Abstract
Jongo Mamulengo was created in 2016. It is a partnership between Bonobando Collective, Jongo da Serrinha and Cordao do Boitata. On stage are jongo , samba and mamulengo , assets of Brazilian cultural. The narrative traverses several stories of jongo in the Serrinha favela and its relation with the foundation of Imperio Serrano in 1947. To understand the creative processes in Jongo Mamulengo it is necessary to observe the interplay between the ritual and cosmological dimensions of the actions and representations of mamulengo as a whole. It chose to emphasize the forms, devices, strategies and techniques present in mamulengo . One of the keys to this conception is the notion of brincadeira (game).
Highlights
We can define mamulengo in general terms as being a specific form of puppet theatre most often practiced in the Zona da Mata, Pernambuco State, North-eastern Brazil
I discuss these issues in an article published in the magazine Móin Móin (Alcure, 2016), but here I would like to highlight a procedure common to the intellectual field that relates theatre and popular culture: the interest of the urban middle classes from large cities in forms of theatre such as mamulengo and the way in which these appropriations and translations have been assigned to theatre. The purpose of this introduction is to contextualize questions that moved the process of creating the theatre play that I directed, Jongo Mamulengo3
The theatre play Jongo Mamulengo was created based on these reflections, experiences and actions
Summary
We can define mamulengo in general terms as being a specific form of puppet theatre most often practiced in the Zona da Mata, Pernambuco State, North-eastern Brazil. The purpose of this introduction is to contextualize questions that moved the process of creating the theatre play that I directed, Jongo Mamulengo3. The theatre play Jongo Mamulengo was created based on these reflections, experiences and actions.
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