Grupo de Coco Ouricuri
Os Cocos

Tratore/Associacão Cultural Lua Nova - 2008


1. Sou de Minas – Mineiro China
2. O Sol lá Vem – Sai do Sereno
3. Coco dendê, Trapiá – Gerimum
4. Não é o Balanço do Mar
5. Mestre Sabino – Coco de Usina
6. Engenho Novo – Engenho da Arara
7. Embolada de Pernambuco
8. Chora, Menina – São Quatro
9. Oh Mulé – Morena Bonita – Teus Cabelos
10. Chalé de Manoel Armindo – Tá bebo, Nego
11. Seu Zé – Negro Embolador
12. Sabiá da Mata – Sabiá
13. Pinião – Três Cocos
14. Caboré – O Besouro Mangangá
15. Eh Bumba Chora
16. Meu Baralho
17. Coco da Cerveja
18. Chorei - Não choro Não


Poliana Cruz: voz e ganzá, tamanco
Aryane Lisboa: coro e tamanco
Lara Tanaka: coro, tamanco
Nara Magalhães: coro,tamanco
Tereza Moura: coro, tamanco, pandeiro
André Salles-Coelho: pifes em lá
Leonardo Cunha: rabeca e violões
Negoleo: zumbideira
Yuri Lisboa: tambor
Tavinho Moura: voz
Sérgio Pererê: voz
    Produtores:  Andre Salles, Coelho e Tereza Moura

Todos os cocos aqui registrados foram retirados da obra Os Cocos de Mário de Andrade, recolhidos em sua viagem ao nordeste brasileiro nos anos de 1928/29
Grupo de Coco Ouricuri

The group, Côco Ouricuri, formed in Belo Horizonte, Brazil, with the aim to research and broadcast côco, a cultural exhibition, sung and danced, which has a big presence, especially in the northeast of Brazil.

"Os cocos" brings together a large amount of popular music from the Northeast, which the ethno-musicologist and writer, Màrio de Andrade, had previously recorded, during his voyage through Brazil at the end of the twenties, which was dedicated to the discovery of popular music. On this album the pieces are performed with the traditional instruments: flute, rabeca (a kind of rural violin) ganzà (Brazilian rattle), pandeiro and guitar.


Coco de Roda is a typical dance from the beach regions of the Northeast of Brazil and has a strong African drumming influence. The choreography of the dance involves steps and movements traditional of the indigenous Tupis peoples of Brazil. 
The coco can be danced with or without shoes. Also, it does not have its own appropriate costume. In order to participate, the people can use any kind of clothing. There is also, apparently, no special time of the year to dance, although it is more often seen in June. Musically speaking, there is a predominance of percussion instruments. According to folklore researchers, the most commonly used instruments are - ganzás (a kind of maraca), bombos (drums), zabumbas (a deeper drum), caracaxás (a kind of scraped rattle, often made of undulated metal and scraped with a small stick to produce the sound) and cuícas (a drum -like instrument that makes a squeaking sound). However, to form a circle of coco it is not necessary to have all, or indeed any of these instruments. Very often, the dance takes place with just the clapping of the participants' hands. Within its general characteristics it is possible to notice one distinct distinguishing feature - community spirit. There is always a very happy atmosphere where men, women, children of all social classes sing and dance together without distinction. In what is referred to as its ethnic influences, the African influence is most prevalent, mainly in its rhythm, and most certainly in its movements. But, there is also a very strong native contribution to the choreography. Both the circle and the lines are aspects that were inherited from our natives.

Coco is an African-influenced musical rhythm that originated in northern Brazil. "Coco" may also refer to the style of dance performed to the music, a kind of stomping.

The name "Coco" comes from the Brazilian word for head, "cabeça," because song lyrics are often improvised. Coco is often performed with a repetitive musical beat and call and response singing reminsiscent of Capoeira music. The music is commonly performed at traditional parties in the northeast, such as weekend street parties and Carnival.

The characteristic sound of coco arises from four instruments commonly used in its performance: the ganzá, surdo, pandeiro, and triangle. Performers also often wear wooden clogs, the stomping of which adds a fifth percussive element. 
The origins of coco are as obscure as most Brazilian folk music, but some theories do exist. One theory is that the predecessor to the music was originally brought to Brazil by slaves from Angola, who then created coco by merging their music with local indigenous rhythms. Another theory is that coco was created by Brazilian slaves who broke coconuts with rocks for their masters.

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