Carimbó: A Vibrant Afro-Indigenous Tradition of the Brazilian Amazon

A culture of resistance with Afro-indigenous origins, carimbó continues to thrive in the Brazilian Amazon. Constantly enriched with diverse influences, it is renewed today in urban centers, echoing its history of dance, consonance, and resilience.

Published on: March 13, 2026

The Rhythms of Belém do Pará

Impossible to wander the streets of Belém, a gateway city to the Brazilian Amazon, without hearing the refrain of “Sinhá Pureza,” popularized in the 1970s by Pinduca, affectionately known as the “King of Carimbó.” But what exactly is carimbó? It is both a dance and a musical genre, a multifaceted tradition that emerged in the 17th century in the Pará region of northern Brazil. It is the result of a complex interplay between indigenous Amazonian cultures, African cultures brought by enslaved people, and Portuguese influences from the colonists. As artist Lia Sophia stated in 2014, “It is a music, a rhythm, a dance and the culture of a people,” coinciding with carimbó’s official recognition as “Intangible Cultural Heritage of Brazil” by the IPHAN (Institute of National Historical and Artistic Heritage of Brazil).

A History Rooted in Tradition

The word “carimbó” derives from the Tupi word “kurimbo,” meaning “a wood that produces sound.” It also refers to the primary instrument – a large drum crafted from a tree trunk, played with hands or sticks. Typically, two drums are used in tandem: one producing a high tone (“repic”), the other a bass (“marcador”). To the rhythm of the percussion, men wearing large straw hats and women adorned in colorful skirts dance steps that blend Tupinamba and African traditions.

Carimbó is believed to have originated in the Salgado microregion, where the Atlantic Ocean meets the Amazonian rivers, before spreading to Belém and the neighboring island of Marajó – where it remains widely practiced today. But, its history hasn’t been without obstacles. At the start of the rubber boom in 1880, carimbó was officially banned in Belém, deemed “a disturbance of public order.” From then on, it persisted clandestinely in more remote rural areas.

The rhythm regained visibility around the 1960s, largely thanks to Pinduca. By incorporating Caribbean musical traditions and electric guitars, the genre broadened its appeal. This, in turn, inspired other rhythms, such as lambada and even tecnobrega. Alongside this “modernized” version, a traditional style known as “rataste” (“roots”) – championed by Mestre Verequete (1916-2009) – preserves the original rhythm without electronic instrumentation. These two trends coexist today, demonstrating the genre’s ability to maintain its identity while absorbing external influences.

Contemporary Reconfigurations and Cultural Centers

Eminent figures like Fafá de Belém and Dona Onete continue to popularize the carimbó tradition, alongside a new generation of artists.

In February 2026, at the Coisas de Negro (“Black Things”) cultural center in Icoaraci, a district of Belém, the group Toró Açú prepared to perform. The center, often called the “Temple of Carimbó,” has been a hub for Afro-indigenous identities for around thirty years. Belina, the vocalist of Toró Açú, explained that the center serves as “a meeting point between carimbó of the countryside and carimbó urban,” facilitated by Mestre Ray Mundo.

Toró Açú was created in 2016 in the quilombo (a community formed by descendants of escaped slaves seeking freedom) of Abacatal, near Belém. The group aimed to retain the spirit of resistance alive, releasing their debut album, My Grandfather’s Mandinga (“Malice of my grandfather”), in 2025.

The concert blended classic carimbó elements – maracas and drums – with flute, classical guitar, and electric guitar, creating a repertoire that merges traditional foundations with European rock, samba-reggae, and axé from Bahia. The audience, spanning generations, danced barefoot. A screen displayed the message: “The Tapajós River is not for sale,” referencing a current political-environmental conflict central to Brazilian news and resonant with the cultural identity of carimbó.

Producer Yuri Moreno, also a percussionist with Batucada Misteriosa, noted that the group performs frequently in Belém, at festivals like Psica, as well as in São Paulo and Fortaleza. “The idea is to continue to maintain the tradition, honor the past while updating the repertoire and disseminating it to project into the future.” This future is marked by important festivals like Saint John’s Day, where carimbó remains a central element.

Carimbó is indeed delicious, especially in Belém… but its influence extends far beyond!