Carnival in Brazil has just ended and I’d like to share a unique look inside the internationally popular festival. For the second year in a row, I traveled through the carnival festivities with the famous carnival group Filhos de Ghandy (Sons of Ghandi).
In the mid-20th century, the Afro bloco (group) phenomenon in the Brazilian carnival, particularly prominent in Salvador Bahia, emerged as a pivotal chapter in the nation’s racial history. Beginning in the 1940s and gaining momentum during the 1960s, these blocos became a crucial element in the fight against racial oppression.
Influential figures like Mãe Hilda Jitolu, a Candomblé priestess, played a vital role in incorporating Afro-Brazilian religious and cultural practices into the carnival festivities.
During the 1970s, iconic groups like Ilê Aiyê and Olodum took center stage, infusing Carnival with Afro-centric rhythms and imagery. Ilê Aiyê, founded in 1974, was a trailblazer, celebrating African heritage and confronting racial inequalities through music and dance.
Against the backdrop of Brazil’s complex racial history, marked by slavery’s enduring legacy, Salvador’s Carnival became a platform for social and political activism. These Afro blocos challenged racism.
The cultural and social consciousness within these blocos not only transformed Carnival into a vibrant celebration but also created a dynamic arena for social change.
The Filhos de Gandhy, founded in 1949 by Black dock workers in Salvador, Brazil, has evolved into the largest group of the Carnival of Salvador, with approximately 10,000 members. Inspired by Mahatma Gandhi’s principles of non-violence, this all-male group celebrates African spirituality emphasizing Yoruba rhythm and language.
Originally named “Sons of Gandhy” by founder Durval Marques da Silva, the group faced financial challenges in its early years due to post-war economic difficulties due to government intervention in unions.
The name “Sons of Gandhy” pays homage to Gandhi but creatively alters the spelling to avoid potential reprisals. In subsequent years, the group incorporated allegories representing Gandhi’s ideals, such as the goat symbolizing life and the camel representing resistance.
The afoxé officially adopted Afro songs and Candomblé as religious elements in 1951, expanding its cultural significance.
Despite facing administrative and financial challenges in 1974, the Filhos de Gandhy’s resilience prevailed.
Support from influential figures like Gilberto Gil contributed to the group’s revival. The group returned in 1976 with about 80 men, gradually growing to over a thousand members by 1978 and reaching a remarkable 14,000 participants in 1999 on its 50th anniversary.
The distinctive white garb and turbans, along with blue and white bead necklaces symbolizing peace and luck, have become iconic. The necklaces, traditionally exchanged for kisses during Carnival, contribute to the street party with an air of romance.
Every Son of Gandhy accessorizes their fit to reflect their style, message, and often personal dedications.
Along with the various jewelry and beads, I wore a vintage ankh that belonged to my brother, who passed back in the day. And if you look closely, you can see the iconic Crown Royal bag. It brings a splash of color and a little bit of home to the party.
Each year, we visit a seamstress in the neighborhood in Liberdade to have my turban, made from an embroidered white and blue towel, fitted and adorned with faux jewels and beads.
Once we hit the streets with the bloco, the parades last for another three days. It’s a unique carnival experience, but also very familiar to Mardi Gras and Caribean Carnivals. Everyone in the street is following the music from the giant trucks.
Limitless drinks, dancing, and celebrating life. Of course, the military police make their presence explicit, but everyone knows that the cops want to celebrate too.
My favorite part is always seeing the elders and the babies dressed down and looking magical. In my view, they truly are who set the pace for the parades. They represent the past and the future, both beautiful, tender and mysterious.
