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Abstract The Ox Dance (Boi-Bumba) festival, held yearly during the last three evenings of June in the town of Parintins, Amazonas, is the most spectacular folk festival staged in Northern Brazil. In recent decades, it has assumed massive proportions, combining traditional cultural themes with spectacular visual qualities, thematic innovations, and many sociological changes. This paper analyzes the festival from an anthropological perspective, suggesting its interpretation as a contemporary cultural movement that, while enhancing regional indigenous roots, expresses a positive statement of a Brazilian caboclo, or mestizo, cultural identity. The festival is a peculiar development of a folk play that has existed in Brazil since the 19th century and is based on the motif of the death and resurrection of a precious ox. An historical examination of the early records and studies of this play is undertaken in order to position the Parintins Ox Dance in this wider context. A brief ethnography focuses on its evolution from a small group of street players to the spectacular arena presentations of today's festival and on the basic structure of the current performances. ********** [FIGURE OMITTED] Parintins is a small town on the island of Tupinambarana, in the Northern state of Amazonas, close to the border of the state of Para. Every year the spectacular Ox Dance festival (Festival dos Bois-Bumbas in Portuguese), held in the last three evenings of June, transforms the quiet town. The festival is organized around a contest between two Ox groups: Garantido [Secure], represented by a white ox with a red heart on its forehead, and Caprichoso [Capricious], represented by a black ox with a blue star on its forehead. The performances are basically free sequences of danced dramatic actions, enacted by a set of characters, loosely related to a traditional motif of the death and resurrection of a precious ox. In the past few years, this festival has grown to massive proportions, exhibiting an unexpected and creative blend of traditional cultural themes with spectacular visual qualities, thematic innovations, and other changes of sociological significance. Today, it attracts tens of thousands of fans, coming not only from Manaus (the state capital) and nearby towns, but from all over the country. As the most spectacular folklore festival in Northern Brazil, it has also become a badge of regional cultural identity. The taut relationship between permanence and change, as well as the beauty of the festival, draws attention to the celebration's deep-rooted cultural meanings. The analysis of this festival also raises wide-ranging questions concerning the study of folklore and popular culture. In the Ox Dance's recent development, the Brazilian national media, the culture industry, tourism, government agencies, and different social groups have all participated in an expansion that, until now, has managed to preserve strong traditional characteristics. From a romantic standpoint, folk culture is often seen as the lost haven of a harmonious universe, threatened by the modern world. From this nostalgic perspective, widely publicized shows tend to be regarded as deviations from an original authenticity. In this analysis, on the contrary, I examine the evolution of the Ox Dance festival as an extraordinary example of the capacity of Brazilian folk culture to transform and update itself, not unlike the Carnival parade of the Rio de Janeiro samba teams (Cavalcanti 1994, 1999). I argue that the Parintins Ox Dance is an integral part of a single ritual cycle that encompasses different forms of a very traditional and widespread Brazilian folk play. This play, designated as ox-play in what follows, is based on the mythical motif of the death and resurrection of a precious ox, and has been enacted in different regions of the country since the beginning of the nineteenth century. …
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