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I've been travelling the world for the past 25 years. | 0:00:03 | 0:00:06 | |
I've met so many people in so many countries | 0:00:08 | 0:00:12 | |
that everyone thinks of me as the man who's been everywhere. | 0:00:12 | 0:00:15 | |
But in all these years, there's been one big gap in my passport. | 0:00:15 | 0:00:18 | |
Nothing less than the fifth largest country on Earth. | 0:00:20 | 0:00:24 | |
A country blessed with a melting pot of peoples | 0:00:26 | 0:00:29 | |
and an abundance of resources. | 0:00:29 | 0:00:31 | |
A country that's risen almost out of nowhere | 0:00:33 | 0:00:35 | |
to become a 21st century superpower. | 0:00:35 | 0:00:37 | |
It's the host of the next World Cup and the next Olympic Games. | 0:00:39 | 0:00:44 | |
It's a country whose time has come. | 0:00:44 | 0:00:47 | |
How can I say I've seen the world when I haven't seen Brazil? | 0:00:48 | 0:00:51 | |
OK, waterfall, we defy you! | 0:00:53 | 0:00:55 | |
We defy you! | 0:00:57 | 0:00:58 | |
Pedro Alvares Cabral, the Portuguese sea captain, | 0:01:13 | 0:01:16 | |
reputed to be the first European ever to set foot in Brazil | 0:01:16 | 0:01:19 | |
did so completely by accident, | 0:01:19 | 0:01:21 | |
when he was blown off course in April 1500 | 0:01:21 | 0:01:25 | |
while trying to round Africa. | 0:01:25 | 0:01:28 | |
The Portuguese who followed him found indigenous people here, | 0:01:28 | 0:01:31 | |
some of them cannibals, but not enough of them to work | 0:01:31 | 0:01:34 | |
the vast plantations of sugar, cotton and tobacco that they set up, | 0:01:34 | 0:01:37 | |
so they imported slaves, by the million, from Africa. | 0:01:37 | 0:01:40 | |
It is this improbable mix of African slaves, indigenous people | 0:01:41 | 0:01:46 | |
and relatively few Europeans that created | 0:01:46 | 0:01:48 | |
some of the essential characteristics of Brazilian life. | 0:01:48 | 0:01:51 | |
Food, dance, music, a multiplicity of religions, | 0:01:51 | 0:01:55 | |
and I will be sampling all of them as I travel through the north-east, | 0:01:55 | 0:01:59 | |
where Brazil was born. | 0:01:59 | 0:02:02 | |
Where Brazil juts out towards Africa | 0:02:36 | 0:02:39 | |
lie the cities that grew rich on slave labour. | 0:02:39 | 0:02:42 | |
I'm starting in Sao Luis, capital of Maranhao State. | 0:02:42 | 0:02:46 | |
It's the time of Festas Juninas, when the religious rituals | 0:02:48 | 0:02:51 | |
of Europe and Africa come together | 0:02:51 | 0:02:54 | |
in a typically Brazilian celebration. | 0:02:54 | 0:02:56 | |
In Sao Luis, there is a particular festival that takes its name | 0:03:04 | 0:03:07 | |
from a slave-inspired celebration called Bumba-Meu-Boi, Jump My Bull. | 0:03:07 | 0:03:12 | |
It's in the back-streets of this once-rich city | 0:03:13 | 0:03:16 | |
that I find out more. | 0:03:16 | 0:03:18 | |
Bumba-Meu-Boi is part-Pantomime, part-pageant, | 0:03:20 | 0:03:25 | |
and here in Floresta, one of the poorest neighbourhoods in Sao Luis, | 0:03:25 | 0:03:29 | |
they take it very seriously. | 0:03:29 | 0:03:31 | |
Augusto Mendes, an English teacher in the city, thinks the people here | 0:03:31 | 0:03:35 | |
are closest of all to the real spirit of Bumba-Meu-Boi. | 0:03:35 | 0:03:40 | |
How long would they prepare, Augusto, the dance, | 0:03:42 | 0:03:45 | |
the music and all that? | 0:03:45 | 0:03:47 | |
How long would they spend preparing? | 0:03:47 | 0:03:50 | |
Some groups, in particular the Floresta Group, | 0:03:50 | 0:03:54 | |
began in April or May. | 0:03:54 | 0:03:56 | |
So that's about two months, nearly. | 0:03:56 | 0:03:58 | |
This house in Tome de Souza street is the home of the two people | 0:04:02 | 0:04:07 | |
whose drive and energy keeps everyone going. | 0:04:07 | 0:04:10 | |
'A 92-year-old called, rather wonderfully, Apolonio Melonio, | 0:04:13 | 0:04:16 | |
'and his wife, Nadir, who's somewhat younger.' | 0:04:16 | 0:04:20 | |
Tell me about this ceremony tonight. | 0:04:20 | 0:04:24 | |
-TRANSLATION: -Tonight is the Bumba-Meu-Boi baptism. | 0:04:26 | 0:04:29 | |
We'll baptise the bull you see here. | 0:04:29 | 0:04:33 | |
The baptism is part of our Bumba-Meu-Boi ritual. | 0:04:33 | 0:04:36 | |
It's part of the devotion we have for our saints, | 0:04:36 | 0:04:39 | |
particularly St John. | 0:04:39 | 0:04:41 | |
According to tradition, | 0:04:41 | 0:04:43 | |
the bull can only leave here for the main show after being baptised. | 0:04:43 | 0:04:48 | |
This is Mestre Apolonio who got this whole thing together | 0:04:48 | 0:04:51 | |
here in Floresta. | 0:04:51 | 0:04:54 | |
How old were you when you saw your first Bumba-Meu-Boi? | 0:04:54 | 0:04:59 | |
-TRANSLATION: -The first time I took part in a Bumba-Meu-Boi group | 0:04:59 | 0:05:05 | |
I was only eight years old and that was way back in 1926. | 0:05:05 | 0:05:11 | |
I knew then and there it was going to be my mission in life. | 0:05:11 | 0:05:15 | |
It has been an honour to meet you. | 0:05:15 | 0:05:17 | |
I look forward to seeing your footwork on the dance floor later. | 0:05:17 | 0:05:22 | |
-TRANSLATION: -Ah, I can't dance like this any more. | 0:05:23 | 0:05:26 | |
I don't have the stamina. | 0:05:26 | 0:05:27 | |
Starting already! | 0:05:27 | 0:05:29 | |
My legs aren't up to it. | 0:05:29 | 0:05:31 | |
If they were, I'd be out there dancing with the rest. | 0:05:31 | 0:05:34 | |
The ceremony, in which some play animals, some play humans, | 0:05:37 | 0:05:40 | |
is based on a 200 year old tale. | 0:05:40 | 0:05:43 | |
It involves a slave stealing and killing a cow, | 0:05:43 | 0:05:46 | |
to remove the tongue, for which his pregnant wife is desperate. | 0:05:46 | 0:05:51 | |
The slave is threatened with death, but at the last minute, | 0:05:51 | 0:05:54 | |
the bull is miraculously resurrected and everyone is happy. | 0:05:54 | 0:05:58 | |
As St John's Day draws closer, more and more people | 0:06:00 | 0:06:04 | |
crowd round the altar to witness the baptism of the bull. | 0:06:04 | 0:06:08 | |
THEY PRAY IN PORTUGUESE | 0:06:08 | 0:06:12 | |
And firecrackers announce it's midnight. | 0:06:12 | 0:06:15 | |
FIRECRACKERS BANG | 0:06:15 | 0:06:16 | |
And this is just the beginning of the celebration. | 0:06:16 | 0:06:19 | |
We will be back here. | 0:06:19 | 0:06:21 | |
When slavery was abolished in Brazil in 1888, | 0:06:24 | 0:06:28 | |
the cotton and sugar-based economy of Sao Luis, | 0:06:28 | 0:06:31 | |
deprived of cheap labour, nose-dived. | 0:06:31 | 0:06:34 | |
Now, thanks to nearby mineral resources, | 0:06:34 | 0:06:37 | |
confidence is growing again. | 0:06:37 | 0:06:39 | |
But just across the bay is Alcantara, | 0:06:39 | 0:06:42 | |
a once fabulously rich town which never recovered. | 0:06:42 | 0:06:46 | |
I'm taking this rather long trip across the sands | 0:06:46 | 0:06:48 | |
to get the ferry boat to take me to Alcantara. | 0:06:48 | 0:06:51 | |
Normally, it would leave from Sao Luis itself, | 0:06:51 | 0:06:54 | |
which is over there, but it's low tide, so they have to leave | 0:06:54 | 0:06:57 | |
from right out here on the sand banks. | 0:06:57 | 0:07:00 | |
More charming, I think. | 0:07:00 | 0:07:02 | |
Alcantara has the lazy, laid-back appeal | 0:07:45 | 0:07:48 | |
of somewhere whose best days are over. | 0:07:48 | 0:07:50 | |
But what days they must have been. | 0:07:50 | 0:07:54 | |
It was once the state capital and the ghostly remains | 0:07:54 | 0:07:57 | |
of its great mansions give some impression of the riches | 0:07:57 | 0:08:00 | |
accumulated by the plantation owners over nearly 300 years. | 0:08:00 | 0:08:04 | |
This is the "Pelourinho" or pillory - whipping post, as it was called, | 0:08:05 | 0:08:10 | |
where slaves were punished, and they were also bought and sold here. | 0:08:10 | 0:08:14 | |
It has recently been estimated that of the 11 million slaves | 0:08:14 | 0:08:18 | |
brought from Africa to the Americas, over 40% came to Brazil, | 0:08:18 | 0:08:23 | |
six times as many as went to the United States. | 0:08:23 | 0:08:26 | |
They worked here in tobacco and sugar plantations | 0:08:26 | 0:08:29 | |
and created the wealth that enabled their masters to build this, | 0:08:29 | 0:08:33 | |
a little bit of Europe on the other side of the Atlantic. | 0:08:33 | 0:08:37 | |
Alcantara must once have been a fine place to live, a ruler's town. | 0:08:45 | 0:08:50 | |
Now the best they can do is to gather the old stones and leave them | 0:08:51 | 0:08:54 | |
for the tourists to wonder at what went right, and what went wrong. | 0:08:54 | 0:08:59 | |
The beaches of Brazil are the country's great public playgrounds | 0:09:10 | 0:09:14 | |
and the north-east has some of the biggest of them all. | 0:09:14 | 0:09:17 | |
Big enough for people to drive up and down them, | 0:09:21 | 0:09:23 | |
which is what myself and my friend Augusto, | 0:09:23 | 0:09:26 | |
and hundreds of other locals, like to do on a weekend. | 0:09:26 | 0:09:29 | |
By mid-morning, the cars are parked up, | 0:09:34 | 0:09:37 | |
the chairs and tables set out, | 0:09:37 | 0:09:38 | |
and the beach soon resembles a sort of semi-naked suburbia, | 0:09:38 | 0:09:42 | |
a family backyard that's open to everybody. | 0:09:42 | 0:09:45 | |
Today is a Sunday. | 0:09:47 | 0:09:49 | |
but religion and pleasure seem to mix quite comfortably. | 0:09:49 | 0:09:52 | |
Do people go to the church first and then go to the beach? | 0:09:53 | 0:09:56 | |
They go to the church, pray, | 0:09:56 | 0:09:58 | |
and come here, and forget their problems, | 0:09:58 | 0:10:02 | |
and forget their job. | 0:10:02 | 0:10:04 | |
Yeah, yeah. | 0:10:04 | 0:10:05 | |
Girl-watching, I learn from Augusto, | 0:10:06 | 0:10:10 | |
is, rather like train-spotting, | 0:10:10 | 0:10:12 | |
largely practiced by adolescent boys. | 0:10:12 | 0:10:15 | |
I'd seen some of them at a cafe by the roadside, | 0:10:15 | 0:10:17 | |
passing round a pair of binoculars, | 0:10:17 | 0:10:20 | |
scanning the beach like naval officers looking for U-boats. | 0:10:20 | 0:10:23 | |
And, he tells me bashfully, there's a glossary of girl-watching, | 0:10:25 | 0:10:28 | |
full of fruity metaphors. | 0:10:28 | 0:10:30 | |
If the girl has a big bum, we call her Melon Woman. | 0:10:31 | 0:10:36 | |
OK. big bum, Melon Woman. | 0:10:37 | 0:10:40 | |
And watermelon, if she has big, big... | 0:10:40 | 0:10:44 | |
Big, big, big hips, or... | 0:10:44 | 0:10:47 | |
Yes. | 0:10:47 | 0:10:48 | |
-Buttocks. OK, yeah, hips. -Yes. | 0:10:48 | 0:10:50 | |
Watermelon, big hips. | 0:10:50 | 0:10:51 | |
And pear woman, because of the shape, | 0:10:51 | 0:10:56 | |
like a guitar. | 0:10:56 | 0:10:58 | |
-Oh, right. -It's the same shape. | 0:10:58 | 0:11:00 | |
SHRIEKING | 0:11:00 | 0:11:01 | |
Wow! | 0:11:01 | 0:11:02 | |
This noise is everywhere. | 0:11:02 | 0:11:05 | |
Yes, everywhere. | 0:11:05 | 0:11:06 | |
People come to dance and eat something, | 0:11:06 | 0:11:12 | |
have fun together with family or friends. | 0:11:12 | 0:11:16 | |
In Brazil, it doesn't matter | 0:11:16 | 0:11:18 | |
if you make a lot of noise from your sound system, nobody worries. | 0:11:18 | 0:11:23 | |
In England, people would say "Sssh, quieten down." | 0:11:23 | 0:11:25 | |
Oh, yes? | 0:11:25 | 0:11:26 | |
In Brazil, you are tolerant. | 0:11:26 | 0:11:29 | |
Everybody can do noise everywhere. | 0:11:29 | 0:11:32 | |
Do people from all different backgrounds, rich and poor, | 0:11:38 | 0:11:42 | |
come to the beach? | 0:11:42 | 0:11:43 | |
Does everybody, even though they might have a big house, | 0:11:43 | 0:11:46 | |
come to the beach with the poorer people? | 0:11:46 | 0:11:49 | |
Yes, poor people come by bus and rich people come by car, | 0:11:49 | 0:11:53 | |
and invite many friends, so they come together. | 0:11:53 | 0:11:57 | |
Very big social thing for people in the city. | 0:11:57 | 0:12:00 | |
'A couple of days later, | 0:12:09 | 0:12:10 | |
'Augusto and I are back in Floresta for the climax of Bumba-Meu-Boi.' | 0:12:10 | 0:12:15 | |
So this is the time when all the various groups come together | 0:12:15 | 0:12:18 | |
and they show the rest of the city what they have been preparing? | 0:12:18 | 0:12:22 | |
Today is a big night for the many groups here | 0:12:22 | 0:12:26 | |
because we celebrate St Peter's Day. | 0:12:26 | 0:12:29 | |
Yeah. | 0:12:29 | 0:12:30 | |
It's the most important day here for the Maranhao people, yeah. | 0:12:30 | 0:12:34 | |
'Clutching their emu feathers and their costumes, | 0:12:34 | 0:12:36 | |
'the people of Floresta take the bus to the city.' | 0:12:36 | 0:12:39 | |
'There's an air of nervousness as the time approaches | 0:12:41 | 0:12:44 | |
'for their moment in the public spotlight.' | 0:12:44 | 0:12:46 | |
'They needn't have worried. Their performance is fantastic. | 0:13:03 | 0:13:06 | |
'As I watch Nadir and the troupe take the stage, | 0:13:06 | 0:13:09 | |
'I'm really moved by the spirit and the quality of their performance. | 0:13:09 | 0:13:13 | |
'They tell the story as it should be told. | 0:13:13 | 0:13:16 | |
'With their richly-embroidered costumes, | 0:13:16 | 0:13:19 | |
'and original and inventive masks, there's a real feeling | 0:13:19 | 0:13:22 | |
'of a community creating something out of nothing.' | 0:13:22 | 0:13:25 | |
'The Florestans may come from one of the poorest parts of the city, | 0:13:42 | 0:13:45 | |
'but tonight, as they take over the old streets of Sao Luis, | 0:13:45 | 0:13:49 | |
'they shine the brightest.' | 0:13:49 | 0:13:51 | |
There's one thing Augusto will not let me leave | 0:13:54 | 0:13:57 | |
this part of the north-east without seeing, | 0:13:57 | 0:13:59 | |
and that's the extraordinary landscape | 0:13:59 | 0:14:01 | |
of the Lencois Maranhenses National Park, | 0:14:01 | 0:14:05 | |
200 miles south of Sao Luis. | 0:14:05 | 0:14:07 | |
A rare combination of strong winds, shifting sands, | 0:14:20 | 0:14:24 | |
and heavy rainfall has created a unique landscape. | 0:14:24 | 0:14:28 | |
Monster sand-dunes, blown 50 kilometres inland from the sea, | 0:14:28 | 0:14:32 | |
are advancing over the surrounding countryside at the rate | 0:14:32 | 0:14:35 | |
of 200 metres a year. | 0:14:35 | 0:14:36 | |
But what makes the National Park so special are not just | 0:14:37 | 0:14:41 | |
the shifting, whispering sands, but the water that falls on them. | 0:14:41 | 0:14:45 | |
Augusto, if this was the Sahara all this would be a mirage, | 0:14:45 | 0:14:48 | |
but the water is real. | 0:14:48 | 0:14:50 | |
So it rains a lot here, does it? | 0:14:50 | 0:14:52 | |
A lot here, yes. | 0:14:52 | 0:14:53 | |
In March, April and May, | 0:14:53 | 0:14:57 | |
and in August until December is our dry season. | 0:14:57 | 0:14:59 | |
Yeah. | 0:14:59 | 0:15:01 | |
So these sand dunes, are they sort of moving all the time, | 0:15:02 | 0:15:05 | |
moving inland, I suppose, as well? | 0:15:05 | 0:15:07 | |
Yes, every day the landscapes change because of the wind that comes | 0:15:08 | 0:15:12 | |
from the ocean, and the dunes form many shapes. | 0:15:12 | 0:15:16 | |
So it's never, from one day to the next, it's never quite the same. | 0:15:16 | 0:15:19 | |
Never. | 0:15:19 | 0:15:20 | |
That must be a big selling point. | 0:15:20 | 0:15:22 | |
The only National Park in the world where whenever you go, | 0:15:22 | 0:15:24 | |
whichever day you go, it will be different. | 0:15:24 | 0:15:27 | |
'Mind you, on a day like today, | 0:15:30 | 0:15:32 | |
'you rather wish it would stay like this for ever.' | 0:15:32 | 0:15:36 | |
My next destination takes me down the coast to Recife, | 0:15:46 | 0:15:50 | |
capital of the resource-rich state Pernambuco. | 0:15:50 | 0:15:53 | |
It was originally Dutch, | 0:15:53 | 0:15:55 | |
whose particular brand of hard-line Calvinism didn't go down well, | 0:15:55 | 0:15:59 | |
and it passed to the Portuguese, who made much money | 0:15:59 | 0:16:02 | |
from its location as Brazil's nearest point to Europe and Africa. | 0:16:02 | 0:16:06 | |
Much of its trade has passed to a super-port down the coast, | 0:16:08 | 0:16:12 | |
but Recife remains Brazil's fourth biggest city, | 0:16:12 | 0:16:15 | |
with an increasingly lively cultural scene. | 0:16:15 | 0:16:19 | |
I'm with Paulo Andre, | 0:16:19 | 0:16:21 | |
a music promoter who is dedicated to selling Recife to the world. | 0:16:21 | 0:16:25 | |
You know, we are culturally and musically very strong | 0:16:25 | 0:16:29 | |
and I believe one day it's going to be like, let's say, | 0:16:29 | 0:16:32 | |
tango to Buenos Aires or fado to Portugal or jazz to New Orleans. | 0:16:32 | 0:16:37 | |
Statues celebrate music and musicians | 0:16:41 | 0:16:44 | |
like the country singer, Luiz Gonzaga. | 0:16:44 | 0:16:46 | |
The walls and streets of the city are covered with striking images, | 0:16:50 | 0:16:54 | |
unselfconscious, expressive and seemingly tolerated, | 0:16:54 | 0:16:57 | |
however obscure they may be. | 0:16:57 | 0:16:59 | |
'Paulo takes me to see a wall that's become the private sketchbook | 0:17:02 | 0:17:07 | |
'of 24-year-old artist Derlon Almeida.' | 0:17:07 | 0:17:10 | |
So is this official art or is this graffiti, under the wire? | 0:17:10 | 0:17:15 | |
-TRANSLATION: -It's bit of both, it all depends on the wall and the space. | 0:17:15 | 0:17:22 | |
If they're unused or derelict, we don't bother to ask | 0:17:22 | 0:17:25 | |
for permission, but if the wall has an owner | 0:17:25 | 0:17:28 | |
then we'll ask for permission. | 0:17:28 | 0:17:30 | |
And where do the ideas come from, like this one, for instance? | 0:17:32 | 0:17:35 | |
-TRANSLATION: -It's everything going on around me in Brazil | 0:17:35 | 0:17:41 | |
that I see in my day to day routine that influences my art. | 0:17:41 | 0:17:45 | |
Pitu is a popular local brand of cachaca, | 0:17:45 | 0:17:48 | |
and the fish symbolises Recife because we're on the coast - | 0:17:48 | 0:17:52 | |
fish are very common here. | 0:17:52 | 0:17:54 | |
So I've played around with these two elements | 0:17:54 | 0:17:57 | |
and brought them together to create a new creature | 0:17:57 | 0:17:59 | |
and hopefully put in a bit of humour as well. | 0:17:59 | 0:18:02 | |
I haven't seen so far a fish drinking Pitu, but this case... | 0:18:03 | 0:18:06 | |
This case it is the first time, very good, surreal image. | 0:18:06 | 0:18:08 | |
I would like him to come to London and do something in my street, | 0:18:08 | 0:18:12 | |
I know just the wall... | 0:18:12 | 0:18:13 | |
'The anarchic, surrealist spirit is not confined to street art.' | 0:18:16 | 0:18:20 | |
'This sculpture park by the sea wall was officially opened | 0:18:22 | 0:18:26 | |
'in the year 2000 to mark a great national celebration.' | 0:18:26 | 0:18:30 | |
Whose work is this? | 0:18:30 | 0:18:31 | |
This is the work of one of the most important | 0:18:31 | 0:18:36 | |
visual artists of Pernambuco. | 0:18:36 | 0:18:38 | |
His name is Francisco Brenan. | 0:18:38 | 0:18:41 | |
Yeah. | 0:18:41 | 0:18:42 | |
And this was done in 2000, because of the 500 years of Brazil. | 0:18:42 | 0:18:46 | |
Yeah. | 0:18:46 | 0:18:47 | |
And at the time there was a note in the newspapers saying that | 0:18:47 | 0:18:51 | |
the wife of the mayor didn't like so much this big sculpture | 0:18:51 | 0:18:55 | |
because it looked like a male genital organ, and it was... | 0:18:55 | 0:18:59 | |
Except that's a bit bigger! | 0:18:59 | 0:19:03 | |
Yes, you know, maybe the biggest one, but the mayor | 0:19:03 | 0:19:06 | |
went in the newspaper office with a gun and threatened the journalist, | 0:19:06 | 0:19:11 | |
so in the end, the sculpture is here, but he lost the next election. | 0:19:11 | 0:19:16 | |
Great story of penis envy. | 0:19:16 | 0:19:19 | |
But Recife also has sculptures | 0:19:21 | 0:19:22 | |
that show the darker side of Brazil's history. | 0:19:22 | 0:19:25 | |
Just like many countries in South and Central America, Brazil was | 0:19:26 | 0:19:31 | |
under a dictatorship, and this is a monument in honour of the people | 0:19:31 | 0:19:37 | |
who were arrested, tortured, sometimes exiled and even killed. | 0:19:37 | 0:19:42 | |
It's very powerful. | 0:19:42 | 0:19:43 | |
It was almost 20 years of dictatorship, | 0:19:43 | 0:19:46 | |
and this is the position that they used to torture people. | 0:19:46 | 0:19:49 | |
What kind of people did the dictators torture? | 0:19:51 | 0:19:53 | |
People related to the Communist Party. | 0:19:53 | 0:19:56 | |
And also artists used to get arrested, you know, | 0:19:56 | 0:20:00 | |
because of the message. | 0:20:00 | 0:20:02 | |
Critical of the government, yeah. | 0:20:02 | 0:20:04 | |
Like, I have an uncle. He was a medical student, and he was arrested. | 0:20:04 | 0:20:09 | |
He stayed in a penitentiary, so it's part of the story of my family, too. | 0:20:09 | 0:20:13 | |
That's a very sad part of Brazil's history. | 0:20:15 | 0:20:19 | |
Yeah. | 0:20:19 | 0:20:20 | |
'In the heart of Recife is a fine, old railway station. | 0:20:22 | 0:20:27 | |
'It was built 150 years ago for the EFCP, | 0:20:27 | 0:20:32 | |
'Estrada de Ferro Central Pernambuco, | 0:20:32 | 0:20:35 | |
'with British steel and French style. | 0:20:35 | 0:20:38 | |
'It's long been closed, but inside, under the original Victorian canopy, | 0:20:38 | 0:20:42 | |
'I get the chance to indulge in a touch of nostalgia.' | 0:20:42 | 0:20:45 | |
It's a little bit of Great Britain left in Pernambuco. | 0:20:46 | 0:20:50 | |
This is it. Great Western... | 0:20:50 | 0:20:53 | |
..Brazilian Railway. | 0:20:53 | 0:20:56 | |
It's the kind of thing that you find all over the world, | 0:20:56 | 0:20:59 | |
that the British have left behind, is railways. | 0:20:59 | 0:21:01 | |
I mean, are there any other legacies of the British in Brazil that | 0:21:01 | 0:21:04 | |
still exist that you can think of? | 0:21:04 | 0:21:06 | |
Yes. Here in Recife, we still have the British Country Club, | 0:21:06 | 0:21:09 | |
which is a social club. | 0:21:09 | 0:21:10 | |
Oh, right. Still called British? | 0:21:10 | 0:21:12 | |
Still called British Country Club. | 0:21:12 | 0:21:14 | |
We also have the British cemetery, but I think the British are | 0:21:14 | 0:21:18 | |
responsible for the biggest Brazilian passion of all time, which is soccer. | 0:21:18 | 0:21:23 | |
It was started in Brazil by a British guy who showed the Brazilians, | 0:21:23 | 0:21:28 | |
and that became our biggest passion. | 0:21:28 | 0:21:30 | |
That's quite something, isn't it? That's something worth remembering. | 0:21:30 | 0:21:34 | |
I mean, railways don't seem to have left much of a mark, | 0:21:34 | 0:21:36 | |
but soccer, yeah, that's pretty impressive. | 0:21:36 | 0:21:39 | |
Across the bay is Olinda, founded in 1535, | 0:21:54 | 0:21:58 | |
and one of the oldest cities in Brazil. | 0:21:58 | 0:22:00 | |
The streets have an intimate, old colonial feel. | 0:22:01 | 0:22:04 | |
Nice way to end the day Paulo, thank you! | 0:22:06 | 0:22:08 | |
Yeah, Michael, it was a great day! | 0:22:08 | 0:22:10 | |
A place like this, a grocery shop where you can buy nappies, cheese | 0:22:10 | 0:22:14 | |
and get a drink, is this sort of familiar kind of place in Brazil? | 0:22:14 | 0:22:18 | |
Yes, this a typical Bodega where you can shop during the day, you know, | 0:22:18 | 0:22:22 | |
for stuff for the house, food, but also, of course, | 0:22:22 | 0:22:25 | |
Brazilians are heavy drinkers and they like beer, so at the end | 0:22:25 | 0:22:28 | |
of the day you come for a cachaca or a beer, just like in England | 0:22:28 | 0:22:32 | |
people go to a pub, the Brazilians go to a Bodega | 0:22:32 | 0:22:35 | |
and then you can eat a sandwich with cheese or salami. | 0:22:35 | 0:22:38 | |
They also sell CDs of the local bands and paintings. | 0:22:38 | 0:22:43 | |
Great picture. | 0:22:44 | 0:22:45 | |
As you can see, the bottle in Brazil is big, | 0:22:45 | 0:22:49 | |
so it has to carry lots of beer. | 0:22:49 | 0:22:51 | |
Yes, well, cheers! Should we tell the camera to switch off? | 0:22:51 | 0:22:55 | |
-Yes. -Probably! Good night! | 0:22:55 | 0:22:57 | |
'But Paulo has one more surprise for me.' | 0:23:01 | 0:23:04 | |
Another typical night on the streets of Brazil, music everywhere. | 0:23:04 | 0:23:08 | |
But what's the music we're going to hear tonight? | 0:23:08 | 0:23:11 | |
Is this a particularly local thing? | 0:23:11 | 0:23:14 | |
It is, Michael. It's a forro night with the, played with the rabeca, | 0:23:14 | 0:23:19 | |
which is a kind of fiddle, and, of course, we are in the end of | 0:23:19 | 0:23:23 | |
our Sao Joao, St John season where forro is the sound track. | 0:23:23 | 0:23:27 | |
Forro, yeah. | 0:23:27 | 0:23:28 | |
I read somewhere that it was a mishearing of the English word | 0:23:28 | 0:23:32 | |
"For All" which the English railway people and the employers provided | 0:23:32 | 0:23:37 | |
music for everyone to dance to, and it was called "For All". | 0:23:37 | 0:23:41 | |
Is that true or is it a myth? | 0:23:41 | 0:23:43 | |
I think it's a myth. | 0:23:43 | 0:23:44 | |
It comes from "Forrobodo" which is a word that means "party". | 0:23:44 | 0:23:49 | |
You know, "Let's go to a forrobodo" means "Let's go party" - | 0:23:49 | 0:23:52 | |
let's go dance, hear music, have drinks, | 0:23:52 | 0:23:54 | |
so it's a short word for forrobodo. | 0:23:54 | 0:23:58 | |
'The forro they dance here requires a loose, sinuous, | 0:24:01 | 0:24:03 | |
'gyration of the hips, which I can only stand and admire.' | 0:24:03 | 0:24:07 | |
'But, as Paulo warned me earlier - in Brazil, everybody dances.' | 0:24:15 | 0:24:19 | |
I'm leaving the high life of the cities behind for a while, | 0:24:39 | 0:24:43 | |
for a glimpse of life in the interior. | 0:24:43 | 0:24:46 | |
Well, I'm 500 miles inland from the coast now | 0:24:46 | 0:24:49 | |
in the hot, dry, hard outback of north-east Brazil. | 0:24:49 | 0:24:52 | |
They call this the Sertao. | 0:24:52 | 0:24:54 | |
It's cowboy country, land of the vaqueiros, | 0:24:54 | 0:24:56 | |
and I'm here for an event called Pega de Boi, Catch The Bull. | 0:24:56 | 0:25:00 | |
Says it all, really. | 0:25:02 | 0:25:04 | |
In a world of cars and pick-up trucks, | 0:25:19 | 0:25:21 | |
the old-style cowboy is becoming a threatened species, | 0:25:21 | 0:25:25 | |
but these vaqueiros are staunchly proud of their traditions. | 0:25:25 | 0:25:28 | |
Pega de Boi is a chance to show their skills, win some money, | 0:25:28 | 0:25:32 | |
and for a while at least, relieve the loneliness of life in the bush. | 0:25:32 | 0:25:37 | |
BAND PLAYS BRAZILIAN MUSIC | 0:25:37 | 0:25:40 | |
Families and friends do their best to create a party atmosphere. | 0:25:56 | 0:26:00 | |
But some of the cowboys are much older than I'd expected. | 0:26:01 | 0:26:05 | |
Men with tired eyes and deeply lined faces. | 0:26:05 | 0:26:09 | |
When the time comes to chase the bull, | 0:26:15 | 0:26:16 | |
they protect themselves from the viciously spiky scrub, | 0:26:16 | 0:26:19 | |
with the leather equivalent of a suit of armour. | 0:26:19 | 0:26:23 | |
I'm told that, despite this comprehensive protection, | 0:26:24 | 0:26:27 | |
some of the cowboys will deliberately leave a strap untied | 0:26:27 | 0:26:30 | |
or a hand revealed, | 0:26:30 | 0:26:32 | |
as drops of blood are seen as a badge of courage. | 0:26:32 | 0:26:35 | |
The man behind Pega de Boi | 0:26:37 | 0:26:40 | |
is a whippet-thin 70-year-old called Julio. | 0:26:40 | 0:26:43 | |
Of shrewd eye, and seemingly insatiable energy, | 0:26:43 | 0:26:46 | |
he's totally committed to the old way of life. | 0:26:46 | 0:26:50 | |
Julio, were you born into a family of cowboys? | 0:26:50 | 0:26:53 | |
TRANSLATION: I was born into a cowboy family, grew up a cowboy, | 0:26:53 | 0:26:57 | |
and still am one. | 0:26:57 | 0:26:59 | |
I'm proud to call myself a cowboy, it's a good profession. | 0:26:59 | 0:27:02 | |
How dangerous is it? | 0:27:02 | 0:27:04 | |
You seem to have got a... on your head, here. What happened there? | 0:27:04 | 0:27:07 | |
TRANSLATION: Yes, it's dangerous. I got kicked in the head by a cow! | 0:27:07 | 0:27:13 | |
I was nursing a wound she had, | 0:27:16 | 0:27:18 | |
and forgot to tie her legs up and she kicked me. | 0:27:18 | 0:27:20 | |
But I don't blame the cow! | 0:27:22 | 0:27:24 | |
'The vaqueiros do have a political and social ally | 0:27:26 | 0:27:30 | |
'in the shape of Tiago Cancio, a local politician | 0:27:30 | 0:27:33 | |
'whose father gave up the life of a priest to become a cowboy.' | 0:27:33 | 0:27:38 | |
Tiago, what makes the vaqueiros of the Sertao here special? | 0:27:38 | 0:27:43 | |
Are they different from the rest of the cowboys in Brazil? | 0:27:43 | 0:27:46 | |
-TRANSLATION: -The vaqueiro is unique to the Sertao. | 0:27:48 | 0:27:53 | |
They risk their lives to earn a crust. | 0:27:55 | 0:27:58 | |
They ride headlong into the jungle to chase wild bulls | 0:27:58 | 0:28:01 | |
and round up cattle, they're very courageous and fearless. | 0:28:01 | 0:28:05 | |
'Everyone's ready now for the climax of the day.' | 0:28:08 | 0:28:10 | |
'With shouts of celebration, | 0:28:10 | 0:28:12 | |
'the five young bulls are released from their makeshift paddock.' | 0:28:12 | 0:28:16 | |
CROWD CHEERS | 0:28:16 | 0:28:19 | |
'They're given 15 minutes to get away before, at last, | 0:28:21 | 0:28:25 | |
'the cowboys are allowed to chase them.' | 0:28:25 | 0:28:28 | |
CROWD CHEERS | 0:28:29 | 0:28:32 | |
The lucky ones who catch the bulls can claim cash prizes. | 0:28:37 | 0:28:41 | |
Hey! Good, it's started. They're off! | 0:28:46 | 0:28:50 | |
Almost 45 minutes pass before a bull is spotted, | 0:28:59 | 0:29:02 | |
captured and led out of the scrub and down the hill. | 0:29:02 | 0:29:06 | |
The prize is claimed by two of youngest riders in the pack, | 0:29:09 | 0:29:13 | |
which must be a good sign for the profession. | 0:29:13 | 0:29:16 | |
Despite some outward appearances, | 0:29:16 | 0:29:18 | |
perhaps there is a new generation of cowboys waiting in the wings. | 0:29:18 | 0:29:22 | |
From the hot, dry heartland, it's time to retrace my steps | 0:29:27 | 0:29:31 | |
to the coast, and the city that is the undisputed jewel | 0:29:31 | 0:29:35 | |
of the north-east, and one of the most exciting in all Brazil. | 0:29:35 | 0:29:38 | |
Salvador. | 0:29:38 | 0:29:39 | |
It lies on the Baia de Todos os Santos - All Saints Bay - | 0:29:41 | 0:29:45 | |
which gives its name to the state of Bahia. | 0:29:45 | 0:29:49 | |
For over 200 years, Salvador was the capital of Brazil, | 0:29:50 | 0:29:55 | |
as sugar and cotton production made Bahia fabulously rich. | 0:29:55 | 0:29:58 | |
Salvador may have ceded its capital status first to Rio, | 0:30:00 | 0:30:03 | |
then to Brasilia, but it remains the third largest city in Brazil. | 0:30:03 | 0:30:07 | |
Of its population of nearly 3,500,000, | 0:30:07 | 0:30:11 | |
82% are of black descent, | 0:30:11 | 0:30:14 | |
making Salvador the biggest African city outside Africa. | 0:30:14 | 0:30:18 | |
'My guide is Sofia, daughter of Irish-Brazilian parents, | 0:30:26 | 0:30:30 | |
'and currently studying architecture and city planning. | 0:30:30 | 0:30:34 | |
'The most eye-catching architecture in Salvador is religious, | 0:30:34 | 0:30:39 | |
'reflecting the enormous wealth of the Catholic church.' | 0:30:39 | 0:30:43 | |
So it is about the beginning of the 18th century all this was done? | 0:30:43 | 0:30:45 | |
All this was done, yeah. | 0:30:45 | 0:30:47 | |
So then, was a lot of money coming into Brazil from sugar? | 0:30:47 | 0:30:54 | |
Sugar, tobacco, coffee and gold. | 0:30:54 | 0:30:59 | |
'Gold, for which this church of St Francis | 0:30:59 | 0:31:01 | |
'is an extraordinary gesture of thanks.' | 0:31:01 | 0:31:04 | |
Wow! | 0:31:04 | 0:31:06 | |
The effect is incredible. | 0:31:06 | 0:31:08 | |
I haven't seen anything really quite like that. | 0:31:08 | 0:31:11 | |
It's just the sheer, the sort of scale, isn't it? | 0:31:11 | 0:31:14 | |
There's not a bit of wall that's not been covered. | 0:31:14 | 0:31:17 | |
A lot of gold, there. | 0:31:19 | 0:31:20 | |
A lot of gold. | 0:31:20 | 0:31:21 | |
But it's to show the world | 0:31:23 | 0:31:25 | |
that Brazil was one of the main producers of gold. | 0:31:25 | 0:31:27 | |
Sort of showing, "This is what we've got, plenty of this." | 0:31:27 | 0:31:31 | |
More where that came from, sort of thing, yeah. | 0:31:31 | 0:31:33 | |
'It's a powerful display of self-confidence.' | 0:31:33 | 0:31:36 | |
'Religion in Salvador expresses itself in many different ways, | 0:31:38 | 0:31:42 | |
'as I learn when Sofia takes me | 0:31:42 | 0:31:44 | |
'to another grand 18th century church. | 0:31:44 | 0:31:46 | |
'The church of Our Lord of Bonfim.' | 0:31:46 | 0:31:49 | |
People in Bahia are very superstitious, | 0:31:50 | 0:31:53 | |
especially in Salvador, so people will come here every first Friday | 0:31:53 | 0:31:57 | |
of the month to make their wishes, | 0:31:57 | 0:31:59 | |
people even bring their cars here to be blessed, you know. | 0:31:59 | 0:32:01 | |
So basically anything can be blessed? | 0:32:01 | 0:32:03 | |
Anything can be blessed. | 0:32:03 | 0:32:06 | |
Your TV? | 0:32:06 | 0:32:07 | |
Maybe. | 0:32:07 | 0:32:08 | |
Possibly. Your mobile? | 0:32:08 | 0:32:09 | |
'The blessing is embodied in these strips of ribbon, | 0:32:09 | 0:32:12 | |
'called fitas do Bonfim.' | 0:32:12 | 0:32:15 | |
'You wear one round your wrist and make a wish, | 0:32:15 | 0:32:18 | |
'which will only be granted when the ribbon falls apart. | 0:32:18 | 0:32:21 | |
'In some cases, this can take months. | 0:32:21 | 0:32:23 | |
'Inside the church, faith and superstition | 0:32:25 | 0:32:27 | |
'make more bizarre bedfellows.' | 0:32:27 | 0:32:29 | |
Oh, good heavens. This is very, very strange. | 0:32:31 | 0:32:34 | |
What are all these? Wax, are they? | 0:32:36 | 0:32:38 | |
This is basically people who got ill, they bring the part of the body | 0:32:38 | 0:32:42 | |
which was ill and it got cured, | 0:32:42 | 0:32:46 | |
so they have all these wax pieces. | 0:32:46 | 0:32:49 | |
Yeah. | 0:32:49 | 0:32:51 | |
All the different parts of the body that were cured. | 0:32:51 | 0:32:55 | |
A little cluster of hearts up there. That's very strange. | 0:32:57 | 0:33:01 | |
Really is. It's like a kind of gruesome shop, but again, | 0:33:01 | 0:33:05 | |
this is very powerful, these photos around here. | 0:33:05 | 0:33:09 | |
The photos are of people who either made promises to get cured | 0:33:09 | 0:33:14 | |
or to get into universities or achieved what they want. | 0:33:14 | 0:33:20 | |
They come here with the photographs. | 0:33:20 | 0:33:22 | |
Yeah. So they believe that the devotion, | 0:33:22 | 0:33:24 | |
by coming here to this church has changed their lives, basically. | 0:33:24 | 0:33:28 | |
Yeah. | 0:33:28 | 0:33:29 | |
Has cured them, has enabled them to become successful in exams | 0:33:29 | 0:33:33 | |
and business and all that. | 0:33:33 | 0:33:34 | |
-Exactly. -Wow. | 0:33:34 | 0:33:36 | |
Everywhere in Salvador I'm reminded of the city's African roots. | 0:33:55 | 0:33:59 | |
These figures in a lake in the centre of town are Orishas, | 0:33:59 | 0:34:03 | |
the gods of Candomble. | 0:34:03 | 0:34:04 | |
Candomble is a religion | 0:34:06 | 0:34:07 | |
that fuses the African spirit world with Catholicism. | 0:34:07 | 0:34:11 | |
Officially banned until the 1960s, | 0:34:11 | 0:34:14 | |
its popularity is now countrywide. | 0:34:14 | 0:34:16 | |
Well, I'm all dressed in white, because I'm going to something, | 0:34:19 | 0:34:22 | |
I've never done before, which is to witness a Candomble ceremony, | 0:34:22 | 0:34:26 | |
this African animist ceremony. | 0:34:26 | 0:34:30 | |
It's going to take place in here and the Pai-de-santo is, | 0:34:31 | 0:34:34 | |
first of all, I think he's going to read my fortune, | 0:34:34 | 0:34:38 | |
or the buzios, they call them, the cowry shells. | 0:34:38 | 0:34:41 | |
So I might find out something very unpleasant, or pleasant, who knows? | 0:34:41 | 0:34:44 | |
'The Pai-de-santo, Father of the Saints, is called John. | 0:34:46 | 0:34:51 | |
'He's the local Candomble priest and this is his house. | 0:34:51 | 0:34:55 | |
'And in case you wonder, we've never met before.' | 0:34:55 | 0:34:58 | |
-TRANSLATION: -Orishas open the table with good faith. | 0:35:05 | 0:35:11 | |
Oxossi opens your table and talks about the struggles in your life. | 0:35:11 | 0:35:14 | |
You are an intelligent man, a man that fought hard to accomplish | 0:35:14 | 0:35:18 | |
your goals and today you have the opportunity to show | 0:35:18 | 0:35:22 | |
to the world much information and all your knowledge. | 0:35:22 | 0:35:25 | |
Casado? | 0:35:30 | 0:35:31 | |
Married? | 0:35:31 | 0:35:33 | |
Yeah. | 0:35:33 | 0:35:35 | |
Bambino? Tres, quatro? | 0:35:36 | 0:35:38 | |
Three or four children? | 0:35:38 | 0:35:39 | |
Three. | 0:35:39 | 0:35:40 | |
Tres? | 0:35:40 | 0:35:42 | |
Tres. | 0:35:42 | 0:35:43 | |
I hope you don't think this is disrespectful, Pai-de-santo, | 0:35:46 | 0:35:51 | |
but I have to ask for my countrymen. | 0:35:51 | 0:35:54 | |
Will England ever win the World Cup again? | 0:35:54 | 0:35:58 | |
HE CHANTS IN PORTUGUESE | 0:36:00 | 0:36:05 | |
Exu diz no jogo que nao. | 0:36:32 | 0:36:35 | |
Thank you! | 0:36:37 | 0:36:39 | |
There we are, we can save ourselves the trouble! | 0:36:39 | 0:36:41 | |
'The Candomble ceremony takes place in Pao Joao's front room.' | 0:37:00 | 0:37:03 | |
'It's confusing, and at times mystifying, | 0:37:05 | 0:37:08 | |
'but that seems to be the point.' | 0:37:08 | 0:37:10 | |
'The participants, representing the various orishas, | 0:37:25 | 0:37:28 | |
'dance themselves into a trance-like state, | 0:37:28 | 0:37:31 | |
'until they feel their bodies are inhabited | 0:37:31 | 0:37:33 | |
'by the spirit of the gods. | 0:37:33 | 0:37:35 | |
'Unlike our western rituals, | 0:37:35 | 0:37:36 | |
'their performance is never the same twice. | 0:37:36 | 0:37:40 | |
'No-one knows exactly what will happen when the drums begin.' | 0:37:40 | 0:37:44 | |
'The people of north-east Brazil love noise and colour. | 0:38:34 | 0:38:38 | |
'The two come together in Salvador's Pelourinho area | 0:38:38 | 0:38:42 | |
'under the name of Olodum. | 0:38:42 | 0:38:44 | |
'It's short for Olodumare, | 0:38:44 | 0:38:47 | |
'the god of gods of the Yoruba people of Nigeria.' | 0:38:47 | 0:38:49 | |
'Olodum is the name of a social initiative to bring | 0:38:52 | 0:38:55 | |
'a sense of achievement to the street children of Salvador.' | 0:38:55 | 0:38:59 | |
'It teaches them the art of African drumming and through that, | 0:39:01 | 0:39:04 | |
'respect for the land of their ancestors. | 0:39:04 | 0:39:08 | |
'They've taken over the streets of Old Salvador this morning | 0:39:08 | 0:39:11 | |
'without telling anybody, but that's Brazil for you. | 0:39:11 | 0:39:14 | |
'And they have recruited some rather old children.' | 0:39:14 | 0:39:18 | |
This is Pacote. | 0:39:18 | 0:39:20 | |
He's going to initiate me on the ways of Olodum. | 0:39:20 | 0:39:23 | |
OK, Pacote, take it away! | 0:39:23 | 0:39:24 | |
Vou ensinar voce... | 0:39:24 | 0:39:26 | |
Life goes on, this is the middle of the street. | 0:39:29 | 0:39:32 | |
A batida do coracao. | 0:39:32 | 0:39:34 | |
Oh, the beat of the heart. | 0:39:34 | 0:39:37 | |
My heart's going boom-boom-boom-boom! | 0:39:37 | 0:39:39 | |
Isso. | 0:39:46 | 0:39:48 | |
OK, OK. | 0:39:53 | 0:39:55 | |
'I'm getting the hang of this. | 0:40:42 | 0:40:44 | |
'Time for a touch of the Keith Moons.' | 0:40:44 | 0:40:46 | |
'Having rather disgraced myself on the drums, | 0:41:07 | 0:41:09 | |
'I look for some solace in the pleasures of Bahian cuisine.' | 0:41:09 | 0:41:13 | |
Like religion, the food is a fusion of cultures, | 0:41:18 | 0:41:22 | |
combining African, Portuguese and indigenous influences. | 0:41:22 | 0:41:26 | |
Given the abundance of seafood, it's a welcome change | 0:41:26 | 0:41:29 | |
from the meaty fare that most Brazilians seem to prefer. | 0:41:29 | 0:41:33 | |
The personification of Bahian cooking is Aldaci dos Santos, | 0:41:33 | 0:41:38 | |
known to all as "Dada". | 0:41:38 | 0:41:40 | |
From selling snacks on the beach, she has risen to become | 0:41:40 | 0:41:43 | |
an inspirational restaurateur and chef to the famous. | 0:41:43 | 0:41:47 | |
Who better to turn to for consolation? | 0:41:47 | 0:41:50 | |
This is Dada, who is a superb... one of the great cooks | 0:41:52 | 0:41:57 | |
of Salvador and Bahian cuisine. | 0:41:57 | 0:41:59 | |
And I am a great eater of all food, and Dada's going to show me round, | 0:41:59 | 0:42:04 | |
buy some food at the market and then we are going to cook and then eat. | 0:42:04 | 0:42:10 | |
Vamos agora conhecer o mercado do peixe. | 0:42:10 | 0:42:13 | |
OK. | 0:42:13 | 0:42:14 | |
OK? Mercado do peixe. | 0:42:14 | 0:42:16 | |
Do peixe. OK, so we are at the fish market, let's go! | 0:42:16 | 0:42:19 | |
Mercado do peixe. | 0:42:20 | 0:42:22 | |
He's had too much fish! | 0:42:27 | 0:42:28 | |
DADA LAUGHS | 0:42:28 | 0:42:30 | |
Delicia! | 0:42:44 | 0:42:46 | |
Think she's going to make a moqueca, which is a classic fish stew. | 0:42:49 | 0:42:53 | |
Polvo. | 0:42:55 | 0:42:56 | |
Octopus, yeah. | 0:42:56 | 0:42:58 | |
Gosh, fresh mud crabs. | 0:42:59 | 0:43:01 | |
Caranguejo. Caranguejo. | 0:43:01 | 0:43:02 | |
They're alive, they look as though they're about a thousand years old! | 0:43:02 | 0:43:05 | |
Ah, that's better, yeah. | 0:43:11 | 0:43:13 | |
Mmm. Marvellous. | 0:43:15 | 0:43:18 | |
So these, you cook with them, you bathe in them | 0:43:34 | 0:43:37 | |
and you make tea with them. | 0:43:37 | 0:43:40 | |
I feel better already! | 0:43:45 | 0:43:47 | |
OK! | 0:43:47 | 0:43:49 | |
Fantastic, yeah. | 0:43:51 | 0:43:53 | |
SHE LAUGHS | 0:43:53 | 0:43:55 | |
SHE LAUGHS | 0:43:58 | 0:44:00 | |
Made a pig's ear of that one(!) | 0:44:07 | 0:44:09 | |
Do you want a hand? | 0:44:13 | 0:44:16 | |
SHE SHRIEKS WITH LAUGHTER | 0:44:16 | 0:44:18 | |
This is an Olympic sport! | 0:44:22 | 0:44:24 | |
Oh, Michael! | 0:44:24 | 0:44:26 | |
Oh-oh-oh! | 0:44:26 | 0:44:28 | |
I can't believe I'm going to eat a meal after this, as well. | 0:44:41 | 0:44:44 | |
I've eaten a meal just going around the market. | 0:44:44 | 0:44:46 | |
Can I ask you, Dada, how did you first learn to cook? | 0:44:47 | 0:44:51 | |
TRANSLATION: I started cooking when I was five. | 0:44:51 | 0:44:56 | |
I was working with my mother as a housekeeper in a large family house, | 0:44:56 | 0:45:01 | |
getting paid by the day in order to earn a living. | 0:45:01 | 0:45:04 | |
My mother and I would find work on these large farms in the country | 0:45:05 | 0:45:09 | |
because we didn't have our own place to live so we had to earn our keep. | 0:45:09 | 0:45:13 | |
When I cooked, it felt like I was whole. | 0:45:13 | 0:45:16 | |
I was a child, but I didn't have a proper childhood | 0:45:16 | 0:45:20 | |
because I had to work from an early age, and when I cooked, | 0:45:20 | 0:45:24 | |
mixing all the spices and the food in my kitchen, | 0:45:24 | 0:45:28 | |
it was like heaven to me, it was my fantasy world. | 0:45:28 | 0:45:32 | |
Now you are a successful business woman, Dada, | 0:45:37 | 0:45:40 | |
do you still enjoy cooking as much as you did? | 0:45:40 | 0:45:44 | |
Mais. | 0:45:44 | 0:45:45 | |
More? | 0:45:45 | 0:45:46 | |
Muito mais. | 0:45:46 | 0:45:47 | |
TRANSLATION: Each day that goes by, I like it more and more. | 0:45:47 | 0:45:50 | |
The kitchen and cooking for me is like having sex. | 0:45:50 | 0:45:54 | |
When cooking, I feel fulfilled as if I was having a great orgasm. | 0:45:54 | 0:45:58 | |
It must be exhausting every time you make a meal. | 0:45:58 | 0:46:01 | |
TRANSLATION: No, not really, I get more tired making love. | 0:46:01 | 0:46:05 | |
What is it about your food that makes it very special? | 0:46:06 | 0:46:11 | |
TRANSLATION: All the ingredients are fresh and bought with a lot of care, | 0:46:11 | 0:46:17 | |
but I think the main thing for me | 0:46:17 | 0:46:20 | |
is the transformation that love brings about. | 0:46:20 | 0:46:24 | |
When I cook, I cook for real, it comes from inside Dada, | 0:46:24 | 0:46:29 | |
from inside my heart, so it's love that transforms the flavours. | 0:46:29 | 0:46:33 | |
Oh, fantastic! | 0:46:36 | 0:46:39 | |
Fantastic, yes. | 0:46:39 | 0:46:42 | |
Beautiful! | 0:46:42 | 0:46:44 | |
Look, I cut that! | 0:46:44 | 0:46:47 | |
A calombreta? | 0:46:47 | 0:46:49 | |
I cut that bit. | 0:46:49 | 0:46:50 | |
It's not cut very well. | 0:46:50 | 0:46:52 | |
OK, Michael! | 0:46:52 | 0:46:54 | |
Wow! Oh! Ha-ha-ha! | 0:46:54 | 0:46:58 | |
-Mmm. -Comer um peixe? | 0:47:01 | 0:47:02 | |
Oh, wow! | 0:47:02 | 0:47:03 | |
'Some guide books I'd read were a bit sniffy about Dada's restaurant, | 0:47:03 | 0:47:07 | |
'suggesting success had spoiled her. | 0:47:07 | 0:47:10 | |
'But for me, Dada has been responsible for the best meal | 0:47:10 | 0:47:13 | |
'I've yet had in the north-east. | 0:47:13 | 0:47:14 | |
'She's a remarkable women, who you feel can do anything | 0:47:14 | 0:47:17 | |
'she sets herself to.' | 0:47:17 | 0:47:19 | |
You're a very good advert for your own cooking. | 0:47:19 | 0:47:21 | |
'Except perhaps for one thing she really needs to be able to do - | 0:47:21 | 0:47:25 | |
'clone herself.' | 0:47:25 | 0:47:26 | |
Comida deliciosa. | 0:47:26 | 0:47:28 | |
Muito obrigada. | 0:47:28 | 0:47:30 | |
Meus comprimentos ao chefe! | 0:47:30 | 0:47:32 | |
Muito obrigada. | 0:47:32 | 0:47:34 | |
'One of the poorest areas of Salvador is called Liberdade. | 0:47:43 | 0:47:46 | |
'It's where the freed slaves came to live | 0:47:46 | 0:47:49 | |
'after the abolition of slavery. | 0:47:49 | 0:47:51 | |
'It's still an area of shanty towns, or favelas, | 0:47:51 | 0:47:54 | |
'like this one called Vale das Pedrinhas. | 0:47:54 | 0:47:57 | |
'The Valley of Stones. | 0:47:57 | 0:47:59 | |
'I've come here to see something that Salvador has introduced | 0:47:59 | 0:48:03 | |
'to the rest of Brazil and the world.' | 0:48:03 | 0:48:05 | |
'On the roof of one of the grander houses in the favela, | 0:48:16 | 0:48:19 | |
'they're practising a dance | 0:48:19 | 0:48:21 | |
'that grew from a self-defensive fighting style. | 0:48:21 | 0:48:24 | |
'It's now the second biggest participation sport in Salvador. | 0:48:24 | 0:48:28 | |
'It's fast and fluent and it's called capoeira.' | 0:48:28 | 0:48:31 | |
'If you're really good at capoeira you can become a master or Mestre, | 0:48:41 | 0:48:45 | |
'and the trim, 66-year-old who's playing this one-stringed berimbau | 0:48:45 | 0:48:49 | |
'is very good at it.' | 0:48:49 | 0:48:50 | |
'He's called Mestre Boa Gente. | 0:48:53 | 0:48:55 | |
'Though he's lived in the Valley of Stones all his life, | 0:48:55 | 0:48:57 | |
'he's travelled the world as a spokesman for his sport.' | 0:48:57 | 0:49:01 | |
The movements that you do in capoeira, | 0:49:10 | 0:49:12 | |
where do the movements come from, where did they originate? | 0:49:12 | 0:49:16 | |
-TRANSLATION: -The capoeira movements all come from Africa, | 0:49:16 | 0:49:23 | |
from African culture. | 0:49:23 | 0:49:25 | |
The moves are called jingas and were brought by African slaves to Brazil. | 0:49:25 | 0:49:30 | |
They also come from Candomble, which is the first Brazilian religion. | 0:49:34 | 0:49:38 | |
When people take on the spirit of their gods, their orishas, | 0:49:41 | 0:49:47 | |
they use their bodies to express their orishas, | 0:49:47 | 0:49:51 | |
so out of that are born the moves you see in capoeira. | 0:49:51 | 0:49:55 | |
Xango, ela faz isso. | 0:49:55 | 0:49:56 | |
Entao, olha, quando voce vem pra capoeira, | 0:49:58 | 0:50:02 | |
voce ja ta bem flexivel. | 0:50:02 | 0:50:04 | |
Entende, como voce. | 0:50:04 | 0:50:06 | |
Voce ja ta... Eu to conversando e voce ja ta ai... | 0:50:06 | 0:50:10 | |
Isso ai, isso! E... | 0:50:10 | 0:50:12 | |
Do you like dance? | 0:50:14 | 0:50:16 | |
Dance? Yeah. | 0:50:16 | 0:50:17 | |
Samba? | 0:50:17 | 0:50:18 | |
I do my own version. | 0:50:18 | 0:50:20 | |
Isso. | 0:50:20 | 0:50:22 | |
LAUGHTER | 0:50:28 | 0:50:30 | |
That's the Scottish bit! | 0:50:30 | 0:50:33 | |
Muito legal. Cade a palma, galera? | 0:50:33 | 0:50:36 | |
'That was the easy bit. | 0:50:39 | 0:50:41 | |
'The Mestre now takes me across the road to the radio station | 0:50:41 | 0:50:44 | |
'he runs for a live, on-air grilling on Valley of Stones Radio.' | 0:50:44 | 0:50:49 | |
# Esperanca e fe | 0:50:49 | 0:50:52 | |
# Mais o mundo nao e... # | 0:50:52 | 0:50:55 | |
-TRANSLATION: -Michael, you're a very famous man, not only in England | 0:50:55 | 0:50:59 | |
but all over the world. You're an actor, a presenter. | 0:50:59 | 0:51:03 | |
Have you ever thought of going into politics as a councillor, | 0:51:03 | 0:51:06 | |
Member of Parliament or maybe even President? | 0:51:06 | 0:51:09 | |
We don't have a President! But... | 0:51:11 | 0:51:13 | |
Suas fas votando em voce, voce ta eleito. | 0:51:13 | 0:51:16 | |
Maybe I could be Queen, but that's taken already! | 0:51:16 | 0:51:19 | |
-TRANSLATION: -What do you think of gay marriage? | 0:51:19 | 0:51:24 | |
It's a big topic here in Brazil. | 0:51:24 | 0:51:26 | |
I am up for gay marriage. | 0:51:26 | 0:51:28 | |
If people love each other, look after each other, | 0:51:28 | 0:51:31 | |
as long as they support each other | 0:51:31 | 0:51:33 | |
it doesn't matter what they do in bed. | 0:51:33 | 0:51:37 | |
Olha ai, Elvis Presley, o. | 0:51:37 | 0:51:39 | |
# It's now or never | 0:51:41 | 0:51:44 | |
I hate this one. | 0:51:44 | 0:51:45 | |
# Come hold me tight | 0:51:45 | 0:51:47 | |
This is my least favourite Elvis ever. | 0:51:47 | 0:51:49 | |
# Kiss me, my darling... # | 0:51:49 | 0:51:51 | |
'This definitely has to be one of my more surreal radio moments.' | 0:51:52 | 0:51:58 | |
# Tomorrow will be too late | 0:51:58 | 0:52:03 | |
# It's now or never | 0:52:03 | 0:52:06 | |
# My love can't wait. # | 0:52:08 | 0:52:10 | |
'The Mestre has an endless, irrepressible energy. | 0:52:16 | 0:52:19 | |
'Fresh from his afternoon show, he's out on the streets, | 0:52:19 | 0:52:23 | |
'mobilising participants for the evening's capoeira fest.' | 0:52:23 | 0:52:26 | |
'The shanty buildings around, the roar of a nearby highway, | 0:52:42 | 0:52:46 | |
'and the smell of a stagnant stream are all forgotten, | 0:52:46 | 0:52:49 | |
'as the shining, sweating, white-toothed smiling Mestre | 0:52:49 | 0:52:53 | |
'infects everyone with his enthusiasm. | 0:52:53 | 0:52:56 | |
'His work is known across Brazil, | 0:52:56 | 0:52:58 | |
'yet he still stays true to the favela in which he grew up.' | 0:52:58 | 0:53:01 | |
'Home for the remarkable Mestre Boa Gente remains the Valley of Stones.' | 0:53:06 | 0:53:12 | |
North and west of Salvador is the Reconcavo, | 0:53:30 | 0:53:33 | |
an area which borders All Saints Bay. | 0:53:33 | 0:53:37 | |
The towns I'm going to visit there, Cachoeira and St Felix, | 0:53:37 | 0:53:41 | |
grew rich from the produce of fertile soils, | 0:53:41 | 0:53:44 | |
watered by the many rivers that drain into the bay. | 0:53:44 | 0:53:46 | |
This is some of the most productive land in the country. | 0:53:49 | 0:53:52 | |
I pass sugar-cane plantations, smaller than they once were, | 0:53:52 | 0:53:56 | |
but still contributing to a buoyant local economy. | 0:53:56 | 0:54:00 | |
Where the river Paraguacu divides Cachoeira from St Felix, | 0:54:00 | 0:54:05 | |
I cross the bridge | 0:54:05 | 0:54:07 | |
to find evidence of another one-time source of wealth | 0:54:07 | 0:54:10 | |
at the Danneman Cigar Factory. | 0:54:10 | 0:54:12 | |
'Danneman's survived the decline in the tobacco industry | 0:54:12 | 0:54:15 | |
'by concentrating on a high-end product. | 0:54:15 | 0:54:18 | |
'It's currently run by Dutchman Hans Leusen.' | 0:54:18 | 0:54:21 | |
Is the old legend that it's rolled on the thigh of the ladies | 0:54:21 | 0:54:25 | |
who make the cigar, has that any credibility? | 0:54:25 | 0:54:28 | |
Credibility is always there, but in the past, | 0:54:29 | 0:54:33 | |
the girls were making the wrap on leaves on the legs, | 0:54:33 | 0:54:38 | |
but the cigars have never been made on the legs. | 0:54:38 | 0:54:40 | |
So it is not a question you can say | 0:54:40 | 0:54:43 | |
"There is Maria or there is Matilda". That's not true. | 0:54:43 | 0:54:46 | |
Yes? Like you can feel. No, no. | 0:54:46 | 0:54:48 | |
There's a story. | 0:54:48 | 0:54:50 | |
Can you tell me a little bit about how Bahia and the north-east | 0:54:52 | 0:54:56 | |
is seen by the rest of Brazil? | 0:54:56 | 0:54:58 | |
They always say bad things about the north, | 0:54:58 | 0:55:00 | |
especially the north-east. | 0:55:00 | 0:55:01 | |
But it is not true, the people work hard, | 0:55:01 | 0:55:04 | |
but they have a way of life based on this tropical sun, yes? | 0:55:04 | 0:55:08 | |
So if you can't do it today, you do it tomorrow. | 0:55:08 | 0:55:11 | |
In Sao Paulo, you have to run, you have to do it today, | 0:55:11 | 0:55:15 | |
so there is a big difference between the south and the north, | 0:55:15 | 0:55:19 | |
but I prefer the north, where people still understand how is life, | 0:55:19 | 0:55:24 | |
because here on Wednesday you start to talk about | 0:55:24 | 0:55:27 | |
how you are going to spend your weekend, yes? | 0:55:27 | 0:55:30 | |
There was a time when the wealth of Salvador depended on | 0:55:45 | 0:55:47 | |
the sailing ships that carried the goods | 0:55:47 | 0:55:50 | |
down from its rich hinterland. | 0:55:50 | 0:55:52 | |
The boats were called Saveiros. | 0:55:52 | 0:55:55 | |
In the 1950s, there were thousands of them working the bay. | 0:55:55 | 0:55:58 | |
Now there's only a precious handful left, | 0:55:58 | 0:56:00 | |
and I'm on one of them. | 0:56:00 | 0:56:02 | |
The two men who are my fellow crew members today are, | 0:56:03 | 0:56:05 | |
in their own way, | 0:56:05 | 0:56:07 | |
passionate about preserving the last of the Saveiros. | 0:56:07 | 0:56:10 | |
One is a trim, dapper and successful local artist | 0:56:10 | 0:56:14 | |
called Bel Borba. | 0:56:14 | 0:56:16 | |
His larger-than-life companion is Malaca, an engineer by trade. | 0:56:16 | 0:56:20 | |
If the Brazilians have a word for extrovert, | 0:56:20 | 0:56:23 | |
Malaca would be its embodiment. | 0:56:23 | 0:56:25 | |
'But I'm sure they don't. Brazilian means extrovert.' | 0:56:25 | 0:56:29 | |
How important do you think it is to save these boats | 0:56:29 | 0:56:32 | |
and why is it important? | 0:56:32 | 0:56:35 | |
HE ASKS QUESTION IN PORTUGUESE | 0:56:35 | 0:56:37 | |
TRANSLATION: Because it's 400 years of history. | 0:56:38 | 0:56:44 | |
Bahia is summed up in these boats. | 0:56:44 | 0:56:46 | |
The Saveiro was crucial, not just the boat | 0:56:46 | 0:56:49 | |
but the way of life it represented. | 0:56:49 | 0:56:51 | |
The handcrafts, the carpenters, | 0:56:53 | 0:56:54 | |
there's a whole working history around the Saveiro. | 0:56:54 | 0:56:58 | |
It's pure culture, 400 years of history and beauty. | 0:56:58 | 0:57:02 | |
'They seem to have their priorities right, these two. | 0:57:04 | 0:57:07 | |
'Is this a Bahian thing?' | 0:57:07 | 0:57:09 | |
People from Rio and all that, I've heard them say Bahians are lazy. | 0:57:09 | 0:57:12 | |
What do you think about that? | 0:57:12 | 0:57:14 | |
TRANSLATION: No, we're not, we just work in our own way. | 0:57:17 | 0:57:23 | |
Bahians are very caring - we're just not stressed out. | 0:57:23 | 0:57:27 | |
How can you be stressed out with all this natural beauty around you? | 0:57:27 | 0:57:31 | |
We don't know the meaning of the word stress. | 0:57:31 | 0:57:34 | |
'Are they jealous of people from Rio?' | 0:57:34 | 0:57:37 | |
HE SPEAKS PORTUGUESE | 0:57:37 | 0:57:39 | |
This is an old joke. | 0:57:46 | 0:57:47 | |
The carioca invites you to have lunch at his house, | 0:57:47 | 0:57:50 | |
but don't give you the address. | 0:57:50 | 0:57:52 | |
Oh, right! | 0:57:52 | 0:57:54 | |
Next time, I'll be heading inland, to a very different world. | 0:57:58 | 0:58:01 | |
A world before booming Brazil. | 0:58:01 | 0:58:03 | |
Indeed, a world before there was a Brazil at all. | 0:58:03 | 0:58:06 | |
I'll be exploring the wonders of Amazonia. | 0:58:08 | 0:58:11 | |
It's a region which is still home to remote tribes, | 0:58:13 | 0:58:15 | |
as well as sophisticated city dwellers. | 0:58:15 | 0:58:19 | |
And I'll be finding out how the demands of modern Brazil | 0:58:19 | 0:58:22 | |
are affecting the lives of those living in the largest | 0:58:22 | 0:58:25 | |
rainforest in the world. | 0:58:25 | 0:58:27 | |
Subtitles by Red Bee Media Ltd | 0:58:51 | 0:58:54 |