The evolution of forró and its cultural diversity

The forró style has gone through three major phases since its inception in the 1940s. This evolution has been controversial, but critics say the different formats can coexist.

Festivities open

This week marks the start of the main forró marathon during the São João festivities in the northeast. With the official night of the saint’s celebrations approaching next Friday (24th), it’s almost impossible to hear any other kind of music in the cities that become the main centres of the festival, such as Campina Grande (PB) and Caruaru (PE).

The diversity of forró

To say that everyone plays forró is not to say that the music is the same. In the seven decades since its creation and spread at the hands of Luiz Gonzaga, the musical style that is the symbol of the Northeast has undergone significant changes. Gonzaga, known as the “King of Baião”, was instrumental in popularising forró and bringing northeastern themes to the centre of the national stage.

No longer a purely regional music played with accordion, zabumba and triangle, forró has adapted to modernity, incorporating elements of pop, axé and technobrega. Newer forró bands have a production comparable to major world pop shows. One of these groups, Calcinha Preta, has even performed 360-degree shows, similar to those of U2.

Controversies and debates

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Origens e a evolução do forró nas festas de São João

This transformation is causing controversy. Paraíba’s Secretary of Culture, the singer Chico César, criticised the more “modern” bands, which he called “plastic forró”. In the same vein, Dominguinhos, faithful to the original forró, said that the new bands had changed the style so much that “you can’t say it’s forró”.

Styles coexist

Despite their evolution and contrasts, the different styles of forró can “coexist”, according to Expedito Leandro Silva, author of “Forró no Asfalto: Mercado e Identidade Cultural”, which looks at the evolution and urbanisation of this musical style that is the hallmark of São João in the northeast. “The former does not cease to exist, and the latter continues to modernise, accentuating its differences from the original”.

Researchers usually divide the style into three main phases: Traditional Forró (also called pé-de-serra), University Forró and Electronic Forró. These phases are characterised by urbanisation, technical development and the adaptation of the style to the market at different times.

The evolution of forró

1. Origin: Traditional forró or pé-de-serra

Since its inception, forró has been an authentic artistic expression of the rural world of the Sertanejo, with Luiz Gonzaga as its main promoter and representative. The music was usually played with three instruments and the lyrics had nostalgic, regional themes and a strong rural accent. The classic form of pé-de-serra is still present at the major festivals in the northeast, whether by nationally recognised artists such as Dominguinhos or local names such as Santana, who keep the original style alive.

2. Recycling: Forró Universitário

The first major changes in forró began in 1975, when popular musicians of the time, such as Alceu Valença, Zé Ramalho, Elba Ramalho and Geraldo Azevedo, adapted the style to contemporary times.

The result was Forró Universitário, named after the young, urban audience. The style was revived in a similar form two decades later, when groups such as Falamansa and Trio Rastapé gained national popularity with “pé-de-serra adapted to today’s world”. Ricardo Cruz from Falamansa says: “We try to do pé-de-serra together with our daily life, our reality”.

3. Revolution: Electronic Forró

In the 1990s, forró underwent its greatest transformation, incorporating new instruments, dancers, colourful costumes and elements of country, romantic, bregas and even axé music to create electronic forró.

Also known as stylised forró or “oxente music”, the movement began at the beginning of the decade with groups such as Mastruz com Leite and Magníficos, and has become increasingly transformative over the years.

The change in recent decades has been so intense that it has led to groups such as Aviões do Forró and Calcinha Preta, which, according to Expedito Silva, have moved so far away from the original proposal that they are closer to technobrega than to forró proper.

José Inácio, or Jotinha, founder of the band Magníficos, explained: “What we do is romantic popular music mixed with forró. It’s like taking a Roberto Carlos song and playing it to a forró rhythm.

Although they started with traditional songs, the Magníficos band decided to change. “Luiz Gonzaga influenced us a lot, but we adapted traditional pé-de-serra to romantic music. We like it and respect it, but it’s not what we want to do. You have to follow the evolution of things,” he said.

The market and youth

According to Silva, who has studied the evolution of forró, the main difference between the classic and electronic styles is that the new bands have a better grasp of the market and sell more.

“The style is preferred by younger people, who identify more with it. What happens is that those who like forró, especially in the northeast, don’t confuse the electronic with the traditional. They see the stylised music as leisure, fun, pastime, but they respect the traditional forró.

The origins and evolution of forró in the São João festivities

Forró, especially at the São João festival, is a celebration that unites communities and generations, reflecting the cultural identity of the Northeasterners. The event is marked by dances, typical foods such as pamonha and canjica, and the presence of folkloric elements that enrich the experience.

The São João festivities, held in June, not only celebrate the harvest, but also serve as a space for cultural resistance, where traditional rhythms and dances are preserved and respected, even in the face of contemporary innovations.

Bahia.ws – Tourist Guide to Bahia, Salvador and the Northeast

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