which tells of the feat that made him King. Her clothing follows the same design and colors as her pair, with a greater predominance of representation of the fire on her skirt. The duo’s dance was intense and extremely strong, Eliza showed a lot of personality, and even though she was making her debut, she didn’t skimp on the risky movements, all of them performed with great precision, the one that caught the most attention was the flag.
The experienced carnival artist Alex de Souza was responsible for developing the plot “Ilú-oba Òyó: the tour of the ancestors”, the Serrinha school explored the mysteries of Ilú-Oba Òyó, an ancient empire that occupied the places that are now located Nigeria, Togo and Benin, in West Africa, and promoted a xirê in honor of the Orixás in Sapucaí.
Alex chose to tell the story in four sectors, the opening was titled “Origins, foundations and the initiation of the ritual with the Orixás, lords of the paths”, represented the xirê, where the orixás were presented and the story of each one as founder and as king belonging to some city, some kingdom that made up this great Yoruba empire, which is Ilu-Obá Oyó. The second sector brought a sequence of orixás and was called “From the Nagô/Yorubá to the Jeje of Dahomey”. The third, “Oyó, his powerful King and the powerful Yabás”, to conclude, “The closing of the tour at the Grande Ilê Imperial”, in which the spirituality of the Empire gained prominence.
Allegories and Props
The Serrano Empire took three allegories, a tripod, as well as a scenographic element for its front commission. During the parade, some apparent finishing flaws were observed in the floats.
The first allegory, called “Kingdom of Ketu, Ifé and Iré”, represented the story of the brothers Ogum and Oxóssi, in addition to bringing their kingdoms in the Yoruba Empire, the sculptures attracted attention due to their drama. The second car, “Dan, the kingdom of Dahomey”, brought all the richness and color of Oxumaré, however, some serpents that permeated the allegory had apparent iron. Another problem observed was with the tripod “O alafin de Oyó”, the large sculpture of Xangô passed through the avenue with a flaw in the finishing of the neck. The Empire ended its parade with the “Ilé-Ifé, Igbó and Ifón” car. O Império de Oxalá”, predominantly white, the allegory featured the large crown symbol of the school.
The Empire showed great care with its set of costumes, the use of materials and colors contributed to the level remaining high in all allegories, even in those that used less common materials. Characteristic of carnival artist Alex de Souza, the grandeur of the costumes was noted throughout almost the entire parade, in general, it was not a problem for the components, however, in wing 14, “Nàná. Of Dahomey, she is the beginning, the middle and the end”, some marchers passed by holding the headdress. As a highlight, it is possible to mention the opening line, “You are guardian and divine messenger. King of kétu, èsù alákétu.” As a negative point, there was the fact that ward five, Obalúaiyé. When the lord of healing is on land. Rei dos tapas, rei de nupê”, passed along the avenue with some decorations falling apart.
The interpreter Tem Tem Jr made his debut in command of the sound car of the green and white team of Madureira, his rapport with the drums led by master Vitinho was noticeable from the first minute, both contributed to the standard of the school’s harmonic ensemble being very high. The Imperial component entered the avenue explosively and remained that way until the end, they were loose and singing spontaneously. The wings closest to the drums, like the passistas, and the eight, “Òsùmàré “save the lord of the cycles ”. Dan de Daomé”, they lavished samba on their feet and singing on the tip of their tongues.
The work of Aluísio Machado, Carlos Senna, Rafael Gigante, Lequinho, Andinho Samara, Ronaldo Nunes, Jefferson Oliveira, Orlando Ambrósio, Carlitos Santos and Richard Valença was responsible for leading the beautiful Empire parade.
Despite some words with African dialect, as in the verse “Awá o soro Ilê, Awá o soro Ilê”, the samba proved to be a great success, as it was the last to parade, a samba was needed that was capable of lifting the components and the public, that’s exactly what happened, the community’s singing was explosive and communication with the stands excellent.
The Serrano Empire component passed through the avenue in an explosive way, overall, the evolution was fluid and organized, it is worth highlighting that the wings were numerous and even so they remained compact and aligned, however, the paraders were loose, having fun and enjoying every minute of the parade. However, the feeling was that the parade passed through the avenue quickly, apparently without need for the last wings to accelerate their pace, nothing that compromised the ensemble, as the drums performance extended towards the end.
The presence of Mr. Aloísio Machado, one of the authors of the samba, on top of the sound car was one of the exciting images that the Império parade provided, it was possible to observe countless components moved by the king’s passage through Sapucaí. The Samba Symphonic drums presented the audience with a breathtaking performance, a performance group staged a xirê of the orixás, they interacted with the drums and with the queen Darlin Ferrattry.