Wayne W. Huang

In the district of Praça Onze, around the corner from Rua Marquês de Sapucaí where the world-famous Rio Carnaval makes its annual procession, the presence of Crescer e Viver, or “Living and Growing,” is unmistakable with its prominent blue-and-white striped circus tent. It is fenced off in an almost sanctifying gesture from its surroundings of a weed-ridden, empty tarmac lot dotted with a few cars and backed by a panorama-spanning view of Rio de Janeiro’s equally famous favelas (slums). Across from the lot, the newly built Praça Onze metro station stands in stark contrast to the old, crackling buildings – a sign of progress in this decaying part of Rio de Janeiro.

The Jongo da Serrinha Cultural Group Association was created in 2000 aiming to continue the historical heritage protection of Jongo. The original social protection project was founded more then 40 years ago by Vovó Maria Joana Rezadeira and Mestre Darcy do Jongo. Jongo is a manifestation of Afro-Brazilian culture, originated in the African Banto rites and rituals, blending circle dance, music and, some Umbanda processions. Jongo has been carried out since the time of slavery in Brazil. Jongo (“amusement” in Banto, cf. Alceu Maynardi) has its origins in rural Africa, most likely in Angola.