The Amazon Rainforest guards secrets that go far beyond its rich biodiversity. In Alter do Chão, in the heart of Western Pará, the waters of the Tapajós River and the mysteries of the Green Lake serve as the setting for a vibrant cultural movement led by one of the region’s most iconic figures: the griot master Chico Malta. In a memorable episode of Canoa Sessions, recorded in the magical Enchanted Forest, the master shared profound stories about the revival of traditional “pau e corda” (wood and string) carimbó, the birth of his compositions, and the medicinal and social power of this rhythm, which is now recognised as part of Brazil’s intangible cultural heritage.
What is a Mestre Griô?
The word “griô” has its roots in the French term griote, used to designate the storytellers and guardians of oral tradition in West Africa. Bringing this mission into the Amazonian context means being a living link between the past and the present. Mestre Chico Malta explains that his role is to learn from the old masters, connect with the enchantments of the forest and the waters, and transform this experience into art, ensuring that his people’s identity remains alive. Of indigenous descent and married to a woman from the Borari people, he carries in his blood the responsibility of defending the territory and its native culture.
Curimbó vs. Carimbó: The Anatomy of a Rhythm
One of the most frequent questions from visitors to Pará is the difference between the terms “curimbó” and “carimbó”. Mestre Chico Malta clarifies that the curimbó is, originally, the musical instrument itself: a hollowed-out tree trunk, whose name in Tupi means exactly “hollow carved wood”. Used ancestrally by indigenous peoples as a means of communication between villages, the curimbó was played with the instrument standing vertically.
The rhythmic transformation occurred with the arrival of African peoples in the region. Lacking their own drums, enslaved Africans laid the curimbó on the ground to play it whilst mounted on the wood, introducing the division of rhythmic cells and the high-pitched syncopated beat. This fusion between the deep, ancestral beat of the indigenous heart and the African “sauce” gave rise to carimbó as a cultural manifestation.
In Alter do Chão, the rhythm took on even more unique characteristics due to Northeastern immigration during the rubber boom. Instruments such as the acoustic guitar, the rabeca (a rustic fiddle), and the snare drum were incorporated into traditional carimbó, generating melodic variations known locally as “carimbó choteado” or “carimbó chamegado”.
A Quinta do Mestre and the Mermaid: A Sanctuary for Preservation
Until the mid-2000s, traditional carimbó played with acoustic instruments was virtually extinct in Alter do Chão, having been replaced by electronic versions. It was following a nationwide movement in 2005 that Mestre Chico Malta and other partners started luthiery workshops to rebuild the instruments and rescue the tradition.
The movement grew so much that it gave rise to the first independent carimbó reference centre in the state of Pará, located in the master’s own garage: the Quinta do Mestre e a Sereia. Held religiously on Thursday evenings, the event initially attracted tourists, but was soon embraced by the local community, becoming a lively hub for social and economic integration where locals and visitors dance together without distinction.
In addition to keeping the rhythm alive on the streets, the project broke historical barriers by encouraging the inclusion of women as players and singers of carimbó, a role that was previously restricted to men. The name “Sereia” (Mermaid) alludes to this female strength that emerges from the salty waters of the sea to become enchanted and strike roots in the sweet waters of the Tapajós.
Carimbotherapy: Music as an Instrument of Healing
Whilst carimbó was already recognised for its historical and geographical importance, the post-pandemic period revealed a new facet of this art: its therapeutic power. Facing the isolation and anxiety crises that affected the population, Mestre Chico developed Carimboterapia (Carimbó Therapy), held on Tuesdays.
The experience uses the beats of the drum and circular dancing to work on self-esteem, psychological balance, and social reintegration. The master shares moving stories of people who arrived physically frail and, touched by the trance of the rhythm, forgot their limitations and surrendered to the dance.
This work also extends to classrooms in the Borari community and sessions with neurodivergent and autistic children. The pulsation of the curimbó establishes a direct communication without barriers, bringing out smiles and transforming the reality of those who take part.
From Panic to Poetry: The Legend of the Great Snake
Chico Malta’s creative process is fuelled by his own experiences in the forest. During the interview, he narrated the astonishing story behind his famous song, Cobra Grande (Great Snake). During a cultural expedition along the Arapiuns River, the team was caught by surprise in the middle of the night by a mysterious and immense spotlight that emerged from the bottom of the river, followed by a violent whirlpool that trapped the boat.
Amidst the panic of the riverside residents, who shouted desperately for the canoeists to row, the master mentalised the popular clamour: “Row, row canoeist, the canoe won’t leave the spot…”. The real fright was transformed into one of the most beautiful songs in the Amazonian repertoire, proving that in the Amazon, myth and reality navigate the very same river.
Watch the full session and delight in the music of Mestre Chico Malta in the video below. Take the opportunity to subscribe to the channel!
