RIO DE JANEIRO — The exhilarating spectacle of Rio de Janeiro’s Carnival parades owes much to the masterful coordination of the drummers, a task that relies heavily on the maestro’s precise hand movements. Like a conductor in a classical orchestra, the leader’s gestures dictate the rhythm and dynamics, transforming the exuberant noise into a harmonious performance.
On each of the three parade nights, the Sao Paulo Sambadrome comes alive as roughly 70,000 spectators fill the stands to witness a dazzling display of colorful costumes, impressive floats, and jaw-dropping dancers. Yet, for many samba enthusiasts, it’s the rhythmic pulse of the drums that truly enlivens the event. With subtle swings, flicks, and twists of the wrist, the conductor orchestrates this soundscape, guiding hundreds of drummers into a seamless flow.
The percussion section is comprised of both globally known instruments like snare and bass drums, as well as traditional Brazilian instruments. These include the tamborim hand drum, the cuica friction drum, the double-headed repique, chocalhos (metal shakers), and the agogo, a two-headed cowbell with a West African heritage. Among Rio’s celebrated samba schools, Mocidade Independente stands out, boasting a formidable 240-member drum section.
Operating from the working-class Vila Vintem community in the city’s west, Mocidade Independente is renowned for its skilled percussionists and legendary drum masters such as José Pereira da Silva, affectionately known as “Mestre André.” Over six decades ago, Mestre André introduced the innovative “little stop” — a percussion break allowing singers to take the spotlight, highlighting key lyrics during the parade.
Carlos Eduardo Oliveira, or “Mestre Dudu,” has led Mocidade’s drum section for 14 years. He regards the section as an orchestra in its own right, with each percussionist being a dedicated musician. “The drum section is an orchestra,” says Mestre Dudu. “It’s greater than an orchestra, because every participant is a musician who has studied his craft. But here, they’re drummers.” He communicates with his team of drum directors distributed across the section, who then pass on his signals to maintain the rhythm’s integrity.
Mocidade differentiates itself by prohibiting tourists in its drum section, a practice some less traditional schools have embraced. Only dedicated locals can join, committing to the rigorous demands of the ensemble. During their parade, which lasts 70 to 80 minutes, drummers like Romualdo Gomes never divert their focus from the nearest director, ensuring perfect groove transitions.
Carnival judges evaluate each parade based on a 10-point scale, with drumming being scored on creativity, consistency, and compatibility with the school’s theme and lyrics. As Gomes notes, attention is paramount, “You have to pay attention — there’s a gesture for every groove.”
Following yet another rousing performance, an exhausted but elated Mestre Dudu remarked to journalists, “Only God knows if we will win the title, but once again our drummers delivered a great performance.” Celebrating with vibrant green lights adorning their hats, Mocidade’s drummers rejoiced as if they had already secured their 7th title in the esteemed Carnival parade league.
Classical music critic Irineu Franco Perpétuo equates the caliber of maestros like Mestre Dudu to that of orchestra conductors, emphasizing their critical role as the deciders in close competitions. “They are the conductors of this great popular opera that is our Carnival,” Perpétuo explained. He praised their ability to maintain rhythmic consistency, describing such coordination as comparable to the discipline required by the Vienna Philharmonic in classical music. “A perfect 10 for the drum section carries as much weight as a Vienna Philharmonic in classical music,” he added.